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The exhibitors were Biesolt & Locke from Meissen, Germany, who showed some 20 Singer look-a-like machines, and an interesting-sounding Cinderella where the handle was fitted to the front of the machine rather than at the side.

Domestic showed its range of family machines and Howe showed its new F model.

Pfaff machines were exhibited in England for the first time, and received an enthusiastic mention from the Gazette’s reporter.

The Vertical-Feed Sewing Machine Company was said to have had one of the best positions in the display and White’s Peerless attracted the writer’s attention “as a good specimen of sewing mechanism”. The Automatic Machine Syndicate of Walbrook exhibited its Unicum buttonhole machine.

The Gazette had nothing but derogatory remarks to make about the cheap end of the market, even discounting the manufacturers from its list of exhibitors.

“We are forced to the conclusion that cheap machines have no future before them. Certainly they are sold at such low prices as do not allow dealers to sell them on the hire-purchase system.

“The cheap manufacturers do not appear to know that it costs more to sell a machine than to make one, and that the prices they sell their goods at render a permanent business next to impossible.” But the Westminster Aquarium exhibition did give several of these manufacturers an opportunity to show their goods to the public.

Among those noted by the Gazette was the Dorman at 15 shillings, the Tottie, a chain-stitch model which sold at 3s 6d, the Stuart made of Victorian silver at 21 shillings. Hugo Sommerville of Long Lane, London, showed three small machines: the Flora which sold at 10s 6d, the Dorothy at twice as much and the Victoria at 31s 6d.

The article ended: “Several well-known travelers spent the exhibition fortnight in London, thereby giving the dealers a short respite. One of these …. said that his hope of meeting at the Aquarium a large number of visitors from the provinces was not realized. He estimated the number of dealers visiting the exhibition at between 12 and 14”.

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WHEN William McWilliams, the proprietor of the London-based Sewing Machine and Cycle News, decided to hold what he called the first exhibition of sewing machines in 1887, he immediately ran into trouble in the editorial columns of the rival Sewing Machine Gazette. In its report of the event, the Gazette pulled no punches in deriding its rival’s exhibition.

First, it proved that even its title “first international sewing machine and appliances exhibition” wasn’t even that. It pointed out that a previous proprietor of the Gazette, Mr. Messeni, had conceived the idea of an exhibition in 1881 which was held at the Agricultural Hall in Islington. What’s more, he repeated the event a year later making, in the Gazette’s eyes, it’s rival’s exhibition not the first but the third.

It then pointed out that the 1881 exhibition had had 12 sewing-machine companies exhibiting their wares, whereas the 1887 show had only seven. Even counting the smaller number of exhibitors, there were at the first exhibition 148 and only 62 at the 1887 event.

Asking itself why the event had been a failure the Gazette went on in these terms:

” The sewing-machine exhibition can only appeal to two classes: 1) dealers; 2) the fair sex. The dealers as a trade will not come to see a sewing machine and the public will certainly not pay a shilling to see a collection of them.

“The dealer has travelers calling upon him daily and can see every type of machine in the market without any traveling or hotel expense.

The public need only visit the city and they have within an arm’s reach every class of machine which they can inspect under far more favorable circumstances .”

This third exhibition was held at the Royal Aquarium in London and it can be surmised from the gist of the Gazette’s report that the area had a less-than savory reputation.

“Of all places in the world to hold an exhibition of articles intended for ladies, the Aquarium should be the last.”

To bolster this argument, the Gazette tells of overhearing a conversation on a stand where a gentleman asked that if he were to buy a sewing machine for his wife, could the bill be made out so that she did not know he had bought it at the Aquarium.

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He certainly produced the first practical sewing machine, was the first man to offer machines for sale on a commercial basis and ran the first garment factory. For all that, he died in the poor house in 1857.

In America a quaker Walter Hunt invented, in 1833, the first machine which did not try to emulate hand sewing. It made a lock stitch using two spools of thread and incorporated an eye-pointed needle as used today. But again it was unsuccessful for it could only produce short, straight, seams.

Nine years later Hunt’s countryman, John Greenough, produced a working machine in which the needle passed completely through the cloth. Although a model was made and exhibited in the hope of raising capital for its manufacture, there were no takers.

Perhaps all the essentials of a modern machine came together in early 1844 when Englishman John Fisher invented a machine which although designed for the production of lace, was essentially a working sewing machine. Probably because of miss-filing at the patent office, this invention was overlooked during the long legal arguments between Singer and Howe as to the origins of the sewing machine.

Despite a further flurry of minor inventions in the 1840s, most Americans will claim that the sewing machine was invented by Massachusetts farmer Elias Howe who completed his first prototype in 1844 just a short time after Fisher.

A year later it was patented and Howe set about trying to interest the tailoring trade in his invention. He even arranged a competition with his machine set against the finest hand sewers in America. The machine won hands down but the world wasn’t ready for mechanised sewing and, despite months of demonstrations, he had still not made a single sale.

Desperately in debt Howe sent his brother Amasa to England with the machine in the hope that it would receive more interest on the other side of the Atlantic. Amasa could find only one backer, a corset maker William Thomas, who eventually bought the rights to the invention and arranged for Elias to come to London to further develop the machine.

The two did not work well together, each accusing the other of failing to honour agreements and eventually Elias, now almost penniless, returned to America. When he arrived home he found that the sewing machine had finally caught on and that dozens of manufacturers, including Singer, were busy manufacturing machines — all of which contravened the Howe patents.

A long series of law suits followed and were only settled when the big companies, including Wheeler & Wilson and Grover & Baker, joined together, pooled their patents, and fought as a unit to protect their monopoly.

Singer did not invent any notable sewing-machine advances, but he did pioneer the hire-purchase system and aggressive sales tactics.

Both Singer and Howe ended their days as multi-millionaires.

So the argument can go on about just who invented the sewing machine and it is unlikely that there will ever be agreement. What is clear, however, is that without the work of those long-dead pioneers, the dream of mechanised sewing would never have been realised.

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Historians of the early days of the sewing machine can argue for hours over the simple matter of who invented what is, in many ways, one of the most important machines ever devised.

The story really starts in 1755 in London when a German immigrant, Charles Weisenthal, took out a patent for a needle to be used for mechanical sewing. There was no mention of a machine to go with it, and another 34 years were to pass before Englishman Thomas Saint invented what is generally considered to be the first real sewing machine.

In 1790 the cabinet maker patented a machine with which an awl made a hole in leather and then allowed a needle to pass through. Critics of Saint’s claim to fame point out that quite possibly Saint only patented an idea and that most likely the machine was never built. It is known that when an attempt was made in the 1880s to produce a machine from Saint’s drawings it would not work without considerable modification.

The story then moves to Germany where, in around 1810, inventor Balthasar Krems developed a machine for sewing caps. No exact dates can be given for the Krems models as no patents were taken out.

An Austrian tailor Josef Madersperger produced a series of machines during the early years of the 19th century and received a patent in 1814. He was still working on the invention in 1839, aided by grants from the Austrian government, but he failed to get all the elements together successfully in one machine and eventually died a pauper. Two more inventions were patented in 1804, one in France to a Thomas Stone and a James Henderson — a machine which attempted to emulate hand sewing — and another to a Scott John Duncan for an embroidery machine using a number of needles. Nothing is known of the fate of either invention.

America’s first real claim to fame came in 1818 when a Vermont churchman John Adams Doge and his partner John Knowles produced a device which, although making a reasonable stitch, could only sew a very short length of material before laborious re-setting up was necessary.

One of the more reasonable claimants for inventor of the sewing machine must be Barthelemy Thimonnier who, in 1830, was granted a patent by the French government. He used a barbed needle for his machine which was built almost entirely of wood. It is said that he originally designed the machine to do embroidery, but then saw its potential as a sewing machine.

Unlike any others who went before him, he was able to convince the authorities of the usefulness of his invention and he was eventually given a contract to build a batch of machines and use them to sew uniforms for the French army. In less than 10 years after the granting of his patent Thimonnier had a factory running with 80 machines, but then ran into trouble from Parisian tailors. They feared that, were his machines successful, they would soon take over from hand sewing, putting the craftsmen tailors out of work.

Late one night a group of tailors stormed the factory, destroying every machine, and causing Thimonnier to flee for his life. With a new partner he started again, produced a vastly- improved machine and looked set to go into full-scale production; but the tailors attacked again. With France in the grip of revolution, Thimonnier could expect little help from the police or army and fled to England with the one machine he was able to salvage.