Sandow in our Lives

The end of the year is a time of going back in time and re-living memories.

And one of the enduring memories for those of us who grew up in the  1950s, 60s and 70s, is the word Sandow. It was a part of everyday lives—an integral part of the pencil box, a dirty grey rubber that erased pencil marks.

For us in India, “rubber” was the term for eraser, a usage inherited from British English and reinforced through colonial schooling. A child did not “borrow an eraser”; they asked for a rubber. And the most trusted rubber of all in our times was the Sandow.

These erasers were made of natural vulcanised rubber, not vinyl or plastic as most modern erasers are. They were firmer, slightly gritty, and erased by abrasion — scraping graphite off paper rather than gently lifting it. They left dark crumbs behind and wore down slowly. A new Sandow rubber meant clean pages. A worn one told the story of errors made and lessons learnt.

Where did Sandow rubbers come from?

The earliest Sandow erasers were almost certainly manufactured in Britain and exported to India during the late nineteenth and early twentieth centuries through British stationery suppliers. During the colonial period, Indian schools depended heavily on imported notebooks, inks, slates and erasers.

Stupid Toy Day (December 16) is a celebration of the wonderfully useless things from childhood—rubber chickens, yo-yos, slinkies, and strange plastic objects that made no sense but brought endless joy. From ridiculous toys to unsettling antique dolls that now star in creepy museum contests, this post reflects on how toys—whether silly or sinister—stay with us long after childhood ends. A nostalgic look at why useless never really meant unimportant.

After Independence, Indian factories began manufacturing erasers using similar formulations and — crucially — the same name. By the 1950s, most Sandow erasers sold in India were produced locally. However, the word “Sandow” was never firmly trademarked in India, allowing multiple manufacturers to use it freely. Over time, it became not a brand but a category. “Sandow rubber” simply meant “the regular school rubber.”

Sandows were not the only erasers available. There were white, scented rubbers, with a gel-like coloured top. But alas, most of us never possessed one, given they were about four or five times more expensive!

And a Strongman called Sandow

Another Sandow (though of older vintage) was part of our childhoods too. He lived on barbershop calendars and tattered posters: a muscular European strongman frozen in permanent flex.

Eugen Sandow (1867–1925) was a Prussian-born showman, athlete and entrepreneur who became the world’s first international bodybuilding celebrity. He toured Europe, Britain and America performing feats of strength before royal families and packed audiences.

Sandow was much ahead of his time, and would have done great in the current days, surely becoming a hero of Insta reels, posing as he did to deliberately display his muscularity. He was also a businessman. He published training manuals, endorsed health products, sold exercise equipment, and promoted physical culture as moral discipline. King George V even appointed him “Professor of Scientific and Physical Culture” in Britain — a title that further elevated his image as a respectable authority on fitness.

In India, encounters were through his images — black-and-white posters, calendar art, tins, and labels that travelled through imperial trade routes. But nevertheless, his name was well known, whether with urban kids or rural youth.

Were the rubber and the strongman officially connected?

There is no evidence that Sandow ever licensed his name to an eraser manufacturer. No contract, no advertisement, no endorsement exists in any reliable archive.

However, the naming may have had a connection. The two existed at around the same time, and the name ‘Sandow’ symbolised durability, strength and European modernity. Calling an eraser “Sandow” suggested that it would last, work hard and not fail easily. In an era with loose branding laws, borrowing famous names for product credibility was common.

Today…

Now, erasers come in neon colours and cartoon shapes. Eugen Sandow is remembered only by historians and fitness professionals. But for those who grew up in that older India, the word still carries a double image: fingers dusted with graphite, and a chest forever flexed on fading paper.

Sandow was never just an eraser.
And Sandow was never only a man.

Both were a part of our simple, innocent youth!

–Meena

Photocredit: Wikipedia for Mr. Sandow

ebay for the Vintage Tin advertising the eraser

Pencil in the Dates: Stationary Fairs around the World

Two weeks ago, we dipped our toes into the pastel-hued wonderland of Japanese stationery. This week, starting from Japan, we do a world-trip of Stationery Expos.

Japan: Two Shows, Two Personalities

Japan doesn’t just have one stationery expo—it has two, each with its own character.

The Japan Stationery Show, held every November in Tokyo, is the country’s premier industry fair. Here, manufacturers reveal their latest innovations: notebooks that open perfectly flat, mechanical pencils that never break lead, and pens that glide like a brush. It is also home to the coveted Stationery of the Year awards, which often set the trends for the year ahead. Though businesslike in its purpose, the show is open to consumers too, making it a buzzing space where industry professionals and stationery fans meet.

The Stationery Girls Expo (Bungu Joshi Haku), by contrast, is pure celebration. Launched in 2017, it caters to bungujoshi—literally “stationery girls,” a term now used for anyone who adores stationery as a lifestyle. Here, washi tapes in hundreds of designs, pastel highlighters, limited-edition pens, and playful planners dominate the stalls. The mood is festival-like—queues of eager shoppers, arms full of bags, and excited chatter about the season’s “must-have” notebook. If the Japan Stationery Show sets the industry agenda, the Stationery Girls Expo captures the culture of stationery—personal, expressive, and joyful.

With the cheerful tagline “the most enjoyable event for stationery lovers,” this expo is playful, creative, and community-driven. Its name might suggest it’s just for girls, but the event welcomes anyone with a soft spot attractive staionary. Spread across several days in Tokyo and Osaka, it has grown into Japan’s largest stationery festival, drawing nearly half a million visitors cumulatively.

The expo is also known for its Bungu Joshi Awards, where visitors vote for their favorite products—categories range from Tokimeki Design (heart-fluttering design) to Heart-throbbing Convenience (products that spark delight through functionality). The audience becomes part of the show, giving the event a democratic, festival-like atmosphere.

What’s especially interesting is the shopping system. Each visitor is given a transparent bag at entry. As they wander through stalls, they pick up treasures and drop them into their bag, paying for everything at a central cashier. It’s a clever system that avoids long queues at individual stalls and keeps visitors free to browse. The expo also offers exclusive merchandise only available on-site—tiny rewards for the true devotees.

Germany and USA

Germany’s Paperworld (now merged with Ambiente), has for decades set the global benchmark. Here the focus is on sustainability, efficiency, and innovation. Think paper made from stone, packaging that biodegrades in weeks, and pens that feel like sleek machines. It is vast, professional, and very B2B—corporate buyers and distributors scanning stalls with intent.

Then there’s the US National Stationery Show (NSS) in New York. This one feels closer to Japan in spirit—independent designers, hand-illustrated journals, greeting cards that are art in themselves. The joy of paper and pen as a form of self-expression is what binds the NSS community.

India: Now taking Mainstage

And, did you know, India has its own Expos too—two of them!

A Stationery Fair has long been part of the well-known Delhi Book Fair. Last month saw not only the 28th Delhi Book Fair, but also the 24th Stationery Fair at Bharat Mandapam. “Besides promoting books of all genres, the aim is to focus on providing students with educational books and stationery,” says Hema Maity, general manager, India Trade Promotion Organisation (ITPO).

The newer entrant is the Stationery & Write Show which debuted in 2019 in Mumbai, co-located with gifting and lifestyle fairs. That first edition saw 272 exhibitors and over 12,000 visitors—a remarkable start for a new platform. By 2022, the event had grown into a three-in-one showcase—Paperworld India + Corporate Gifts Show + Interior Lifestyle India—drawing nearly 15,000 trade visitors and 215 exhibitors. Fast forward to 2025, and the growth is striking: 18,000+ visitors from 285 Indian cities and 49 countries, with 340+ exhibitors. The annual fair, usually held in late January at the Bombay Exhibition Centre, now rivals international events in scale. It has a Delhi edition too.

And the highlights? Eco-friendly stationery made from recycled paper, cork accessories, even moss-covered desk décor. Alongside these, educational toys, quirky notebooks, and premium pens jostle for attention.

What makes India’s fairs unique is the mood—serious business buyers walk the aisles, but so do college and school students and stationery lovers. It is equal parts trade fair and festival.

The Magic That Endures

Whether in Tokyo, Frankfurt, New York, or Mumbai, expos remind us that stationery is not just about function. It is about beauty, culture, even memory. And perhaps that is why, year after year, these fairs continue to draw thousands: they affirm that ink on paper still carries magic in a screen-dominated world.

–Meena