The match industry in Singapore began to augment in the 1960s as part of the government’s industrialization plan. At a time when lighters and gas appliances had yet to become commonplace, in Singaporean society, people were still bound to live by using charcoal stoves and oil lamps. The matchboxes, then, were a product that reached a broad group of people. The matchbox infiltrates every household as a part of life that becomes indispensable. Since the matchboxes come with a space that fits in the palm, it led to a new path, another channel of advertising space to promote the business to be known. It is often given to potential customers to complement their business.

The result of Smoking Act of 1970 prohibited cigarette and tobacco advertising in conventional media, and the manufacturers began to attract customers with advertising matches. After that, it gradually expanded into other businesses, such as food and beverage, including entertainment. The matchboxes and matchbooks were then served as souvenirs or even business cards. The cardboard boxes’ design always featured the business’s name, logo, and contact details, created mainly by advertising and creative agencies. The 5.5 by 3.5 centimeters of advertising space then became part of a more extensive marketing campaign. It also represented a crucial moment, a milestone in creative graphic design for this small space. 

‘Striking! Advertising Matches from Singapore’ is a book from Yeo Hong Eng’s vintage advertising book collection published by In Plain Words in partnership with Temporary Press. It begins with a detailed story that paves the way for an understanding of Singapore’s history of the match industry. Even the development of advertising space and the loss of popularity after the gradual change in lifestyle and housing. The book explores various advertising design patterns on matchboxes, with the content divided into seven themes by categorizing advertising graphics into those themes. It reflects the style and direction and presents various stories in different formats, some of which refer to the context of the situation at that time – the thought processes, views, tastes, and even the multicultural society of Singapore. In addition to the role of capturing images and stories that help to see the time loop of having to adjust and put the advertisements on the matchboxes, the reflections of the collective thinking in society at that time appear equally parallel. Perhaps this is due to insertion into an essential part of people’s lifestyle, especially with the food business linked to Singapore’s culture.

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