N.A.U.M.D. With Richard Lerman: UniformMarketNews.Com

Bam!  2006 and Richard Lerman hit the ground running, taking over the North-American Association of Uniform Manufacturers & Distributors.  Lerman, a native New Yorker,  who hails from the Bronx and Queens, is quick to discount himself and focus on his organization.  With a background in communications, business, and the advertising arts, he doesn't believe in resting on the accomplishments listed in his resume, but rather on what's happening in the here and now.   A devotee of membership associations, he gets a genuine thrill out of renovating an organization from A to Z, while building its population, as he adds benefits and perks that will enhance the quality of life for so many of its members.

"When I first came to NAUMD," recalls Richard, "the association was healthy enough, but it wasn't functioning in the 20th century."  Lerman assessed the situation, and embarked upon an innovative plan to advance the group's direction.  First,  there was the website: The NAUMD newsletter was put online, and then completely overhauled twice since he arrived.   Next, a host of benefits was added to draw the uniform industry into participating in greater numbers: The Dun &  Bradstreet program; Hartford Merchant Services; sales training & sales hiring testing programs; healthcare support benefits; direct discounts for the members; and more.

The awards programs were significantly improved.  When various competitive categories of uniform  excellence were held at the NAUMD gatherings, members had previously been judging themselves.  Lerman brought in professional outside judges who had no vested interests in the contestants, and people could truly congratulate themselves on their worthiness as recipients of the awards.  He also expanded  recognition for the winners and put everything online for all to see.  Enhanced with top-notch stars, banquets, and praise for nominees and winners, the "Image of the Year" award has become a coveted title.  Because of such a thrust, proper respect has been given to various uniform packages that heretofore would not have been acknowledged, let alone given top honors at a convention.  Who would think of public safety uniforms being voted "Best Dressed?"

Lerman expanded the NAUMD committee base and saw to it that four to five new committees were added, drawing more members into participating roles.  He worked on locating programs, products, and sources for imagewear programs.  He can barely stop to take a breath as he reveals all that's happened and all that's going on, directing the uniform industry toward the future.  500 new company memberships have come on board since he took the helm! 

In part because of his background and because he is who he is, Richard Lerman dedicates himself to the members of NAUMD as his first priority.  Membership, legislative & regulatory rules, and exhibitors, are just a few of the committees that are a part of the association.  Its fingers are on the pulse of the industry in the United States, and the world.  It used to be that NAUMD was all about the American industry.  Now, with so many items being made offshore,  the demography has morphed to include Canada and Mexico, as well as inviting other uniform sellers, dealers,  manufacturers, and distributors to join.  "It wasn't an arbitrary decision to invite others ," informs Richard.  "Over 75% of the membership voted to have these countries participate with us.  In addition, because of their enormous involvement in sales and production, if we hadn't included them,  they would've excluded us."  The door is open to all countries, from China and Africa to European nations and Australia. 

The response has been resoundingly positive,  and the results have been to promote trade, respect, familiarity, and support in all aspects of the uniform field.  This is a good thing because as Lerman reminds us,  "'Made in America' is just fine, but on Capitol Hill, many people don't know what that means; if they do, they don't care.  There are now several laws that get around this issue, as offshore manufacturing is so much cheaper than American goods.  As long as there is a trade agreement, anything can be made anywhere."

Politics,  lobbying,  economics and trade are all a part of what NAUMD knows and does.

Richard Lerman is adamant, as is NAUMD, that prison uniform manufacturing be dispensed with.  For example, he chafes at the notion that prisoners should sew their own garments, given who they are and why they're in prison, wearing that particular apparel in the first place.  Second, as an association that advocates for the uniform business, the question of competition arises:  Why should government (through federal prison-made garments) compete with private industry?  It's the very antithesis of the American enterprise--capitalism.

Believe it or not, Lerman is only on the first leg of his entrepreneurial endeavor.  His plans include a new logo, new tagline,  better benefits and an even better image of NAUMD.  He wants to offer ongoing analyses of the industry and let the members know.  "As the epi-center of the uniform industry and imagewear," says Lerman, "we are working toward an agency where members can design, create, manufacture, and sell to the end users--dealers and distributors."

Richard Lerman responded to several questions about issues from "green" technology, illegal immigrants, unions, and US manufacturing capabilities; his strong energy came through as he focused on what is best for good business.  He waxed philosophically but pragmatically: "The real question is how we as a country are going to stay competitive for business.  We cannot manufacture here anymore because we have no raw materials.   There was a time in our history when the role of the association was about being made in America.  Now, everything is outsourced if we are to remain profitable.

  "We've become a service economy," says Lerman, "and if we are going to survive, we must not put our heads in the sand.  We have to compete, stay ahead of the technological curve, and succeed as we remain in the forefront of development regarding imagewear and uniform programs.  We have to meet the needs of the customer while making a profit for ourselves."

Re-stating his committed enthusiasm for his job, and his dedication to the welfare of NAUMD members, Richard Lerman reminds us that the uniform is a tool.  It projects the entire focus of a business or an industry, and that both staff and customers are influenced by the presence of uniforms in the workplace.  As trivial or as taken-for-granted as one might assume they are,  change them or eliminate them,  and the whole  perception of a company becomes different.  "Our business might not be as robust as it used to be, but don't tell me that every company doesn't need a uniform program," retorts Lerman.  "Listen carefully to the voice of our membership, as I do, and this is exactly what you will hear."

The Finishing Touch: UniformMarketNews.Com

Boilers, presses, and irons in the apparel business are ubiquitous; yet, few people ever think about them or realize how necessary they are.  To press a new garment is an entirely different skill than pressing one that has already had its creases set, its lapels put back, its seams busted, its kick pleat folded in, or its shoulder pads and lining properly aligned with the outside shell.

The Chinese were purportedly the first to use a hot iron to smooth cloth.  Between their putting  metal in pans filled with hot coals, and the Europeans using stones, glass, and wood for smoothing, women around the civilized  world utilized various methods of "ironing."  There were "slickers," "sleekstones," and other shapes such as inverted mushrooms, that would be used to smooth a fabric when the idea of using burning heavy metal (usually iron), wasn't available or desirable.

There were presses for laying out cloth, and stretchers where damp fabrics were held between rollers or "calendars."  But ultimately, during the 19th century, with such inventions as the gas iron (white gasoline was put inside a metal canister with a smooth, flat base, and lit to heat up the metal), and the electric flatiron that was patented in 1882 by Henry W. Seely, the regular practice of smoothing garments professionally, was born.

There are all kinds of irons.  As fashions changed and developed over hundreds and hundreds of years, the irons, themselves, changed to accommodate the types of fabrics, and the need to deal with a particular articles of clothing, or special styles.

The sadiron, or flatiron with 2 pointed ends and a removable handle, is one of the most familiar.  Fluting irons were designed to crimp and press ruffles.  They were also used for collars and cuffs.  Slug irons carried a "slug" of metal inside them, and revolved around the handle so that the part of the iron that touched the fabric was always hot.  These were used for polishing, glossing, or embossing designs onto a fabric.  From these came the tailor's iron, with a heavy top that was forced down upon a bottom--what we call a "buck press," today.

Domestically, housewives and maids were using smaller irons for years, and in truth,  homemakers' needs continue to send a strong message to technology.  General Electric was among the first to produce an electric  iron for household use.  In the 1920's, however, when the boys came home from World War I, technology began to change more rapidly.  America was quickly becoming a world power, and had multiple inventions and patents at its fingertips.  Fulton had invented the steam engine in the 1800's and pairing that with the electric iron, the steam iron was created in the early 1900's.

Initially, fabrics were wet down, then ironed with hot metal irons.  With a steam iron, the hot moisture allowed wrinkles to be pressed out of a garment in one step, also dampening it so that pressed-in creases and perfected finishes without scorching were possible.  It wasn't until the 1950's that pressing equipment became both steam and electric, so that one or the other could be used.   Now, it is computer driven as well. 

Within the manufacturing industry, the steam iron-- and subsequently steam presses--made ready-to-wear clothing possible.  With the changing world of technology, with ever-increasing ready-to-wear garments, with the advent of dry-cleaning and laundering facilities,  presses allowed men and women to have their garments neatly made, purchased, and worn so that they kept their appearance for years.

There are all kinds of presses: Collar, shoulder, shirting, cuff, hat, buck presses in all sizes for coats and larger garments, the Suzy-Q presses for dresses, and more.  These presses are either run manually or by computer. 

The more powerful and multiple the presses, the larger the boiler has to be to run them.  Compressors are used, but ultimately, the steam boilers are there to drive the equipment with anywhere from 10-300 horsepower, or with multiple boilers of smaller power, such as three 50 horsepower boilers.  They are enormously powerful, and a large manufacturing plant can spend up to $100,000 on its boiler system.  In the past, any boiler over 30 horsepower had to have a fulltime person on staff to supervise the machinery, it was that dangerous.  Today, the equipment is built with multiple safeguards, so that most boilers can be maintained by the owners, themselves.

The majority of presses and boilers are made in Italy or in Asia.  American made items are all but gone.  It used to be that American machinery was built out of steel and cast iron and made to last 50-100 years.  Hoffman, Ajax, and Sisal were such companies.  Now, all that remain of them are parts and service replacement dealers.  Old machines are still better than any new items on the market that are only built to last 10-15 years.  These are less expensive, easier to maintain, largely computerized and electronic, but they're quickly outdated with no replaceable parts.  Make no mistake:  A modern press can cost $7,000 - $40,000, and that doesn't count installation, parts, service, or building the room to put it in.

It used to be that fabrics were made from all natural fibers, and the presses accommodated them.  Everything was about precision and quality.  Today, quality is not the primary goal; economy is.  If a company can purchase a throw-away press that can do the job cheaper and faster so that more garments can be pressed at a time, there is less overhead; hence, more profit.  The shops that have the old manual presses--the steam presses without multiple garment capacity-- will ultimately be outshone by companies who press more rapidly, if not quite as well or expertly.

Dennis Trotter of D&R Enterprises, who has been in the business for almost 40 years says, "The primary change in the pressing industry is that fabrics have changed so much.  With technology, there are permanent press, wrinkle free finishes.  There are many fabrics that don't need to be dry-cleaned; people can do their clothes at home, throwing them in the dryer or hanging them up to dry.  Items don't even need to be pressed upon being manufactured."  It will be interesting to see where the future of the pressing industry will go--forward with newer and more highly developed, expendable equipment, or increasingly discontinued as more advanced technology develops fabrics that have no need of presses, at all.

Costumes Or Uniforms?: UniformMarketNews.Com

Recently, I saw the 2009 Carnival in Rio de Janeiro, Brazil—a yearly event that is presented to the public.  In just two days, over 120,000 performers filled the streets for this fabulous presentation.  There were huge varieties of apparel, but with hundreds of individuals at a time wearing the exact same thing—legions of people moving to the rhythm of the music.  They adorned floats, the streets, and the city, in an unprecedented salute to the samba.  Yet, aside from the bright colors and the incredibly varied fabrications, it was no different than a military parade.  I thought to myself, are these uniforms or costumes?  What’s the difference between the two?  Is it the material, the quantity, the purpose, the design?  Is it that one is worn by choice and another by assignment?  Perhaps it is the length of time that an outfit is worn.  What makes one a costume and the other a uniform?

At Disneyland—the closest the Americans could come to the Brazilian pageant—there are both costumes and uniforms.  The special characters such as the Goofies or the Snow Whites (yes, there are many of each, as it’s a big park and different people wear the ensembles on various days at rotating times and in different sizes) are made in the Costume Shop—marvelous creations with or without giant feathers (Big Birds) or shapes (the Seven Dwarfs) and masks (Captain Hooks).  The colorful and uniquely designed shirts and pants for the waiters and waitresses of Tomorrow Land, or Epcot, or the dresses worn by the Dance Hall girls in the saloon at Frontier Land, are kept in the Costume Warehouse—decorative items by the bushel, especially designed with fabrics solely woven and dyed for Disney.  But these are referred to as uniforms, not costumes.  Is it the quantity?  Is it that costumes are saved for the proper nouns, such as the Prince Charmings or Belles, but uniforms are reserved for this usher or that waitress, worn by the hundreds?

The Rose Bowl Parade: What about the fabulous western wear that is sported by the equestrian groups, and the ornately attired marching bands?  Today’s band uniform is as much about Spandex and Star Trek as it is about trumpets and John Philip Sousa: slick 21^st century abstract multi-colored designs, metallics, winged shoulders, and gauntlets.  Are these not costumes?  Are the cowboy shirts uniforms and not costumes—hand made, hand braided with cording, embroidered with magnificent all-over designs, and hundreds of hand set rhinestones per shirt?  Is it about fancy vs. plain or ultimate purpose?   Regarding complexity of creation, one ornate cowboy shirt can easily out-cost and out challenge the manufacture of any band uniform by as much as two or three to one. 

Does the military only have to be about uniforms?  There’s nothing like a man in uniform, they always say.  Is it that a uniform is more masculine and a costume has more of a frou-frou aspect to it?  No, there are scores and scores of women in the military.  Is it that a uniform is more tailored than a costume?  Straight lines rather than ruffles or curves or colors?  The French and many other countries have had wonderful uniforms.  Laces, gold buttons, fold-back reveres, velvets, even braid made of 24 karat gold bullion.   Did you ever see a Cossack?  Czar Nicholas?  George Washington?  General Patton or the Marine Corps Honor Guard?  How about the Chinese warriors or the Samurai?  Uniforms or costumes?

Religion is a funny thing.  You have the Amish, the Pennsylvania Dutch, Mennonites, and the Chasidic Jews, who all look alike.  Black hats, long beards, black suit or frock coats, and pants.  The ladies wear somber head coverings and long skirts or dresses in very neutral, dark colors.  Go figure.  Costumes or uniforms?

Ever been to the country club where all the mavens are dolled up in sequins with red nails, or Stepford wives with matching haute couture Chanel suits; a school where all the kids look alike depending on geography and demographics for the neighborhood; an area where folks do similar kinds of work?  It could be a law office, a hospital, an auto garage, a restaurant.  What makes a dress shirt and pair of pleated pants more uniform than multiples of young men who run around with their pants hanging below their hips, and t-shirts that ride well above them?  Costumes or uniforms?  Is it numbers?  Is it fashion?  Can a uniform be fashionable, or once it’s a part of street wear, does it lose its separateness as a uniform?  Does uniform mean separate from everybody else?   Or does it mean being the same? 

Actually, uniform means “one shape.”  Uni = one; form = shape. It’s an adjective that morphed into a noun and ultimately became identifiable with clothing.  But if that’s the case, does this mean that everyone who is dressed in white tie and tails is wearing a uniform?  Are ballet and ballroom dancers in uniform?  What about ice-skaters, and skiers?  Uniforms?  Or costumes?  What if it’s a team?  Does a football team have uniforms because there are several of them, but golfers wear costumes because each is one at a time?

It’s all very strange.

The dictionary really does define them separately.  It refers to costumes as native folk dress, for instance, implying longevity and tradition—the hula skirt and lei from Hawaii, the Scottish kilt in Tartan plaid, the sari from India, and so on.  It also defines costume as dress—Mrs. Obama’s choice of outfit for this occasion or that.  And, from a designer’s point of view, costume becomes a verb; one is costumed.  But one is never uniformed.   

Interestingly, costume is derived from the word custom.  Here’s the trick:   Custom can mean unique as in specially designed and customized; or it can mean quite the opposite as in being accustomed to, a habit, or that which is quite ordinary.  Costumes have a wide berth when it comes to definition.  This includes Halloween, Thanksgiving Pilgrims, and Santa Claus suits, as well as cobbler aprons for the cleaning crew, polo shirts for the tennis team, and etons for the caterers:  Costumes for the customs.

I think the difference between a costume and a uniform is about assignment.  If a person gets to choose what to wear, and it further defines him, I say it’s a costume.  There’s an innovation to it—self-expression and a furthering of the inner being.  It’s a statement of individual definition, and he comes first.  I think if someone is told what to wear, then it becomes a uniform.  Here, it’s an assignment from without, and one becomes secondary to the garment filled.  Yes, that would imply that the exact same garment could be worn by one and be a costume, and by another and be thought of as a uniform. 

Hardwick Clothes: 129 Years of Excellence: UniformMarketNews.Com

Virginia, 1655, is the earliest trace of William Hardwick who emigrated from England.  His family settled in various parts of the South and, generation after generation produced children who were consistently committed to community welfare, industry, education, and values that revolved around the Masons and the Methodist church.  Eventually locating in Cleveland, Tennessee, C.L. Hardwick was the great great grandson of the original Hardwick, and it was he who took it upon himself to found a woolen mill in 1880. 

Why: No one seems to know.  The best guess is that as the country began to come of age and transportation allowed for access to more store-bought items, Hardwick decided to utilize his retailing experience along with his knowledge of farming.  He was working by the age of 15, went into the retail business at 19, lost the business and paid back his debts out of his own pocket, and began again in mercantile at age 30.  He also bought a farm, which he worked simultaneously, and it’s possible that his livestock afforded him more potential than imported shelf items which could by then be purchased elsewhere.  

Cleveland then was a town of about 5,000 people, in the midst of farm country.  Today, it boasts a community of about 40,000-50,000, the size of a large university. It has remained small, maintains its basic set of American values, and caters to the folks who live and work there.  There is one mall, no skyscrapers, and Sunday church as an important aspect of life.

Many of Hardwick’s 400+ employees as well as its CEO’s are family to one another, and have been serving the company for multiple generations.  Nancy Deakins who heads up Advertising, and Tommy Hopper as President, are descendants of the Hardwick family.  Jim Park, whose uncle was Sales Manager, is the Vice President of Sales, today.  One of the aspects about the plant is that it is all on one story, and everybody knows and sees everyone else.  “If a customer needs something special,” notes Park, “I can just walk out onto the floor, talk to a supervisor, and put the item into work.” 

First known as the Cleveland Mills, 1880 marked the founding of the company with five owners who ultimately became one—C.L. Hardwick.  The firm was besieged by fire as many as four times, but as the building and its contents were repeatedly destroyed and rebuilt, each time forced modernization with positive change and growth to occur in spite of damage and loss.

The Mills weaved what was known as “jean cloth”—a heavy-duty twill or kersey for pants that was created in Virginia.  It was roughly 76% wool, and 24% cotton, with the cotton being on the inside close to the leg for softness, and the 22 oz. wool fabric being on the outside.  Once the goods was woven, it was transformed into “Dollar Pants,” due to their low cost. 

Over time, Cleveland Mills evolved into a manufacturing plant as well as a mill, making “hundreds of thousands of dollars,” according to company records of 1920; in 1925, it became Hardwick Mills with the family’s name attached.  During its heyday, Cleveland Mills was the largest facility of its kind in the world.  It produced the fabric and it made the garments: Suits, overcoats, knickers, and boy swear.  It produced plaids, various weaves, and solids.  It transformed from industrial wear to dress attire, with pleated and then plain front pants, and it followed the all coat styles of the day, from the earliest part of the 20^th century until modern times.  Even during the Great Depression, Hardwick managed to grow.  Its motto was “Off the sheep’s back, and onto the rack.”

Ultimately, with huge Post War demand for ready-to-wear garments, and with the invention of synthetics, Hardwick decided to abandon its line of overcoats, boy swear, fashions that had gone out of style, and to sell its mill.  Instead, it became a manufacturing plant alone, and went full force into men’s wear for dress and sport.  Since 1980, it has added a lady’s line to complement the men’s garments; however, Hardwick is ultimately a medium priced line that is sold in retail men’s stores.  Today, it produces suits, separates, and sport coats.  Its inventory is not so much a matter of variety, but rather of volume regarding the products it handles.

The current 175,000 sq. foot one-story facility was built in 1974, when the company was producing over 10,000 coats and pants per week.  Strictly American made, the company has continued to adapt with the times and now focuses on career apparel for groups and corporations plus its sales to men’s stores and individuals.  Keeping inventory plentiful for superb customer service, but keeping the economy keenly in mind, anything that doesn’t sell is discontinued.  “Patterns for sport coats eventually run themselves out,” cites Jim Park.  “We temper current styles with what we think is the best.” 

The Hardwick line is very traditional—conservative.  Manufacturing in the

South, its focus has been influenced by the population; heaviest sales seem to be in the Midwest and the Sunbelt, where people prefer classic grey, black, and navy—“the marry ‘em and bury ‘em” colors,” smiles Jim.  It used to be that Hardwick made blazers in a myriad of colors, but due to the lack of interest, had to cut them.  “We find that since we’ve narrowed our focus to certain items rather than many, our sales have greatly increased.”

Despite society’s more recent trend toward casual dress, Jim feels that the future is very bright.  “Sure, there are folks who are loyal to their pocketbooks and want to buy offshore, but we see the economy improving, people are getting back to dressing up, and there’s a lot to be said for being an American made product.”

“The age of our customers is unlimited.  We appeal more to the middle-aged person, but we’re also reaching out to people in their 20’s.  We have an excellent value in our garments; our history and tradition speak for themselves; we go out of our way to be a team and a family, and take care of our customers.  If someone calls and says ‘I’ve got to have this for a special event,’ we do our best to accommodate.  People can count on us.”    

One of the best aspects of Hardwick in more recent years is its ability to do special orders.  “We’re not a custom house,” reminds Jim, but we did uniforms for the Second World War, and now for the Salvation Army, pants for umpires, or certain colors or styles if there’s enough for a special request.  It’s a great place to work, and after 25 years, I only hope I’ll be here for many more.”

Dressed To The Nines: UniformMarketNews.Com

Do you ever wonder what certain phrases mean?  Do you ever use certain words or terms without having a clue regarding origin or meaning?  Here’s one for you: “Dressed to the nines.”  We use it more with the upper crust than the lower, and maybe more with women than men.  But the term itself has been around for a few hundred years; perhaps longer than that.  It’s been used with the height of couture fashion covering designs for daytime and evening wear; it’s been used to describe the average Joe who is one step above; and it’s been used with top-notch uniforms.

“Dressed to the nines” simply means that one’s fashion statement is tip-top.  For the uniform industry, we are talking about an identity that puts our best feet forward, that advertises us as par excellence, that outwardly displays the kinds of qualities that we apply to our companies inwardly, with our entire collective focus as a team.  

In truth, no one knows where “dressed to the nines” comes from, but there are numerous possible origins:  Some say that it refers to the “whole nine yards,” which at one time was the amount of fabric used to make up a suit for an elegant gentleman or, imagine a single elegant shirt!  (Figure narrow, 36” wide goods, or even the most foppish 18^th century dandy would drown in ruffles and lace at this quantity). 

Some say it has to do with the nine muses from Greek mythology and the arts—the best that aesthetics has to offer in every genre: Some say it refers to the nine worthies, who are outstanding heroes from both literature and history—King Arthur, David, Joshua, and the like. 

Being dressed to the nines is born out by women who attended the opera, paying $9.00 for a splendid box seat, and who used to wear long white gloves with finger openings at the wrist, closed with nine pearl buttons.

In baseball, where the team is comprised of nine players, there is a ritual in putting together a uniform so that not only is the particular outfit of special quality and design with shoes, sox, knickers, shirt, and cap, but also that the entire team of nine wears the ensemble, together—all at one time, as in dressed to the nine players.

There is 18^th century poetry from Scotland, with Robert Byrnes waxing over nature as being painted beautifully to the nines.  There is the possibility of the medieval phrase, “dressed to thine eyne,” referring to one’s eyes being the loveliest ever—with the words gradually evolving to “the nines.”   In 18^th century England, poet William Hamilton refers to the nines—how they contented him.  In 14^th century France, John de Mandeville journaled that war without peace would always be to the ninth degree if his king were not to reform.

Military uniforms abound with the nine button design: Civil War uniforms, European uniforms, military school uniforms, were all made with a nine button closure, and many still are.   The Duke of Edinburgh’s 99^th Regiment of Foot during the 19^th century refers to the British army—legendary for its elegance and precision.  The whole concept of the uniform speaks to dedication and discipline, exemplary senses of order and honor of the highest rank, and yes, smart looking fashion.  This particular reference comes the closest in time frame to when the actual phrase “dressed to the nines” came into vogue. 

The number nine can be used in any number of important references, whether with regard to garment manufacturing, or design.  Often, it’s nine stitches per inch that makes a good seam—decorative or plain.   

When we talk about being dressed to the nines, we are truly vaulting an individual into the top drawer of impeccable presentation.   There is none better.  No matter what one’s reference, or choice of focus, the outfit that ranks as nine is the best.  Many companies have even named themselves “House of Nine,” or “Dressed to the Nines.”

For the uniform industry, this adage connotes the finest look that any group can have.  Whether it is corporate or casual, formal or industrial, or costume, the best is the nines.  One of the most easy and winning ways to achieve the “nines look” is to accessorize.   Think tie, think scarf, think vest or cummerbund. Think braid, think customized shoulder straps, interesting buttons, or contrasting sleeve application.

It doesn’t matter if it’s a busboy or a housekeeping uniform; it isn’t always about a power suit in poly wool.  It’s not only about customer satisfaction; it’s about the inner sense of pride that is radiated by an employee who wears the garment, too.  If the employee feels attractive and proud of his appearance, imagine how others will view him, and how he projects delight when he’s on the job.

When different publications award a company for its uniforms, it’s about being “dressed to the nines.”  When companies show off their personnel, when we want to identify with a particular group, when various industries use a particular garment that catches on in the private sector, that’s dressing to the nines. More than any other group, it’s fair to say that the U.S. Navy has had the most admired and sought after uniforms: Not only have they been impeccable on their seamen and officers, but as a fashion statement for the private sector as well—who hasn’t owned a midi blouse, a stunning navy double breasted blazer with brass buttons, or a pea coat at one time or another?

The next time you put an outfit together, remember that form (style, color, design, fabric) is as important as function.  It’s absolutely necessary to be practical, but one’s on-the-job attractiveness matters, too.  Suddenly, it isn’t solely about work but rather, it’s about a pleasurable experience, as well.  If you see a group whose garments blend with its surroundings, whose theme matches the focus of the workplace, and yet whose appearance is one step above, you know that this is what’s called being “dressed to the nines.”  Whether in public or in private, it’s difficult to imagine that any individual would want to look any other way. 

Button, Button, Who's Got The Button?: UniformMarketNews.Com

In the late 19^th century, a fellow from Vienna, Austria—John Frederick Boepple—who was as bright, inventive, and dedicated as they come, came to the United States in search of what was known as “fresh water pearls.”  Because of European tariffs and difficulties overseas, his craft of making buttons out of multiple materials, such as horn, wood, lead, and “salt water pearls” had become an outrageous expense, and he was looking for a material less expensive.  He found an abundance of it along the Mississippi River, in Muscatine, Iowa; what was to become the button capital of the world.

Boepple, who was really the founder of the button industry, is well documented in books, articles, and even museums; his is indeed a remarkable story.  But also from Vienna, arrived around the same time, came another young and hardworking man in the button business—John Weber.  Weber, too, arrived in Muscatine, and it is more than likely—although the two men went their separate ways—that they knew one another. 

This is about John Weber, his family, “fresh water pearls” that are also known as clams, and the manufacture of buttons.  There was an enormous abundance of clams along the river—literally mountains of shells—and that part of gathering raw materials for the buttons was called “clamming.”  Fresh water clams or “pearls” were 1/100^th the cost of European salt water clams; hence, a fortune was to be made in the American button industry as a result. While many other firms came and went, Weber & Sons Button Company, Inc. not only still exists, but is one of the original manufacturers of buttons in this country. 

John Weber and his wife had 9 children, enough to run an entire factory at that time.  What began as a two-story 20,000 square feet building erected in 1860, grew and grew, and is now 45,000 square feet spanning two separate dwellings with 25 employees, many of whom remain family.  Muscatine is a blue-collar factory town, population 34,000, polka-dotted with churches, shopping centers, and monuments to a simpler way of life.  “It’s two degrees of separation,” says Lynne Weber, fourth generation office manager.  “If you don’t know someone, the person sitting next to you does.”  There are still multiple factories in existence, and they are operating despite the recession.  Farm country surrounds the area, but Muscatine, itself, is pure industry: Yes, in complete compliance with the Environmental Protection Agency.

Boepple was an old-world craftsman who could never adapt to modern industrialization, and it ultimately proved to be his downfall.  He always insisted on making buttons one at a time with a foot-pedal lathe.  Weber, on the other hand, had different ideas and went to automation as quickly as he could.  His firm was well underway when he died in 1934, and his son, Edward W. Weber took over.  The younger Weber, with brothers who were superb machinists much like their uncles, was in charge of the company until 1963, when he died at the age of 57. 

Edward W.’s contribution as a second generation owner was to introduce synthetics to the button industry.  From clams that ultimately became too expensive to manufacture, he went into newly developed acrylics and, with his sons and brothers, adapted the original clam shell machinery to appropriately fit the new material.  What didn’t adapt or couldn’t be made by Barry Manufacturing that created their original machines, they invented and built, themselves.  Remarkably, in one form or another, the original pearl machinery lasted until 1985, with one of them currently residing in the Smithsonian Institution. 

The only problem was that early acrylic buttons melted with heat.  If they survived the finishing process, they then melted when a homemaker ironed a garment.  Yet another source had to be found, which was up to third generation Edward Walter Weber to find.   

At 74, it is he (otherwise known as “Ed” or “Buster”) who is currently in charge of Weber, and it is he who transitioned from acrylic buttons to polyester plastic, which is what is used today.  Originally, the polyester pigment had a lead base.  By the 1980’s, however, lead was outlawed, and the trick became how to make a button without lead.  “I can remember him bringing home buttons and putting them on a cookie sheet to bake them, or he would iron them to try them out.  They smelled awful!” says daughter, Lynne.

There are two basic ways to make buttons, but Weber primarily uses one over the other due to too great a volume and too little for employees to do on the one, vs. constant production at a slower but steadier pace on the other.   There are also two ways to dye a button, with one being through and through (colorfast), while the other is topical, in which case the color can fade onto lighter shades of fabrics.  Interestingly, volume in part determines which way a customer has to go in the dyeing process, because colorfastness demands a minimum of 260 gross or 37,440 buttons.

Weber sells a great many buttons, and has huge diversity.  It used to make its own metal buttons by using the plastic base and then electro-plating the outsides.  Now, these buttons are outsourced, as well as those with rhinestones, cloth, and other combinations; in-house manufacturing itself is limited to the plastic material.

Lynne and her sister, Susan, will eventually take the helm, although Lynne insists that Buster is simply not retiring—Ever.  Having worked his way up from the bottom, Buster has the entire business and all of its processes in his head.  Even as Lynne was being interviewed, not a question went by without the echo of an answer from Buster in the background.

To make buttons, it takes about two weeks from the time an order is placed until the buttons come off a conveyor belt from inspection, and are placed into boxes.  The buttons are made from a paste that is dyed to a specific color, a thick Karo Syrup-like goo or pigment, and plastic, all mixed in a 25 pound bucket.  This is then poured into an open-ended sideways rolling solid drum that is much like a hamster wheel. The drum is spun centrifugally and the material inside is heated, hardened, then peeled off, put on a belt where it is cut into blanks, and dropped in hot water to solidify further.  The pattern and holes follow, plus three days of tumbling with 3/8” tiny wooden cubes to polish the material if a shiny finish is desired.  Inspection follows on the conveyor belt, and it’s done.  Presto!  Hundreds of buttons.

“Weber is strictly wholesale.  We don’t even have a website,” emphasizes Lynne.  Do they have actual button cards and pictures of their buttons?  Yes.  For 105 years Weber & Sons has been a company deeply committed to customer satisfaction.  It has no plans to change that arrangement.

           

More Can Be Better: UniformMarketNews.Com

I have been struggling for some months with baggy triceps, a ballooning bosom, burgeoning waistline, bulbous buttocks, and blossoming thighs.  What to do, what to do…  At last, I have unwillingly joined the millions in our society who classify themselves as “plus.”  It’s a whole new world: A kind of confirming nod we give to one another in passing that not unlike pregnancy or having grey hair, reveals a secret society. We’re all part of a certain bunch:  Big beautiful women…   Yes, men, too (although it doesn’t seem to phase them as much, if at all).

Anyone who is in the custom uniform business, tailoring, or alterations, is used to the steady trickle of folks who require a special fit—not infrequently because of oversize.  Once in a while, my father would jokingly say that he would need to get a pattern from Omar the Tentmaker. 

Lately, however, it’s been one plus size after another, and sometimes entire orders.  Recently, a group of Midwesterners ordered 60 polo shirts—half 2XL and half 4XL—all with 8” added to the length to cover the fronts and rears of strong, hearty farmhands who wear size 58 pants.

Men are weighing in like cattle, and the women are right there with them.   This spring, alone, we had two different orders for military and fire personnel, where the gals had 67” waists.  Waists!  Imagine the chests and the seats… 

We had a call for a size 72 coat from a Shriner.  Another gent requested that we come to his house to measure and fit some jumpsuits, because he couldn’t squeeze his way out the door to come to us.  There’s a cavalry order going out where the average frock coat for the battalion is a 48Long. 

I’m not trying to make fun or ridicule.  Rather, I’m pointing out where a significant portion of our population’s sizing is headed.  Just as so many of our manufacturers for ready-to-wear have, of late, instituted petites and very small sizes to suit a particular frame, they’ve also gone to bigger and bigger sizing in order to accommodate both men and women in the workplace. 

Look at Edwards: It has two different fits of slacks for women.  It overhauled styling, and broadened its patterns.  There was a reason for it, in addition to staying current with the times.  A woman’s size is for a different figure than a misses—it’s rounder and fuller in all the important spots.  As baby boomers expand into midlife and younger women reap the rewards of the voluminous junk food culture, who wants to deal with the reality that she’s grown two sizes larger? 

Edwards has also re-sized its blazers.  It used to be that as the sizes grew, a pattern design that was lean to begin with, just got wider and longer all around like a set of nested boxes.  Now redesigned and re-proportioned, the larger sizes fit as well as the smaller.  Bravo!  In tandem, its blouses are mushrooming to sizes 28 and 30, and yes, made with Spandex in the fabrics for just a bit of easy stretch.  Sweaters for men and women are going up and up and up to a 5XL.

The sizes are getting larger for in-stock items, everywhere.  Red Kap carries up to a size 68 in a man’s jean.  Think about it.  While size 54 is standard bill o’fare for most pant styles, the larger sizes are available. Shirts go all the way to a 6XL with available lengths in extra plus 4,” 6” or 8” for oversize and non-stock.   For a guy to wear a shirt with a plus 8” tail is either to say he’s very very big, or it’s almost like putting him into a dress—the shirt is that long at 40.”

Dickies, Carhardt, Cabella—wow!  They’re out to capture the retail trade in uniform design, and make no bones about carrying the larger sizes.  One can find their brands with many uniform retailers, as well as in catalogues and online—they sell direct to the consumer as well as wholesale.    

Big Top Tees has been around for 20 years.  Who would’ve thought this little company that custom-manufactures knit garments for big and tall would last?  The truth is, business—and sizing—are booming.  Because oversize is all Big Top makes, it can manufacture for fewer dollars what bigger companies have to charge significantly more for—and, in far less time.  From T’s, they’ve diversified to fleece, polos, Henley’s, and other knit tops.

Broder and San Mar—two of the larger wholesale sportswear distributors—are carrying T-shirts in tall’s as the bigger manufacturers, such as Gildan, are catching on.  The larger sizes are becoming commonplace.  What used to be a range of S-XL went to 2XL, 3XL, and 4XL.  Now, many of the alpha sized companies go up to 5XL and 6XL without missing a beat.  Yes, the jacket trade is going in the same direction, too.

Scrubs and labcoats are made in 4XL, 5XL, and larger.  Pants and tops in solids and cute itty-bitty prints that fold around mammoth bodies—Fashion Seal, Medgear, Landau, Cherokee—all of them.  Aprons in bib and cobbler styles come in XL’s; there are even styles that are designed for fuller chests and hips, having added fabric to the tops and waists.  Fame makes three or four aprons that come from a tuxedo pattern and look terrific, while at the same time don’t fold into a woman’s fuller cleavage.

Our country as a whole has become a nation of wider and taller individuals: Whether it’s that some men are exercising and have athletic builds requiring looser sleeves and broader shoulders; or other guys who are portly’s or stout’s; whether it’s larger young women, or older gals who are experiencing “let-go” in every direction—the manufacturers are increasing their size ranges, and paying more attention to comfort and attractiveness, there’s no question. 

Nothing is worse than a heavier person who is wearing apparel that is too small and too tight with bulges, and buttons that are popped open, or that is too short and rides up.  “Sleek and Chic” is the motto, and no matter the build or the girth, with easy-fit, flattering designs that accommodate all sizes, and experienced sales reps, more really can be better.

Hamburger Woolen Company, Inc.: UniformMarketNews.com

In seven months, Hamburger will celebrate its 70^th anniversary.  There are over 600 Internet sites that refer to it.  Multiple articles have been written, and numerous websites mention its capacity, capabilities, and far-reaching influence in the garment industry—not only in the United States, but throughout the world.   Not bad when one stops to think about these precarious economic times!  Not only is it still in business, but with the strength and determination of its owners and loyal co-workers, Hamburger remains a revered name.  “We’re a wonderful company.”  Ilene Hamburger Rosen says confidently.  “We advocate for each and every one of our buyers, and we bend over backward for them.” 

In addition to its primary focus, which is fabric distribution, Hamburger also maintains its division of police equipment—HWC Police Equipment Company—which has been in existence for 30+ years.  Between the two areas, a strong and healthy future is the clear forecast.

Ilene is the president of the family-owned firm.  “These are not the best of times, but they’re not the worst of times.   You can’t look back,” she insists pragmatically.  “Sure, I liked it better when it was easy and fun.  But now, everything has changed.  You just go forward and do your best.”

Irving Hamburger founded the company January 1, 1940.   Originally, he worked for the American Woolen Company; there were no synthetics or polyesters in those days.  Uniforms were made of 100% wool.   He saw that while large manufacturers could purchase hundreds to thousands of yards, there was no way that the little guy could manage to either afford or warehouse the huge quantities that were mandated by such mills as American Woolen, J.P. Stevens, and many others. Astutely, Irving decided to become a distributor of these goods, by buying up large 600-800 yard pieces.  He warehoused them himself, cut them up, and re-sold them to smaller manufacturers on an “on demand” basis.  “We bought, sold, cut, and shipped,” says Ilene.  “Our fast 24 hour delivery service is what really got us going.  We earned a reputation for prompt shipping and superb customer service, continuing that same practice for both divisions, today.”

Irving initially had two backers, then bought them out as the company quickly took off.  It became a family affair, with cousins, brothers-in-law, brothers, and eventually his sons.  “He supported everyone,” marvels Ilene. 

“In fact,” she continues in her matter-of-fact New Yorkese, “the reason that the police division was created is because Uncle Stewart was always fighting with Uncle Nat; so to give Uncle Stewart something to do and keep the two of them separate, Dad started the police equipment business.  Who could imagine that Uncle Stewart’s one-page hand-out would become our 90-page catalogue and that we are now warehousing over 1900 items for wholesale distribution?”

Lloyd Hamburger, Irving’s eldest son, was always groomed to go into the business.  When Irving passed away unexpectedly, Lloyd came home immediately after completing his military service in the early ‘50’s, and took his place as president of the company, where he remained until 2004.   What Irving founded, Lloyd capitalized upon, and the business mushroomed.  Polyesters were in existence by then—by themselves and blended with woolens.  Hamburger Woolen Company catered to schools, the airline business, hotels, restaurants, casinos, and bands—wherever uniform manufacturers had a use or a need; it still does. 

Hamburger sold to everyone, and it became a well known name in the uniform industry, which at that time was located in New York—the hub of world apparel manufacturing.  “When I got married, the entire garment industry came to my wedding, because they were all right here,” reminisces Ilene.  “My parents’ social friends were also their business colleagues.

Married with two grown children, and a husband who is a physician, Ilene Rosen is one smart cookie.  She is a graduate of Tulane University, both in the liberal arts, and with a law degree.   She keeps her law license current, and can practice in New York, should she choose to.  “I did it for a while,” Ilene moans, “but I hated it.  I just hated it.”

When she and her two younger sisters were growing up, Lloyd would take his three daughters on a ritual outing every Saturday morning: Breakfast at the Dairy Famous Restaurant, and a day at the office.   They loved it.  As the sisters grew and went their separate ways, however, the memories stuck with Ilene.  After her experience in the legal world, and some work in the insurance industry, Ilene joined her father when Lloyd needed help at the office; the timing was perfect. 

As they expanded over the years, the firm moved from one building to the next, with their most recent quarters in a 15,000 square foot one-story building on Long Island.   “Our staff has been with us for at least 20 years, we’re settled, and we’re staying right here,” Ilene mentions. 

 “We have kept going through some rough times,” she says.  More currently, Hamburger has also gone into theme parks, and medical uniforms with its fabrics.  It sells specialty fabrications with highly specialized treatments and coatings, and virtually anything that a customer requests as long as it is in solids rather than prints.  “We also do stretch fabrics and organics,” Ilene adds.

“We are not a mill; we are a distributor, and that’s an important difference—and we are extremely competitive as a distributor.  We are strictly wholesale, and we work with dealers, distributors, and manufacturers.”  Hamburger’s longtime commitment to the North-American Association of Uniform Manufacturers & Distributors (NAUMD) is well known.

Asked about being a woman-owned business, Ilene is frank.  “I have never had a problem being a woman in business; however, the process of becoming certified as woman-owned business is a lot of work for little or no reward.  When this issue came up, I decided to become president of the firm, although Lloyd was older.  But it’s just a title.  What difference does it make?  I never found it a problem to be Lloyd’s daughter.  If people can say the kinds of things about me that they say about him, then I am very lucky.”

  

It Can Be Done--Karen Donovan: UniformMarketNews.Com

“I like to be part of a team.  I don’t want to do it all on my own,” says Karen Donavon.  The feisty 67 year-old takes time from her job to perch on a tall stool, and tell what it’s like to be a part of “the back of the house.”  The apparel business relies on thousands and thousands of people like Karen.   Some do one or two tasks; others are multiply trained and find themselves to be rarer than hen’s teeth in an industry that treasures them.

Gary Schultz, President of Edwards Garment Company, offered Karen a job on the spot when he met her, and asked her if she wanted to move to Kalamazoo.  “I’ve got only three like you, and one is about to leave!” he wailed.  Jest or no, the longtime multi-taskers are hard to find.

Whether larger corporations like Edwards, small manufacturers, or distributors, all of us need the folks who are the backbone of our industry. The more talented they are, the more quickly they rise to the top.  But there are also those whose “top” is about doing their jobs well, no matter how great or how small.  Karen is the perfect example.

She was raised on a 160 acre farm in Illinois, and learned from day one how important it was to do her work well; survival depended on it.  She learned the value of producing something that benefited her own family, and helped others at the same time.  “Uniforms are the same as my Daddy’s crops, or Mommy’s grapevine in her garden,” Karen recalls.  “When I work, I feel important because I know that I’m helping to make clothing that makes people feel proud.  I know that while I’m earning a salary and keeping busy, others are going to be looking mighty nice in the special outfits we do for them.  What could be a better job?”

Karen, like so many, learned to sew at an early age.  Her mother taught her, and she took Home Economics in school; if she wanted new clothes, the treadle sewing machine was there to accommodate her.  She graduated from high school and was off to the big city.  Six years later, after marrying and having her one and only child, Karen found herself looking for something to do that she really enjoyed.  In the meantime, she and her husband couldn’t afford much, so Karen decided that if she wanted pretty outfits, she was going to have to make them, herself. 

In the late ‘60’s, polyester double knit was “in.”  Karen went to the fabric store, and not having the money to buy a sewing machine, she learned to cut and hand-sew every bit of her own clothing.  When was the last time you bought fabric, cut it out on a pattern—knit, mind you—and made the whole thing including setting zippers, making the button-holes, doing the hem and all, so that it not only hung together for a decent period of time, but it fit you so well that you would be pleased to wear it in public.  When she applied for her first sewing job—a western wear manufacturer—she was hired on the spot.

Along the way, Karen had several people who helped her and trained her.  She made it a point to be curious, and to learn as many things as she could about each business and the world of garments.   Her first supervisor, Marie, taught her how to run sewing machines—and how to work on assembly line production.  She started on Western pants with their specialized pockets and styling, double needle stitching and bar-tacking; for years, that was her specialty.  

From there, she moved on to band uniform pants, with adjustable side zippers, bibbers, high waistbands, and stripes.  “I just loved to make stripes,” Karen smiles.  “Yep.  I was a real hummer with that sewing machine foot that keeps the braid straight.  I like things to go smooth and fast.  I like to make noise and I like to be heard.  I like it to be known that I’m doing my job.”

When the band factory decided to move its quarters to Missouri, it not only offered Karen a job, but promised her husband a good job, too—she was that valuable.  However, Karen turned it down.  She liked where she was, and decided that maybe it was time to try something new:  Dry-cleaning.  A couple of old-timers (Inga and Star) showed her the ropes, and Karen was off in a new direction of her apparel career.  “I thought it was fascinating!  I learned how to press clothes, fold them, get spots out and what cleaned what the best.  We had a lot of fun.”  Eventually, she was given her own store to manage on a university campus.  She laughs.  “I’ll tell you, between the cops coming in all the time, and those terrible stains from the fraternity parties, it was an education.”

She went back to the uniform business after the dry-cleaners closed down.  This time, she came back as a presser.  “New garments aren’t the same as old garments,” she found.  “New garments have no creases, nothing knows where it’s supposed to go, the lapels aren’t set, the pants don’t lie straight, the facings and linings have to be just right or they hang outside of the clothing.  Coats—blazers and them—those are the hardest to press.  There’s training in that, and it takes a smart person to train you right and teach the short-cuts.  Otherwise, it takes forever.”

“I like pressing.  I can be in my own little element and press my heart away.  I make mistakes from time to time, and I’m not perfect.  I insist on neatness; the secret to inspecting is that if it don’t lay straight, it ain’t gonna work.  That’s all there is to it.”

Karen was now working in a smaller shop, and there wasn’t manpower or salaries for one person to do only one job.  She learned how to handle all the special machines, such as the button and button-hole machines (as well as the different types of button holes that can be made), the snap machines and kick presses, the hemmer, the pocketing machine, and whatever else was left.  “It was all just so fascinating,” she says over and over.

“I’ve been at my recent shop for over 11 years, I guess.  The time passes so quickly.  I expect I’ll retire when I’m around 70.  But right now, in addition to running the machines, pressing, or inspecting and shipping, I’m helping out the new owner the way Marie, Inga, and Star helped me.  That’s a real good feeling—like I’m paying them back.  I try to do the right thing by people, I try to be optimistic and believe that yeah, it can be done.”

Profiles In Entrepeneurs: Mike Wiesner: UniformMarketNews.Com

Mike Wiesner has been in business for almost 30 years; he is 45.  “I like success,” he grins.  “Money is only one aspect.  What I really enjoy is the thrill of business: The wonderful combination of strategic thinking, logic, and relationships.  Most successful people can put all of this together, but it’s easier said than done.  You have to have good relationships with your customers and your employees, and you have to pay attention to detail.”

Having just sold multi-million dollar Connecticut based Heidi’s Uniforms, Mike, his wife, and three children have recently re-located in Israel.  He commutes back and forth. Armed with more communication devices than NASA, this man seldom operates fewer than two companies at one time, takes note of his investments, has his nose in the financial pages, and still manages to be a very involved citizen/philanthropist, as well as husband/father.  His secret for energy is simple: He loves what he does.

Born in small town Trumbull, Connecticut, Mike was not your typical kid, even though that’s how his folks, Sid and Evelyn, raised his sister, Andrea, and him.  In high school, he was ahead of his peers by as many as four years, taking his biology and psychology courses with college credits.   

Whether it was geographical proximity to New York, his uncle who had a business in junior fashions and novelties, his dad who was in retail and always wanted his own store, or whether it was just Mike, who can say?  But by the time he was a teenager, he was reading every financial paper he could lay his hands on, loved courses in economics—especially mergers & acquisitions—and at 16 when he ended up at the flea market, he thought that business was “pretty cool.”  His first attempt was visiting garage sales, buying up old stuff and re-selling it at the market.  He saw what he could do, and he was just beginning.

With his uncle, he bought more costly items, which he sold again at the market.  Then, he expanded to festivals and parades—Mylar balloons and souvenirs.  Presto, he was a business man and paid his way through college.  One summer, he spent eight days at the Rhode Island State Fair, worked 15 hours a day, and made $5,000.  He was 17.

Eventually, his parents did buy a business, a small medical uniform shop—Heidi’s.  Founded in 1950 as a “Mom and Pop,” Heidi’s had two locations—the flagship New Haven store (that would be run by Evelyn), and Hartford (later opened in 1983 and managed by Sid).  The company had originally done well, and in 1980, the Wiesners took over. 

By the time Mike graduated from college with a degree in finance in 1982, the stock market had begun to drop.  Mike remembers how his professor/mentor said, “‘If you go to Wall Street, everyone there will be as smart and hardworking as you.  If you go into your family’s business, you will be the cream that rises to the top.’”  Mike listened.

Heidi’s did well at first, but then uniform styles began to change: Nursing caps and whites were out, and medical uniforms became “anything goes.”  As the store started to flounder, Mike saw that his creativity and business acumen were what was the business needed, and so he joined his family.

He began pounding the pavement, looking for customers; he advertised in the Yellow Pages; he got the name of every customer who came into the store and where that person worked—then he called on that particular business; he joined “leads groups;” he broadened Heidi’s base and went into hospitals, hotels, restaurants, and industrial areas.  “I had a lot of fun,” he says.  “I would go out and call on a fancy country club, and then end up at a factory the same day.”

Business began to pick up once more.  He kept the two stores open for his parents, but he looked into the future and saw that retail sales were much less promising than “B to B” (business to business) transactions.  What were once 90% retail, and 10% group sales, Mike completely turned around.

Three years after Mike joined Heidi’s, he bought the company.  Over time, he moved it from the original New Haven shop to its current 25,000 sq. ft. building in West Haven.  Wherever he could, Mike gave Heidi’s customers a desirable, complete experience: He installed multiple embroidery machines; as early as 2003, he also joined ASI and sold promotional products along with the uniforms—again the total presentation. 

“I had a lot of opportunities, and a lot of people around me who expressed their interests in business,” Mike explains, “and if they were interested, I was interested.”  He learned, and Heidi’s grew from five employees to 18. 

“Sales people and entrepreneurs have to be eternally optimistic.  They must always see the glass as half full, not half empty.  You need ego.  If you don’t think you can win, don’t get into the game,” he warns.  “Winning isn’t everything, and we all make a ton of mistakes.  But you need to believe in yourself.  You also need to believe in people; you need to have empathy for your customers and your salespeople.  A good salesperson is ethical, not in your face, willing to commit to a long-term relationship, and brings value to the customer.”          

A little over a year ago, Mike and his wife, Orna, decided they were ready to do other things, and his parents were ready to retire.  He put the business up for sale—not to another uniform company but to a broader marketing firm.  Thus, Heidi’s became part of an even larger consortium, thereby increasing its overall value to its customers and its overall sales. 

Feury Marketing Group, with its 40,000 sq. ft. building in New Jersey, added its property and talents to the existing Heidi’s warehouse and store, totaling over 60,000 sq. ft. of successful, enticing, capabilities, and blending the concept of promotional products with uniforms, web design, graphic arts, and more: The ultimate image.  “There are strong synergies between us, and together we deliver a powerful message,” Mike reiterates.  Current package sales bring in as much as seven figures per client. 

Mike now happily works for Feury, not only in this country but in Israel, where he searches out small to mid-sized companies that are looking for the same unique look that Feury (also Heidi’s) will provide there, as well as here.

“I have an enormous amount of freedom without the tremendous responsibilities, and I love the networking,” Mike Wiesner says.  “I never want to grow up.  Growing up is boring.” 

          

Class + Innovation = Success: UniformMarketNews.com

Winnipeg, Manitoba, is a major hub of clothing manufacturing in Canada.  It is here that so many arrived from Eastern Europe in the early 20^th century, used their tailoring skills as their primary occupation, built fulfilling lives for themselves, and created an enormously successful industry.  Even as manufacturing has become an offshore endeavor for so many companies elsewhere, this city remains a strong and surviving force in the North American garment trade. 

One success story is JMJ/Ingenuity, celebrating over 75 years and multiple generations of family ownership.  34 year old Morris Shenkarow heads this firm that fills over a city block of manufacturing space, and is capable of running 24 hour per day alternating shifts when necessary.  He succeeds his father, Marvin, who created a joint venture between Morris’ maternal and paternal grandfathers, each of whom had their own distinct companies.

Founded by Morris Neaman in 1933, the Sterling Cloak Co. Ltd. was originally a producer of ladies’ overcoats and sportswear, until it was merged with

S. Stall & Sons in 1978, and became the Sterling Stall group.  This partnership produced a wide range of ladies’ clothing, adding leather, down coats, and suits to the already successful lines of the original Sterling Cloak.’  From there, the company became JMJ Fashions, as it continued to expand and create private-label programs for Canadian retailers.

In 1995, always capable of changing with the times, JMJ introduced the Ingenuity line of washable, crease resistant women’s tailored sportswear.  It was an enormous success and today, Ingenuity is sold all over Canada, the United States, and in Mexico City.

Multi-faceted Sue Paymer has been involved with the group for the last 15 years.  About seven years ago, between dress-down Friday’s, and a general trend toward casual wear in the workplace, Sue began to seek additional venues in which to introduce the more stylish presentation of Ingenuity:  She came up with the idea of using the company’s made-for-street-wear garments as uniforms.  It was the perfect niche.

Without changing the basic nature of the firm, what had been selling as women’s fashions, Sue and her fellow sales reps also began to sell direct to various industries where hospitality was key—anywhere they could think of where classy corporate identity garments were wanting in terms of the ideal busy woman’s dream outfit.

Ingenuity came up with two incredible basic fabrics:  Stretch twill, and Tricotine.  The colors were in the classics, meant to go with everything:  Black, navy, stone, taupe, ivory, and red.  All of the pieces went with one another; all of the pieces were wrinkle free and could travel anywhere.  Everything was fused and sewn to perfection so that nothing would crumple or come loose from itself.  The Ingenuity shoulder pad, alone, was sewn down in 13 places, rather than the typical three.  Just try to ruin one.

The garments have chip resistant buttons, the fabrics never fade, and dye lots are re-produced over and over again, so that a garment from 15 years ago will still match a new garment today; tops still match the bottoms.

The Ingenuity garments are completely machine washable, drip dry, have permanent creases in the pants, and are fully lined.  Every garment comes on a hanger and bagged. 

The styles are so basic that one could conceivably wear a single outfit during the day for a business luncheon, quick change to fancier buttons on the jacket, and have a formal suit for wedding attire by evening.  The fabrics are seasonless and wearable all year round.  As Sue says, “These are miracle clothes—one of a kind!” 

The best part, she is quick to emphasize, is that the durability and wearability of the fabrics save uniform owners a fortune in dry cleaning costs.  Sue goes on:  “What if a woman is wearing these garments in a smelly job where foods or other items regularly soil the fabric?”  No worries.  “Just throw everything in the washing machine and in a few hours, the garments are good as new.”  This is a woman who is completely energized when it comes to pushing her product.  She loves it, believes in it, and speaks to its accolades every moment she gets.  The result is that Ingenuity is making millions.

In addition to standard in-stock programs, Ingenuity also has its fashion line in novelty patterns, such as tweeds, stripes, plaids, and whatever else a customer could possibly want.  If you don’t see a color you want, ask.  You’ll get a lab dip, and the fabric will be custom dyed for you.  If you have a special design you want, discuss it with Ingenuity.   Need a particular size?  Ingenuity manufactures in misses, petites, pluses, plus petites, and tall’s.  If that’s still not you, it will custom make the garments.  

Men’s wear, you say.  Yes, the company is doing that, now, too.  The same basics, only in handsome men’s styling to complement female counterparts.  No one in the entire office ever looks wrinkled, second best, slept in, frayed, or less than band-box fresh.  In business, appearance is a keen element.

“We’re still a tailor shop,” reminds Sue.   She is firm that in repping over 50 organizations in her career, Ingenuity is the most principled and well presented company she has worked with.  “Our customers are 100% satisfied, we bend over backwards to help them, we do not undercut our dealers, and we stand behind our production.”  Asked about turn-around time, she smiles and remarks that Nordstrom’s once asked for 7,000 pieces in five days and Ingenuity delivered on time. 

 *****

Ingenuity products may be found online at www.jmjingenuity.com, or you may call direct to 1-800-600-0001.

The Sweater: UniformMarketNews.com

There is evidence that folks were knitting clothing with various types of yarns as far back as the ancient Egyptians.  However, the actual sweater didn’t appear until the 19^th century, in Great Britain.  While people had figured out long ago that knit socks and leggings could help to keep a person warm, it seems that it took another 4,000 years or so to realize that arms and the upper torso could also be kept cozy in much the same way; hence, the sweater.

The first sweaters (pullovers) were made for the working classes—especially fishermen—and strictly for warmth and dryness: Wool kept a person dry and warm, even when wet.  The various sweater weaves were created, legend has it, in order to identify a man by the unique stitch of his sweater; more likely, women just knitted the garments differently from one another.   

The military quickly picked up on the idea: The close-fitting jacket-like sweater was made famous by James Brudenell, the 7^th Earl of Cardigan, who led the charge of the Light Brigade.  The large drop sleeve was a matter of practicality when Crimean War officer Fitzroy James Henry Somerset, Lord Raglan, lost his arm and needed a coat that he could easily put on and take off.

When the knit garment entered the 20^th century, it became attractive to all classes; even Coco Chanel made it a fashion “must” for women.  It was used not only for warmth and to accessorize, but for uniformity, too.  Sweaters also became a snuggly means of identity with the postal service, law enforcement officers, and other groups with set garment protocol.  

Gradually, as society relaxed its formal dress codes, the sweater took on a more casual appearance, added styles and colors, and adapted to the needs of various clientele.   Such giants as Burger King and McDonald’s purchased sweaters for their personnel.  Promotional ad companies had their clients decked out in the jazziest of patterns.   Banks, businesses, hotels, airlines, and corporate conglomerates used the sweater as a part of the identity package.  Adding embroidery was icing on the cake. 

In the United States, yarn suppliers—particularly with the addition of cotton and acrylics along with wool—were burgeoning.  There was an abundance of mills, dye houses, and finishing plants where knit goods were cut and sewn.  The manufacturing of sweaters had become its own successful industry, despite the fact that sweaters were a fashion “add-on,” and seasonal items, only.  Everyone had to have a sweater, even Mr. Rogers.  

Today, for all but a very few companies, sweater manufacturing has gone outside of the country.   Cost of materials and labor are two substantial reasons; it’s also about a vanishing work ethic—finding trained employees.   Jon Edberg, originally from Canada, is Sales Director for New York based sweater manufacturer, Cobmex.   The majority of production is done outside of the United States.   Jon’s group is both a stock house for basic items (black and navy seem to be everyone’s favorites), and at the same time, it custom manufactures for huge distributors.   His is strictly a wholesale operation.

“We feel we are not recession proof,” comments Jon, “but we are recession resistant.”  He cites customer service in terms of “great response time” as being the top reason for excellent results in the market, plus very competitive pricing, and keen regard for the Cobmex acrylic blend no-pil yarns.  In business for ten years, and in the U.S. for three, Edberg feels very confident about the company’s direction. 

On the American side, Bill Levene, head of Andrew Rohan—the latest arm of expanding Edwards Garment Co.—bespeaks the year-old merger of a once independent sweater company that now complements the larger corporate/casual uniform manufacturer.  “Edwards needed something to set it apart in terms of enhancing its product line and Rohan was the perfect fit.”  80% of the Rohan sweaters are made in the U.S., with only the most customized being made off-shore. 

For Levene, there is great pride in being an American made company, and he attributes his 15 years in the business with Andrew Rohan to a fine product that has adapted and expanded with both ASI ad specialties, as well as the more conservative uniform lines.  The acrylics by far and away outmatch the cotton sweaters, with the pullover v-neck being at the top of the totem pole.  “Edwards Tuff Pil Acrylics are the driving force behind the sweater penetration in the uniform market,” says Bill.  

He also feels that it’s much easier to manufacture stateside in terms of fast service, and easier-to-maneuver small custom quantities.  “We can give you amounts of ten dozen and a turn-around of 7-10 working days; maybe three to four weeks total by the time we ship from the warehouse.  You pick the color, the style, and the sizes.  In unisex sweaters, Edwards/Rohan sizes range from xs-5xl.”

Erwin Schiowitz, Vice President of Sales at Philips-Van Heusen, plays a somewhat different role in the industry as PVH is now mostly out of the sweater market.  However, it still makes one style—a “¼ zip pullover” out of an Italian Merino wool, for Calvin Klein.  Schiowitz has been in the business for 39 years.   Respectively, the longer each of these three men has been involved, the more change each has seen in the sweater industry and the more different his perspective. 

Schiowitz sees a reduction in the sweater business because of so many new, different lightweight fabrications and outer garments.  “You have microfibre, fleece, sweatshirts, wind shirts, lightweight windbreakers with wicking.  Sweaters aren’t the only option any more,” Erwin opines.  “The smaller quantities we manufacture are all done overseas.” 

Listening to these very successful gentlemen, it was fascinating to realize that each has a unique approach to handling the sweater within the framework of his corporation.  Whether inside or outside of the United States, or a bit of both, sweaters provide a smart accent to any uniform concept, while giving its wearer fine appearance at an affordable price, and with practical warmth, too.