Measure Twice, Cut Once: UniformMarketNews.com

It used to be that no matter what we did, we had to do it better:  "Good, better, best; never let it rest--until your good is better, and your better best."  A manufacturer would smile contentedly as he finished an order and quip, "Perfect is good enough."  But, today, the stressed salesman snaps at his impatient customers, "We can give you cheap, quick, or good: Pick two.  You can't have all three!"  In today's world, guess which two most people pick.

Over the last few weeks, I have spoken with several companies:  One was doing ceremonial coats for a specialty group.  Five men with five unique measurements all fitting into size 5xl, one way or another.  Each was more specially shaped than the one before.  Directions were impeccable, fabric was magnificent, embroidery was superb, the pattern perfect. Cutters and sewing operators with years of experience were lined up to present these gentlemen with five perfect coats.  It was to be a collective work of uniform magnificence.  What happened?  Despite explicit instructions, their wives took the measurements, instead of the fellows going to skilled tailors.  Guess what? 

One guy had sleeves that came up to his elbows, because the back was too narrow by five inches.  One forgot that the abdomen doesn't disappear when the coat goes on, and his 59 inch stomach acted as a "front porch," left hanging between  his two 64 inch "side verandas."  Another gentleman's spouse didn't know where her husband's waist was, buried somewhere in his rotund figure; thus, the top of the coat looked like it had an empire waist, also about three inches too short at the hem.  The best is that the guys got the coats, didn't try them on, had them ornately embroidered for an unmentionable amount of money, and only afterward realized that the coats had to be trashed!

Then, there was the police department.  The secretary took down the specifics on this one, claiming she was an alteration lady on the side.  From our military uniform source, I surmise that her skills were very "on the side."  The coats were standard Marine Corps design, braided by hand with edge cord, all around.  In 100% wool elastique, they cost a pretty penny, as first class military coats do.  It turned out the gal had measured one fellow's coat three inches too long, and the entire coat had to be ripped out, cut down, re-lined, re-braided.  The pants for a different officer were criticized as being made far too small for his large, muscular thighs.  The salesman was told that his customer couldn't get the pants on.  When the officer was re-measured for new pants, his thighs were actually an inch narrower than originally thought; it was his seat that was two inches too small.  On it went...

A restaurateur complained that his 3xl gal was wearing a jumper and pinafore apron that were too short regarding the waist length, and asked the manufacturer if it would mind re-designing the pattern  to accommodate this woman's rather large bosom.  The manufacturer explained that an entirely new pattern had to be drafted, graded, etc., and that a custom pattern  for one uniquely built size 3xl would cost a fortune, suggesting an alteration lady, instead.  But no mind.  The gal was taken with a seizure of modesty, refused to get measured and as a result, the owner of the eatery sent the lady's old uniform to the manufacturer, with instructions to make her new uniforms just the same as the old but with a longer bodice.  How much longer, he couldn't say.  No one knows to this day.

Finally, there is the theatrical producer who needed Johnny-on-the-spot costumes for his dancers: Two weeks' notice, four different fabrications, three different garments per uniform to outfit the entire cast.  All were ritz and glitz, goods that were more slippery and clingy than skin on a snake, and so thin the garments couldn't be made up without fusing, lining, and heaven knows what.  Okay.  For skilled manufacturers of theme park attire, no worries, right?   But oop, when the stage manager gave the sewing operators their instructions, he forgot to reveal that there were two different styles of jackets rather than one; the wrong color fabric had been listed on the purchase order for one entire group of dancers (there were three groups); the fabric (which was really meant for flimsy bowties,  not coats and pants ) was 20 inches too narrow; he had forgotten to order one fabric, while short on the other three; and the fellow didn't include the custom-designed patterns.  Oh, yes, pant hem lengths were left out of the measurements, too.

So there you are.  Why accuracy matters.  Which reminds me, a well-known tailor recently came across a new tape measure that started at three inches, rather than at zero.  Have you ever taken a measurement that was three inches larger than the person's actual size?  Try it in your own business, sometime.  But    remember to measure twice, and cut only once. 

Ralph's: UniformMarketNews.Com

You can drive by the two single-story 1950's buildings and never know they are there: Non-descript blonde brick office types separated by a driveway, each small enough to take in both at a single glance.  A curved awning over one of the entrances, with a threaded needle laminated in place, separates the importance of the one building from the other.  To the right is sales and parts; to the left is the machine shop and service.  The driveway allows for deliveries. 

Inside, it is an entirely different story.  The machine shop is full of technical wheels and honing tools that mold and manufacture various precision parts for this and that.  Its gloomy concrete interior has men in goggles bent over their work.  Except for bald florescent lights and flying sparks--everything is grey.  Beyond the machines is service for the sewing department.  There are older men and younger, who are cleaning, re-wiring, adding new parts to damaged irons, pressing equipment, sewing machines, cutting knives, or whatever.

Across the way is the front office: People drive in from all over, to consult, order, gossip, schmooze and network, just like at the general store in a small town.  Behind the office is the parts department--grey metal shelving with bin after bin of needles, folders, sizes of machine foots, bobbins, scissors, multiple types of colored  thread, all kinds of grease, oil, and even cans of air.  You name it, and Ralph's has it; if it doesn't have it, it will be ordered.  Customers saunter in and lean on the antiquated glass counter tops that separate them from the clerks, while they check over the bulletin board where folks either advertise themselves or pick up an advertisement from others for jobs, skills, and equipment.  

Beyond the parts department is the machinery that is for sale--both new and re-furbished.  The wooden floors creak, all of it is old, cramped, and ever so homey.  It's a place where blue collar folks congregate to talk about their trades and common interests:  They're all of a same mind, knowledgeable, and proud.

Ralph Badillo, now in his late 70's, still comes in every day.  Irma, his wife, does the books; daughter Peggy runs the shipping and special orders; son Joe is in parts; and younger son Paul invents equipment and has obtained 17 different patents for his inventions that keep the machine shop busy. 

Besides the family, there are the machinists, of course, and then, there is Jack--Mr. Customer Service.  Jack, who sports a handlebar moustache that he waxes once a day, and a gold watch fob with a knife, scissors, and screw driver for adjusting machinery, has degrees in industrial and mechanical engineering with minors in design,  physics, and management.  Before he came to work at Ralph's in 1991,  he spent 20 years traveling around the world setting up different shops and factories, and that is his strength--that, and his ability to win the trust of every customer he meets. 

He not only understands equipment, but he knows where it goes and how to use it; he can set up an entire shop, figuring how many machines to use, which one a customer needs to buy, and how many employees are needed to run the place.  He has become the showman of the company-- he is Mr. Personality, and he definitely knows his stuff.  Jack said it best when he remarked, "I love working at Ralph's because it's a small family business without the corporate nonsense.  If I go on a sales call, I never have to worry.  Everybody here supports each other.  What makes us special to our customers is our advice and our knowledge."

In 1927, Singer Sewing Company had its machine shop for retail and wholesale trade located in Denver, Colorado, a centralized hub for the Rocky Mountain region of the United States.  It did well in the largely open and non-competitive West, but as the years wore on and more shops opened up, Singer's management realized that it needed an expert mechanic who understood machines in more than a basic way; there were too many different kinds of machinery, too many different kinds of things being made. 

Ralph Badillo, already employed by Singer in New York, took the job, and he brought his young family with him, remaining with the firm for several more years.  It was Ralph who, while still with Singer, made all the contacts with the customers, did all the repairs, and knew all the machinery.  He left Singer in 1975, taking his large clientele with him.  He started Ralph's Power Industrial Sewing Machine Company, and went into direct competition with Singer (which was exclusive and would not allow itself to be sold with other sewing machine brands at that time).  Ralph took on machines made by Juki, Brother, Pfaff, and Adler--all fine competitors to Singer.  The Singer shop, realizing it was not able to compete, ultimately gave him the right to sell the Singer machines, too, under the name of Power Sewing of Denver.  It remains that way, today:  Singer is sold under its own company name, but it's all at Ralph's.

Unimaginably enterprising, Ralph sold equipment for every aspect of sewing:  Dressmaking, uniforms, saddlery, interior design, draperies,  upholstery, mattresses, police and fire garments.  There were no limits to what he could do.  He offered on-the-job service with his trucks and mechanics, he offered parts and repairs.  He was unique in his concept of customer service, and he worked the entire western portion of the country.  He also picked up the prisons in multiple states when they began to contract sewing work; wherever there was a machine to be purchased, or one to be repaired, Ralph's was there.

Ralph captured the entire market from California to east of the Mississippi, where he still controls the area.  As time went on, other shops like his either went out of business, or became so specialized that they extinguished themselves.  Ralph's, by diversifying, has remained steady and continues to grow. 

The machine shop was a result of son Paul's genius.  He is basically an inventor with a keen mind and the ability to come up with a solution for just about anything.  Patent after patent, Paul has created attachments for various machines that manufacture such things as soft eyelets for hats, fabric grommets without metal for police and fire shirts, non-metal mattress handles and borders, airbags, automobile covers, collars for dogs and belts for people.   Whatever a company needs, Paul has come up with, and Ralph's machinists create it along with the patent.  "In-house product development is the secret to our success," says Ralph.  "Our solutions require deep technological thought."

 
    Ultimately, Ralph's  has become a contractor and converter of parts for such plants as General Motors, General Electric, Ball Aerospace, Hartz Mountain Pet Supplies,  O'Cedar mops,  the Fuller Brush Company, and Samsonite Luggage.  The best invention is a forever sharp glass blade, co-manufactured with Coors Ceramics, to be used for cutting through thick fabrics such as jeans and mattresses.  What was originally meant for making sewing machine parts, additionally now sells tiny precision items made specifically for satellites, automobiles, university research, and more.

 All of this goes on in the little building across the driveway.  It has also allowed the company to survive during economic downfall and recession.  Interestingly, the apparel business, including uniforms, has become a relatively small part of Ralph's, now.  Says Jack, "Apparel in America basically went out during the '70's and early '80's." 

Today, Ralph's ships all over the world.  It does work in Africa, Canada, Honduras, Argentina, Brazil, England, France, and Germany.   Ralph's has become an institution in American machinery and sewing needs, and sees only a bright future ahead as it continues to diversify and reach out to new customers and trends.

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.