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.