← Dressed: The History of Fashion
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- [00:01]
Dan Souza
This episode is brought to you by State Farm. You might say all kinds of stuff when things go wrong, but these are the words you really need to remember. Like a good neighbor, State Farm is there. They've got options to fit your unique insurance needs, meaning you can talk to your agent to choose the coverage you need, have coverage options to protect the things you value most, file a claim right on the State Farm mobile app, and even reach a real person when you need to talk to someone. Like a good neighbor, State Farm is there.
- [00:30]
Cassie Zachary
This episode is brought to you by Indeed. When your computer breaks, you don't wait for it to magically start working again. You fix the problem. So why wait to hire the people your company desperately needs? Use Indeed's sponsored jobs to hire top talent fast. And even better, you only pay for results. There's no need to wait. Speed up your hiring with a $75 sponsored job credit@ Indeed.com podcast terms and conditions apply.
- [00:59]
April Callahan
Dress the History of Fashion is a production of dress media. With over 8 billion people in the world, we all have one thing in common. Every day, we all get dressed.
- [01:15]
Chanie McKnight
Welcome to Dressed the History of Fashion, a podcast that explores the who, what, when of why we wear. We are friends, fashion historians, and your.
- [01:23]
April Callahan
Hosts, Cassie Zachary and April Callahan.
- [01:27]
Chanie McKnight
Hello, dress listeners. Welcome to part two of our recap of our recent New York City Day tours. Hello, April.
- [01:35]
April Callahan
Hi. How are you?
- [01:37]
Chanie McKnight
I'm good. How are you doing with your broken toe on the men?
- [01:41]
April Callahan
Oh, yes, some dog tried to attack my dog and a broken toe ensued.
- [01:46]
Chanie McKnight
And April actually lives in New York City, we should say. I mean, our listeners all know that. But we had so much fun on these recent New York City Day tours. On Wednesday's episode, we regaled you with our time spent at the museum at Fit and the Met. And today we're going to talk to you all about the second day of our tour, which we spent the morning in the heart of the New York City Garment District and the afternoon at the New York Historical Society. And we could think of no better place to begin day two of that tour than in one of its most storied neighborhoods and arguably, as I said, the beating heart of the city and certainly the beating heart of American fashion. And of course, I'm talking about the Garment District or as it was rebranded in the 1970s, the Fashion District. And it's really Fashion Avenue, which is also known as 7th Avenue, that helped to establish New York City as a world fashion center with many of America's most famous fashion designers and their ateliers calling this street home over the years.
- [02:46]
April Callahan
Yes, and specifically a very significant building home, which was our very first stop on our tour, 557th Avenue. And this building was built in 1925 by the architect and garment manufacturer Lewis Adler. And it was built at this really pivotal period in the development of the garment district as a neighborhood that had been specifically built to house the garment trade. Essentially, the garment trade had been unceremoniously kicked out of uptown and off of Fifth Avenue, where the fashion trades had really been concentrated for decades. And they were also surrounding a lot of the area's very elite and upscale department stores like Bloomingdale's and Bergdorf Goodman.
- [03:30]
Chanie McKnight
So what happened, you may be thinking. Well, at the dawn of the 20th century, the garment trade was huge. It employed almost 50% of the industrial labor force in the entire city of New York. And it was predominantly made up of immigrants, many Eastern European Jews, particularly skilled in garment production. And it was the site of these working class individuals that were apparently flooding the streets of Fifth Avenue every day that threatened to ruin this luxury fashion image that Fifth Avenue's high end purveyors were really trying to cultivate at this time. So they really were trying to project an image on par with Paris's Rue de la Paix. And you know, of course, we're not going to go into this here, but a lot of this is embedded with these undertones of classism, racism, bigotry. But that's all for another podcast.
- [04:17]
April Callahan
Yes. So the Fifth Avenue association was created to deal with this quote, unquote matter. And In July of 1916, they successfully passed a zoning law. And this was the first of its kind in the US that forced 95% of the garment factories to move out of this neighborhood surrounding 5th Avenue by October of that same year. And many of them decided to move to an area further downtown set aside explicitly for this purpose of developing the garment district. And according to primary sources, this area is located between 5th and 9th Avenues, between 34th and 42nd Streets, and quickly became, quote, the fastest growing construction site in the entire city, end quote. With 1500 garment firms and counting by the early 1920s, this area was often cited as, quote, a definite center for the trade, a prosperous, thriving center of garment production and American fashion design.
- [05:19]
Chanie McKnight
And by 1955 and the 1950s are really arguably the golden age of the garment district. But during this period, there were 8, 500 women's apparel manufacturers alone, which is staggering. And that's not including all of the other clothing trades that fed into making that Apparel. So you had dozens of businesses making and selling everything from buttons and other sewing notions to purveyors of fabric and feathers. And for our intents and purposes and what we're going to discuss today, there were also hand fabric pleaters and silk flower makers, two of whom we get to meet today because we visited them on our tour.
- [05:57]
April Callahan
And we're not sure if these two individual manufacturers, George Collegian and Adam Brand, have ever met in person, but their businesses sit just a couple blocks apart from one another on 36th Street. Their respective businesses are Tom's Sons International Pleating and Ms. Schmalberg and represent two of the longest running and oldest family owned operations in the entire garment district. They also represent two of the few remaining businesses committed to the highest standards of quality and excellence in their respective fields. And not just in New York City. We're talking about here, we're talking the entire world. And George and Adam over the years have been so gracious to invite us in and take part in our NYC day tours. And they really let us get up close and personal with their processes.
- [06:47]
Chanie McKnight
We, of course, divided into two groups. We had quite a few people with us this day. And one of the group's first stops was M And S. Schmalberg, where we met Adam Brand, who is the fourth generation fabric flower maker helming this New York City garment district staple, which was founded in 1930. 16, which is just remarkable.
- [07:08]
April Callahan
And Adam is going to tell us a little bit more about how his family got into the business of flower making from our past episode that we did with him in 2024.
- [07:19]
George Collegian
The company, as you said, was started back in 1916. And I've gotten many variations of the question over the years. Why flowers? What inspired them to start it? You know, if you were to fast forward 100 years from now, the record keeping and the stuff would be incredible.
- [07:36]
Chanie McKnight
Right?
- [07:36]
George Collegian
A hundred years ago, it wasn't the same. So there's no archives of pictures like you wish there was. And there's not a lot of archives of information. So I only have the word of mouth. And today that's, that's my dad and I was actually asking him about that before this. I've been asked that question a bunch of times and I've given kind of a general answer and he kind of proved that correct, that there's no reason, there's no particular reason to flowers. They were just trying to feed their family. They were immigrants, they were from Poland. They wanted to start a business. Maybe they didn't have enough money to start A dress factory. So they went smaller. And while this is a unique craft now, there was at one time, and I read this in a book, there was at one time 150 feather and flower manufacturers in New York City.
- [08:25]
Chanie McKnight
And if you perhaps have not heard the name M.N.S. schmalberg, because it's not customary for them to put, you know, their label on their flowers, you definitely, definitely seen their work because it is everywhere. Worn on countless celebrities from Sarah Jessica Parker to Beyonce, Rita Ora, Olivia Rodrigo. Their works make countless appearances in shows like the Gilded Age, Sex in the City, and recently, they've actually amassed quite the social media following. If you're not following them at Custom Fabric Flowers on Instagram, you can go behind this process as well. But we had such a wonderful time. We always do going in there, and Adam always regales us with the history before taking us in to the atelier where we get to see the process ourselves. I don't know if you have a favorite part, April, but I always just really, really enjoy this.
- [09:13]
April Callahan
Oh, yeah. Well, I mean, also, too, they have this whole stock that's, like, available for purchase after you finish your tour. And it's arranged kind of, I would say, chromatically loosely and then by style. So you're literally overwhelmed in this wonderland of fabric flowers of every shape, every size, and this kaleidoscopic rainbow situation. So people are just walking around completely. Literally the definition of being in awe.
- [09:45]
Chanie McKnight
Yeah. And we do have time to shop, and you can actually, I think you can just come off the street. I don't think you even need an appointment. You can go yourself and shop there. They welcome visitors and shoppers. And I just. I'm always telling people I can't do it. I can't make the decision. I'm so overwhelmed. But I did happen to leave with two flowers this time. I forced myself to focus. But what is also cool. So they have all these flowers that are made, but you also get to see people cutting flowers, cutting the fabric flowers. And they have assembling, like, stamps, you know, that are decades, decades old. The original, they use a lot of the original machines, and it's still all done by hand. And then you see the people assembling the flowers, which is an art in and of itself itself. So it's always just such a special experience and one that we hope, dress listeners, you will explore yourself either through visiting in person or following them at Custom Fabric Flowers.
- [10:42]
April Callahan
And they do. They take custom orders as well. If you have a business or you have a, you know, very elaborate wedding that you're planning. They do custom jobs and it's amazing.
- [10:52]
Chanie McKnight
Yeah. Or as Adam always reminds us too, some people send him like people's T shirts or pieces from their wedding dresses or a family heirloom that they want to make into keeps flower, which I think is always really special too. So definitely, definitely check them out.
- [11:06]
April Callahan
So next stop up in our garment district tour was Tom's son's international pleading, which a lot of us just lovingly refer to as international pleading. And there we met George Collegian, who is the fifth generation pleader and he helms his family business. And as the name suggests, this pleading company is an institution within the fashion trade, not just within the US but around the world. And the origins of international pleating date to 1931. George's family had a relationship to the textile industry and textile production even before that. However, they have this incredibly rich history spanning five generations within the fashion and textile trades. Really, in total more than 150 years and multiple continents. So we're going to let George share a bit of this history with you all in this abbreviated clip from our 2024 interview.
- [12:05]
Chanie McKnight
Please introduce us to your great great grandfather and what inspired him to enter the world of textiles.
- [12:11]
Adam Brand
My great great grandfather, his name was Krikor Tutunjan. And what he did was he would weave the mask fabric. And not only did he actually make the textile, had a mulberry tree nursery, which is what silkworms eat. He would breed the silkworms and his wife and his daughters would actually make the yarn and him and his sons would actually weave the fabric. I really don't know how he got into it. So we're talking late 1800s, and he was in an Armenian village located in Turkey. And we would do all kinds of textile manufacturing, mainly brocades, jacquards, and believe it or not, what they specialized for a particular time frame was bathrobes. They would make very high end, like towel bathrobes. They would actually do the whole. At one point, they did the whole process where they would give the finished product.
- [13:16]
Chanie McKnight
Oh, interesting.
- [13:17]
Adam Brand
Yeah. And then his daughter would actually sew. And his daughter is the one who taught my grandmother how to sew. So my grandmother Rose was always into sewing and she used to actually teach sewing to a lot of the younger women there before they would get married. They would learn these basic skills and she would make a lot of clothing for the local women of the time. And when her uncle came back from Lyon and he said that he had observed this technique called Pleading. He explained it to my grandmother, and he said, this is what I saw. This is what they're doing. And so my grandmother, being an incredibly industrious woman, basically started to do it and started to develop the process, and she became very proficient at it. And it became so popular and so desirable that as time went on, they basically phased out of making textiles and doing pleating. And so the year 1931 is the year that we identify as. When we started as. As a pleader, is that's when the first professionally pleated skirt was pleated and sold by my grandmother.
- [14:34]
Chanie McKnight
Yeah. So definitely check out these full podcast episodes, dress listeners, because this is really, really just a small, small snippet of the fascinating stories we learned from both George and Adam about their family businesses and with these incredibly rich histories. And it was such a treat to visit. George gives us this fantastic history. He has all these photographs laid out. He has some of the tools. He has that iron that his father learned to pleat with. He still has that, and he shares it with us. And then what was really special this year, April, and I know you agree with me, is we gotta go behind the scenes, even observe this pleading process in person, which was really cool.
- [15:13]
April Callahan
Yes, certainly. And one of the things that was so amazing to me are these molds that they use in the pleading process were just like this incredibly heavy duty cardboard. Right. And these are not disposable. These are used again and again and again. Because the labor that actually goes into making some of these molds involves math and geometry and a ton of patience. Way more patience than I have cash. You see some of those, like, sunburst pleating molds that he held up for us. And on our tour, George was like some of these really complicated molds. You can't just churn it out in a day because you could only work on it for a few hours before you're completely tapped out. You have to move on to something else. So that was really, really incredible. We got to see a couple of different pleating techniques happen on our visit there, one of which was for a wedding gown. What did you guys see? Maybe the same.
- [16:12]
Chanie McKnight
Yeah, we saw another version of the wedding gown as well, which was really cool. And again, just to emphasize that this is all done by hand. It's not done by machine. Right. He's using techniques that people have been using for hundreds of years, and it's just incredibly fascinating. And unfortunately, you can't just walk off the street and into George's studio. But they also have a really excellent Instagram. And there happens to be a new documentary, mini documentary out about George called Four Empty Walls. It's out now on YouTube. It's produced by Closely Crafted, which is a non profit quote dedicated to preserving and revitalizing the legacy of quality made in America goods through the commitment to nurturing artisan equity and the critical awareness of the craft. So you know, we love that on trust and you can check out that that documentary. We'll provide a link in our show notes. And then, April, I'm sure George talked to you about Project Golden Bear, which is officially launched and off the ground.
- [17:11]
April Callahan
Yes, certainly. And this is part of their dedication to passing on these skills for future generations. And Project Golden Bear has an apprenticeship aspect to it. And what they do is they use a lot of the scraps from these bigger projects that they have in terms of the textiles themselves. And then the apprentices get to hone their skills by crafting these really exquisitely made from ultra deluxe fabrics, it must be said, teddy bears. And the sales of them will be designated to aid various nonprofit groups, especially those dedicated to assisting children facing life threatening illnesses.
- [17:53]
Chanie McKnight
Yeah, it really is such a, such a lovely project. And we'll post images of these bears because they are absolutely charming and fantastic. So thank you George and thank you Adam. And really we cannot stress enough how important these businesses are, especially in this area that was once in this thriving garment district. So you know, it's really important that we support people like Adam and George. And it's really special to see them continuing these hand craftsmanship skills and also preserving them for future generations.
- [18:32]
Dan Souza
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- [19:05]
April Callahan
After our morning spent in these ateliers in the garment district, everybody had a leisurely lunch and then we headed uptown to the New York Historical Society where we had really, truly a jam packed visit. I kind of wish we would have given. Yeah, I was gonna say I kind of wish we would have given ourselves like a little bit more space. But first off, we were greeted by the one, the only Chaney McKnight past dressed guest. Some of you might know her best as not yout Mama's History on all the social feeds and on YouTube. Because Chaney has a social media presence where she kind of works within activism, but at the same time, she also is the head of Living history at New York Historical Society. So she works with all their different programs and their specific, different historical interpreters that work at nyhs. And Chanie was so lovely. She gave us like a 40 minute presentation about her personal clothing journey working as a historical interpreter. And she starts at the very beginning of her career and she takes us all the way through to the end. She even brought in some of her garments which are often completely custom made for her. And it was really, really fascinating. We got to learn more about the one on one aspect of how individual historic interpreters use their wardrobes. So thank you, Chanie, as always.
- [20:32]
Chanie McKnight
Yes, thank you, Chani. And it was really fascinating too because she talked about the role of Afro futurism in her dress choices, which I thought was really, really interesting. And then I also just want to give a shout out to her because Dandy Wellington's Easter Egg strut was this past weekend and oh my goodness. I know you've seen her outfit.
- [20:51]
April Callahan
I did.
- [20:51]
Chanie McKnight
Did you?
- [20:51]
April Callahan
See, I commented on it. Insane. In a good way. It was amazing.
- [20:56]
Chanie McKnight
It was amazing. It was. It was 18th century inspired. She had kind of a poof hairstyle with an incredible corset and then a sheer skirt. So.
- [21:05]
April Callahan
No, it was like a sheer magenta dress with a corset over it. It was, it was really Chaney's over there turning up the volume this year.
- [21:15]
Chanie McKnight
Yeah. So we started there at New York Historical Society as a group, and then we divided into alternating tours of the Tiffany galleries and this exhibition. Real Close, Real Lives. But before we get to the exhibition, I would love if we can just talk about how much you and I both loved the Tiffany Galleries, because that was so unexpected for me.
- [21:39]
April Callahan
Yeah, yeah. And. And if you guys have not been, these are dedicated galleries that's multi story dedicated to their collection of the work of Lewis Comfort Tiffany, the renowned maker of glass objects.
- [21:54]
Chanie McKnight
Stained glass.
- [21:55]
April Callahan
Yeah. Tiffany lamps and Tiffany windows. But some of my favorite objects in their cast were. I mean, the lamps were amazing, don't get me wrong. But some of my other favorite objects were some of the other types of home goods that Tiffany had made that I wasn't necessarily familiar with. Like, did you see all those really beautiful iridescent metallic table settings of plates and wine glasses and things? I Took a photo of those and posted that on my personal Instagram. I was so smitten.
- [22:24]
Chanie McKnight
It's also just this visually stimulating like garden of lamps. Like I have never felt hundreds of them so happy. And so it was almost like a magical wonderland of these lamps. I was just not expecting that experience. I also unfortunately can't remember the name of our excellent guide. We had a docent led tour who took us on the history of these lamps on not only a tour of the galleries, but also gave us the history of the stained glass studio. And I think probably people who know Tiffany glass know this, but I had forgot about the role that women played in this. So a lot of people who cut the glass, the stained glass were women. And the, the studio was also overseen by a woman who. The head designer of the studio was a woman, Clara Driscoll. Lewis Comfort. Tiffany obviously played a role. He's a man, he's a wealthy man, so he's front and center in that history. But Clara Driscoll was an incredible designer in her own right and she deserves as much credit for this kind of magical forest of slams as Lewis.
- [23:30]
April Callahan
And not all of the designs were hers, but some of the ones that you all, if you know Tiffany lamps at all, some of those motifs that you might recognize very quickly, some of the most popular ones were designed by Clara Driscoll. So. Yeah, yeah, yeah.
- [23:45]
Chanie McKnight
And this.
- [23:46]
April Callahan
And also, let's just talk about this exhibition space itself because it was obviously designed for these lamps. It's dark, it's moody. Yeah. It's a very special experience. It had this super kind of futuristic glass staircase that takes you up between the two floors. It's lit up. Anyway, go check it out. It's awesome.
- [24:06]
Chanie McKnight
We obviously thoroughly enjoyed it. So perhaps not fashion related, but one of those fashion tangential things. Right, because.
- [24:14]
April Callahan
Because we were there anyway.
- [24:16]
Chanie McKnight
Yes, but obviously interior design plays in with fashion design in a lot of ways. But yes, we digressed a bit, but that was an unexpected highlight from that day. And then of course, so, so excited to see the groundbreaking exhibition Real clothes. Real life's 200 years of what Women Wore in person. We of course did a two part episode on this exhibition last year with two of the exhibition curators. So it was such a treat to see this exhibition in person. And just a reminder, dress listeners, this exhibition highlights what the title suggests, real clothes. Now, of course all clothes are real. But in terms and in relationship to fashion exhibitions, we're really used to them focusing on quote unquote, high fashion luxury clothing that can only be afforded and thus worn by a wealthy few. Right. But this exhibition is so special because it focuses on everyday clothing worn by everyday women in their everyday lives. And it specifically highlights the incredible Smith College Historic Clothing Collection, which was founded and stewarded by Kiki Smith, who co curated this exhibition with her colleague Rebecca Shea. And this was in collaboration with the New York Historical Society's Anna Halpern and Karen Ben Horn, who are the curators for the center for Women's History at the New York Historical Society. Karen and Kiki joined us last year for a two part interview, diving into the stories literally sewn into the clothes on view and an excerpt of which we will share here. Let's listen in. I just want to highlight one woman in particular because you do bring a face and a name to one woman in this section in particular, and that's Nell Donnelly Reed, who I had never heard of and who is a woman entrepreneur and who shows that you don't have to sacrifice style to price. Can you briefly talk about her and why she was significant to working women in the home?
- [26:12]
Kiki Smith
Well, and she's somebody I didn't know about until I got this particular dress. So it is a Nelly dawn label that she put into her clothes. She started off in the early part of the 20th century. She had an idea that women needed nicer clothes to wear at home with pockets, thank you very much. And she managed to put together a couple of hundred and persuaded some store owner to let her sell them. They were gone almost instantaneously. Thus was born this business. She was an early millionaire. She was so good to her workers during the Depression. They all worked no matter what the demands were from the outside world. She made sure they got insurance. She was remarkable that way. So these are somewhat stylish and they do match the basic form of contemporary stylish clothes, but made out of less expensive materials and easy to care for. So the phrase was that you would see in a department store a Nelly don. Just try one on. She knew how to sell her clothes.
- [27:33]
April Callahan
I think from a women's history perspective, this is one of my favorite objects because it really shows you how women use these gendered ideas about women having to be pretty even at home and feminine. But she took that and made it into a business, a very successful business. And then she uses her experience as women limited by her gender to then empower her workers and give them a living wage and give them the benefits and give them stability in their life. So this is to me, this is like women's history in A garment.
- [28:10]
Chanie McKnight
And of course, it was so special for Karen to give us a curator led tour of this exhibition. April, did you have any favorites? I have perhaps too many to mention.
- [28:22]
April Callahan
Well, I have to say there are more than a few pieces in there that you are never going to see again, probably most likely in your life.
- [28:29]
Chanie McKnight
Right.
- [28:29]
April Callahan
But the one that really stands out for me in that particular regard is the McDonald's maternity uniform, which looks like it was probably, I don't know, I'm guessing it was from the 70s. It was definitely all polyester. It definitely looked like it was hot and heavy. But just to see something that is so extremely specific like that, that was really, really cool. When are you going to ever have the chance to see something like that again? And a lot. There was quite a lot of workwear within the exhibition, whether it be professional workwear in terms of your job, or even workwear that women might wear at home while doing housework.
- [29:11]
Chanie McKnight
Yeah. Which is again, something that you don't always see or rarely ever see in fashion exhibitions. But I think as a person who considers themselves like an everyday woman, I relate to those garments, I relate to working women. And so I like to see those garments because to me, those are more special. They've been lived in, they've been worn, they have histories, like I said, literally sewn into those seams. And one of my favorite pieces or sections, because there was quite a few on view, was the World War II era stocking section that had the repair kits for your stockings, which I just found they had. So there was mending, you know, because silk stockings were not produced during World War II because the silk was used for parachutes and the war effort. And so women had to really take care of their stockings. And so there's these fabulous. They look like matchstick sets, they're so small, these repair kits. And then there was also stocking dye. Right. So we always hear those famous stories about women dyeing their legs and painting the seam on the back of their legs to get the stocking effect. So I just found that so incredibly charming. But yeah, there were so many incredible things on view, it's kind of hard to pick. And so you'll just have to listen to our two part episode. And you are in luck, dress listeners, because this exhibition is actually up until June 22, 2025, so you still have time to catch it in person should you wish to. But again, there is also a fantastic book on the Smith College collection by the same name, Real Clothes, Real Lives. If you can't make it to this exhibition in person.
- [30:44]
April Callahan
Yes. Well, a lot of these other exhibitions that we have mentioned over the course of this week's two part episode have closed. But don't worry, you guys don't have fomo. We have you covered. And on our trip a lot of people said, where are we going next? Where are we going next? Well, besides Paris, which is entirely sold out, our next upcoming trip is going to be this fall and it is still very much in the works. There's still, it's still in the planning phases, but we do know where it's going to be. Cass, would you like to do the honors?
- [31:15]
Chanie McKnight
Yes. And we of course mentioned this already on our Wednesday episode, but we will be heading to Santa Fe, New Mexico in October for a fashion and textile history packed tour. I think Santa Fe is probably a little unexpected for a lot of people that perhaps don't know about Santa Fe's rich textile traditions. And yeah. So we're really excited to highlight the rich multicultural histories of New Mexico. Stay tuned for that.
- [31:40]
April Callahan
Yes. Yes, yes, yes. Also, stay tuned for Cassidy's class, which it launches in about, ooh, a little over a week. Yeah.
- [31:48]
Chanie McKnight
Yes. Head to dresshistory.com if you want to join me for what Women Wore to the revolution 1850s to 1920s. I'm very, very excited to teach that class again. I taught it last year to great success. I'm teaching it this year. It's a little bit of a smaller class, but I'm excited to delve into that history again because it's so, so exciting and fascinating.
- [32:07]
April Callahan
Yeah. And if you all want to catch me in New York City, you have about a month left before I head to Paris. If you would like to take one of my fashion history tours of the Met. And also let me just float this out there, I haven't actually created any content around it, but the exhibition Sargent in Paris, which is specifically on the work of John Singer Sargent and the many, many, many, many, many, many portraits he did, has a ton of fashion content in it. So if anybody is interested in kind of like a little specialized Sargent tour, I'm sure I could whip that up for you all as well. But you only have a few weeks left to get a hold of me before I am myself off to Paris.
- [32:51]
Chanie McKnight
Yes. Well, that does it for us this week, dress listeners. You can find social media content related to these two episodes at Dressed534 and hashtag dress535. Until next time, may you consider the story sewn into the everyday clothes of your closet. Next time you get Dressed.
- [33:09]
April Callahan
Please head over to RestorePodcast on Instagram or on Facebook to check out the visual content associated with each week's episodes.
- [33:21]
Chanie McKnight
Remember, we love hearing from you dress listeners, so if you'd like to write to us, you can do so@hello dresshistory.com dressedhistory.com is also our website where you can sign up for our monthly newsletter, our in person tours and online fashion history courses. And there you can also check out whatever else we have up our finely tailored sleeves.
- [33:40]
April Callahan
We get so many questions from you all about our recommendations for fashion history books, so if you're interested you can always find a link in our show notes to our bookshop.org bookshelf so that address is bookshop.org shop dressed and there you will find over 100, 150 of our favorite fashion history titles.
- [34:01]
Chanie McKnight
Do you love Dressed but want to skip the ads? We are so excited to now be a part of the Airwave Network and their premium ad free history subscription Airwave History plus and this is available on Apple Podcasts and the subscription brings you our podcast as well as 27 other popular history podcasts ad free for 5.99 per month. More information is available at the link in our bio.
- [34:26]
April Callahan
Thank you as always for tuning in and more Dressed coming your way soon. The History of Fashion is a production of Dressed Media.
- [34:38]
Cassie Zachary
Hey everyone, it's Dan Souza from America's Test Kitchen. I'm super excited to let you all know that we're launching a new video podcast that takes you behind the scenes into the messy, imperfect but riveting day to day life right here in our Test kitchen. Not only do I get to talk to my colleagues about the latest taste test they attended, I just came from.
- [34:55]
Chanie McKnight
A tasting of salted caramel apple pie bars and then roasted garlic. So I apologize.
- [35:01]
Cassie Zachary
Or about a recipe they're developing.
- [35:02]
Chanie McKnight
The thing about this recipe is it's a secret. The restaurateur refuses to tell people what her secret ingredients are.
- [35:09]
Cassie Zachary
We also chat with amazing guests from the culinary world and beyond. The lamest joke I've ever said. I said to Marie Manvert.
- [35:15]
April Callahan
Great. It's the great workout.
- [35:17]
Cassie Zachary
Thanks. Make sure to subscribe to in the Test Kitchen so you don't miss an episode. You can watch in the Test Kitchen on YouTube and Spotify and listen to it wherever you get your podcasts. Can't wait to see you in the Test Kitchen.