IT’S SEW NEW YORK

New York City is arguably the fashion capital of the United States and the entire world because the industry based here generates over $14 billion in annual sales and sets design trends which are mirrored worldwide.


Prior to the mid-nineteenth century, the majority of Americans either made their own clothing, or if they were wealthy, purchased "tailor-made" customized clothing. By the 1820s, however, an increasing number of ready-made garments of a higher quality were being produced for a broader market.

New York first assumed its role as the center of the nation's garment industry by producing clothes for slaves working on Southern plantations. It was more efficient for their masters to buy clothes from producers in New York than to have the slaves spend time and labor making the clothing themselves. In addition to supplying clothing for slaves, tailors produced other ready-made garments for sailors and western prospectors during slack periods in their regular business.

The need for thousands of ready-made soldiers' uniforms during the American Civil War helped the garment industry to expand further. By the end of the 1860s, Americans bought most of their clothing rather than making it themselves.

ELEVATORS

New Yorkers ride elevators, many times a day, at work, at home, at stores, at concert halls, at subway stations, and many other places, making them a daily part of our urban commute.  After last December's elevator tragedy we, or I should say, I have not necessarily taken elevator safety for granted.  As many of you know, Toni Reiffe and I hosted a BCP Legal Forum earlier this year on elevator safety which included NY OEM and the General Counsel of Otis Elevators.

In doing my due dilligence, I reviewed the elevator inspection certificate in my building at 220 Madison Avenue and found that it is declared safe up and to a total weight of 2006 pounds.  I checked both elevators and the both read the same - 2006 pounds.  It is not a sloppy "0" but clearly a "6"  after the "200" 

Now the mystery begins as to how they arrived at that number.  This reminds me on an old Calvin and Hobbs cartoon strip where Calvin asks his dad how do they know that the weight limit on a bridge is 20,000 pounds.  The dad replies "They keep driving heavier loads across the bridge until it falls down.  Then they know what the weight limit is for that bridge."  The mother looks to the dad and says "If you don't know the answer just say so." I wonder if there is just a speck of truth in dad's reply to Calvin about how they determine the evevator capacity at 220 Madison Avenue

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TOUGH NEW YORKERS

This is a subway air duct at the corner of 42nd Street and Eighth Avenue, one of the busiest intersections, across from the Port Authority. Imagine the thousands if not millions of feet that tramp on this grate every day and the hundreds of cigarette butts tossed carelessly into the grate. There is no dirt here except from the grime of the city. The only water it receives is from the rain and exists with very little sunlight. No plant food, no Miracle-Grow, no fertilizer except from an occasional dog. There is no gardener to provide tender loving care, talk with it and encourage it. It is entirely on its own in the New York jungle and survives.

Despite the disgusting and appalling conditions, this vegetation is not only surviving but thriving. It never quits despite the most loathsome and appalling challenges. It WILL survive.

This typifies many New Yorkers who have a dream and work hard to make that dream come true. When New Yorkers set their mind on an achievement, they succeed despite some of the highest hurdles or, in this case lowest humiliating conditions.

Perhaps a new logo for the city should be: “New Yorkers are as strong as subway air shaft plants” Perhaps not, Dave Letterman’s writers would be working overtime with that material.
Nevertheless this made me stop in my tracks and ponder the tenacity against all odds.

DELIS AND DRESSES

Imagine walking on W 36th street one day and seeing this store front with “New York Lunch Box” on the awning displaying dresses in the windows.


I went inside and asked if they served food. Moishe, the owner of the store named Evita, quickly handed me a menu for a deli down the street. I told him that I wasn’t actually looking for food but for an explanation about the confusion between the words on the awning and the image of his window displays.


He explained that when he moved to the space over a year ago the building was encased with scaffolding; hence he was unable to remove the awning. The scaffolding was removed a couple of months ago but he said he “Kept it (the old awning) up for luck.” “Has it brought you any luck” I asked. “Who knows” was his reply. “Are you going to change it?” I asked. “I don’t know, what do you think?” he replied. “I told him that it really made him stand out from the rest of the shops on 36th street.”


He said that both he and his wife were designers are clothing a designers. I asked about the name “Evita”. “It has nothing to do with the Argentine politician, but just a name he has used for years. He specializes is using appliqués to create original designs.  He showed me his workroom where he has six machined for use in applying the designs. The intricacy and uniformity of the detail work is absolutely stunning.


So what do you think, readers, Should Moishe change the awning?

390 Fifth Avenue

Gorham Silver was headquartered at 390 Fifth Avenue at 36th street from 1905 until 1967 when it was purchased by Textron. This is a picture of the famous bronze balconies with the letter “G” for Gorham in the ironwork from that building.
Gorham Silver was founded in Providence, Rhode Island 1831 by Jabez Gorham, a master craftsman. The firm's chief product was spoons of coin silver.

In 1884, the company opened a store in the Ladies' Mile shopping district in Manhattan, New York City, but moved to the Fifth Avenue building which was designed for the by Stanford White

The White House used Gorham silver services many times. Mary Todd Lincoln purchased an impressive tea and flatware service for use in the White House in 1859. The tea service was presented to the National Museum of American History in 1957. Mrs. Ulysses S. Grant asked Gorham to commemorate the country's one-hundredth anniversary with a spectacular Century Vase that contained over 2,000 ounces of sterling silver. The White House later commissioned a "loving cup" composed of 70,000 dimes was designed for Admiral George Dewey in 1899.

Gorham artisans also sculpted the famous monument of George Washington in the Capitol's Rotunda, the statue of Theodore Roosevelt that overlooks the Museum of Natural History in New York. Gorham designed a number of elaborate trophies for sporting events, including the Borg-Warner Trophy for the Indianapolis 500.

WHAT IS A PETTICOAT?

“Hop aboard the Hooterville Cannonball and visit with the folks at the Shady Rest Hotel in Petticoat Junction” was the introductory song to a 1960’s TV show about four buxom beauties in a fictional town who all wore flouncey square dance type skirts.

This sign would not have been necessary at the Shady Rest Hotel. Fortunately; the proprietor of this store on W 37th street in the Garment District realized that this make-believe town and garment had long ago faded into obscurity. If they wanted to market these outfits he needed to explain their use to a new generation.

My immediate reaction upon seeing the sign was, “Where else would you wear a petticoat?” But, given the couturiere creativity of the day, there must be several ways to wear petticoats, so this retailer felt complied to supply instructions. . Edith Wharton’s “The Age of Innocence” would blush at the thought that some lady would follow today’s trends and display any underwear.

The dictionary explains that in both historical and modern contexts, petticoat refers to skirt-like undergarments worn for warmth or to give the skirt or dress the desired fashionable shape. I can only surmise that the owner of this store designed them for “fashionable shape” not “warmth”.

BUILDING ADVERTISEMENTS

Magid Handbags developed from the millinery business of Mrs. Anna I. Magid (born Poland/Russia 1870, died Brooklyn 1934) at 38 W. 116th St. in 1901." By 1912 Anna was involved with the Hygrade Ornament Co. at 640 Broadway. By 1915 Anna Magid was president of the Hygrade Ornament Co. A year later she branched out on her own as "A. I. Magid Co., Millinery Ornaments" at 4 W. 37th St. This business became A. I. Magid, Co. "novelties", "leather goods", and "handbags" at several locations around the East 30s from 1918 to 1936.

A. I. Magid Co. moved to 30 E. 33 St. in 1937 and became Magid Handbags around 1938/39. The sign says, Over 50 Years of Continuous Service, which should mean that it was painted in the 1950s. Some time in the 1980s the business was sold to outside interests. As of 2003 Magid Handbags still survived as a trade name (registered by Y & S Handbags, 320 5th Ave.) but had no connection with the Magid family.

Coblentz Bag Co. moved to 30 E. 33rd in 1938, where they remained until going out of business around 1980. Louis J. Coblentz, born France 1896, was the founder.

Alan Miller was a short-lived company located in 30 E. 33 St. no more than 4 or 5 years from 1951 until their demise around 1955. They manufactured handbags for a period of no more than 10 years (approx. 1947 to mid 1950s) but left behind Alan's elegant signature on this wall.

WHAT IS THE ADDRESS?

Street addresses in New York City are no help in locating a building.

There is a morsel of uniformity in cross streets with 5th Avenue being the dividing line between East and West. The street addresses start from 5th Avenue and working their way higher as you reach either river.

The Avenue streets addresses are another story. There seems to be no consistency from Avenue to Avenue as to numbering sequence or whether even or odd numbers are consistently on the same side of the street.

We even change the names of the streets, such as 8th Avenue becomes Central Park West and 9th Avenue becomes Columbus Avenue on the Upper East Side. And to further confuse tourists, we call 6th Avenue, Avenue of the Americas and the East River Drive we call the FDR. Broadway retains the same name all through the Borough of Manhattan staking claim to its own numbering system separate from either the Streets or Avenues. Broadway is a simple street to follow unless you are looking for West Broadway.

The building in the picture is at the site of the old New York Opera House. One side of the building fronts Broadway and the other fronts Seventh Avenue. So, where do they send the mail?

NEW YORK PUBLIC LIBRARY LIONS

Patience and Fortitude turn 101 this year. They recently had a face lift, hence the much younger look. They received their names by Mayor LaGuardia during the depression as a symbol of virtue to lead New Yorkers during the tough times of the 1930s. Thus they were placed amongst the most beloved New York City icons such as the Empire State Building, The Statue of Liberty and Rockefeller Center. They helped define a generation and a attitude.

They are the subject of many New Yorker cartoons amongst one of my favorite which shows two lion cubs roaming the side walk with Patience and Fortitude looking at each other in surprise at their origin.

Generally the tourists photograph the Lions often with a friend or family member at paw. This lady is so brave as to provide world wide exposure to her artistic skills as she demonstrates them for the summer crowds as if they were rushing to an opening day game at Yankee Stadium.

BRYANT PARK CAROUSEL

“Summertime, and the livin’ is ….leisurely” especially in Bryant Park as the trees provide relief from the hot sun and allow for soft summer breezes. I sat on a green slatted lawn chair sipping iced coffee and web surfing when I heard “How are you going to keep ‘em down on the farm after they’ve seen Paree?” drifting across the open spaces. My mind was in the 21st century as I was doing internet research for an article on finances but my heart was being tugged by the romantic music. I packed up my computer and followed the sentimental tune to a 19th century Victorian carousel with ornate carvings and massive sculptures. The animals were horses, frogs, and cats, with exaggerated details; the cat’s saddle had the wings of Mercury.

I saw children’s dancing knees and faces of expectation as they waited impatiently waited for their turn. As soon as the ride stopped, and before the children who just finish riding departed, the new group descended on the carousel in an effort to secure their cherished animal.

The bell rang and the ride began. The platform began to rotate, slowly at first and then faster, and the critters began to rise and fall on their shiny brass poles. Younger children held on to the poles with both hands; but the older ones used only one. Once the younger brood and saw the bigger kids riding with only one hand they decided to do likewise. There were babies sitting on horses with their mothers firmly holding the toddlers in place. The mother’s knees went up and down in unison with the movements of the stallion.


I placed my laptop on a table and sat down to continue to research mutual fund prospectus when I notice Lenny, the carousel operator, take a sip of water and stare off into space for two minutes and forty seconds, between rides. (Being an accountant I just had to know how long the ride was.) I decided to talk with Lenny between rides and he told me he is a retired fork lift operator from the General Motors. He runs the carousel on Saturdays and Sundays during the warmer months. He also said that at least one child per ride screams and cries at the end of the ride because he or she doesn’t want it to end. The parent usually relents and pays for an additional ride.

I returned to my computer to study stock risk analysis when I saw two girls wearing off white frilly party dresses, black patent leather shoes, white tights, and a pink ribbon slowly loosening its grip on their hair. They ran toward the horses, jumping their right feet in the stirrup and in one motion throw their left leg over the back of the mare. They totally abandoned their lady like persona and became tom boys in taffeta. Their mothers’ jaws dropped, they shook their heads and rolled their eyes at their daughter’s behavior.

At the end of this ride there was an angry shouting match between another mother and Lenny. The mother refused to take her daughter off the frog. She screamed something about a free ride and shoved a small piece of paper in Lenny’s face. Lenny calmly shook his head and tried to tell her that they can’t stay. All the fun stopped as the children and parents watched the commotion. The music stopped. My research stopped. The atmosphere became eerily silent. Finally, Lenny shook his head, walked away, and pushed the button to start the ride. The bell rang and “Daisy, Daisy, give my your answer true…” began to fill the air. The girl was still on the frog with her mother at her side. Lenny was so cool about this woman’s behavior.

Next, the tax exempt bond analysis tables were interrupted by a dad teaching his son to do the Indian war whoop by making an extended “who” sound and them quickly placing his hand over his mouth and releasing it creating “whoop whoop” sound. The boy quickly caught on, was grinning at his accomplishment, and had that mischievous look on his face which seemed to say “Wait ‘till mom hears this.”

Later, there was only one passenger on the carousel, a boy about three years old.

The horses, frogs and cats chased each other in a circle almost all by themselves without the other children to give them life. The boy’s face was expressionless and he looked to be in deep thought to the sounds of “Waiting for the Robert E. Lee” It is almost as if the livestock comes to life in the movie “Toy Story.”

I decided to put the computer away and talk with Lenny some more. He was obviously more interesting than standard deviation tables. Lenny says that things are not always rosy at the carousel. “This is New York after all and the parents can be pushy at times often complaining that they didn’t get their money’s worth or that they are due a free ride.” I asked what happened with that lady a few minutes ago and the girl on the frog. He said that she was just trying to pull a fast one; she was there yesterday for a birthday party hosted by someone who rented the carousel for an hour. Because she arrived late for the party she thought she was entitled to free rides at a later date. He let her get away with it because it wasn’t fair to the other children to hold up their fun. Lenny said he wonders what kind of example she was setting for her children.

This carousel reminds me of the image of small town America a hundred years ago not sophisticated New York City. The setting for the carousel is in such contrast with the surrounding skyscrapers and office buildings, providing the writer with many examples of the contrasts with this 19th century carousel in 21st Century New York. My favorite contrast is that as I sat not more than ten feet from the carousel, I could research mutual fund prospectus on the web in the 21st century and slip into 19th century America at the same time because Bryant Park is completely wired for internet access.

SEARCHING FOR SUZY PERETTE

I love to say the name, SOO-zee Pair-ETTE. It melts like ice cream on my tongue.
Every morning, on the way to work, I see her name 10 stories up on an old faded advertisement on the side of an office building at 134 W. 37th Street in the Garment District. Each letter takes up a full floor as the name descends the side of the building like a banner unfurling.

“Who is Suzy and why does she have her name painted on the side of an office building?” I ask myself. I just want to meet Suzy.

I stopped by the building and scanned the lobby directory but did not see her name. I saw the building manager and asked:


“Do you know Suzy Perette, the person whose name is on the side of your building?”


“Yes, I think she works on the 10th floor as a designer.”


“What does she look like?”


“I don’t remember.”


“When did you last see her?”


“I don’t know. Why don’t you just go to the 10th floor and ask for her?”


Kazu is on the 10th floor. I called them and ask for Suzy Perette but they do not know her. I have a sneaking suspicion the building manager doesn’t have the slightest clue about Suzy. I interviewed several people as they left the building one evening. None of them knew about the sign or ever heard of Suzy and most thought I was an escapee from Belleview stalking this poor girl. I began to realize Suzy may not work there.

Next, I checked the New York telephone book – no Suzy Perette. I checked the AT&T “Who Where” web site for telephone numbers anywhere in the country. They are no listings for any Suzy Perette in the United States. I bet she has an unlisted number I thought I did a Google search and found her clothes for sale on e-bay and on antique clothing web sites. But there was no mention of Suzy. No obituary, no address, no nothing.

Suzy must like the Doris Day style dresses of the 1950’s, because that is for sale on e-bay. Another web site reports that Audrey Hepburn wore one of Suzy’s dresses in the movie Breakfast at Tiffany’s. I bet Suzy and Audrey were friends, maybe even best friends. But Audrey is no longer alive so I can’t check with her to see if she knows where I can find Suzy. Now, I wonder is Suzy is still alive. I next discover that in the Soap Opera The Edge of Night one of the characters wore some of Suzy’s dresses. Suzy must have a lot of dresses or a lot of friends in the entertainment industry, or both.

Then I discovered the truth. Suzy Perette is not an actual person but a registered trademark of the Lombardy Dress Company from 1949 until 1970, which was located at 134 W 37th Street before they went out of business.

However, my search for Suzy comes to a happy end. When I show this article to my wife, she points across the room and said, “If you are looking for Suzy Perette, who not look in my closet?”

Thanks to Molly Woodward for the picture.