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Karen Trivette interviews Judy Mindell, who attended FIT in 1945 as a student.

On September 13th, 2018, Phyllis Dillon interviewed Dorothy Roberts, chairman of Echo Design Group, Inc. Echo Design is one of the most well-known scarf companies in the United States. Roberts explores the founding of Echo within her family, Echo working in the war effort, and the overall growth of the business. She also delves into her experiences working with the Smithsonian and The Metropolitan Museum of Art.

In this interview, Alex Joseph interviews Judy Ellis, the founder and chair of FIT’s toy design program. Ellis discusses the first toy that she loved growing up and explores the emotional connection between a child and a toy. She then continues to talk about her various career changes growing up, the development of the toy design program, and her personal views on the meaning of toys.

June Bové, specialist in costume exhibition, is interviewed by graduate student from FIT, Christine Hopkins. They explore her career, accomplishments, and early life. Bové explores highlights from her work in museums and her experience working with Diana Vreeland at the MET Costume Institute.

Stan Herman discusses his career as a fashion designer starting in the mid century and continuing into the 2010s with a successful design business for QVC.

Lawrence Abrams met with April Calahan of FIT Special Collections on January 9, 2018 to discuss his mother Miriam Abrams' career in fashion. Ms. Abrams grew up in the industry; her family owned and operated a girls coat manufacturing business, but lost it during the depression. To bring in extra money to help her family, Abrams found a position sketching designs for Billy Gordon, an American couturier. After leaving Billy Gordon, Abrams worked for other influential American designers, such as Hattie Carnegie and Adele Simpson. Lawrence Abrams imparts that even though his mother’s designs were big sellers, she was relatively unknown because before the 1970s, designers rarely had their name on the label; most often it was the manufacturer/owner of the business’s name inside the garments. Miriam Abrams was particularly successful designing for the half size market (garments for a “mature” figure). Later in the interview, Lawrence Abrams reveals that he too is a designer, starting out designing jewelry before moving into fashion. His jewelry was sold at major department stores, including Macy’s, Altmans, and Lord and Taylor. After leaving the jewelry/accessory business to take care of his mother in her old age until her death in 1993, Lawrence joined an Italian fashion house and worked with them creating one-off garments.

In this interview, David Wolfe discusses his life, his career, and the current state of fashion. He and the interviewer get into the current state of fashion and culture and how it is and is not similar and to the past.

Fashion historian Phyllis Dillon interviews Gary Wassner, CEO of Hilldun Corporation, a financing and factoring company established in 1958. Wassner explores Hilldun’s history, his experience in production, the issues in financing a fashion company, and his own career growth.

This interview takes place on May 15, 2018, where Alex Joseph interviews FIT alumna, faculty and former School of Art and Design Dean, Joanne Arbuckle. They begin with discussing Joanne’s childhood, sewing clothing and sourcing from the garment district before attending FIT for fashion design and later returning as an adjunct Professor. They discuss how Joanne started as an assistant designer with the creative director at Royal Silk, and go on to talk about her interests in intimates before moving into children's wear and what the industry was like at the time, as well as her company, Design Integrity. Joanna talks about her time in Asia and her connection to and views of FIT. There is more talk of FIT, the Fabrica initiative, FIT’s relationship with MIT and Infor Center, and the BioDesign Challenge. The conversation ends with discussion of FIT’s vision, as well as Joanne’s influences including President Joyce Brown.

About five months after first sitting down with April Calahan for an Oral History, Lawrence Abrams once again met with Calahan to discuss the fashion designer Norman Norell. Known for his precise garment construction, Norell first became entranced with womens fashion as a youth patronizing burlesque shows. His first garment, however, was made for his mother in 1920. During the 1920s, Norell designed costumes for stage (Ziegfeld Follies, the Cotton Club) and screen. Norell began designing ready-to-wear in the mid-1920s, first for Charles Armour, and then Hattie Carnigie, where he met Miriam Abrams, Lawrence’s mother. Abrams discusses many of Norrell’s greatest designs and his most loyal customers, like Lauren Bacall. Norell’s last collection, released in the early 1970s right before he passed away, was somewhat of a farewell to an older way of designing high-end women’s fashion; many of the fashion houses and department stores were downsizing or closing down their custom salons because the customer base was just not there anymore.

Peter Scotese talks about growing up in a home for orphans, World War II history, and the history of FIT

In this interview, Paul Winston talks about his early career, working for his father's company in the 1960s, his own company, and the men's Ivy League fashion business.

In this interview conducted on April 19, 2017, John Pomerantz is interviewed from the offices of the Doneger Group by Alex Joseph, Manager Editor of FIT’s Hue Magazine. Pomerantz is former chairman and chief executive officer of Leslie Fay Company, Inc., a manufacturer of women's fashions. Pomerantz retired in 2000 after more than four decades with the company. Pomerantz discusses his childhood life, his former education, his relationship with his father, his insights within the apparel industry, and his relation to FIT.

On December 15, 2015, Marylou Luther was interviewed by Phyllis Dillon. Luther was the current creative director of The Fashion Group International and editor of the International Fashion Syndicate. She is the former fashion editor of The Los Angeles Times, Chicago Tribune and Des Moines Register. The interview explores her career growth as a journalist, her experience working with individual designers and manufacturers, her views on American retailing, and her life growing up.

In this interview, conducted on December 7th 2016, fashion historian Phyllis Dillon interviews Bud Konheim about his life and 60+ years working in the apparel industry, including his time working with Nicole Miller since 1976.

In this interview, Karen Trivette interviews fashion curator Harold Koda about his life leading up to his work in New York with fashion collections. Mr. Koda discusses the classes he took at FIT to meet Diana Vreeland, how he submitted some of his designs to Geraldine Stutz at Bendel's, and finally wound up working as an assistant for Diana Vreeland for The Glory of Russian Costume at the Metropolitan Museum of Art's Costume Institute. He goes on to discuss his work as a curator at the Fashion Institute of Technology with Robert Riley, Richard Martin, and Laura Sinderbrand. Koda then discusses Vreeland's curatorial style, how fashion is art, and reverse chic. He then recalls fashion exhibitions that stood out to him throughout his career, and describes some of the discourse that took place between himself, Andrew Bolton, Richard Martin, and Laura Sinderbrand for the various exhibitions they brought together at both the Museum at FIT, and the Metropolitan Museum of Art's Costume Institute, and describes the differences between curating exhibitions at each institute. He then discusses his transition to Boston after 20 years in fashion curation to obtain a graduate degree at the Graduate School of Design at Harvard, and how he was called back after three years to New York when Richard Martin became gravely ill. He finally discusses his retirement, a restoration project in the Bahamas, and the passing of Bill Cunningham.

April Calahan, Curator of Manuscripts at the Special Collections and College Archives unit of the Fashion Institute of Technology library, interviews street style fashion photographer Jamel Shabazz. Mr. Shabazz talks of his life growing up in New York City as a child of divorce. He recalls how he started learning photography in Germany while serving in the armed forces. He began documenting his world in 1980 when he began taking photographs of young people who reminded him of his own life growing up, and found his camera facilitated his ability to engage with and mentor young people. He talks about the importance of mentorship, the trust that he honed between him and his subjects. He discusses how discounted clothing was often purchased from stores around Delancey and Orchard streets in the 1970s as well as other hubs where urban fashion originated from. He compares the photographic work he's done in the studio to his preference to shooting on the street. Calahan and Shabazz review the specific processes behind a number of Shabazz's favorite photographs. He finally discusses his respect for FIT, and his reasons for donating a collection of photographs to FIT's archive, and how important he believes photography is for documenting history. Alex Joseph, editor of Hue Magazine, joins in as interviewer to ask Mr. Shabazz about his personal clothing collection, which consists of pieces he designed himself or has kept over several decades, and which he uses in his fashion shoots. Finally, Mr. Shabazz recalls how fashion has changed over time.

In this interview Steffens discusses her role as a fashion editor and foreign correspondent for the German fashion publication, Vogue Germany. Steffens begins the interview by discussing her childhood in Germany and her early interest in fashion. For the majority of the interview, Steffens reflects on her role as a journalist and editor for a major fashion publication. Steffens outlines the varying highlights of her career, as well as the many challenges and obstacles she has faced on both a personal and professional level. Active in her field since 1996, Steffens's interview offers insight into the thoughts, opinions, and working experiences of an early 21st-century fashion editor.

Joined by Jane Meehan.