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Web Boodey and Audrey Meyer discuss their time with the Social Science Department. Boodey was a world affairs professor and Meyer a professor of sociology who, though retired, still taught as an adjunct at the time of the interview. They talk about the dress code upheld by Marion Brandriss in the 1960s as well as FIT’s former requirement of 30 hours of mandatory volunteer work. They discuss when FIT’s faculty shared a large office, each with their own cubicle, and the beginnings of the school's union. They talk extensively about the social justice movements of the 1960s and 1970s, especially in the aftermath of the Kent State Massacre. They mention the formation of the Soul Club and the Black Student Club, which published a paper called “Black Rap.” They also discuss the formation of an ad hoc committee on race which advocated for more faculty of color. Boodey and Meyer talk about the affective education movement and the growth of their department. In 1971 Meyer put on a one-day conference called “Dialogue on Women,” which brought in myriad activists including Florynce Kennedy and Bella Abzug. Boodey discusses his time as the chair of the faculty association. The two remember Marvin Feldman and Gladys Marcus fondly, and then discuss other professors in their department when it was coupled with Art History. They touch on linkages with the United Nations as well as student trips, including one to Riker’s Island. They have invited formerly incarcerated people to speak to their students and frequently host lectures on human rights. The two also talk about the growth of environmental activism and clubs in the 1970s.

John Touhey interviews Vera Maxwell over several days in the winter of 1979 about her childhood, her entry into and experiences in the fashion industry, as well as where she sees it going.

FIT course catalog covering the 1954-1955 academic year.

Writing by Tansky Burton, Chairman of Bergdorf Goodman, about Annette Green and her work with the Fragrance Foundation. He discusses the growth of the fragrance industry because of Green and her work with the Fragrance Foundation.

Articles and interview of Theodore Fred Kuper about the origins of the Fashion Institute of Technology (New York, N.Y.), conducted by the Oral History Research Office of Columbia University in 1969. "These reminiscences of Theodore Fred Kuper refer to the creation and development of the Fashion Institute of Technology, a Community College of the City of New York under the program of the University of the State of New York, together with the creation of the Educational Foundation for the Fashion Industry. The tape recording of these recollections was started on September 29, 1967 by Lionel White, Fashion Institute, serving as recorder for Columbia University Oral History Office and continued from time to time in California by Mr. Kuper until completion on August 15, 1969." Kuper describes the Fashion Institute of Technology (New York, N.Y.)'s roots in the immigrant-run garment industry. He details early leaders in its development, and how, under the leadership of personalities such as Shirley Goodman, they sought support and funding to expand the institution's reputation and place in New York City.

This conversation takes place only a few weeks after Schaefer had joined Bloomingdale's as the Vice President of Marketing. Schaefer gives a quick recap of the previous 13 years of his career before talking about his thoughts on his new boss, Marvin S. Traub, as well as his new position at Bloomingdale's. Coming from first a marketing background and then, briefly, a retail background, Schaefer discusses the importance of retailers being fully aware of what people are reading, wearing, listening to, and even eating. This awareness is a qaulity of Traub's that Schaefer praises and which he attributes, in part, to making Bloomingdale's stand out in the retail industry. Schaefer also talks about Bloomingdale's distinguising itself by being a place of diversion, entertainment, and fun as opposed to being simply a mode of distribution. When discussing his job interview for Bloomingdale's, Schaefer recalls being impressed by the amount of thought and planning that evidently went into the future of the store and uses the country promotions as an example.

Challenge and Change: Fashion in the Industrial Age, May 11, 2013

In this interview, Karen Trivette interviews fashion illustrator Steven Stipelman about his career as a fashion illustrator and his work at the Fashion Institute of Technology.

Interview with Steven Elkin about his relationship and history with the Bergdorf Goodman store.

Vice President of the Educational Foundation for the Fashion Industries Sidney Bernstein discusses his childhood and educational development in New York City. The launch of his successful real estate career put him in proximity to myriad furriers in the city. Eventually this led him to become more and more involved with the fur industry. He discusses the origins of the Educational Foundation for the Fashion Industries and its work abroad at the Shenkar School in Israel. Bernstein initially became involved with the Fashion Institute of Technology as a real estate advisor. He describes the Fashion Institute of Technology (New York, N.Y.)?s rising reputation within the fashion industry and how the Institute has become an important asset, particularly for textiles. He briefly discusses scouting physical spaces to facilitate the Fashion Institute of Technology (New York, N.Y.)?s growth, and then explains how he came to found a scholarship for students there. He talks fondly of Thanksgivings spent with international scholarship recipients at his family home and delves a bit into his personal life. Bernstein then circles back to the fur industry and how, in many ways, it is returning to its roots as a family business. Bernstein was the longest serving member of the Fashion Institute of Technology (New York, N.Y.)'s Support Foundation. He passed away in 2004.

Selma Frankel reflecting on her father, Maurice Rentner.

Chair of the Manufacturing and Management Department at the time of this interview, Saul Smilowitz discusses his life at FIT. He began as a student, graduating in 1953, and returned to teach in 1965 and again in 1989 after a brief hiatus. He talks about FIT’s dress code in the 1950s and how the student body has evolved over the years. Smilowitz discusses the department’s difficulty in recruiting for middle management positions in the industry. He describes their upcoming evaluation by the American Apparel Manufacturers Association; only four colleges have been accepted by the AAMA, FIT being one of them. Smilowitz talks about how they train students for the manufacturing industry and how emphasis on swift, mass production has intensified. He mentions the various degree levels offered in his department, and their move from a factory-oriented focus to a liaison-oriented focus. Graduates of the department have high placement rates and have ended up in major manufacturers such as Liz Claiborne, Nike, and Anne Klein. He talks about how alumni come back to check in at premier industry seminars and events such as the Bobbin Show. Smilowitz then discusses ethnic changes at FIT and how many international students return home with a coveted degree. He details remedial and bridge classes that allow students to matriculate to the upper division, and then talks about how active faculty involvement and continuous evaluation of course offerings keep the department current. Smilowitz goes on to discuss issues in the industry such as sweatshops and how they educate their students on OSHA to avoid such abuses. He then talks about union support and the scholarships offered by the AAMA to FIT students. Finally, he expresses pride in the department’s ability to offer real world experience to students during their time at FIT.

In this interview, Stravitz focuses mostly on the challenges and successes he has faced in trying to expand the Bloomingdale's model into other markets. In doing this, he covers the importance of paying attention to each market's regional needs as well as ways in which marketing can be tailored to suit a particular market, culturally. At the same time, Stravitz explores what the New York store represents and how that can be carried through in other markets. A larger discussion of the crossover between department stores and specialty stores looks at what makes Bloomingdale's especially strong in both categories. As an example, Stravitz talks about the two "Bloomie's Express" specialty shops which Bloomingdale's had launched at JFK airport a few months before this interview. Stravitz describes the Bloomingdale's customer, across all markets, to be sophisticated, well-traveled, fashionable, and possibly affluent. In discussing his direct boss, Bloomingdale's CEO Marvin S. Traub, Stravitz describes him as deeply caring about the people he works with. He argues that Traub's personal concern for the business as well as the people connected to it result in high expectations as well as a supportive work environment. Traub's encouragement to try new things and his willingness to take the risk and support these ventures, Stravitz suggests, are what make Bloomingdale's an especially creative and entrepreneurial place.

Interview with Rose Marie Bravo about Annette Green and the Fragrance Foundation. In the interview, Estelle Ellis questions Bravo on the fragrance industry, it's history and current state. Bravo discusses the importance of Green and other leaders in the industry, such as Estée Lauder.

This is an interview with FIT professor, architect, and designer Ron Lubman. He discusses his professional interior design experience and the future of design in relation to computers. Lubman was tapped to help found the Electronic Learning Facility, which educated students and faculty on the coming world of computers. He discusses how early demonstrations of computer-aided design were met with major opposition. Lubman goes on to discuss several courses he built on three dimensional space manipulation and how he instills in design students the ability and desire to illustrate technically. Lubman goes into how his coursework resembles Hollywood’s processes and touts Columbia’s “Paperless Studio” as the future of design practice. Lubman then discusses FIT students and how they can be overwhelmed by computer skills without proper motivation. Lubman was recruited to FIT after he gave a lecture on the future of computers in architecture and interior design. He talks about changes in the student body over time and finally discusses interior design faculty reactions to computer-aided design.

Richard Streiter wore many hats at FIT, but at the time of this interview he was the executive director of the Educational Foundation for the Fashion Industries. Streiter joined FIT from Pratt Institute as Dean of Students in 1973. He discusses his recruitment by Marvin Feldman and his immediate push for the creation of a comprehensive primary care health service at the school. Streiter fondly remembers the raucous four-year stint of Mardi Gras costume balls held in concert with other art schools as well as FIT’s own talent show. He performed a surprising jazz trumpet set his first year and ended up in the 1976 yearbook for “streaking” at that year’s show. Streiter explains the legislative struggles involved in getting the upper divisions established and commends Feldman for championing FIT’s two-year program. He then talks about how the globalization of the fashion industry is reflected in FIT’s vibrant student body. Streiter discusses the development of Polimoda in Italy and his own move to New Delhi to help establish the National Institute of Fashion Technology. It was a struggle, but Streiter had support from an advisory group in New York and fought for the school’s survival. Upon his return, Streiter held a series of leadership roles at FIT and ultimately became acting director of both the Educational Foundation and the Shirley Goodman Resource Center. He mentions early FIT exhibitions such as the retrospective on Charles James. He then discusses the structure and evolution of the Educational Foundation. Streiter ends the interview with a depiction of an FIT tour through China which he led.

This interview with Ralph Lauren explores his life growing up in the Bronx and how he started his career in the fashion industry. He provides insight to his design process and the company products, which vary from clothing to furnishings and linens.

Peter Scotese, the Chair of the board of trustees at FIT, joined in 1970. He discusses his appointment to the Board of Education and his advantageous textile manufacturing experience as the CEO of Spring Industries. Scotese lists board members he worked with at the start and later notes how the board has increased its reach. He describes the on-going support that the Educational Foundation for the Fashion Industries provides FIT and touts the unique offerings of the school such as the Shirley Goodman Resource Center. Scotese also mentions industry support and the ways in which adjunct professors provide a contemporary vocational education to the students at FIT. He then discusses various departments and how their growth is shaped by the industry. To illustrate, he mentions Andrew Goodman and the founding of the buying and merchandising department. Scotese says that the fur industry is pushing FIT to build a program, and that he sees quite a lot of opportunity in the emergence of home fashions. Finally, Scotese explains his Horatio Alger award and pays homage to successful designers such as Emilio Pucci, Nicole Miller, Ralph Lauren, and Calvin Klein.

Coordinator for the Cosmetic and Fragrance Marketing Program at the time of this interview, Peg Smith joined FIT as a part-time professor in the Fashion Buying and Merchandising Department (FBM) in 1977. She came with a background in buying and merchandising for large companies such as Bloomingdale’s. Smith came on full-time in 1981 and, in 1988, was offered chairmanship of the burgeoning 4-year Bachelor of Science degree in Cosmetic and Fragrance Marketing. She discusses the history of the program. Dean Jack Rittenberg asked Hazel Bishop to found the program and she formulated the original curriculum which was primarily science-based. Smith details close working relationships with the Industry that have helped the program thrive, especially thanks to the efforts of Annette Green, who formed the Action Council for their department. Smith talks about the benefits of their mentorship program, which was the first at the college. She discusses various funding sources such as a luncheon during Fragrance Week wherein they netted $90,000 in scholarship money for their students in 1994. She also discusses the industry support that has allowed for the Gladys Marcus Library to purchase relevant materials as well as the funding brought in by the Action Council to build the Annette Green Fragrance Foundation Studio in 1994. She talks about changes in the curriculum over time and how she remains connected to the Industry to stay current. The department had recently added a fine arts course, a social science elective, and now requires French. Smith is hoping the department will be removed from their larger marketing umbrella so that they can continue their growth. Smith states that their industry has always been globally-minded, given that essential oils are sourced from all over the world. Each year they take their students on a summer study in the United Kingdom and France. Smith details their site visits at Estee Lauder, Revlon, Givenchy, Hermes, and L'Oreal as well as visits to family-owned essential oil houses in the south of France. Thanks to further grants, most of their students are able to go on this trip. Smith then talks about the demographics of her students and alumni placement. Finally, she discusses changes in the industry and the cosmetic industry’s need to diversify their market.

Paula Neiman, stylist, reflecting on Maurice Rentner

In this 1989 interview Estelle Ellis interviews Paul Leblang about his time as a Senior Vice-President and Marketing Executive at Saks Fifth Avenue. They discuss the evolution of Saks' folio (or catalogue) business; the creation and implementation of the Fifth Avenue Club; the need for Saks to expand beyond the purview of evening wear; and how a store must expand while still maintaining consistent quality control. They touch upon the changing roles of women in society and how stores must adapt to this generational shift and how the oversaturation of retail stores in American society led to the closure of many of the retail greats, including Bonwit Teller.

In this interview, Robert L. Green interviews award-winning costume designer Patricia Zipprodt in her studio. They discusses the process of designing costumes for the theater and her use of apprentices to help with costume research.