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Mechanically reproduced print of nineteen of Maria Monica Gallenga's design illustrations.

Patty Sinclair, director of archives at the Ford Model Agency, and Professor Karen Trivette of the Fashion Institute of Technology, join together to interview model Beverly Johnson. Beverly shares her life growing up and how she was introduced to modeling. She discusses the feeling of seeing her face on a cover, and provides insight into the modeling life she experienced.

Videos about Zandra Rhodes and her fashion designs including television appearances, fashion shows, museum visits, and interviews. Some were choreographed or directed by Derek Jarman and Ron Link. Some interviews are with Joan Agajanian Quinn.

On December 8, 1977, Phyllis Feldkamp sat down with Eleanor Lambert to discuss Lambert’s decades-long career. Lambert reveals her first steps into the fashion industry as an art student in the midwest and how she got her start in New York City. Lambert touches on many aspects of the New York fashion industry of the mid-century, sharing tidbits about the American designers with whom she crossed paths. Lambert elucidates her involvement with helping establish The Costume Institute of the Metropolitan Museum of Art as well as her varied roles in working with The New York Dress Institute, The Couture Group and Press Week, The Council of Fashion Designers of America, and The National Council of the Arts. Lambert culminates by discussing her position as coordinator of the COTY American Fashion Critics Awards and an amusing anecdote about Norman Norell, winner of the first “Winnie” award. A fashion show in Moscow, which Lambert had a hand in organizing, acted as somewhat of a dress rehearsal for, arguably, the defining moment of American fashion, the Battle of Versailles. Lambert came up with the idea as a fundraiser for Versailles palace, then in disrepair, and organized the American designers who would represent the country; this show ultimately proved to the world the talent and capability of the American fashion industry.

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.

This interview consists of two main portions, the first being a casual conversation between Vera Maxwell and Princess Grace while looking at a photo album. The second portion is a formal interview by FIT's John Touhey with Princess Grace.

In the first portion, Maxwell and Princess Grace reminisce on their times together in Switzerland and their mutual love of tweed. The photo album prompts conversation regarding the accelerating rate of change in fashion, various hemlines, and fashionable silhouettes. The loose fitting styles popular at the time of the interview prompt Maxwell to repeatedly mention classic tailoring and body types. Press coverage of the fashion industry as well as coverage of Princess Grace's style is also discussed.

In the formal interview with John Touhey, Princess Grace describes her relationship with Vera Maxwell and then moves on to discuss trends in women's fashion and how they relate to personal style. She mentions her particular distaste for the "sack look" (likely referring to the gunney sack dress) and mini skirts, both popular styles at the time of the interview. Dior, Saint Laurent, Ben Zuckerman, and Vera Maxwell are all mentioned as favorite designers. An American film actress before becoming the Princess of Monaco, Kelly often had a large hand in developing her film costumes and she discusses working with costumer Edith Head while filming with Alfred Hitchcock.

There is also an interview with Nancy White about 2/3rds into the transcript.

In this interview Liz Claiborne sat down with Estelle Ellis to discuss all aspects of Liz Claiborne Inc. Aware that her label represents a promise between her brand and the customer, Claiborne insists on being a part of every aspect of the design process for each label, from the initial color choices (which Claiborne stresses as being of paramount importance) to the final sample edits. Claiborne reveals the difficulties she faces when working with the menswear and childrenswear departments. In explaining why the Liz Claiborne company hires so many interns, Claiborne makes a point to explain the importance of learning on the job.

In this interview, Robert L. Green interviews costume and fashion designer Bob Mackie about his life and career. They discuss his methods and his experiences with specific projects and the costume industry. They discuss their experiences with Edith Head, as well as Mackie's work with a wide variety of celebrities.

Interview with Andrew Goodman and his relationship and history with the Bergdorf Goodman store.

This interview takes place at a time when Bloomingdale's President Marvin S. Traub was being awarded the "Person Who Makes the Difference" award from the Fashion Institute of Technology. Gordon Cooke discusses the various ways in which Traub's style of leadership and business has made a difference in Bloomingdale's success not just as a department store but as an innovator in the world of promotions and business relations. Cooke uses Bloomingdale's country promotions as examples of Traub's creativity and insight regarding promotions. Cooke discusses the team-syle development of ideas, describing the equal value placed on promotions, design, sales, etc. as being instrumental in the creative development of Bloomingdale's. Cooke credits Bloomingale's with opening up trade with various countries before even the U.S. government had fully developed trade with these countries. Finally, Cooke talks about Traub's collaboration with both established and cutting-edge artists in advertisements and promotions.

This interview first discusses Dennis Garro's work experience leading up to his move from Macy's to Bloomingdale's in 1986. Garro briefly presents some of the main cultural differences between Macy's and Bloomingdale's as being inherenet within the California culture of Macy's and the New York City culture of Bloomingdale's. Garro shies from comparing Phil Schann (head of Macy's at the time) and Marvin S. Traub (head of Bloomingdale's at the time) other than to say that they were similar leaders. Garro describes Traub and Schann as being the type of leaders who challenge subordinates to continually look for new ways to make a better store. Traub is presented as having a drive to succeed at all things and he says that this is the same way he approaches his work. Garro discusses the Bloomingdale's business style as being merchandise driven as compared to consumer driven, though he does not consider the two as being so different. A discussion of fashion as being about different lifestyles leads to a discussion on Ralph Lauren's designs being fashionable yet traditional. As this was a period when the baby boomer generation was coming into its professional peak, Garro addresses the laid-back business approach of others in his generation, explaining that he as well as his peers are perhaps exceptions. As Senior VP and General Manager of the Men's, Boy's, and Children's divisions at Bloomingdale's, Garro offers insight into the challenges each department faces. He also predicts huge growth in the infant/ toddler division. Finally, Garro addresses the importance of assigning the right person to the right job and this leads to an exploration on the recruiting and staffing at Bloomingdale's. He describes the ideal recruit as someone who is driven, independent, and quick to respond. Garro states that a "thirst for a cultural background is more important than the actual cultural background."

This conversation covers very little of Lester Gribetz' life and career at Bloomingdale's. There is a brief intro in which Gribetz lays out his professional trajectory from trainee under Martin S. Traub to his role in merchandising. Like most of Traub's employees at Bloomingdale's, Gribetz praises Traub as a boss and as a person. He describes him as exciting, challenging, enlightened, and demanding. Gribetz attributes Traub's high standards to keeping workers excited and motivated. Traub is described as charitable in a number of the Bloomingdale's interviews but Gribetz shares a specific story of Traub organizing a massive fundraising effort for AIDS research after one of his buyers passed away from the disease. In describing the retail environment, Gribetz explains that a retail career is demanding and varied, and the hard work has discouraged many where others have thrived. Prompted several times to define Bloomingdale's milestones, Gribetz first discusses the team before Martin S. Traub's era and then the transitions and departmental changes that marked a real turning point with Traub. Bloomingdale's food business is discussed as a distinction among other retailers as well as the elaborate country promotions which were at their peak success at the time of this interview. The Bloomingdale's customer is described as being educated, affluent, adventuresome, and inventive. While Gribetz describes these qualities as being somewhat inherent in New Yorkers, he goes on to say that these ideas are present in customers in all regions and that Bloomingdale's still appeals to the mass market because it grants these qualities upon the customer.

Carl Levine describes his early years in the home furnishings business working for his small family business before talking about his start at Bloomingdale's. The Sr. VP of Home Furnishings at the time of this interview, Levine traces the major developments of the Home Furnishings department at Bloomingdale's throughout his 30 years at the department store. Describing the department as "having trouble" when he arrived in 1955, Levine speaks at length about Bloomingdale's decision to manufacture exclusive product overseas with a special attention towards accurate period reproductions. He then talks about working with Barbara D'arcy, the creator of Bloomingdale's innovative model rooms in the 1960s. Levine, who studied furniture and crafts and design at Syracuse University as well as the NY School of Interior Design, addresses the role of education in grooming a successful executive, especially in regards to understanding the history of fashion and design. In talking about Bloomingdale's CEO Marvin S. Traub, Levine describes his strong family life, his essential role as a diplomat in the creation of the country promotions, and his tireless determination and sense of humor. Finally, Levine addresses the concept of the "Bloomingdale's customer", taking into account the increasing number of Bloomingdale's stores across various regions.

In this interview, Alan Reyburn talks about restuaranteuring in the context of the retail world. Reyburn ran all food operations at Bloomingdale's during the 1980s, including staff restuarants. After briefly describing his past hospitality job working for a cruise line, Reyburn explains that New York City is a restaurant city and the Bloomingdale's client is someone who considers food and dining to be part of the fashionable lifestyle. Reyburn attributes Bloomingdale's Marvin S. Traub for having the total vision that included food operations as part of the Department Store's success. Most notable among Reyburn's projects while at Bloomingdale's was Le Train Bleu, a rooftop restuarant designed to look like the luxury train used by travelers going between Paris and the Mediterranean. Reyburn shares a number of anecdotes about the inception, operation, and overall concept of Le Train Bleu. As Bloomingdale's was one of the few department stores to have its own restuarant at the time, Reyburn explains the challenges specific to running a restaurant within a retail environment. In regards to service, Reyburn believed that good service in the restaurant was even more important to the Bloomingdale's client than good service on the sales floor. Having traveled with Traub for business, Reyburn describes the Bloomingdale's CEO as being indefatigable, an adventurous eater, and keenly aware of his surroundings. He also describes Traub as having more vision than most retailers, seeing a broader picture and having a shorter temper.

This conversation has three main components: first, Tomchin discusses his work in the home furnishings department, consolidating the department into one cohesive collection under the guidance of a fashion director, similar to the structure of the clothing departments. This allowed the department to present more fully developed design ideas to the customer, encouraging the customer to work as her own decorator, just as the fashion departments allowed her to be her own stylist. Next, Tomchin speaks at length about Bloomingdale's emphasis on exclusivity of product, whether through the development of Bloomingdale's own signature products, through the introduction of new international products through the country promotions, or through the collaborative efforts between Bloomingdale's and manufacturers to create products that would be of special interest to the Bloomingdale's customer. This convseration focuses heavily on the importance of the educated buyer in understanding other cultures and being able to translate the excitement of products to the customer. Finally, Tomchin speaks to the major contributions and milestones of Bloomingdale's CEO Marvin S. Traub, who opened 5 new Bloomingdale's stores during the first 8 years of Tomchin's tenure with the department store. Traub is described as having a parental sense of care and interest in the store and as having a level of respect for the customer that translated into thoughtful selection and exhibition of products.

In this conversation, Marvin S. Traub talks about his start at Bloomingdale's, and details his first seven positions at the company. He describes the Bloomingdale's customer as being someone who is interested in change and forward fashion, someone who "likes different things at different times" and who expects Bloomingdale's to alert them to the newest trends. Traub expresses his pride at helping to develop the careers of some of the industry's influential designers and executives and credits Bloomingdale's success to its team of talented and respectful employees. Traub talks about the role his wife has played in his life and he discusses his three children and their endeavors. In discussing some of the major changes at Bloomingdale's during Traub's tenure, there is mention of the Country Promotions, the branded shopping bags, the in-house boutiques, and Bloomingdale's role as a cultural center within a community. Traub referes to several different people as role models and peers, including Jed Davidson, Martha Graham, Bill Blass, and his wife, Lee.

As Bloomingdale's VP of Executive Recruitment and Development at the time of this interview, Margaret Hofbeck describes the department store's lengthy training program and how it affects the staffing at higher levels. Hofbeck details the steps that a new hire must take to grow in merchandising and she credits the immediate hands-on training to be what sets Bloomingdale's apart from other stores, in regards to training. Hofbeck talks about her earlier work in advertising and how she was hired at Bloomingdale's to work in labor relations, a position that was created exclusively for her. In regards to Bloomingdale's CEO Marvin S. Traub, Hofbeck credits him as being a pace setter and trend setter. Through Bloomingdale's, Traub has created an entire lifestyle that attracts both customers as well as strong merchandisers. As the one who oversees the recruitment, hiring, and training of all of Bloomingdale's employees, Hofbeck speaks from experience when she describes Traub's ideal employee to be a strong, creative entrepreneur with excellent taste as well as business sense. Hofbeck speaks to the vital balance between the creative side and the business side of Bloomingdale's and argues that the industry, at the time of the interview, needed people with a stronger business sense. This interview was conducted by Estelle Ellis, founder of Business, Inc., a business market research firm.

This is an interview with four executive members of the Union of United College Employees (UCE) at FIT: Joseph Garofalo, Judy Wood, Juliette Romano, and Arthur Levinson. The four begin by explaining their backgrounds and initial involvement with FIT in the 1960s and 1970s. They discuss how difficult it was to get promotions under the administration of Lawrence Bethel, and how the union had to fight for many rights such as faculty status for “non-classroom faculty.” They also discuss the crowded state of the FIT offices before 1976 and the steadying role the union played in such chaos. The four then describe their connections to the NYC labor movement and close relationships with the Central Labor Council and the Municipal Labor Coalition. State and federal connections also played an important role, and Judy Wood describes her active political involvement with councilman Ed Sullivan. The group then mentions their parent organization, the AFL-CIO, and further union connections with the United Federation of Teachers. They take a moment to remember a strike at Radio City Music Hall, and how they convinced a union to pause the strike to facilitate an FIT graduation, kick-starting a long friendship. The group pays homage to Marvin Feldman, an FIT president they found especially supportive. They mention an upcoming negotiation and go one to detail how union negotiations with the school and city work. Finally, the four describe the union’s relationship to students and the creation of the George Levinson Scholarship Fund in fond memory of his legacy.

This is an interview with David Zeigler who began at FIT’s continuing education division in 1956 following a transfer from the Board of Education. At the time, the school was still based in the Central Needle Trades High School. Zeigler discusses contentions within the English department, the formation of a union in response, and how he came to be elected as the first faculty president of FIT. Zeigler mentions various faculty in his department and emphasizes how deeply he became entrenched in faculty committees due to political forces. Zeigler oversaw the yearbook as well. He then talks about Marvin Feldman and how, coming from West Point, Feldman had to adapt to FIT’s sense of openness. Zeigler discusses the union’s positive impact on the school and what it was like to teach first-generation students, being a proud child of immigrants himself. He then delves into the design of his coursework and how pedagogy has evolved over the years. Zeigler was retired at the time of the interview, but still publishing his own writing as well as taking courses in Yiddish to reconnect with his upbringing. Zeigler returns to a discussion on his challenging time as Chair and what he looked for in faculty. He then talks about liberal arts as key in the development of citizens of a democracy, but notes that some highly successful alumni did not excel in his course. Zeigler discusses the founding of the school and personalities such as Morris Haft who gave the school a familial feel. And finally, Zeigler makes an emphatic statement on the importance of his time teaching at FIT.

This is an interview with three professors of the patternmaking department at FIT: Christine Pupillo, Leonard Trattner, and Harry Greenberg. At the time of the interview, Trattner was chair of the department. Greenberg started at FIT in 1947 and describes an incident that occurred during the Board of Education’s two-day exam, which was a prerequisite to patternmaking instruction. The three delve into FIT’s uniquely specialized program wherein students learn to make slopers. Trattner, a 9th generation textile worker, started as an FIT student in 1964. He discusses his upbringing and life-long connection to the garment industry. They talk about what the union has done for the industry at large and innovations of their department, including classes taught in foreign languages for international students. The three discuss the department’s highly successful VFI program which brings in students who have dropped out of high school or had minor encounters with law enforcement. Greenberg and Pupillo describe their experiences as first-generation immigrants, how that experience often relates to their students, and their own very early starts in the garment industry. As most faculty do, they remain involved in the industry to stay abreast of technological advancements. Greenberg talks about meeting his wife and how he came to be recruited for his initial position. The three discuss the minutiae of patternmaking and the skills their students take to the field. They then talk about changes in student demographics and their hopes for an upper division. Finally, they discuss the Irving Curtis Scholarship Fund and the Harry Greenberg Scholarship Fund, as well as the scholarship provided by Symphony Fabrics.

Dean Emeritus at the Department of Business and Technology at the time of this interview, Jack Rittenberg discusses his many roles while at FIT between the years of 1963 and 1992. He talks of the development of degrees within the baccalaureate program such as those in advertising and menswear, the latter being a degree that Rittenberg co-developed with Ted Roberts. He talks extensively about the school’s early existence in the C Building and the growth of the physical campus as FIT became more than a commuter school. Rittenberg remembers the building of the library and how space for the clothing collection allowed them to split from a storage arrangement with the Brooklyn Museum. Formerly a buyer for Bond Stores, Rittenberg has enjoyed showing FIT’s collections off to friends and visitors. Though Rittenberg was retired at the time of the interview, he was still teaching a spring merchandising course as well as industry seminars. He talks about strong relationships with alumni of the school and how retirement has allowed him to keep in touch with many of them through travel. Rittenberg talks about the faculty tendency to continue to work in the Industry so as to remain current. He also discusses the uniquely driven nature of the FIT student body. Rittenberg then goes into detail about the liberal arts program and gives a deep history of the founding and development of FIT from its roots as the Central High School of Needle Trades. He briefly discusses international students and changing demographics of the school and then launches into a discussion of the evolution of attitudes within the industry in regards to race and sex. The interview ends with a brief discussion of the decline of the fur industry.

Edith Sancroft, professor of health and physical education at the time of this interview, and former Dean of Liberal Arts, joined FIT in 1964. She immediately began a large expansion of the school's dance program and talks about the introduction of an intermediate level of dance for her more advanced students. Sancroft sees choreography and dance as a natural partner to fashion design; her students benefit from the knowledge that body movement has to offer. She pays homage to the 1960s as a period of great growth for FIT. With the formation of the union and the presence of the Civil Rights Movement, the curriculum offerings at FIT grew in variety and scale. During this period, she was also able to offer master classes in dance with guests such as Syvilla Fort, Charles Wiedman, and Mary Anthony. Sancroft talks about how her department has changed and its eventual separation from the Math and Science Department. She also discusses the growth in diversity within the student body. Sancroft laments the loss of intimacy at FIT and remembers its former familial nature. That being said, she gives a lot of credit to faculty members such as Mildred [last name unknown] who wrote a series of grants to support the creation of the educational skills program, an invaluable part of FIT’s curriculum.

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.

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.

Karen Trivette interviews model Karen Bjornson for the Ford Model oral histories series. The interview explores Bjornson’s start in modeling, her interaction with Wilhelmina right out of high school, and even shares her personal romantic life. Bjornson discusses her most memorable modeling experiences and what it was like to work with designers such as Halston and Ralph Rucci.

Interview with Annette Green about her work with the Fragrance Foundation, 1993 August 26. They start at the beginning of the company, Green's initial introduction and eventual rehabilitation of the foundation, and it's current position in the industry. Green discusses her involvement with starting the Cosmetic and Fragrance Program at FIT. Green also discusses her personal life, from her days as a child to her career beginnings.

Interview of James Preston, Chairman Avon Products about Annette Green and the Fragrance Foundation, 1993 August 26. This interview discusses Preston's opinions and admiration for Green and the work she did for the Fragrance Foundation.

Rosalind Snyder, Founder Dean Emeritus 1944-1963 of FIT, discusses the Institute’s inception at the Central High School of Needle Trades, it’s founding vision, and it’s progression to a college-level institution. Snyder describes the educational trajectory that led to her initial post as Assistant Director alongside Dr. Mortimer Ritter at the Fashion Institute of Technology (New York, N.Y.). She describes the early demographics of students and the evolution of the Fashion Institute of Technology (New York, N.Y.)’s curriculum and educational policy, detailing close relationships with the fashion industry itself. Snyder discusses the spirit of collaboration and creativity in the early days of the Fashion Institute of Technology (New York, N.Y.), listing founding educators and innovators who helped the Institute flourish. Snyder pays particular attention to the 1950s wherein the Fashion Institute of Technology (New York, N.Y.) found a home on 27th street and, in 1951, was authorized as a community college; cementing its status as an academic institution of note. Snyder retired from her post in 1963, but asserts her continued belief in the permanence of the Fashion Institute of Technology (New York, N.Y.)’s unique vision of creative exploration.

This is an interview with Marvin Feldman, the Fashion Institute of Technology (New York, N.Y.)’s longest-serving president, whose term ran from 1971 to 1992. The interview begins with a summary of Feldman’s military background and education, followed by his early work experience for the Ford Foundation and United States government agencies. He then explains his search for college presidencies in both the private and public sectors, and how he ended up at the Fashion Institute of Technology (New York, N.Y.). He describes the administration, faculty, and physical plant when he joined as president, and the Institute’s evolution from a two-year community college to an institution offering a four-year baccalaureate. Feldman then delves into the Fashion Institute of Technology (New York, N.Y.)’s interfacing with both the New York State government and various industry groups. He describes the hierarchy of the Fashion Institute of Technology (New York, N.Y.)’s administration and its management style. Feldman goes on to explain how departments grow and develop into viable courses and majors, and gives a detailed description of the Marketing program. He discusses the growth of international fashion merchandising, and then introduces two new Master’s programs. Finally, Feldman discusses the industry’s need for trained workers and how the Fashion Institute of Technology (New York, N.Y.) will function in the years ahead.

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.

Black and white carte-de-visite showing ethnic costume of a Dutch Prior. Full caption: "Costumes des Pays-Bas. Un prieur d'enterrement Protestant d'Amsterdam. Publié par A. Jager. Water 110, Amsterdam. Le droit de reproduction réservé."

Hand-colored carte-de-visite depicting a Swiss woman. Full caption: "Costumes Suisses. T. Richard Phot. Maenedorf. Lucerne Ville Dépose Attenhofer & co. Zurich."

Hand-colored carte-de-visite depicting a woman and child in ethnic costume.

Old man in wheelchair with male and female figures; Black and white: charcoal; Signed