The Cutter, The Sewer, and the “Grommet Queen”—Meet 9 of New York City’s Garment Workers

What attire have you chosen today?

Not so long ago, if you glanced around, there was a good chance the clothes you wore were crafted in the garment district of New York City, nestled between Fifth and Ninth Avenues, from 34th to 42nd Street, a once-thriving hub of American manufacturing. Yet, as the last millennium closed, many brands that originally relied on local workers relocated their operations abroad, giving way to a garment industry that has greatly diminished.

Post-spring 2026 season, one can’t shake the feeling that craftsmanship has gained newfound significance. Featuring an astounding 16 new designer introductions, ingenuity, creativity, and skill dominated the scene. In Paris, Matthieu Blazy revitalized Chanel’s iconic tweed with a beaded twist, while in Milan, Louise Trotter produced fur alternatives using recycled fiberglass for Bottega Veneta.

Amid conversations about creative directors, we pondered: who are the talented individuals turning these visions into reality?

In New York, garment workers tirelessly craft the clothing we cherish, doing so with dedication even amidst numerous challenges—outsourced labor, automation, and the effects of the Covid-19 pandemic. This season, Cooper Callender, an associate design developer at HIPS Studio, meticulously designed patterns for Diotima’s stunning finale gowns; Panchita Buri Quintuna and her team at New York Embroidery Studio adorned Anna Sui’s jeans with studs, while Proenza Schouler’s leather tops were elegantly crafted; Grace Lee carefully crafted the flowing dresses that graced the Carolina Herrera runway at Plaza Mayor.

“Countless hands contribute to that garment before it reaches the rack,” remarks Pauline Lock, product development and production manager at InStyle Factory and informally dubbed the “Mayor of the Garment District.” “Don’t perceive it merely as a T-shirt. It’s not just a T-shirt; it represents human labor that brought it to life.”

Here, meet nine individuals from New York City’s garment workforce, spanning from patternmakers to delivery drivers, who help create the clothes you wear.

• Cooper Callender, a fashion school graduate whose practical experience has refined his design skills.
• Pauline Lock, the “Mayor of the Garment District,” who left a path in law to embrace manufacturing.
• Rudy Gopie, leveraging his mechanical engineering expertise in the Theory cutting room.
• Grace Lee, whose childhood intrigue with paper dolls led her to the Carolina Herrera atelier.
• Mauricio Alvarado, who chose Coach over military service and never looked back.
• Panchita Buri Quintuna, who acquired her printmaking skills on the job.
• Nancy Gordon, the “grommet queen” of New York, with 57 years in the industry.
• Malisa Browman-Ackermann, whose tailoring enhances Met Gala and Emmy looks.
• Keith Williams, a dedicated UPS driver serving the same route for over 26 years.

What led you into your career?

I graduated from Parsons in 2024. Right out of college, I began working for Bach Mai after an internship at the end of my sophomore year. By the summer of my junior year, I received a promotion to assistant, directly contributing to the collection. For my senior year, I joined Christopher John Rogers. After graduating, I continued with Bach while picking up some freelance projects during quieter times. Clarissa [Arocena, co-founder and owner of HIPS Studio] needed freelance assistance, so I started working there part-time. I wanted to transition into patternmaking, aiming to be a designer who is deeply knowledgeable about garment construction. In May, they offered me a full-time role.

Can you describe a typical day at work?

I begin with a sketch from the designers, often something inspiring. We tape it out on the dress form, which involves blocking out lines for draping. After I confirm the lines with Carissa, I drape the dress and seek her approval on that too. Clarissa has incredibly high standards, which is fantastic—she perceives details I often overlook, enhancing the overall quality. Once I complete a half drape, I send it to the client for feedback before finalizing the pattern. We then create a prototype, conduct a fitting, and integrate any adjustments into the final pattern before delivering it to the client.

What has been your proudest achievement in your career thus far?

I had the honor of contributing to the two finale dresses of Diotima’s recent collection. Working on those was an incredible experience. I adored the sketch, though achieving it was quite challenging. I felt very grateful that Clarissa entrusted me with that task. While it’s hard for me to take sole credit as it was a team effort, being involved with those dresses on the runway was a moment of great pride for me.

Interview by José Criales-Unzueta

How long have you been involved in the garment industry?

I’ve dedicated over 30 years of my life to the same company. This place feels like home. I’m not going anywhere; they can’t displace me or flood me out. My passion for this career endures.

What prompted your career choice?

I initially pursued a career in law. After interning at a law firm, I found it less fulfilling than anticipated. I envisioned myself as a crusader for justice, but reality fell short.

My mother was a seamstress, lovingly creating my clothing as a child. She taught me to cut and sew, and those experiences fostered our bond while being enjoyable. I began crafting Halloween costumes for my younger cousins.

How has the industry evolved since you began?

When I started, the Lower East Side boasted hundreds of factories. Racks filled the streets, fabric deliveries were bustling, and the atmosphere was electrifying. I had the privilege of working with Calvin, Donna, Ralph, and Marc during the height of Seventh Avenue’s glory.

As I witnessed jobs transitioning offshore—understandably aimed at cost-cutting—I was saddened. It felt disheartening to see our workforce diminished. I often wonder why we aren’t supporting our local communities. New York Fashion Week stands out globally, but what efforts are being made locally to support designers and manufacturers?

Now, as we navigate tariffs, the conversation has shifted. Some may celebrate the resurgence of domestic manufacturing, but I believe there must be a solid foundation to facilitate this; currently, that foundation is lacking.

Interview by Hannah Jackson

What led you into your line of work?

Originally, I came to the United States from Guyana, where I worked as a mechanical engineer and later taught mechanics at a multilateral school. Upon arriving in this country, finding a job proved challenging. The only way to support my family was to start fetching patterns for manufacturers in Midtown. That initial role opening the door to learning grading led me to excel in the industry.

What achievement are you most proud of?

I take pride in my ability to repair our manufacturing equipment. The Gerber cutter is an intricate and important machine capable of cutting single layers of fabric as well as multiple pieces at once. Being able to maintain, repair, and calibrate it brings me immense satisfaction.

What changes would you like to see in your career’s future?

I hope to witness a resurgence of the garment industry in New York, reminiscent of its vibe from the 1980s to early ’90s. Midtown was once a thriving garment powerhouse, but now it’s largely absent. I feel that governmental support for local manufacturing is essential; while areas in the Midwest may try to revitalize the industry, our manufacturers are still exporting goods instead of turning inward.

Interview by Emma Specter

How long have you been with the garment industry?

I’ve dedicated 47 years of my life to this field.

What does a typical workday entail?

I usually arrive at 8:30 A.M., grab a coffee, and wait for my manager—who is also a patternmaker—to discuss our goals for the day. We typically work on sewing either a fit sample or a final sample for the current season. Collaboration is critical; we exchange ideas on the best ways to construct the garments, often working with soft fabrics, draping, and a lot of tulle.

I usually take a lunch break with coworkers in our kitchen, wrapping up around 4 p.m. As we approach collection deadlines or runway presentations, we frequently work later hours and sometimes even weekends.

What accomplishment are you most proud of in your career?

I’m incredibly proud to have created the ivory dress that Michelle Obama wore on the cover of Vogue’s December 2016 issue and the white suit Kamala Harris wore during her victory speech following the 2020 election.

Interview by Hannah Jackson

How did you begin in your field?

Most of my family worked for Coach when the factory was located on 34th Street between 10th and 11th Avenues. After high school, my uncle brought me here before I enlisted in the Marines. I thought, “Let me work for a bit,” and eventually stayed for 36 years. I never did enlist.

I started on the production line, learning each step. After around three years, I received the opportunity to become an apprentice patternmaker. My mentor, David Hornstein, was retiring, and they needed to train someone. Out of ten applicants, I was fortunate enough to be the one chosen to learn the craft.

What does your day-to-day look like?

I wake up around 5:30 A.M., shower, and prepare for my day. I commute from Connecticut, taking an hour-long train ride and then the subway. When I arrive, I tackle various projects, usually physically working at my desk and ensuring factory outputs meet the correct specifications while gathering information for reports. My day often concludes around 5:30 or 6:30 P.M., depending on the workload.

What significant changes have you noticed throughout your career?

There’s been tremendous innovation and new technology—improved machinery and methods for increased efficiency. Additionally, brands like Coach are focusing on sustainability and being more mindful of the environment, steering development toward eco-friendly products.

Interview by Leah Faye Cooper

How did you arrive at your position?

I previously worked with jersey for 15 years. After losing that job, I was determined not to remain at home, so I took to a local stop and was picked up as a day worker. Since then, I’ve found a permanent home here. I enjoy the variety; some days involve one task and other days something different. My previous job focused largely on ironing, but this role taught me to sew. Initially, I felt nervous about the potential to make mistakes, considering the cost of materials. I began by sewing leather jackets and adding linings to collars. This job has been a dream come true for me.

What does an average workday look like for you?

Each day brings unique challenges. I might start by ironing, cleaning, or sewing—whatever is needed. We often engage in diverse tasks, including printmaking, which is my favorite. This involves using a yellow and white powder to produce prints on fabric.

How have you observed the industry transform in the past decade?

The industry has modernized significantly. Each year brings new advancements, and we continually innovate without reverting to prior methods; each project becomes increasingly contemporary and novel.

Interview by Laia Garcia-Furtado

How long have you been part of the garment industry?

I began on October 31st—Halloween day—in 1967.

What is a typical day in your life?

My work is largely responsive; I cater to walk-in clients rather than pre-scheduled appointments. I tackle various requests for ribbons, buttons, eyelets, snaps, and grommets. I’m semi-retired, working three days a week. Throughout my career, I’ve contributed to numerous Broadway and fashion shows requiring my skills. I also assist students at FIT with their corset class.

What do you consider your proudest professional achievement?

It’s heartening to be recognized by others, even those I don’t know. I often hear, “Nancy, there’s all of us, but only one of you.” I’ve relished every moment in my career. For instance, when The Lion King premiered on Broadway, I had the honor of being the first to attach the tail to the Lion King’s costume.

Interview by Christian Allaire

What sparked your passion for this work?

My journey began with making my own clothes as a child while often visiting a seamstress alongside my mom. Growing up in New York, I studied costume design and history at SUNY Purchase and Yale, providing a solid foundation to collaborate effectively with designers to realize their visions. I was the first contracted tailor at Condé Nast, collaborating with Edward Enninful on his first British Vogue cover. I’ve since worked with Gucci, Armani, and Brunello Cucinelli, continuing to foster sustainable practices since founding In-House Atelier in 2007. One of my initial projects entailed implementing Uniqlo’s alterations program in their retail locations.

What do you wish others understood about your role?

I desire for more individuals to recognize that this isn’t merely a hobby; it’s a livelihood connecting to theater, art, and film. It’s crucial for younger generations to see tailoring as a valued profession rather than just a seat at a sewing machine. I aim to advance this movement beyond outdated perceptions.

How do you envision the industry evolving?

I’d like greater respect for tailors from designers and industry leaders. Jerry Lorenzo from Fear Of God notably championed his tailor at the Met Gala, inspiring changes. I believe that the sustainable approach can be integrated easily through alterations, paving the way for brand collaborations in this regard.

Interview by Anna Cafolla

What sparked your interest in this line of work?

I attended a job fair in 1988 while still in school. UPS had a college reimbursement program, which greatly assisted me. Initially, I was part-time while juggling school and did that for ten years before becoming a full-time driver in 1998.

What does your daily routine entail?

I rise at 4 A.M. to prepare for my early morning runs, servicing customers who need deliveries by 8:30 A.M. After returning and sorting my truck, I start delivering in NoHo, beginning at 9:30 A.M. My route includes Rachel Comey, the Lede Company, and various other fashion brands. We’re embedded in the fashion scene—handling fabrics, patterns, samples, and products constantly. My day generally wraps up around 7:15 or 7:30 P.M.

What insights do you wish people had regarding your role?

While people observe us at work, they often overlook the nuances—how we manage logistics, coordinate everything in the truck, and navigate through various challenges, including unpredictable city traffic and weather. Among the most cumbersome tasks involves moving heavy rolls of pattern sheets, which requires significant physical effort.

Interview by Leah Faye Cooper