Tailors and Dressmakers Retire their Pincushions as US Demand for Skilled Sewers Grows

A heart-shaped pincushion bristling with needles hangs on the wall inside Kil Bae's store on Friday, March 27, 2026, in New York. (AP Photo/Andres Kudacki)
A heart-shaped pincushion bristling with needles hangs on the wall inside Kil Bae's store on Friday, March 27, 2026, in New York. (AP Photo/Andres Kudacki)
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Tailors and Dressmakers Retire their Pincushions as US Demand for Skilled Sewers Grows

A heart-shaped pincushion bristling with needles hangs on the wall inside Kil Bae's store on Friday, March 27, 2026, in New York. (AP Photo/Andres Kudacki)
A heart-shaped pincushion bristling with needles hangs on the wall inside Kil Bae's store on Friday, March 27, 2026, in New York. (AP Photo/Andres Kudacki)

Hunched over a sewing machine, Kil Bae is hemming a dress inside his Manhattan tailor shop when a new customer stops by with a vintage Tommy Hilfiger jacket he wants taken in.

The modeling agent paid $20 at a thrift store for his reversible bomber style that's plaid on one side and red on the other. He's willing to spend $280 to have it slimmed down. Alteration requests with such a price disparity would have seemed odd a few years ago, the tailor says, but are helping to keep the bobbins bobbing at his one-man shop, 85 Custom Tailor.

Bae carefully examines the cotton jacket before moving in to pin it, circling the customer like a sculptor with a chisel. He started training as a tailor at age 17, in his native South Korea. Now 63, he's part of a shrinking breed in the US, where professional sewers, dressmakers and tailors are aging out of the workforce as their services find fresh demand.

Shoppers who grew up on disposable fast fashion are enlisting tailors and seamstresses to give off-the-rack purchases a custom fit or personal flair, to revive secondhand finds or to extend the lives of their wardrobes, according to fashion industry experts. Weight-loss drugs like Zepbound and Wegovy mean more Americans are seeking adjusted waistbands, tapered sleeves and other types of resizing, Bae said.

“I recommend this job to young people because this one cannot be AI’d,” Bae said, noting artificial intelligence is automating pattern making but so far can't replicate a tailor's handiwork. “Different bodies. Different shape. They cannot copy like this. If I close this door, I can go out and find another one.”

But like engraving, repairing musical instruments and many other skilled trades, creating and fitting garments to individual specifications hasn't attracted enough entry-level workers over the years to replace the professionals retiring their pincushions after decades of performing their craft.

The US Bureau of Labor Statistics estimated almost two years ago there were fewer than 17,000 tailors, custom sewers and dressmakers working in business establishments nationwide, a 30% decline from a decade earlier.

Including self-employed individuals and people working in private households, the median age for all sewers, dressmakers and tailors was 54 last year, 12 years older than the median for the entire employed population, according to the bureau.

The income that a proficiency with needle and thread commands relative to the skills needed and the physical toll of bending over detailed work for hours likely discourages teenagers and young adults from heeding Bae's advice, fashion industry experts said.

The mean annual wage tailors, dressmakers and custom sewers earned as of May 2024 was $44,050 a year, compared to $68,000 for all workers, according to BLS calculations.

“Most of fashion training is really aimed at mass production, not spending time in a shop handmaking a garment,” said Scott Carnz, the provost of LIM College, a for-profit college that offers degrees in disciplines from the business side of fashion. “The work is also tedious.”

Online job postings for tailors, dressmakers and sewers have remained fairly stable, according to Cory Stahle, an economist with the research arm of jobs site Indeed. Between February 2020 and the end of the same month this year, advertised openings decreased by roughly 2%, while postings for both marketing and software jobs declined by nearly 30%, he said.

“There is a kind of a craftsmanship ... that I think is an important piece that we can’t ignore,” Stahle, who focuses on the US labor market, said.

Immigrants with and without permanent legal status, refugees and naturalized citizens have powered America's garment industry for well over a century.

An analysis of recent census data by the Migration Policy Institute found about 40% of tailors, dressmakers and sewers were foreign-born, according to Julia Gelatt, associate director of the nonpartisan think tank's US Immigration Policy Program. The biggest shares came from Mexico, South Korea, Vietnam and China, she said.

To address a worsening labor shortage, the fashion industry is looking to create a new generation of master tailors.

Nordstrom, North America’s largest employer of tailors and alteration specialists, teamed up with New York's Fashion Institute of Technology to launch a nine-week program in advanced sewing and alteration techniques.

“Customarily, tailoring has never been part of the American skill set,” said FIT instructor and Broadway costume builder Michael Harrell, who teaches the course.

The fashion institute received 200 applications for the inaugural cohort of 15 students, who started in October and received certificates of completion in February, said Jacqueline Jenkins, the executive director of the school's Center for Continuing and Professional Studies.

The hands-on training was designed to prepare participants to work at Nordstrom. The luxury department store chain employs 1,500 people to provide tailoring and alternations, from hemming jeans and repairing rips to fitting suits and reworking evening gowns.

Ten members of the first class were hired or are in the process of being hired, Marco Esquivel, Nordstrom’s director of alterations, said.

“We owe it to the broader industry to ensure that this is an art form that exists for years and years to come and continues to serve customers both within our walls as well as outside,” Esquivel said.

Meanwhile, other retailers are expanding their tailoring services because of demand.

Brooks Brothers, a luxury brand that has made custom men’s clothes since the 1800s, tested a similar service for women at five stores last year. This year, it expanded bespoke women's tailoring to 40 more stores. Prices start at $165 for shirts and $1,398 for suits, the company said.

No one to take over Back at 85 Custom Tailor, Bae asked more than once if the customer with the Tommy Hilfiger jacket was certain he wanted to proceed with the alterations. Jonathan Reiss, 33, was sure. He said he planned to wear the jacket often.

“I think I fell victim to buying cheap stuff, and then you realize it just falls apart or shrinks or it just doesn’t last long,” The Associated Press quoted Reiss as saying.

Bae has a son who's a year older than Reiss. He tried to persuade him to go into tailoring. The son used to work with computers and then opened a bagel shop.

“Young people. They just want to find a job in computers,” Bae said. “I think that’s too boring. I think this is very interesting. Every time, I am drawing in my head. I am like an artist.”

Bae trained under his older sister and brother at their custom apparel shop about 93 miles (150 kilometers) from Seoul. After five years, he moved to South Korea's capital to work on custom orders and samples for various companies. He moved to the New York City area, where he worked as a pattern maker for Ralph Lauren, Donna Karan and other designer brands.

He opened his own shop in Connecticut in 2011, but the COVID-19 pandemic forced him to close after a decade. He reopened in his current location a year later.

He uses three different sewing machines: a basic one, another for for heavy materials like denim and leather, and an overlock machine, which cuts, trims, and finishes fabric edges simultaneously.

Bae said he intends to keep working as long as his hands stay steady enough.

“I'm always learning,” he said.



French Parliament Adopts Bill to Regulate Fast Fashion

This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
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French Parliament Adopts Bill to Regulate Fast Fashion

This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)

The French parliament on Monday passed a bill aimed at curbing the rise of fast fashion, targeting major Asian e-commerce platforms, such as Shein and Temu.

The legislation, first tabled two-and-a-half years ago, seeks to regulate so-called "ultra-fast fashion" companies, known for selling large volumes of lower quality clothing at rock-bottom price.

Easy to order and replace, fast fashion items contribute to pollution from the textile industry, which accounts for nearly 10 percent of global greenhouse gas emissions.

The Senate passed the bill Monday after the lower house National Assembly did last week.

It imposes a per-item fee for producing textile en masse that will increase over time, and a ban on advertising for ultra-fast fashion brands, including by social media influencers.

Lawmakers hope to rein in Asian e-commerce companies that have exploded in popularity in France in recent years.

Trade Minister Serge Papin last week said the bill would target the main players, including three companies, which he said are driving the surge in ultra-fast fashion.

"Their names, which were still unknown three years ago... are now on everyone's lips in France: Temu, Shein and AliExpress," he said at the time.

But some have criticized the legislation for sparing European and French companies, such as Zara and Kiabi, with some leftist lawmakers in both chambers abstaining during the vote.

Green Party lawmaker Charles Fournier said last week the original bill had been "considerably scaled back", arguing that brands, such as Zara and H&M "have not become models of sustainable fashion".

Stop Fast Fashion, a coalition of organizations, also criticized what it called as a "greatly watered-down" version compared to the one originally put forward.

- Advertising ban doubts -

Anne-Cecile Violland, the center-right member of parliament who proposed the bill, said they needed legislation that could be passed "very quickly and be operational".

"We're coming down very hard on Shein, and that's the first step," she told AFP, adding she understood the disappointment.

The legislation targets ultra-fast fashion based on two criteria: the volume of clothing placed on the market and the cost of repairing garments relative to their purchase price.

The per-item fee will vary on a set scale according to how each brand scores on both these standards.

The levy could reach up to 20 euros ($23) per item by 2030, though the cap remains at 50 percent of the product's pre-tax price.

Part of these penalties will go towards collection and recycling infrastructure.

The legislation also requires ultra-fast fashion companies to display messages on their websites promoting more moderate consumption, including reusing and repairing clothing.

A ban on advertising, including by influencers, is a central plank of the bill, though questions remain over how it could be enforced.


Osaka Makes Spectacular Wimbledon Arrival in Kimono-Inspired Dress

Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
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Osaka Makes Spectacular Wimbledon Arrival in Kimono-Inspired Dress

Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)

Japan's Naomi Osaka made a spectacular entrance at Wimbledon on Monday as she arrived on court in a kimono-inspired dress.

Osaka has become known for wearing flamboyant outfits before starting her matches and the four-time Grand Slam champion's Wimbledon costume was eagerly-awaited.

With fans and photographers crowded around Court Three prior to her Wimbledon first-round match against France's Elsa Jacquemot, Osaka didn't disappoint.

To match the All England Club's strict all-white dress code, the 28-year-old wore a kimono-style ceremonial dress decorated with embroidered cranes and cherry blossom.

She paired the white outfit with a traditional kanzashi hair ornament featuring white flowers before removing both to reveal a white Nike dress.

While much more conventional, the dress is inspired by kirigami, the Japanese art of paper cutting.

Osaka has worked with a range of fashion designers on her outfits, going for a jellyfish-modelled look at the Australian Open dedicated to her daughter Shai and a gold dress inspired by the Eiffel Tower at the French Open.

For Wimbledon, the former world number one collaborated with Japanese designer Hana Yagi, posting a video accompanied by the caption: "Culture".

Speaking to British Vogue, Osaka said: "I like to use fashion as a medium for storytelling.

"Every walk-out is an opportunity to bring people into my creative world. The fact that people care about it and are excited to see what's next is also pretty cool.

"Obviously, the outfit has to be white, but, aside from that, you can play with a lot of different design elements. In some ways, not having to think about the color allows you to highlight other cool features like fabrics and textures."

Osaka's longtime creative director Marty Harper said Wimbledon's traditions played a key role in the design of the outfit.

"It's one of the few places in sport where ceremony still feels inseparable from competition. We wanted to acknowledge that while creating a dialogue with Japanese ceremonial dress," he said.

"The starting point was the idea of evolving ceremony. The garment is constructed from vintage shiromuku, ceremonial garments originally created to mark important moments in people's lives."


Heat Catches Europe’s Fashion Industry Unprepared as Models Face the Sun in Fur and Wool

 A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
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Heat Catches Europe’s Fashion Industry Unprepared as Models Face the Sun in Fur and Wool

 A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)

The most coveted accessory at the Paris Fashion Week shows this week was not a bag, a sneaker or a watch. It was an ice pack.

As a historic heat wave gripped the French capital, fashion houses fought to keep guests cool with mist machines, chilled towels, parasols and iced Evian on silver platters.

It wasn’t enough. Historic venues sweltered, guests were packed in tight, air conditioning was absent or inadequate and water ran short — at one house, organizers weighed serving none at all, having found only plastic bottles to hand out.

That mattered because Paris Fashion Week is not a minor cultural event.

It is one of France’s most visible export machines: six fashion seasons a year, global luxury houses, celebrities, editors, buyers and clients moving through an industry worth billions, often inside aging venues built for a cooler age.

This week raised a harder question: whether Paris should keep staging menswear and haute couture in the height of summer at all if climate change keeps bringing more frequent and intense heat waves.

“I honestly thought I was going to pass out,” said Ben Freeman, a London-based fashion critic from Australia.

Paris neared 41 degrees Celsius (106 Fahrenheit) during a heat wave that pushed France into emergency mode. Large parts of the country were under red alert, and hospitals were told to prepare for more heat-related cases.

Like the dusty Louvre, which cut hours and said its historic building “remains vulnerable and is not sufficiently adapted to climate change,” fashion week exposed a Paris problem as much as a fashion one: how to keep prestige institutions running when the weather no longer fits the building, the calendar or the crowd.

“Paris Fashion Week is the canary in the mine,” Freeman said.

The deeper contradiction was on the runway. At a Paris Fashion Week Men’s where the industry paid to imagine next summer could barely survive this one, houses cooled the people watching the shows, then dressed their models in unseasonable leather, neoprene, wool and fur.

“The calendar does not make any sense,” acknowledged Dior’s Jonathan Anderson, blaming fractured delivery cycles and a business that bears no relation to the season outside.

Some in the front row suggested that fashion week in the hottest months be scrapped.

“In Paris we don’t have AC everywhere, it’s quite rare,” said Thomas Levy, 24, a fashion student outside one show. “I don’t know how the models did it this week in some of the leather and knit coats."

The venues couldn’t cope

Pascal Morand, who heads France’s fashion federation, said organizers were following the government’s heat-wave plan.

“We are conscious of the challenges and very attentive to preserving the Fashion Week experience in this context of structural change,” he told The Associated Press.

The cause ran deeper — an industry whose fixed parts, from the buildings to the clothes, were designed for a cooler world and a customer who lives somewhere else.

The response included earlier shows, more water, more mist, more shade.

Fashion had already been warned about heat management. In March, Celine built an okoumé-wood pavilion in the courtyard of the Institut de France for a winter show, packed guests inside and still saw some leave because of the temperature.

Dior shifted its show to 9 a.m. from mid-afternoon, and Rick Owens moved his forward too. Yet inside Dior’s half-renovated mansion, water was scarce, there was no air conditioning, and some guests looked ready to pass out.

The strain had already shown at Milan Fashion Week last week. At Thom Browne’s first show there, giant misting fans ran and black umbrellas went out as guests waited out the midday sun.

Runways out of season

The clothes were made not for summer in Paris but for global markets and customers who pass the hottest months in refrigerated air. For them, a wool coat in June is not a contradiction. It is just a purchase.

Louis Vuitton presented wetsuits in neoprene, as well as coats in cashmere and fur.

At Saint Laurent, Anthony Vaccarello sent models through cooling clouds of vapor from a Fujiko Nakaya fog sculpture, then ran hot and cold at once: featherweight, unlined tailoring stripped down for the heat, against leather briefs, choker scarves and transparent shoes fogging with the wearer’s sweat.

Issey Miyake’s IM Men gave the clearest practical answer, handing out ice packs at the door, then bamboo-thread fabrics and shadowy prints that moved with the air rather than against it.

Rick Owens made the anxiety literal, sending models through mist in garments with fans whirring inside. One critic called it metaphor for climate catastrophe.

France’s uneasy cooling debate

Air conditioning remains culturally suspect in France — blamed for sore throats, dismissed as wasteful or bad for the planet — even as heat waves turn cooling into a question of public safety.

President Emmanuel Macron’s government leans toward shade, insulation and trees; environmentalists warn that mass cooling would only deepen the emissions driving the heat.

Europe is the fastest-warming continent, but its old cities are short on the cooling a hotter climate demands. From sport to tourism to construction, industries built around fixed calendars and outdoor crowds are being forced to adapt to heat that comes earlier, lasts longer and climbs higher.

The question is how much longer an aging 19th century Paris can host a summer spectacle where guests need ice packs to reach the finale.