In addition to our familiar sailors' clothes, women's school uniforms also have British jackets and jackets, and sweaters and coats for winter wear. In a New York Times interview for the "Women's Page" in March 1939, Rosenstein is said to have "bid for a restricted but sound patronage."(50) Her work was wholesaled to high-end retail shops, which, as late as 1934, still sold them under the label of the shop, not the name of the designer. Agreements between London's Royal Worcester Corset Company and couturiers in Paris and Vienna kept the former from giving any advance information of the "new curve" in its Spring line of corsets and so made headlines in Women's Wear in early 1912.(61) In February and April 1912, leading Paris couturiers held their Spring models back from both the Auteuil and Longchamps races, traditionally events of great importance to both the designers and their customers. 13.52.410 Falsification of information. The Style Piracy Bureau of the Associated Garment Industries of St. Louis has the co-operation of the Ladies Garment Workers Union.

Organizations such as the French Chambre Syndicale and the American Fashion Originators Guild attempted to fight design piracy and extend copyright protection to apparel and textile designs. Perhaps this is one factor in the eventual recognition of an American style. Joseph, one of the more exclusive custom dressmakers in New York (producing both copies and/or adaptations of Paris models and original designs), made the costumes Louise Gunning wore in a play entitled The Balkan Princess.(59) Madame Margé received the Mallinson Cup for excellence in stage costume design for clothing Marilyn Miller of Ziegfield Follies fame. Barbara Lee silk day dresses cost $39.50 with the added attraction that they were "shown exclusively" at one department store only in each city. Vogue"s "Seen in the Shops" feature quoted prices of $29.50, $35, and $49.50 for ready-to-wear dresses, while Mazon"s, a company established in 1899 that purchased Paris models to sell "after they have been shown to illustrate the Parisienne modes," offered model sizes only within the range of $20 to $75. It is difficult to evaluate and compare prices between custom and ready-to-wear, since ads and features for made-to-order imported or even American-designed models in Vogue and Harper's Bazar rarely included prices.

Hawes states in Fashion is Spinach that many producers expected to pay low prices for wardrobes for their stars and that most stars expected wardrobes that would strengthen their stardom, not their characterization. Conversely, although some couturiers did create wardrobes for Hollywood films, it was more often the Hollywood costume designer who made a name in films and then established a business in custom or ready-to-wear design. 60) Joset Walker, by 1940 the designer for wholesale dress manufacturer David Goodstein, had learned her craft ten years before, betsey johnson scrubs first in Saks Fifth Avenue's "Theatrical Department," then at RKO Studios in Hollywood. Omar Kiam actually started in New York's wholesale dress business, went into film work, and then returned to New York to design for Ben Reig. A tiered pricing system was suggested with the purpose of adding to the standard cost of a couture gown a copyright fee, payable by business customers who wished to reproduce the design for sale.

The question in the fashion press seemed to be, however, whether American design was indeed original or followed Paris's lead so closely as to be indistinguishable, except for that extra degree of elegance and sophistication that was supposed to mark a Paris original. Store and manufacturer ads for ready-to-wear usually listed prices, however, and the range for ready-to-wear is considerable, even as it is today. If you have a telemarketer in place to qualify the leads first, even better. I have truthfully by no means actually found myself in a place where my gender made it tough or more difficult for me to travel; though challenges does still be present in some countries regardless of the world usually being more open to females who choose to take a trip alone. The labor of the workers who made an average garment requiring fifty-five hours of work came to $44. Fault is found with expensive ready-to-wear clothing because, in order to be financially successful, a garment had to be sold in multiples, thereby increasing the probability that a woman might see someone else wearing the dress she had purchased. Stage celebrities appeared in ads for fashionable commodities in the 1910s. Hazel Dawn, star of The Pink Lady on Broadway, was used by H. R. Mallinson & Company in their silk ads of 1915. Many other stars of both stage and silent film followed for both Mallinson and other fabric and garment manufacturers.