August 12, 2025 • 23 mins
Custom Shirt Maker
Ever wonder how a guy chasing love in NYC ends up dressing Broadway stars and Hollywood legends? Meet Carl Goldberg—a shirtmaker, entrepreneur, and all-around fabric whisperer.
He didn’t plan on a career in fashion, but 40+ years later he still runs his a thriving custom shirt business in the heart of Manhattan
In this episode, Carl shares his career journey—from retail gigs to launching his own shop—and offers insights for anyone thinking about a career change, or dreaming of turning a love of fashion into a full-time job.
You’ll get a peek behind the curtain of the entertainment world, where Carl’s shirts have been featured in The Producers, The Music Man, Law & Order, and many more.
Tune in and hear how Carl keeps the love in every stitch.
Follow him on Instagram @cegonyc and see the magic for yourself.
Carl’s website - https://www.cego.com
Visit our website at https://www.howmuchcanimake.info/ to submit jobs suggestions for future episodes. Please FOLLOW us and/or WRITE A REVIEW and SHARE with anyone who's curious about their next career move - Thanks!
Want us to cover a specific job? Shoot us an email!
Music credit: Kate Pierson & Monica Nation
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
I remember we were doing a fitting for Tom Hanks
for the Post.
I'm in there.
He puts the shirt on, he putsthe suit on, he has the tie
pushed up.
He sits down.
Someone hands him a newspaper.
He's got a cigarette.
He undoes the tile a bit andgoes straight into character.
Speaker 2 (00:19):
Wow.
Speaker 1 (00:19):
In the fitting room.
He does the voice, you know.
He does the mannerisms.
Speaker 2 (00:23):
Wow.
Speaker 1 (00:23):
It was so much fun to watch.
Speaker 2 (00:27):
Welcome back to how Much Can I Make.
I'm your host, mara Vozeri.
Today I'm here with Carl.
When his wife, cynthia, told methat I should talk to him
because he's a custom shirtmaker and his work is really
interesting, I got reallycurious.
I thought I should go and seehis shop.
I imagined the man sittingbehind the sewing machine and
(00:48):
working along, but I was totallymistaken.
When I got to his shop on thesecond floor in a Manhattan
building, there were like 10people working seamstress
pattern makers.
There were shirts everywhere,material of high end, lots of
shirts from Broadway plays andmovies and pictures of
celebrities.
So let's find out how did heget into it and why, and is it
(01:11):
worth it?
So, carl, thank you so much forbeing here.
Speaker 1 (01:15):
My pleasure Marath.
Speaker 2 (01:16):
Excellent.
Let's start by telling me howdid you get into shirt design?
Speaker 1 (01:21):
Well, I'll give you the quick story.
My family owned an Army andNavy surplus store in
Philadelphia.
I worked there as a kid a lotof times, through college as
well.
But then in college I met agirl and I followed her to New
York.
I didn't go into the familybusiness and much to my father's
.
Speaker 2 (01:40):
It's always because of love.
Speaker 1 (01:42):
Yeah, you know I was one groom to take over, even
though my older sister ended upbeing the one who did and sadly
the business closed a few yearsago, shy of 100 years in
business.
My father was an amazingmerchant and he turned it into a
fashionable store.
Starting in like the late 60swith the hippiess, 80s all the
(02:05):
way into the 90s with the youngpunk rock kids would go shopping
in there because it wasinexpensive did you spend time
in the store?
Speaker 2 (02:12):
did you breathe in all that fashion and all of?
Speaker 1 (02:14):
that I worked there every saturday okay and my
father used to take me to newyork on business trips.
We'd sometimes we'd go aroundthe country to look at factories
.
I remember going to the midMidwest to see a Lee Jean
factory and then we went down toCarolinas to see a sweatshirt
factory that they used to buytons of sweatshirts from.
Speaker 2 (02:33):
So was the desire to be one of those was building in
you then, like I said, I movedto New York.
Speaker 1 (02:39):
My mother goes.
If you move to New York youhave to have a job.
So I got a job at the oldBarney's at 7th Avenue, 17th
Street as a salesman.
As a salesman downstairsselling shirts and ties and
shirts yeah, lots of accessoriesand whatnot.
And I worked there only aboutthree months from there because
I didn't want to work retail.
So I took a job in Williamsburgin a clothing factory that made
(03:03):
really nice natural shouldersuits, very classic suits.
So I worked there for a yearand when I was there, one of our
suppliers I ran what theycalled the special order
department.
So stores around the countrywould send in orders and I
oversaw like six cutters whowould cut the suits and then
they'd go through and make surethey got shipped.
So while I was there, one ofour suppliers of fabric woolens
(03:27):
wanted to know if I wanted a job.
So I ended up taking this job,working in midtown selling
woolens to the tailors sellingwoolens.
Speaker 2 (03:34):
Woolens, what is woolens?
Suit fabric?
Okay, you know.
So you sell them, the rawmaterial selling raw material.
Speaker 1 (03:40):
But when I was there, I met people who were what we
call custom clothiers, and thesewere people who were not
tailors I am not a tailor.
They would measure, people,help, style and then they would
have the stuff made in variousfactories.
Speaker 2 (03:53):
So when did you have the eureka moment that you said,
aha, I could do that 1982.
Speaker 1 (03:59):
Wow, here's nice Jewish boys working for a
Gentile firm.
And it's like, who are thesepeople?
I didn't understand them at all.
They were just so.
It was so strange.
It was a different world, butthey had a good business.
Anyway, I left there, startedthis business.
I floundered for a long timebut I had some good customers
and over time I knew all thetailors from when I sold them
(04:21):
fabric.
So if I had a problem with asuit I'd sometimes ask some of
the tailors from when I soldthem fabric.
So if I had a problem with asuit, I'd sometimes ask some of
the tailors why doesn't this fit?
And we'd talk and they'dexplain you know what went wrong
.
And these were tailors who hadmade very expensive clothing.
I was not competition.
And they would say you knowwhat?
Mr Smith needs some shirts.
Why don't you make him someshirts?
So they helped me out.
So I'd start making.
(04:43):
I started doing more and moreshirts.
Speaker 2 (04:45):
So you were actually taking the measurements and
sewing.
Speaker 1 (04:48):
No, no, no, I don't sew a stitch, so I would take
the measurements style it getthe fabric and I had different
people making them for me.
At that point there was alittle shop on 32nd Street did
some work for me and they onlyhave about four people.
And then there was anotherbigger factory in New jersey
that I worked with had a muchbigger shop.
(05:09):
They had about 80 or 90 peopleout there.
It was a big shop and they didwork for people all over the
country, so I was just one oftheir customers so custom shirts
is a it's a tradition, it'sgoing on for for a long time
forever.
Speaker 2 (05:21):
Yeah, okay, so what was the moment that you decided
you're going to open your ownplace?
Your place is very impressive.
Speaker 1 (05:27):
You have a lot of people working there.
The business changed over theyears.
Speaker 2 (05:31):
Okay so.
Speaker 1 (05:32):
I started with a tiny little place and then, took
another little tiny place.
Speaker 2 (05:37):
And how did you recruit your people?
Your pattern maker, your tailor, you know what?
Speaker 1 (05:45):
People sort of found me in some ways.
So when I was at 174 5th aboveEisenberg's coffee shop, I met
this woman who had worked forsomebody else, for another shirt
maker, and she had a fight withhim.
So she came to me and she wasexcellent, she was really good
shirt maker, so she was workingfor me so you all grew up very
organically, yeah then I gotanother sewer.
(06:06):
Then I found a cutter patternmaker and then added another
person here.
More machines moved to a biggerspace, added more people, got a
better cutter, got rid of theother one.
Speaker 2 (06:17):
Who comes to you for custom shirt.
Let's start with that.
Speaker 1 (06:21):
For years it was just regular men who wanted
something nice, somethingspecial.
Sometimes they were reallydifficult to fit.
A man might have a 19 and ahalf inch neck, but the rest of
his body is a large.
So if you bought a 19 and ahalf, he's swimming in the shirt
and you can't alter it.
Then you get the type who wantsspecific details and, for
example, some guys want a pocketon their shirt with French
(06:44):
cuffs and you can't find a shirtfor cufflinks with a pocket.
And then there's other peoplewho just like the idea of
picking their own fabrics,picking the styles and having it
made for them.
Speaker 2 (06:55):
I saw shirts that you did for the producers on
Broadway, for Tom Hanks, forLeonardo DiCaprio.
Before we get to theentertainment business, what is
the craziest request you havefor shirt?
Speaker 1 (07:08):
There's a lot, I mean in the last couple of years.
It was kind of interesting wasa young black kid bought a Louis
Vuitton scarf that had liketags on it.
Looked like luggage tags, andhe asked us to make it into a
short sleeve shirt, which we did, and it was absolutely
beautiful.
If you look on my Instagram,it's there and the way my
(07:28):
pattern maker did this, matchingeverything it says Louis
Vuitton on the back of the shirt, on the little sleeve.
I mean, it's phenomenal how hedid this.
Speaker 2 (07:37):
And it's allowed to do it right, To take somebody's
why not, he bought the fabric, Imean he bought the scarf.
Speaker 1 (07:44):
He.
Speaker 2 (07:49):
So okay, so I get what is different from the
custom shirt, from the shirt onthe rack, because you could
really fit it and I can see it'sa very expensive thing to do,
though Only people with moneycould do that.
Speaker 1 (08:02):
Well, you know, years ago I used to have this bus
driver.
He lived way out in the middleof nowhere in Queens and he did
a Frank Sinatra routine in oneof the local bars and he wanted
to have shirts that looked likesomething.
Frank Sinatra routine in one ofthe local bars and he wanted to
have shirts that looked likesomething Frank Sinatra wore.
You know, back in the 50s and60s He'd come in and he'd give
me, we'd pick out the fabric,he'd give me like $20 or $30 up
(08:25):
front and then he'd send meevery week there'd be a check,
another check for $10, a checkfor $12.
Speaker 2 (08:31):
What was the total?
Do you remember?
Speaker 1 (08:34):
You know, it was probably like $200.
This is years ago.
He passed away and he wouldkeep sending me these checks
every week.
Once he paid, once it was allpaid, he came and picked up his
shirt and he was a bus driver.
I mean this.
I mean he had maybe two shirtsmade a year.
Speaker 2 (08:48):
Right, and that was his custom, yeah, but okay.
So from a custom, let's get toall these celebrities, tons of
celebrities that I saw picturesof and shirts of.
How did you break?
Speaker 1 (08:58):
here's how it started , okay uh, one day I get a phone
call from this woman.
She's one of the costumedesigners of the show spin city.
This is back in the late 90sand she asked me the prices.
I get a call the next day.
Can you come, please measure?
The producer of spin city.
I said sure, they were filmingover on 23rd Street at the Piers
, all the way west.
(09:18):
So I said who am I measuring?
Oh, michael J Fox Made someshirts for Michael J Fox.
They were happy.
And then there was a fellowworking there at the time in the
costume department who went towork for William IV Long who was
a famous costume designer whohas won numerous Tonys.
They were working with somebodyelse.
(09:38):
They didn't really like him.
Fellow Tom said why don't yougive Carl a try?
So the first shirts we madewere for the Music man with
Craig Bierko.
So we made shirts for that andI even made shirts for the
recent Music man with HughJackman.
But the funny thing about HughJackman was the first shirt we
made was the typical big stripesof the white round collar and
(09:59):
he tries it on.
It looks great.
Afterwards he goes.
I don't want to look like thetypical music man.
So we basically copied a Pradashirt that he loved, which was
okay.
Fine, whatever you want, we'lldo it.
You know you're the one, theone bringing the.
You know Hugh Jackman'sbringing the people to the
theater whatever he wants, right, wow so and then the next show
(10:20):
William Ivey Long did was theproducers.
So nice Jewish boy was makingNazi stormtrooper shirts for a
year for a year you worked onthat show yeah, we did, for it
ran for a long time.
I made shirts for Nathan Lane,for Matthew Broderick, so we did
.
It ran for a long time.
I made shirts for Nathan Lanefor.
Speaker 2 (10:36):
Matthew Broderick.
So what do you mean?
It ran for a long timeThroughout the show you had to
renew and make.
Speaker 1 (10:40):
Yeah, you always had to make new ones, so the actors.
So, for example, let's say itwas Nathan Lane.
Speaker 2 (10:45):
Right.
Speaker 1 (10:46):
He had four different shirts that he wore and you
make at least two of each shirtso that he wears one one day,
and then they wash it, and thatevening he puts on the other
shirt.
Speaker 2 (10:57):
Right.
Speaker 1 (10:57):
Sometimes certain actors perspire quite a bit and
you make more.
Speaker 2 (11:02):
Wow, and what do they pay?
The Broadway must pay big moneyfor a shirt.
Speaker 1 (11:06):
I usually charge them the same price usually.
The only time I charge themmore is if they need it in like
a day or two.
Speaker 2 (11:13):
Oh right, which.
The only time I charge themmore is if they need it in like
a day or two, oh right, whichhappens.
Speaker 1 (11:17):
I mean, we'll make a shirt in two hours when we have
to.
Speaker 2 (11:19):
But the material you use is very expensive, right?
Speaker 1 (11:22):
For the Broadway things.
It doesn't have to be expensive, it has to just look the way
they want it to look.
Speaker 2 (11:31):
It has to look a specific way.
Speaker 1 (11:32):
Oh yeah, Makes sense yeah.
Speaker 2 (11:33):
For costumes yeah, specific way.
Oh, yeah, makes sense.
Yeah, for costumes yeah, sookay.
Speaker 1 (11:36):
And how did you break into TV and film?
I mostly did Broadway and thenyou know they will talk.
All the costume people talk toeach other oh, I need something
made.
Who do you have?
And my name would get passedaround.
And then I started doing TV andsome film.
I made shirts for this costumedesigner, Anne Roth, who's
amazing.
She's won both Tonys and Oscars.
I remember we were doing afitting for Tom Hanks for the
(12:03):
Post, and I'm in there.
He puts the shirt on, he putsthe suit on, he has the tie
pushed up, he sits down, someonehands him a newspaper, he's got
a cigarette, he undoes the tilea bit and goes straight into
character in the fitting room.
He does the voice, you know itdoes the mannerisms.
Speaker 2 (12:18):
it was so much fun to watch wow, who else give me
some more gossip?
Speaker 1 (12:23):
uh, you know what most actors are wonderful to
deal with really yeah, theyenjoy them, they're nice.
I mean, sometimes you getactors that are funny who do
shtick during the fitting MartinShort, really, yes, nathan Lane
.
I'm trying to think of someothers.
Billy Crystal is not funny inreal life.
Speaker 2 (12:45):
Really Interesting.
Speaker 1 (12:47):
Don't tell anybody.
There's certain actors who Iwill not name, who I never have
to measure in person again, nordo I want to, but I have their
measurements and we just makethem things.
I don't always measure theactors in person.
Sometimes they'll give me ashirt that they wear and they
will copy it and makeadjustments to it.
Speaker 2 (13:09):
Now are you usually the one that does the
measurements.
Speaker 1 (13:11):
Yes.
Speaker 2 (13:12):
Okay, so you do the marketing, obviously, and the
sales, and you do themeasurements and then you come,
you give it to the people andthey take it from there.
Yeah, that sounds like a greatjob.
Yeah, I enjoy it.
Speaker 1 (13:24):
There was a long period of time where I had
struggled.
When I met Cynthia, this wasabout 12 years ago.
Things really start to turnaround for me and my business
mostly the entertainmentbusiness just grew.
Speaker 2 (13:37):
It's love again.
Brought it to you no it's backand now.
Speaker 1 (13:40):
today it's like 50% of my business.
Speaker 2 (13:42):
Wow.
Speaker 1 (13:42):
Entertainment TV film .
I do a lot of work on Broadwaystill.
Speaker 2 (13:46):
What do you prefer To the entertainment industry or
individuals?
Regular customers yeah.
Speaker 1 (13:52):
With certain customers.
I build a rapport and itbecomes personal.
I become friendly with some ofmy customers and socialize with
them.
You know there's plenty offaceless customers.
They come in.
I can't remember their name,who are they, what do they do?
But I remember a lot of myreally good customers and enjoy
seeing them, do you?
Speaker 2 (14:11):
make shirts for weddings?
Speaker 1 (14:12):
Oh, of course, wedding, yeah.
So as the business has grown,these days we want a five-shirt
minimum.
So if somebody comes in becausewe make a full pattern Right
and that's time-consuming, wemake a first sample.
And today somebody wants oneshirt, two shirts, I just say no
, we don't have the productioncapable.
We do everything inside, andfor years I worked with another
(14:34):
factory in New Jersey that didquite a bit of my work and sadly
he closed during the pandemic.
Speaker 2 (14:39):
So it's all in-house now.
Speaker 1 (14:40):
Everything's in-house .
Yeah, for weddings.
I'm not doing one for this one,one for that one.
Speaker 2 (14:49):
It's five for the same customer.
Speaker 1 (14:50):
Oh okay, oh yeah, because every time you make one,
if it's a new customer, youhave to make a pattern.
We're not computerized.
I used to get a computer inthere to make the patterns be
easier, but we don't have thatyet and that's going to happen
one of these days.
Speaker 2 (15:04):
Oh, you think, so I have to.
You could have robots.
You could do one robot thatwill do the pattern, sew it for
you and out it goes.
Speaker 1 (15:12):
Like I said, when you get the robots involved,
there's no love, Right?
The pattern is a lot easier todo because you still need
somebody to cut it.
We cut by hand.
I'm not ready to spend aquarter of a million dollars to
get an automatic knife cutter.
Speaker 2 (15:27):
Oh, that's what they have those too.
Speaker 1 (15:29):
They have these amazing cutting machines, and
then the big factories havemachines that make everything
automatically, and today all theshirts are made in these
massive factories withcomputerized machinery.
There's nothing worse thannon-iron fabric.
It's an abomination, oh.
It's treated with terribletoxic chemicals formaldehyde,
(15:51):
liquid ammonia, also a lot ofresins.
That's what they put in thenon-iron shirts.
Speaker 2 (15:57):
Wow.
Speaker 1 (15:57):
And as I always put it with my ladies, in those big
factories there's no love in thegarment when we make the shirt.
You know, it's a small workroom.
We have up to 10 people andthey care.
Speaker 2 (16:08):
So, if you look back now, what is the one thing that
you wish you had known beforeyou started your business?
Speaker 1 (16:16):
You know, when I first started, I don't think I
was as hungry as I became laterin terms of the business, when
my son was born, that's 35 yearsago, there was this revelation.
I said oh my God, I've reallygot to start working.
Speaker 2 (16:31):
No more fooling around.
That will do it for sure.
Now let me ask you what kind oftraining somebody needs to get
in order to become a shirt maker.
Speaker 1 (16:39):
It depends.
If you're going to sew and cut,then you really need a proper
education.
There's a lot of stuff peoplelearn on YouTube today.
It's amazing how many tutorialsyou can see and sort of learn
on your own.
But you need someone to reallyshow you how to do those things.
But if you just want to be adesigner, there's lots of ways
to do it.
There's lots of companies thatwill help you design your line,
(17:00):
do the manufacturing, find thefabric and then you just have to
sell it and market it.
And today there are factoriesthat do work not so much in the
United States anymore, but youknow, in Europe, obviously China
, portugal where they really setup well and you send the.
I mean in China there's onefactory I know.
You send in the measurements,they pull the fabric and two
weeks later the garment's beensent, you know, at your doorstep
(17:24):
.
Speaker 2 (17:24):
Yeah, I did it once with a leather jacket, actually
with India.
Speaker 1 (17:28):
Okay, did it have it come out?
Speaker 2 (17:30):
Very good, oh good.
What would you say?
People don't realize about yourindustry.
Speaker 1 (17:35):
Like any business, it's a lot of work.
It's not easy.
There's always something thatcould go wrong.
For example, right now thetariffs are so stupid you don't
necessarily know how much thingsare going to cost.
I ordered Mother of Pearlbuttons from Italy and they came
in much higher the tariffs thanI thought they would.
Wow, that doesn't higher thetariffs than I thought they
would.
Speaker 2 (17:55):
Wow.
Speaker 1 (17:56):
That doesn't even include the shipping, because
shipping charges are high thesedays.
Speaker 2 (17:59):
Right and you didn't calculate it into the estimate
that you gave the customer.
Speaker 1 (18:04):
Well, no, I mean I'm buying thousands of buttons at a
time.
So it's not a lot, it's just tome all of a sudden it's an
extra $400, which is reallyinconsequential for a single
button when I'm buying thousandsof buttons at once.
But it still, it adds up.
Speaker 2 (18:20):
What is your biggest challenge?
Speaker 1 (18:22):
Getting workers who I can put on the payroll.
The garment industry isnotorious.
It started.
People came over from whereverthey were living.
They got hired.
They didn't get paid a lot, butthere was jobs.
They needed hired.
They didn't get paid a lot, butthere was jobs.
They needed people.
And today it's very difficultto find people who have legal
status.
Speaker 2 (18:41):
Wow, well, most of the Simsters.
I would think it's a problem, Iknow in other countries they're
usually immigrants.
Speaker 1 (18:47):
Yeah, I mean everybody in my factory, in my
workroom it's not a factoryspeaks either Spanish or
Portuguese.
Speaker 2 (18:53):
Right Wow, factory speaks either Spanish or
Portuguese, right, wow, that's aproblem, so okay.
So what is the biggest?
Speaker 1 (18:58):
reward.
I really like the interactionwith the customers, with the
costume designers helping themto get what they want, and then
when you see the finishedproduct on somebody and how
happy they are with the fit andthe design.
It gives me a lot of rewards.
I love seeing clothes thatwe've made on stage.
(19:19):
They're usually pretty nice.
They always give us a couple oftickets to see a show.
We did some shirts for JonathanGroff for Justin Time.
He actually loves my shirts.
We did some stuff for anothershow.
He always wants me to makeshirts for him.
I've never met him but, heknows he wants me to make them.
We do a lot of shirts for showslike Law Order and FBI.
(19:43):
I used to make shirts for TomSelleck for years.
Really I didn't watch BlueBloods, but he was very nice.
He was really nice and when hewas in his 20s he used to work
in men's clothing stores in LosAngeles and we had a wonderful
chat about old stores in LosAngeles.
Speaker 2 (19:59):
So at the time they had to come to your shop to be
measured, right it depends.
Speaker 1 (20:05):
Occasionally they'll come to my measured right.
It depends Occasionally they'llcome to my shop and Tom Selleck
, I went to the studio out inQueens to measure them out there
.
Speaker 2 (20:10):
Oh, interesting.
So if somebody that's listeningtoday will decide this is what
I want to do, what is the firstthing they need to do?
Speaker 1 (20:19):
Go online, learn about whatever you can, and then
again, if you're not going tolearn how to cut or sew, you
really have to look at garmentsjust the same to see how they're
manufactured.
I don't know how to sew, but Iknow, when I see a shirt, when
something's been done properlyor not.
Speaker 2 (20:37):
So you have to learn.
Like anything else, you have tolearn it in and out.
Are you thinking of growingyour business or are you going
to stay at this?
Speaker 1 (20:45):
Well, at this point, you know I've been doing this
for a long time.
I'm 67.
If I really wanted to grow thebusiness, I could, but I don't
want to.
Speaker 2 (20:55):
Why.
Speaker 1 (20:56):
We're busy.
I make a nice living.
We do well.
My wife and I have a lovelyplace up here in Bearsville that
we love to come to.
I have no plans to retire.
Speaker 2 (21:07):
I may not work as many hours, but soon you're
going to have a grandson andyou're going to want to leave
him a lot of money.
Speaker 1 (21:11):
Well, I'm excited for that in fact one of my ladies
who's retired.
I'll give her fabric and shecomes back with baby clothes oh,
wow and they're the mostbeautiful fun she made.
Uh, and this time she made alittle guayabera for like a
one-year-old or two-year-old, Idon't even know what size it is,
but it was.
Speaker 2 (21:30):
It's fantastic now come to think of it, custom baby
clothes is a very good businessidea.
Speaker 1 (21:36):
No, it's not no because it takes just as much
time to make a little shirtalmost as it does to make a
large shirt.
So there's no, it's expensive.
Speaker 2 (21:48):
You never got into women's shirts, right we?
Speaker 1 (21:51):
do women's occasionally.
Men are generally easier.
Women will buy one shirt, acertain style.
Then they want to do it anotherway and it's just too
complicated for us to makepatterns each time.
Speaker 2 (22:04):
Right.
Speaker 1 (22:05):
So subtle changes, yes, but I do have women who
wear what we might call auniform and they like wearing
the same thing over and overagain.
Those are the customers that Ilike.
There was a short-lived women'spajama project that I was doing
with my wife.
They were beautiful, thepajamas, but it just we my wife
(22:26):
and I, did not know how to worktogether there it goes and no it
really I am jealous of notjealous but I.
When I see husbands and wiveswork together, it has to be
stressful because it comes homeright, so you scratched that
project.
Speaker 2 (22:44):
Yeah, good for you.
Yeah, what I wanted to ask youabout your instagram how do, how
do people find you on instagram?
Speaker 1 (22:51):
my instagram is not nearly as good as it should be,
but it's c-e-g-o-n-y-c, so segocustom shirts.
Sego stands for carl edwardgoldberg, and that's how you can
find me.
I'm famous in a very narrowfield.
So if you were to Google customshirts New York, I show up.
Speaker 2 (23:13):
Okay, excellent, yeah , all right, All right, thank
you.
Okay, that's a wrap for today.
If you have a comment orquestion or would like us to
cover a certain job, please letus know.
Visit our website athowmuchcanimakeinfo.
(23:33):
We would love to hear from youand, on your way out, don't
forget to subscribe and sharethis episode with anyone who is
curious about their next job.
See you next time.
I remember we were doing a fitting for Tom Hanks
for the Post.
I'm in there.
He puts the shirt on, he putsthe suit on, he has the tie
pushed up.
He sits down.
Someone hands him a newspaper.
He's got a cigarette.
He undoes the tile a bit andgoes straight into character.
Speaker 2 (00:19):
Wow.
Speaker 1 (00:19):
In the fitting room.
He does the voice, you know.
He does the mannerisms.
Speaker 2 (00:23):
Wow.
Speaker 1 (00:23):
It was so much fun to watch.
Speaker 2 (00:27):
Welcome back to how Much Can I Make.
I'm your host, mara Vozeri.
Today I'm here with Carl.
When his wife, cynthia, told methat I should talk to him
because he's a custom shirtmaker and his work is really
interesting, I got reallycurious.
I thought I should go and seehis shop.
I imagined the man sittingbehind the sewing machine and
(00:48):
working along, but I was totallymistaken.
When I got to his shop on thesecond floor in a Manhattan
building, there were like 10people working seamstress
pattern makers.
There were shirts everywhere,material of high end, lots of
shirts from Broadway plays andmovies and pictures of
celebrities.
So let's find out how did heget into it and why, and is it
(01:11):
worth it?
So, carl, thank you so much forbeing here.
Speaker 1 (01:15):
My pleasure Marath.
Speaker 2 (01:16):
Excellent.
Let's start by telling me howdid you get into shirt design?
Speaker 1 (01:21):
Well, I'll give you the quick story.
My family owned an Army andNavy surplus store in
Philadelphia.
I worked there as a kid a lotof times, through college as
well.
But then in college I met agirl and I followed her to New
York.
I didn't go into the familybusiness and much to my father's
.
Speaker 2 (01:40):
It's always because of love.
Speaker 1 (01:42):
Yeah, you know I was one groom to take over, even
though my older sister ended upbeing the one who did and sadly
the business closed a few yearsago, shy of 100 years in
business.
My father was an amazingmerchant and he turned it into a
fashionable store.
Starting in like the late 60swith the hippiess, 80s all the
(02:05):
way into the 90s with the youngpunk rock kids would go shopping
in there because it wasinexpensive did you spend time
in the store?
Speaker 2 (02:12):
did you breathe in all that fashion and all of?
Speaker 1 (02:14):
that I worked there every saturday okay and my
father used to take me to newyork on business trips.
We'd sometimes we'd go aroundthe country to look at factories
.
I remember going to the midMidwest to see a Lee Jean
factory and then we went down toCarolinas to see a sweatshirt
factory that they used to buytons of sweatshirts from.
Speaker 2 (02:33):
So was the desire to be one of those was building in
you then, like I said, I movedto New York.
Speaker 1 (02:39):
My mother goes.
If you move to New York youhave to have a job.
So I got a job at the oldBarney's at 7th Avenue, 17th
Street as a salesman.
As a salesman downstairsselling shirts and ties and
shirts yeah, lots of accessoriesand whatnot.
And I worked there only aboutthree months from there because
I didn't want to work retail.
So I took a job in Williamsburgin a clothing factory that made
(03:03):
really nice natural shouldersuits, very classic suits.
So I worked there for a yearand when I was there, one of our
suppliers I ran what theycalled the special order
department.
So stores around the countrywould send in orders and I
oversaw like six cutters whowould cut the suits and then
they'd go through and make surethey got shipped.
So while I was there, one ofour suppliers of fabric woolens
(03:27):
wanted to know if I wanted a job.
So I ended up taking this job,working in midtown selling
woolens to the tailors sellingwoolens.
Speaker 2 (03:34):
Woolens, what is woolens?
Suit fabric?
Okay, you know.
So you sell them, the rawmaterial selling raw material.
Speaker 1 (03:40):
But when I was there, I met people who were what we
call custom clothiers, and thesewere people who were not
tailors I am not a tailor.
They would measure, people,help, style and then they would
have the stuff made in variousfactories.
Speaker 2 (03:53):
So when did you have the eureka moment that you said,
aha, I could do that 1982.
Speaker 1 (03:59):
Wow, here's nice Jewish boys working for a
Gentile firm.
And it's like, who are thesepeople?
I didn't understand them at all.
They were just so.
It was so strange.
It was a different world, butthey had a good business.
Anyway, I left there, startedthis business.
I floundered for a long timebut I had some good customers
and over time I knew all thetailors from when I sold them
(04:21):
fabric.
So if I had a problem with asuit I'd sometimes ask some of
the tailors from when I soldthem fabric.
So if I had a problem with asuit, I'd sometimes ask some of
the tailors why doesn't this fit?
And we'd talk and they'dexplain you know what went wrong
.
And these were tailors who hadmade very expensive clothing.
I was not competition.
And they would say you knowwhat?
Mr Smith needs some shirts.
Why don't you make him someshirts?
So they helped me out.
So I'd start making.
(04:43):
I started doing more and moreshirts.
Speaker 2 (04:45):
So you were actually taking the measurements and
sewing.
Speaker 1 (04:48):
No, no, no, I don't sew a stitch, so I would take
the measurements style it getthe fabric and I had different
people making them for me.
At that point there was alittle shop on 32nd Street did
some work for me and they onlyhave about four people.
And then there was anotherbigger factory in New jersey
that I worked with had a muchbigger shop.
(05:09):
They had about 80 or 90 peopleout there.
It was a big shop and they didwork for people all over the
country, so I was just one oftheir customers so custom shirts
is a it's a tradition, it'sgoing on for for a long time
forever.
Speaker 2 (05:21):
Yeah, okay, so what was the moment that you decided
you're going to open your ownplace?
Your place is very impressive.
Speaker 1 (05:27):
You have a lot of people working there.
The business changed over theyears.
Speaker 2 (05:31):
Okay so.
Speaker 1 (05:32):
I started with a tiny little place and then, took
another little tiny place.
Speaker 2 (05:37):
And how did you recruit your people?
Your pattern maker, your tailor, you know what?
Speaker 1 (05:45):
People sort of found me in some ways.
So when I was at 174 5th aboveEisenberg's coffee shop, I met
this woman who had worked forsomebody else, for another shirt
maker, and she had a fight withhim.
So she came to me and she wasexcellent, she was really good
shirt maker, so she was workingfor me so you all grew up very
organically, yeah then I gotanother sewer.
(06:06):
Then I found a cutter patternmaker and then added another
person here.
More machines moved to a biggerspace, added more people, got a
better cutter, got rid of theother one.
Speaker 2 (06:17):
Who comes to you for custom shirt.
Let's start with that.
Speaker 1 (06:21):
For years it was just regular men who wanted
something nice, somethingspecial.
Sometimes they were reallydifficult to fit.
A man might have a 19 and ahalf inch neck, but the rest of
his body is a large.
So if you bought a 19 and ahalf, he's swimming in the shirt
and you can't alter it.
Then you get the type who wantsspecific details and, for
example, some guys want a pocketon their shirt with French
(06:44):
cuffs and you can't find a shirtfor cufflinks with a pocket.
And then there's other peoplewho just like the idea of
picking their own fabrics,picking the styles and having it
made for them.
Speaker 2 (06:55):
I saw shirts that you did for the producers on
Broadway, for Tom Hanks, forLeonardo DiCaprio.
Before we get to theentertainment business, what is
the craziest request you havefor shirt?
Speaker 1 (07:08):
There's a lot, I mean in the last couple of years.
It was kind of interesting wasa young black kid bought a Louis
Vuitton scarf that had liketags on it.
Looked like luggage tags, andhe asked us to make it into a
short sleeve shirt, which we did, and it was absolutely
beautiful.
If you look on my Instagram,it's there and the way my
(07:28):
pattern maker did this, matchingeverything it says Louis
Vuitton on the back of the shirt, on the little sleeve.
I mean, it's phenomenal how hedid this.
Speaker 2 (07:37):
And it's allowed to do it right, To take somebody's
why not, he bought the fabric, Imean he bought the scarf.
Speaker 1 (07:44):
He.
Speaker 2 (07:49):
So okay, so I get what is different from the
custom shirt, from the shirt onthe rack, because you could
really fit it and I can see it'sa very expensive thing to do,
though Only people with moneycould do that.
Speaker 1 (08:02):
Well, you know, years ago I used to have this bus
driver.
He lived way out in the middleof nowhere in Queens and he did
a Frank Sinatra routine in oneof the local bars and he wanted
to have shirts that looked likesomething.
Frank Sinatra routine in one ofthe local bars and he wanted to
have shirts that looked likesomething Frank Sinatra wore.
You know, back in the 50s and60s He'd come in and he'd give
me, we'd pick out the fabric,he'd give me like $20 or $30 up
(08:25):
front and then he'd send meevery week there'd be a check,
another check for $10, a checkfor $12.
Speaker 2 (08:31):
What was the total?
Do you remember?
Speaker 1 (08:34):
You know, it was probably like $200.
This is years ago.
He passed away and he wouldkeep sending me these checks
every week.
Once he paid, once it was allpaid, he came and picked up his
shirt and he was a bus driver.
I mean this.
I mean he had maybe two shirtsmade a year.
Speaker 2 (08:48):
Right, and that was his custom, yeah, but okay.
So from a custom, let's get toall these celebrities, tons of
celebrities that I saw picturesof and shirts of.
How did you break?
Speaker 1 (08:58):
here's how it started , okay uh, one day I get a phone
call from this woman.
She's one of the costumedesigners of the show spin city.
This is back in the late 90sand she asked me the prices.
I get a call the next day.
Can you come, please measure?
The producer of spin city.
I said sure, they were filmingover on 23rd Street at the Piers
, all the way west.
(09:18):
So I said who am I measuring?
Oh, michael J Fox Made someshirts for Michael J Fox.
They were happy.
And then there was a fellowworking there at the time in the
costume department who went towork for William IV Long who was
a famous costume designer whohas won numerous Tonys.
They were working with somebodyelse.
(09:38):
They didn't really like him.
Fellow Tom said why don't yougive Carl a try?
So the first shirts we madewere for the Music man with
Craig Bierko.
So we made shirts for that andI even made shirts for the
recent Music man with HughJackman.
But the funny thing about HughJackman was the first shirt we
made was the typical big stripesof the white round collar and
(09:59):
he tries it on.
It looks great.
Afterwards he goes.
I don't want to look like thetypical music man.
So we basically copied a Pradashirt that he loved, which was
okay.
Fine, whatever you want, we'lldo it.
You know you're the one, theone bringing the.
You know Hugh Jackman'sbringing the people to the
theater whatever he wants, right, wow so and then the next show
(10:20):
William Ivey Long did was theproducers.
So nice Jewish boy was makingNazi stormtrooper shirts for a
year for a year you worked onthat show yeah, we did, for it
ran for a long time.
I made shirts for Nathan Lane,for Matthew Broderick, so we did
.
It ran for a long time.
I made shirts for Nathan Lanefor.
Speaker 2 (10:36):
Matthew Broderick.
So what do you mean?
It ran for a long timeThroughout the show you had to
renew and make.
Speaker 1 (10:40):
Yeah, you always had to make new ones, so the actors.
So, for example, let's say itwas Nathan Lane.
Speaker 2 (10:45):
Right.
Speaker 1 (10:46):
He had four different shirts that he wore and you
make at least two of each shirtso that he wears one one day,
and then they wash it, and thatevening he puts on the other
shirt.
Speaker 2 (10:57):
Right.
Speaker 1 (10:57):
Sometimes certain actors perspire quite a bit and
you make more.
Speaker 2 (11:02):
Wow, and what do they pay?
The Broadway must pay big moneyfor a shirt.
Speaker 1 (11:06):
I usually charge them the same price usually.
The only time I charge themmore is if they need it in like
a day or two.
Speaker 2 (11:13):
Oh right, which.
The only time I charge themmore is if they need it in like
a day or two, oh right, whichhappens.
Speaker 1 (11:17):
I mean, we'll make a shirt in two hours when we have
to.
Speaker 2 (11:19):
But the material you use is very expensive, right?
Speaker 1 (11:22):
For the Broadway things.
It doesn't have to be expensive, it has to just look the way
they want it to look.
Speaker 2 (11:31):
It has to look a specific way.
Speaker 1 (11:32):
Oh yeah, Makes sense yeah.
Speaker 2 (11:33):
For costumes yeah, specific way.
Oh, yeah, makes sense.
Yeah, for costumes yeah, sookay.
Speaker 1 (11:36):
And how did you break into TV and film?
I mostly did Broadway and thenyou know they will talk.
All the costume people talk toeach other oh, I need something
made.
Who do you have?
And my name would get passedaround.
And then I started doing TV andsome film.
I made shirts for this costumedesigner, Anne Roth, who's
amazing.
She's won both Tonys and Oscars.
I remember we were doing afitting for Tom Hanks for the
(12:03):
Post, and I'm in there.
He puts the shirt on, he putsthe suit on, he has the tie
pushed up, he sits down, someonehands him a newspaper, he's got
a cigarette, he undoes the tilea bit and goes straight into
character in the fitting room.
He does the voice, you know itdoes the mannerisms.
Speaker 2 (12:18):
it was so much fun to watch wow, who else give me
some more gossip?
Speaker 1 (12:23):
uh, you know what most actors are wonderful to
deal with really yeah, theyenjoy them, they're nice.
I mean, sometimes you getactors that are funny who do
shtick during the fitting MartinShort, really, yes, nathan Lane
.
I'm trying to think of someothers.
Billy Crystal is not funny inreal life.
Speaker 2 (12:45):
Really Interesting.
Speaker 1 (12:47):
Don't tell anybody.
There's certain actors who Iwill not name, who I never have
to measure in person again, nordo I want to, but I have their
measurements and we just makethem things.
I don't always measure theactors in person.
Sometimes they'll give me ashirt that they wear and they
will copy it and makeadjustments to it.
Speaker 2 (13:09):
Now are you usually the one that does the
measurements.
Speaker 1 (13:11):
Yes.
Speaker 2 (13:12):
Okay, so you do the marketing, obviously, and the
sales, and you do themeasurements and then you come,
you give it to the people andthey take it from there.
Yeah, that sounds like a greatjob.
Yeah, I enjoy it.
Speaker 1 (13:24):
There was a long period of time where I had
struggled.
When I met Cynthia, this wasabout 12 years ago.
Things really start to turnaround for me and my business
mostly the entertainmentbusiness just grew.
Speaker 2 (13:37):
It's love again.
Brought it to you no it's backand now.
Speaker 1 (13:40):
today it's like 50% of my business.
Speaker 2 (13:42):
Wow.
Speaker 1 (13:42):
Entertainment TV film .
I do a lot of work on Broadwaystill.
Speaker 2 (13:46):
What do you prefer To the entertainment industry or
individuals?
Regular customers yeah.
Speaker 1 (13:52):
With certain customers.
I build a rapport and itbecomes personal.
I become friendly with some ofmy customers and socialize with
them.
You know there's plenty offaceless customers.
They come in.
I can't remember their name,who are they, what do they do?
But I remember a lot of myreally good customers and enjoy
seeing them, do you?
Speaker 2 (14:11):
make shirts for weddings?
Speaker 1 (14:12):
Oh, of course, wedding, yeah.
So as the business has grown,these days we want a five-shirt
minimum.
So if somebody comes in becausewe make a full pattern Right
and that's time-consuming, wemake a first sample.
And today somebody wants oneshirt, two shirts, I just say no
, we don't have the productioncapable.
We do everything inside, andfor years I worked with another
(14:34):
factory in New Jersey that didquite a bit of my work and sadly
he closed during the pandemic.
Speaker 2 (14:39):
So it's all in-house now.
Speaker 1 (14:40):
Everything's in-house .
Yeah, for weddings.
I'm not doing one for this one,one for that one.
Speaker 2 (14:49):
It's five for the same customer.
Speaker 1 (14:50):
Oh okay, oh yeah, because every time you make one,
if it's a new customer, youhave to make a pattern.
We're not computerized.
I used to get a computer inthere to make the patterns be
easier, but we don't have thatyet and that's going to happen
one of these days.
Speaker 2 (15:04):
Oh, you think, so I have to.
You could have robots.
You could do one robot thatwill do the pattern, sew it for
you and out it goes.
Speaker 1 (15:12):
Like I said, when you get the robots involved,
there's no love, Right?
The pattern is a lot easier todo because you still need
somebody to cut it.
We cut by hand.
I'm not ready to spend aquarter of a million dollars to
get an automatic knife cutter.
Speaker 2 (15:27):
Oh, that's what they have those too.
Speaker 1 (15:29):
They have these amazing cutting machines, and
then the big factories havemachines that make everything
automatically, and today all theshirts are made in these
massive factories withcomputerized machinery.
There's nothing worse thannon-iron fabric.
It's an abomination, oh.
It's treated with terribletoxic chemicals formaldehyde,
(15:51):
liquid ammonia, also a lot ofresins.
That's what they put in thenon-iron shirts.
Speaker 2 (15:57):
Wow.
Speaker 1 (15:57):
And as I always put it with my ladies, in those big
factories there's no love in thegarment when we make the shirt.
You know, it's a small workroom.
We have up to 10 people andthey care.
Speaker 2 (16:08):
So, if you look back now, what is the one thing that
you wish you had known beforeyou started your business?
Speaker 1 (16:16):
You know, when I first started, I don't think I
was as hungry as I became laterin terms of the business, when
my son was born, that's 35 yearsago, there was this revelation.
I said oh my God, I've reallygot to start working.
Speaker 2 (16:31):
No more fooling around.
That will do it for sure.
Now let me ask you what kind oftraining somebody needs to get
in order to become a shirt maker.
Speaker 1 (16:39):
It depends.
If you're going to sew and cut,then you really need a proper
education.
There's a lot of stuff peoplelearn on YouTube today.
It's amazing how many tutorialsyou can see and sort of learn
on your own.
But you need someone to reallyshow you how to do those things.
But if you just want to be adesigner, there's lots of ways
to do it.
There's lots of companies thatwill help you design your line,
(17:00):
do the manufacturing, find thefabric and then you just have to
sell it and market it.
And today there are factoriesthat do work not so much in the
United States anymore, but youknow, in Europe, obviously China
, portugal where they really setup well and you send the.
I mean in China there's onefactory I know.
You send in the measurements,they pull the fabric and two
weeks later the garment's beensent, you know, at your doorstep
(17:24):
.
Speaker 2 (17:24):
Yeah, I did it once with a leather jacket, actually
with India.
Speaker 1 (17:28):
Okay, did it have it come out?
Speaker 2 (17:30):
Very good, oh good.
What would you say?
People don't realize about yourindustry.
Speaker 1 (17:35):
Like any business, it's a lot of work.
It's not easy.
There's always something thatcould go wrong.
For example, right now thetariffs are so stupid you don't
necessarily know how much thingsare going to cost.
I ordered Mother of Pearlbuttons from Italy and they came
in much higher the tariffs thanI thought they would.
Wow, that doesn't higher thetariffs than I thought they
would.
Speaker 2 (17:55):
Wow.
Speaker 1 (17:56):
That doesn't even include the shipping, because
shipping charges are high thesedays.
Speaker 2 (17:59):
Right and you didn't calculate it into the estimate
that you gave the customer.
Speaker 1 (18:04):
Well, no, I mean I'm buying thousands of buttons at a
time.
So it's not a lot, it's just tome all of a sudden it's an
extra $400, which is reallyinconsequential for a single
button when I'm buying thousandsof buttons at once.
But it still, it adds up.
Speaker 2 (18:20):
What is your biggest challenge?
Speaker 1 (18:22):
Getting workers who I can put on the payroll.
The garment industry isnotorious.
It started.
People came over from whereverthey were living.
They got hired.
They didn't get paid a lot, butthere was jobs.
They needed hired.
They didn't get paid a lot, butthere was jobs.
They needed people.
And today it's very difficultto find people who have legal
status.
Speaker 2 (18:41):
Wow, well, most of the Simsters.
I would think it's a problem, Iknow in other countries they're
usually immigrants.
Speaker 1 (18:47):
Yeah, I mean everybody in my factory, in my
workroom it's not a factoryspeaks either Spanish or
Portuguese.
Speaker 2 (18:53):
Right Wow, factory speaks either Spanish or
Portuguese, right, wow, that's aproblem, so okay.
So what is the biggest?
Speaker 1 (18:58):
reward.
I really like the interactionwith the customers, with the
costume designers helping themto get what they want, and then
when you see the finishedproduct on somebody and how
happy they are with the fit andthe design.
It gives me a lot of rewards.
I love seeing clothes thatwe've made on stage.
(19:19):
They're usually pretty nice.
They always give us a couple oftickets to see a show.
We did some shirts for JonathanGroff for Justin Time.
He actually loves my shirts.
We did some stuff for anothershow.
He always wants me to makeshirts for him.
I've never met him but, heknows he wants me to make them.
We do a lot of shirts for showslike Law Order and FBI.
(19:43):
I used to make shirts for TomSelleck for years.
Really I didn't watch BlueBloods, but he was very nice.
He was really nice and when hewas in his 20s he used to work
in men's clothing stores in LosAngeles and we had a wonderful
chat about old stores in LosAngeles.
Speaker 2 (19:59):
So at the time they had to come to your shop to be
measured, right it depends.
Speaker 1 (20:05):
Occasionally they'll come to my measured right.
It depends Occasionally they'llcome to my shop and Tom Selleck
, I went to the studio out inQueens to measure them out there
.
Speaker 2 (20:10):
Oh, interesting.
So if somebody that's listeningtoday will decide this is what
I want to do, what is the firstthing they need to do?
Speaker 1 (20:19):
Go online, learn about whatever you can, and then
again, if you're not going tolearn how to cut or sew, you
really have to look at garmentsjust the same to see how they're
manufactured.
I don't know how to sew, but Iknow, when I see a shirt, when
something's been done properlyor not.
Speaker 2 (20:37):
So you have to learn.
Like anything else, you have tolearn it in and out.
Are you thinking of growingyour business or are you going
to stay at this?
Speaker 1 (20:45):
Well, at this point, you know I've been doing this
for a long time.
I'm 67.
If I really wanted to grow thebusiness, I could, but I don't
want to.
Speaker 2 (20:55):
Why.
Speaker 1 (20:56):
We're busy.
I make a nice living.
We do well.
My wife and I have a lovelyplace up here in Bearsville that
we love to come to.
I have no plans to retire.
Speaker 2 (21:07):
I may not work as many hours, but soon you're
going to have a grandson andyou're going to want to leave
him a lot of money.
Speaker 1 (21:11):
Well, I'm excited for that in fact one of my ladies
who's retired.
I'll give her fabric and shecomes back with baby clothes oh,
wow and they're the mostbeautiful fun she made.
Uh, and this time she made alittle guayabera for like a
one-year-old or two-year-old, Idon't even know what size it is,
but it was.
Speaker 2 (21:30):
It's fantastic now come to think of it, custom baby
clothes is a very good businessidea.
Speaker 1 (21:36):
No, it's not no because it takes just as much
time to make a little shirtalmost as it does to make a
large shirt.
So there's no, it's expensive.
Speaker 2 (21:48):
You never got into women's shirts, right we?
Speaker 1 (21:51):
do women's occasionally.
Men are generally easier.
Women will buy one shirt, acertain style.
Then they want to do it anotherway and it's just too
complicated for us to makepatterns each time.
Speaker 2 (22:04):
Right.
Speaker 1 (22:05):
So subtle changes, yes, but I do have women who
wear what we might call auniform and they like wearing
the same thing over and overagain.
Those are the customers that Ilike.
There was a short-lived women'spajama project that I was doing
with my wife.
They were beautiful, thepajamas, but it just we my wife
(22:26):
and I, did not know how to worktogether there it goes and no it
really I am jealous of notjealous but I.
When I see husbands and wiveswork together, it has to be
stressful because it comes homeright, so you scratched that
project.
Speaker 2 (22:44):
Yeah, good for you.
Yeah, what I wanted to ask youabout your instagram how do, how
do people find you on instagram?
Speaker 1 (22:51):
my instagram is not nearly as good as it should be,
but it's c-e-g-o-n-y-c, so segocustom shirts.
Sego stands for carl edwardgoldberg, and that's how you can
find me.
I'm famous in a very narrowfield.
So if you were to Google customshirts New York, I show up.
Speaker 2 (23:13):
Okay, excellent, yeah , all right, All right, thank
you.
Okay, that's a wrap for today.
If you have a comment orquestion or would like us to
cover a certain job, please letus know.
Visit our website athowmuchcanimakeinfo.
(23:33):
We would love to hear from youand, on your way out, don't
forget to subscribe and sharethis episode with anyone who is
curious about their next job.
See you next time.
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