In the heart of New York’s Garment District, Tom’s Sons International Pleating has carried on the art of pleating for five generations. Four Empty Walls, a new short documentary directed by Andrew Kolczynski and presented by Closely Crafted, tells the story of this enduring craft through the lens of master pleater George Kalajian.
Rooted in tradition, the film meditates on craftsmanship, memory, and the passing down of knowledge — a mission central to Closely Crafted’s work.
We spoke to CFDA member Gigi Burris O’Hara, the milliner and founder of Closely Crafted, about how Four Empty Walls came to be, why pleating matters more than ever, and what’s at stake when we lose touch with the hands behind what we wear.
Watch the film here.
What compelled you to share the story of Tom’s Sons International Pleating in Four Empty Walls? What’s one thing you hope people feel or think differently after watching it?
Our pilot apprentice is currently placed at International Pleating alongside George. The legacy of knowledge passed from his father to him, and now to a new generation, felt like an essential story to tell. Pleating is a niche but deeply artistic technique that often goes unseen, we hope viewers walk away with a deeper appreciation for the human hands behind the garment.
What do you think makes pleating such a special technique, and why is it important to keep crafts like this alive in modern fashion?
Precision and patience define the practice of pleating, it’s an art form that combines technical mastery with sculptural movement. When something is made with intention and care, it becomes a true expression of luxury. Honoring these crafts while also integrating modern technologies ensures they remain relevant in today’s fashion landscape.
Why do generational stories like George’s resonate so deeply in fashion today?
As New York’s Garment District continues to evolve, it’s important to remember its historical role for immigrant families and intergenerational businesses. Closely Crafted’s mission includes preserving that wisdom by connecting experienced artisans with younger makers. That transfer of skill is vital to the future of American luxury fashion.
How can the industry better support and sustain local production like what we see at Tom’s Sons?
Brands have the opportunity to directly invest in the infrastructure of local manufacturing. International Pleating already supports CFDA designers like Thom Browne, Khaite, and Proenza Schouler. I encourage more brands to visit ateliers like George’s to understand the level of artistry available right here in New York. When factories have steady work from many brands their costs stabilize and we’re able to access this type of production at more accessible pricing.
