Andrew's Church. The company made "Dainty Smocks and Frocks," for young girls. Their excellent quality attracted the attention of women. Mr. Crapsey bragged that "his wife was an artist who sought perfection." The Adelaide T. Crapsey Company was "a unique experiment in industry." As a writer in the Christian Statesman wrote, "in slack times, company and employees stand shoulder to shoulder bearing the brunt of them. In good times they share a common prosperity." Mrs. Crapsey made the factory a pleasant place in which to work and she created a "family atmosphere." The floors were hardwood, the colors were bright, and there were plants and goldfish: all to "a sense of comfort and ease." The seamstresses sat in rocking chairs listened to music while they worked. Hot tea was always available. One of the workers describing the factory said that "the atmosphere was one of a joyful sewing bee with the gentle laughter, the soft creaking of the rocking chairs and the availability of refreshments." The workers did not call themselves employees; they called themselves "the factory family." The company started out as a charity, producing clothing for poor girls. By 1912, the company was selling its products goods to the B. Forman Co., Rochester's leading department store. The Adelaide T. Crapsey Company was making 100 frocks a day by 1917. In addition to Rochester, the Company sold the children's dresses it produced "all over the United States and in many foreign countries." On January 27, 1920, the New-York Tribune ran a full page headlined "Visiting Buyers." Under "Infants’ and Children's Wear," was this paragraph: Frocks for Children—Six months to ten years. Smocked and embroidered models in flaxon, dimity, chambray, dotted Swiss, English prints and printed satine. The Adelaide Crapsey Co. In 1921, the State of New York Department of Labor and the national magazine Nation's Health commended the Adelaide T. Crapsey Company for designing two things in its factory to minimize worker fatigue caused by poor posture caused by poorly designed equipment. One was a presser's bench, which was used for light pressing work on children's garments, designed for the operator to work with good posture. The other good posture design was for the seamstresses to sit in rocking chairs while they worked. This was in contrast to the "usual bent-double position of the hand worker in a garment factory." By 1924, the Adelaide T. Crapsey Company employed more