11 Things You Might Not Know About KitchenAid Mixers

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If wedding registries and cooking shows are any indication, KitchenAid’s iconic stand mixer may be home chefs’ most sought-after piece of equipment. Whether you’ve been whipping cream with one for decades or are thinking about plunking down the cash to buy your first one, there are a few things you might not know about the enduringly popular appliance. 

1. THEY WERE ORIGINALLY MEANT TO SAVE COMMERCIAL BAKERS TIME. 

In 1908, Herbert Johnson of the Hobart Manufacturing Company began designing a machine that would handle the task of mixing bread dough. By 1914, the company was marketing an 80-quart behemoth stand mixer called the Model H. It was a godsend to commercial bakers, who began snapping up the hulking contraptions. 

2. NAVY SAILORS WERE EARLY FANS. 

Before KitchenAid mixers were staples of cushy kitchens, they appeared in more rugged contexts. The United States Navy, always on the hunt for a way to save sailors time and efficiently feed large crews, ordered Model H mixers for three of its ships, where they proved so valuable that the device became part of Navy ships’ standard equipment.

3. AN EXECUTIVE'S WIFE NAMED IT.

Following the huge success of the commercial mixer, Hobart began working on a home model. As the story goes, once a prototype was completed, select executives and engineers took mixers home to their wives while they mulled over options for a catchy commercial name. When one of their wives praised the mixer as “the best kitchen aid” she had ever owned, culinary history was made. 

4. THE FIRST HOME VERSION WAS ENORMOUS.  

In 1919, home chefs finally got their own chance to cook with a scaled-down version of the contraption that had revolutionized bakeries and galleys. The domestic mixer, dubbed the Model H-5, didn’t enjoy the same instant success as its industrial predecessor. For one, it wasn’t quite the sleek KitchenAid we know and love today. The H-5 tipped the scales at 65 pounds, and it was 26 inches tall. The factory could only crank out four completed mixers per day, and retail outlets like hardware stores didn’t want to carry such a revolutionary product without first seeing that there was a market for it. Even home bakers who were interested in a mixer would have suffered from a case of sticker shock—the Model H-5 retailed for $189.50, or roughly $2600 in 2015. 

5. THE COMPANY HAD TO GET CREATIVE TO SELL THE MIXERS. 

When stores balked at carrying the home mixers, Hobart took to the streets to move units. A door-to-door sales force composed mostly of women lugged the hulking devices from one home to the next to show housewives just how useful the KitchenAid could be.   

6. A SMALLER VERSION GAVE KITCHENAID ITS BIG BREAK.

Compelling sales pitch or no, getting homemakers to shell out big money for an enormous mixer was still a tall task. In 1927, a new, even smaller version hit the market, and KitchenAid finally had its hit. The Model G was even smaller than the Model H-5 and a bit less expensive, which helped it find a sweet spot that fit both homemakers’ counter space and their wallets. The new version was a huge success that sold 20,000 units in just three years. 

7. IT STARTED LOOKING FAMILIAR IN THE 1930S. 

Soon after the Model G helped KitchenAid find traction in the marketplace, the Great Depression hit. While a major economic downturn would seem to be bad news for a relative luxury like a mixer, the company decided to keep innovating to maintain its customer base. In 1936, designer Egmont Arens came aboard to create new models of the mixer, a choice that would literally shape KitchenAid’s future. Arens was a proponent of “humaneering,” a philosophy that dictated designs should be pleasing to the senses in addition to being functional, and in August 1937, KitchenAid introduced an all-time crowd-pleaser, the Model K. 

How strong was Arens’s new design? Over 75 years later, the KitchenAid mixers brides and grooms are adding to their registries are, in the company’s words, “virtually unchanged” from the ones Arens rolled out in 1937. 

8. THEY ARE BUILT TO LAST.

Arens’s design isn’t the only enduring thing about KitchenAid. When the home mixers celebrated their 75th anniversary in 1994, KitchenAid launched a search to find the oldest working example of one of its mixers. Ninety-one-year-old Maude Humes of Blawnox, Pennsylvania took home the prize of $7500 and a new set of appliances for owning a working 1919 Model H. Humes admitted that she inherited the ancient mixer from an aunt and actually did her cooking with a more recent model: A 1930s-era Model G.  

9. THERE'S A SCIENCE BEHIND THEIR PERFORMANCE. 

Lize, Flickr // CC BY-NC-ND 2.0

It takes more than just an aesthetically pleasing design to become a kitchen hero for over seven decades. As KitchenAid’s marketing materials and review sites like The Sweethome alike note, KitchenAid mixers employ a “planetary” action to do their mixing. As a beater spins, it also rotates around within the bowl, which ensures more contact with the ingredients. The end result is that the ingredients get more fully mixed than they would using alternative mechanisms. 

10. OLDER ATTACHMENTS STILL WORK. 

One positive side effect from Arens’s enduring design: Very old attachments still work, even on brand-new KitchenAid mixers. While many chefs loving hooking the pasta maker or sausage grinder attachments onto their mixers, with some digging, you can find discontinued 1950s-era attachments to help turn your mixer into a machine that shells peas, buffs silver, and opens cans. 

11. THERE'S AN ENTIRE KITCHENAID MUSEUM.

m01229, Flickr // CC BY 2.0

Since the 1940s, every KitchenAid mixer has been built in the same factory in Greenville, Ohio, which has turned into something of a shrine to kitchen appliances. The KitchenAid Experience boasts a retail store and factory tours, but for hardcore fans of mixing, the highlight has to be the museum, which boasts early models, vintage ads, and notable mixers like the K5A owned by Julia Child

7 Ways Victorian Fashion Could Kill You

An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.
An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.

While getting dressed in the morning can seem like a hassle (pajamas are so much more comfortable), few of us worry about our clothes leading to our death. That wasn’t the case during the Victorian era, when fashionable fabrics and accessories sometimes came at great price for both makers and wearers. In Fashion Victims: The Dangers of Dress Past and Present, Alison Matthews David, a professor in the School of Fashion at Ryerson University in Toronto, outlines the many toxic, flammable, and otherwise highly hazardous components of high style during the 19th century. Here are a few of the worst offenders.

1. Poisonous Dyes

A drawing of Victorian fashions likely made with arsenic dyes
A drawing of Victorian fashions likely made with arsenic dyes
Bloomsbury Visual Arts

Before the 1780s, green was a tricky color to create on clothes, and dressmakers depended on a combination of yellow and blue dyes to produce the hue. But in the late 1770s a Swedish/German chemist named Carl Wilhelm Scheele invented a new green pigment by mixing potassium and white arsenic on a solution of copper vitriol. The pigment was dubbed Scheele’s Green, and later Paris Green, among other names, and it became a huge sensation, used to color walls, paintings, and fabrics as well as candles, candies, food wrappers, and even children’s toys. Not surprisingly, it also caused sores, scabs, and damaged tissue, as well as nausea, colic, diarrhea, and constant headaches.

Although fashionable women wore arsenic-dyed fabrics—even Queen Victoria was depicted in one—its health effects were worst among the textile and other workers who created the clothes and often labored in warm, arsenic-impregnated rooms day after day. (Some scholars have even theorized that Napoleon might have been poisoned by the arsenic-laced wallpaper hung in his St. Helena home.)

Arsenical dyes were also a popular addition to artificial flowers and leaves, which meant they were frequently pinned to clothes or fastened on heads. In the 1860s, a report commissioned by the Ladies’ Sanitary Association found that the average headdress contained enough arsenic to poison 20 people. The British Medical Journal wrote of the green-clad Victorian woman: “She actually carries in her skirts poison enough to slay the whole of the admirers she may meet with in half a dozen ball-rooms.” Despite repeated warnings in the press, and from doctors and scientists, the Victorians seemed in love with emerald green arsenic dyes; ironically, they acted like a reminder of the nature then swiftly being lost to industrialization, David says.

2. Pestilential Fabrics

Soldiers of the Victorian era (and earlier) were plagued by lice and other body parasites that carried deadly diseases such as typhus and trench fever. But soldiers weren’t the only victims of disease carried via fabric—even the wealthy sometimes wore clothing that was made or cleaned by the sick in sweatshops or tenements, and which spread disease as a result. According to David, the daughter of Victorian Prime Minister Sir Robert Peel died after her riding habit, given to her by her father as a gift, was finished in the house of a poor seamstress who had used it to cover her sick husband as he lay shivering with typhus-induced chills. Peel’s daughter contracted typhus after wearing the garment, and died on the eve of her wedding.

Women also worried about their skirts sweeping through the muck and excrement of city streets, where bacteria was rife, and some wore special skirt-fasteners to keep them up from the gunk. The poor, who often wore secondhand clothes, suffered from smallpox and other diseases spread by fabric that was recycled without being properly washed.

3. Flowing Skirts

Giant, ruffled, crinoline-supported skirts may have been fine for ladies of leisure, but they weren’t a great combination with industrial machinery. According to David, one mill in Lancashire posted a sign in 1860 forbidding the “present ugly fashion of HOOPS, or CRINOLINE, as it is called” as being “quite unfitted for the work of our Factories.” The warning was a wise one: In at least one printing office, a girl was caught by her crinoline and dragged under the mechanical printing press. The girl was reportedly “very slim” and escaped unharmed, but the foreman banned the skirts anyway. Long, large, or draped skirts were also an unfortunate combination with carriages and animals.

4. Flammable Fabrics

A woman with her crinoline on fire
Bloomsbury Visual Arts

The flowing white cotton so popular in the late 18th and 19th centuries had dangers to both maker and wearer: It was produced with often-brutal slave labor on plantations, and it was also more flammable than the heavy silks and wool favored by the wealthy in the previous centuries. One type of cotton lace was particularly problematic: In 1809 John Heathcoat patented a machine that made the first machine-woven silk and cotton pillow “lace” or bobbinet, now better known as tulle, which could catch fire in an instant. The tulle was frequently layered, to add volume and compensate for its sheerness, and stiffened with highly combustible starch. Ballerinas were particularly at risk: British ballerina Clara Webster died in 1844 when her dress caught fire at London’s Drury Lane theatre after her skirt came too close to sunken lights onstage.

But performers weren’t the only ones in peril: Even the average woman wearing the then-popular voluminous crinolines was at risk of setting herself ablaze. And the “flannelette” (plain cotton brushed to create a nap and resemble wool flannel) so popular for nightshirts and undergarments was particularly combustible if hit with a stray spark or the flame of a household candle. So many children burned in household accidents that one company came out with a specially treated flannelette called Non-Flam, advertised as being “strong’y recommended by Coroners.”

5. Arsenic-Ridden Taxidermy

Dead birds were a popular addition to ladies’ hats in the 19th century. According to David, “fashions in millinery killed millions of small songbirds and introduced dangers that may still make some historic women’s hats harmful to humans today.”

But it wasn’t the birds that were the problem—it was the arsenic used on them. Taxidermists of the day used arsenic-laced soaps and other products to preserve birds and other creatures. In some cases, entire birds—one or several—were mounted on hats. Some Victorian fashion commentators decried the practice, though not because of the arsenic involved. One Mrs. Haweis, a writer on dress and beauty, began an 1887 diatribe against “smashed birds” with the sentence: “A corpse is never a really pleasant ornament.”

6. Mercury

No upper-class man of the Victorian era was complete without his hat, but many of those hats were made with mercury. As David explains, “Although its noxious effects were known, it was the cheapest and most efficient way to turn stiff, low-grade fur from rabbits and hares into malleable felt.” Mercury gave animal fur its smooth, glossy, matted texture, but that velvety look came at a high cost—mercury is an extremely dangerous substance.

Mercury can rapidly enter the body through the skin or the air, and causes a range of horrible health effects. Hatters were known to suffer from convulsions, abdominal cramps, trembling, paralysis, reproductive problems, and more. (A chemistry professor studying toxic exposure at Dartmouth College, Karen Wetterhahn, died in 1996 after spilling just a few drops of a supertoxic type of mercury on her glove.) To make matters worse, hatters who drank while they worked (not an uncommon practice) only hastened mercury’s effects by hampering the liver’s ability to eliminate it. While scholars still debate whether Lewis Carroll’s “mad hatter” was meant to show the effects of mercury poisoning, his trembling limbs and wacky speech seem to fit the bill.

7. Lead

A Victorian facial cream containing lead
A Victorian facial cream containing lead
Bloomsbury Visual Arts

Pallor was definitely in during the Victorian era, and a face spackled with lead white paint was long favored by fashionable women. Lead had been a popular ingredient in cosmetics for centuries, David writes, because it “made colors even and opaque and created a desirable ‘whiteness’ that bespoke both freedom from hard outdoor labor and racial purity.” One of the most popular lead-laced cosmetic products was called Laird’s Bloom of Youth; in 1869, one of the founders of the American Medical Association treated three young women who had been using the product and temporarily lost full use of their hands and wrists as a result. (The doctor described the condition as “lead palsy,” although today we call it wrist drop or radial nerve palsy, which can be caused by lead poisoning.) One of the women’s hands was said to be “wasted to a skeleton.”

This article was republished in 2019.

The 25 Highest-Paying Entry-Level Jobs for New Graduates

iStock/kali9
iStock/kali9

When they finish their final exams, college seniors can look forward to job hunting. Roughly 1.9 million students in the U.S. will receive their bachelor's degrees this school year, and while some new graduates may be happy to take the first job they're offered, others will be looking for something that pays well—even at the entry level. According to Glassdoor, recent grads qualified for the 25 jobs below will have the best luck.

To compile this list of the highest-paying entry-level jobs in the U.S., the job search website identified employment opportunities with the highest median bases salaries reported by users 25 or younger. Positions in the tech industry dominate the list. Aspiring data scientists can expect to make $95,000 a year at their first job out of college, while software engineers have a median annual base salary of $90,000. Other entry-level tech jobs like UX designer, Java developer, and systems engineer all start at salaries of $70,000 or more.

Banking and business positions, including investment banking analysta ($85,000), actuarial analysts ($66,250), and business analysts ($63,000), appear on the list as well. The only listed position that doesn't fall under the tech, finance, or business categories is for physical therapists, who report a median starting salary of $63,918.

You can check out the full list of the 25 highest-paying entry-level jobs below.

  1. Data Scientist // $95,000
  2. Software Engineer // $90,000
  3. Product Manager // $89,000
  4. Investment Banking Analyst // $85,000
  5. Product Designer // $85,000
  6. UX Designer // $73,000
  7. Implementation Consultant // $72,000
  8. Java Developer // $72,000
  9. Systems Engineer // $70,000
  10. Software Developer // $68,600
  11. Process Engineer // $68,258
  12. Front End Developer // $67,500
  13. Product Engineer // $66,750
  14. Actuarial Analyst // $66,250
  15. Electrical Engineer // $66,000
  16. Mechanical Engineer // $65,000
  17. Design Engineer // $65,000
  18. Applications Developer // $65,000
  19. Test Engineer // $65,000
  20. Programmer Analyst // $65,000
  21. Quality Engineer // $64,750
  22. Physical Therapist // $63,918
  23. Field Engineer // $63,750
  24. Project Engineer // $63,000
  25. Business Analyst // $63,000

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