46 pages • 1 hour read
Lucy AdlingtonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Content Warning: This section references acts of racism and violence that occurred during the Holocaust, including murder and sexual assault, as well as suicidal ideation.
The book opens with a scene in the Auschwitz studio depicting the seamstresses at work and then introduces key characters, beginning with Irene Reichenberg. Irene was born in 1922 in Bratislava, Czechoslovakia; her father, Shmuel Reichenberg, was a shoemaker and her mother, Tzvia, a homemaker. The large size of the family demanded frugality. It was expected that Irene would one day marry and have a family.
At age seven, Irene met Bracha Berkovič, who was born in an agricultural area of Čepa and was her parents’ first child. Salomon and Karolina Berkovič’s marriage was arranged by a matchmaker, and they would have five children. Karolina worked as a laundress, while Salomon was a tailor who owned his own business in Bratislava. It was at school in Bratislava that Bracha met Irene. They formed a trio with Renée Ungar, playing street games after school and swimming in the Danube during the summer.
In August 1929, Rudolf Höss married Erna Martha Hedwig Hensel. Höss would later serve as commandant of the Auschwitz-Birkenau concentration camp; his wife—known as Hedwig—would establish and oversee its fashion salon. Initially they planned to pursue an agricultural life, but Rudolf joined the SS in 1934 and shortly thereafter was assigned to block leader at Dachau, a concentration camp near Munich.
Connections among Jewish families in the 1930s were “complex,” and Irene Reichenberg became acquainted with a girl named Marta Fuchs when Irene’s brother married Marta’s sister. The Fuchs family originated from present-day Hungary but had relocated to Pezinok, a village close to Bratislava. Marta attended secondary school and then trained as a dressmaker. Meanwhile, Bracha fell ill with tuberculosis in 1934 and lived for two years in a sanatorium. There she learned Czech but fell behind in schooling by the time she returned to Bratislava.
It was common for Jewish children in Bratislava to leave school at age 14 to begin a trade: Renée pursued shorthand and bookkeeping; Bracha secretarial work; and Irene enrolled at a commercial college. Antisemitic sentiments were apparent by this time, and Irene and Bracha became involved in Zionist youth groups. There Bracha befriended Shoshana Storch, whose family was from eastern Slovakia. Though Shoshana would eventually escape to Palestine, her older sister Hermine (called Hunya) would not. Hunya, born in 1908, aimed to become a professional dressmaker, having learned hand sewing at a young age and completed a seamstress apprenticeship in the town of Kežmarok.
1938 and 1939 brought an end to the girls’ aspirations, as parts of Czechoslovakia were ceded to Hungary and Poland. This led to increasing antisemitism.
Prior to World War II, the textile industry was dominated by Jewish businesses, whose employees proved the most skilled. Small shops selling notions, tools, and fabric for the at-home sewer were common; those who could afford to took advantage of their town’s local dressmaker.
Paris was the ultimate heart of fashion, drawing seamstresses from throughout Europe who sought to learn of the latest styles or establish connections with industry leaders. However, Prague had established itself as a leader of the fashion industry, as its couture houses provided the latest styles for celebrities and were promoted by fashion magazines such as Eva. For these reasons, Marta Fuchs, employed in a Bratislava salon, aspired to become a dressmaker in the Czech capital—an opportunity she would never receive.
Hunya Storch secured an apprenticeship in Leipzig and went on to open her own salon. A skilled dressmaker, she created her own patterns and could stylishly dress women of all kinds. Despite her loyal customer base, in 1936 Hunya quit her salon, unable to advertise her services as she did not have a work visa. She secured work in the homes of her clients and later—after a brief return to her hometown—entered a marriage of convenience that granted her a German work permit.
Meanwhile, the fashion industry was a target of German propaganda, which set out to distinguish Germany from Paris and to solidify domestic roles for women. Seizing control of the clothing industry was an essential “goal that would be achieved through blackmail, threats, sanctions, boycotts, extortion, and forced liquidations” (44). A national boycott of Jewish businesses began on April 1, 1933, but was short-lived. Soon, the ADEFA (Federation of German-Aryan Manufacturers of the Clothing Industry) was established. Clothing marked with this label was “untainted by Jewish hands” but poorly made (49).
November 9 and 10, 1938, brought overt violence against Jews in Germany and Austria: Businesses and properties were graffitied, damaged, or looted; synagogues were burned; and people beaten to death. It was estimated that 6,000 to 7,000 Jewish businesses were victims of this event, which became known as Kristallnacht (“Night of the Broken Glass”). Joseph Goebbels would later brag of the valuable clothing and furs looted during the violence.
Hunya Storch made plans to escape Germany. In Bratislava, Irene Reichenberg also faced the dilemma of how to protect herself.
By the spring of 1939, the nation of Czechoslovakia was dissolved—controlled now by Germany, Poland, and Hungary—and its Jewish population faced increasing harassment and restrictions. Quickly, Slovakia declared independence as a Nazi client-state and enacted rigorous control of Jews; in September 1941, the government passed laws requiring Jews to wear the yellow Star of David. The government also sought to profit from Jewish wealth, which funded German war efforts: “Wehrmacht troops were actively encouraged to consider each successive conquest as a glorified shopping spree” (59). Soldiers bought “furs, perfume, shoes, gloves” (60), devaluing local currency as German money flooded the market. Occupied nations in eastern Europe were subject to blatant theft of goods. Back in Germany, furs and winter clothing were confiscated from Jews to clothe soldiers.
A key method of dispossessing Jews involved “Aryan” managers taking over businesses through forced sales. Yet dressmaking appeared one of the few viable avenues for Bratislava girls like Irene Reichenberg, and she and others would ultimately provide valuable slave labor for Nazi Germany. For Hunya Volkmann, employment in the fur industry provided potentially lifesaving connections. Forced laborers like Hunya were needed to churn out Wehrmacht uniforms. Factory owners—such as Hans Biebow’s Łódź ghetto—were unscrupulous and unapologetic regarding the Jewish labor that produced the so-called “Jewish-free” garments.
Nazi racism extended to the Polish people, who were to be subjected to similar torments as Jews. Non-Jewish Poles therefore had incentive to become antisemitic in hopes of winning Nazi favor.
These chapters introduce key figures and establish their personalities and aspirations. In presenting the seamstresses as unique individuals, the work reminds readers of the Holocaust’s intent to undermine Jewish humanity. Adlington even details the clothing worn by each girl in surviving photographs as illustrative of their interests and knowledge of then-contemporary styles. Yet it is made clear that fashion is not a meaningless luxury but instrumental in the survival of the book’s key figures, highlighting one of the book’s themes: The Politics of Clothing.
These chapters also provide necessary context by conveying the political climate that would lead to the dismantling of Jewish textile and clothing industries and the murder of millions of Jews. Stripping Jews of their possessions was the first step in the “de-Jewing” (Entjudung) that Hitler instituted (61). Adlington emphasizes the ways in which Nazi leadership intentionally co-opted Jewish talent for its own gain, explaining that “[t]he radical robbery of Jewish property and businesses was part of a drive to fulfil the accusation [of Jews as parasites], and so justify abuse” (62). Besides illustrating how dehumanization works—it is a progressive slide, with each step paving the way for more extreme forms of abuse—this discussion of Jewish businesses illustrates the hypocrisy of the Nazi regime. The army uniforms and supposedly “Jew-free” clothing manufactured by forced Jewish labor is a precursor to the book’s primary focus: the concentration camp fashion salon that would clothe the wife of the commandant.
Further, the trope of sewing as feminine work becomes apparent. It was one of few “suitable” professions for women—especially as the Nazi regime championed a return to ultra-traditional gender roles—and a valuable skill. Adlington will build upon this historical detail by stressing that this skill would prove literally lifesaving for the seamstresses, first in factories and then in the Auschwitz salon: “[The] right to live—lebensrecht—was no metaphorical term” (80). This term will serve as an eerie companion to the “Work Sets You Free” motto emblazoned at the gates of Auschwitz.
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