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46 pages 1 hour read

Lucy Adlington

The Dressmakers of Auschwitz: The True Story of the Women Who Sewed to Survive

Nonfiction | Biography | Adult | Published in 2021

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Chapters 4-6Chapter Summaries & Analyses

Chapter 4 Summary: “The Yellow Star”

As war ensued, Jews in Slovakia were required to obtain new identification cards. Coupled with the mandatory wearing of the Star of David, this made it increasingly difficult to pass for a non-Jew. Irene and her family had been living in the Jewish Quarter of Bratislava since September 1941, while Hunya Volkmann continued to work as a dressmaker in Leipzig and sent valuables underground to allies in Germany. In February 1942, notifications appeared throughout Slovakia, declaring, “unmarried Jewish girls over the age of sixteen were to report at certain assembly points for service in a work camp” (91). Unbeknownst to these women, Germany had demanded that Slovakia supply 120,000 laborers (9). Irene and others like her had to decide whether to attempt to flee the country or go into hiding to avoid deportation. Hiding carried many risks, and in the end Irene and her sister, Edith, were summoned for work. They joined Renée Ungar at Patrónka, a munitions factory at the edge of Bratislava. Bracha Berkovič voluntarily turned herself in after learning her sister, Katka, had been arrested and sent to a holding camp—Poprad. Within four months, Slovakia deported 53,000 Jews from these and other detainment camps (100).

Meanwhile, looted Jewish possessions were redistributed to Nazi officers and their families; others were sold at auction to German citizens. The German Red Cross even benefited from “donations” (104).

Irene and Edith received no information about their destination when they were transported out of Patrónka. Marta Fuchs and Olga Kovácz were aboard the same train bound for occupied Poland. Bracha and Katka were deported from Poprad on April 2, 1942, along with seamstresses Borishka Zobel and Alice Strauss. Though the existence of Auschwitz was mostly rumor for them, knowledge of it had become more widespread by early 1943, when French seamstresses Alida Vasselin and Marilou Colombain were deported. Hunya Volkmann would arrive six months later.

Chapter 5 Summary: “The Customary Reception”

Bracha was one of the first female prisoners to be detained at Auschwitz. Her train was not immediately processed, so occupants spent their first night in an empty barracks-like building.

The chapter’s title, taken from a quote by Hunya Volkmann, is a scathing commentary on the horrors that greeted prisoners—particularly women. The forced undressing was especially humiliating for young Jewish women who valued propriety and modesty. Guards also cut off each woman’s hair, which would later be used for everything from spun yarn to mend socks to matted patches for waterproofing torpedoes.

The delousing process was particularly shocking. Women entered the “saunas” nude and clothing was decontaminated separately—all an attempt to stifle the typhus outbreaks caused by lice infestations at the camp. Camp uniforms proved inadequate at best; shoes were typically mismatched and mis-sized. Some prisoners, like Irena, Bracha, and Marta, received military clothing. Prisoners quickly modified their clothing as best they could: letting down hems, taking in waists, repairing tears, etc. Theft was a constant threat and prisoners learned to guard what little clothing and food they had.

The prisoners’ attire was in sharp contrast to the smart and carefully designed uniforms of the camp guards and SS officers. This clothing established a hierarchy that further dehumanized Jews and elevated Nazi officials: “The fact that guards and inmates would all look the same when naked was irrelevant: clothes made the difference” (133).

The chapter closes by reiterating the terrible transformation the women prisoners underwent: “In the snowy end days of winter 1942, several thousand blossoming, healthy young women were transformed into unrecognizable, trembling creatures, almost ageless and sexless” (136).

Chapter 6 Summary: “You Want to Stay Alive”

The young women quickly formed a network of support, encouraging and looking out for one another’s well-being. Initially, they worked as ordinary laborers—digging ditches, demolishing Polish houses, and enduring endless hours of physical pain. Bracha stove to remain optimistic, having heard rumors that opportunities for sewing work existed at the camp’s SS Administration building. The elite Upper Tailoring Studio would indeed become a coveted work assignment, while sewing work in a factory—though just as demanding as outdoor work—at least provided prisoners with respite from the elements. A weaving squad also afforded an escape from the most physically demanding tasks.

Bracha and others were soon assigned to Kanada: centers where inmate luggage was sorted and catalogued. Special workers were trained to search for gold and money hidden in clothing. Clothing was redistributed to German citizens and soldiers. At times, inmates could pilfer food hidden in luggage. Underwear, handkerchiefs, soap, toothpaste, and medicine were particularly valuable, not only in and of themselves, but as barter or bribes. One of the Kanada complexes sorted the clothing from the gas chamber victims. This was how many of the young woman learned of their family members’ deaths—by recognizing their clothing.

Late 1942 brought several typhus outbreaks and mass delousing. Irene’s sister, Jolli, would die of typhus. Prisoners lived in constant fear of failing selection—the evaluation that sent sick, injured, or otherwise “incapable” inmates to the gas chamber. Bracha’s sister, Katka, managed to avoid this fate despite an injured leg. Some prisoners opted for suicide by the electric fence surrounding the camp. Irene, infected with a fever, contemplated this escape, but went on to survive a pill overdose. Supported by her friends, Irene and others were about to experience a change in their fate.

Chapters 4-6 Analysis

These chapters cover the relocation of the young women and their initial months at Auschwitz. The author emphasizes the gradual loss of all material possessions—including clothing—as part of the systematic redistribution of wealth and the extermination of the people the Nazis deemed inferior.

Tensions surrounding clothing underscore this theme, further developing The Politics of Clothing. Through the forced wearing of the Star of David, Nazis successfully subverted the symbol of religious identity into a mark that branded Jews as “other.” With the summons for factory work, the young women had to decide what to pack and what to leave behind, challenged with striking a balance between sensible and fashionable clothing. Auschwitz brought with it the final loss of identity, stripping the women of the clothing that once so proudly displayed their style and grace. Adlington stresses that clothing is not merely necessary for warmth and physical protection—though these factors were strongly relevant at the concentration camp—but is a tool to assert one’s human worth. The removal of the women’s clothing robbed them of their unique identities and portrayed them as less than human. As Adlington notes, the effect was particularly stark against the backdrop of the guards’ and officers’ uniforms.

The fate of the stripped clothing—its redistribution to German citizens—is also significant, symbolically capturing the Nazis’ exploitation of their Jewish prisoners. Having seized these prisoners’ property and extracted their labor, the Nazis even repurposed this aspect of personal identity for the use of others. The fact that those sorting the clothes sometimes learned of their relatives’ deaths this way underscores how intertwined clothing is with individual personality.

This section frequently reminds readers that the young women did not know their fates at the time. Each had to balance her hope for her future with the reality of the present dangers, and it is not yet clear which of the women will survive the camps. This uncertainty propels Adlington’s narrative forward, while the focus on individual figures like Bracha (much of the arrival at Auschwitz unfolds from her perspective) restores the women’s humanity and seeks to elicit the reader’s sympathies.

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