Academic literature on the topic 'Dressmaker'

Relevance: State standards for professional (vocational) education of such professions as "seamstress", "dressmaker", "cutter" reveal the content of essential professional competences of these professions, as well as list general (key) competences common to all three professions. They have led to the need to identify a separate list of key competences required by employers of garment enterprises for each profession. Aim: analysis, comparison and generalization of the offer and demand for key competences of garment workers in the Ukrainian labour market; determination of personal qualities, demanded by modern employers of Ukrainian garment enterprises for such professions as "seamstress", "dressmaker", "cutter". Methods: the paper has analyzed, compared and summarized 270 vacancies and 344 curricula vitae available on Ukrainian and international job search websites to determine the level of needs of Ukrainian employers in the garment industry for garment workers with key competences (www.work.ua, www.hh.ua, www.rabota.ua). Results. The paper clarifies the statistical needs of employers of Ukrainian garment enterprises for seamstresses, dressmakers and cutters with key competences. It compares the offer and demand for garment workers and proves that they cannot adequately meet the needs of modern employers due to insufficient levels of their key competences. It highlights that dressmakers and cutters are the more in-demand workers with key competences and should work in the field of public services or a single production... Conclusions: the paper proves the interdependence between the need for well-developed personal qualities of skilled workers and types of profession and production. It reveals the role of garment workers' key competences in developing personal qualities required by Ukrainian garment enterprises for such professions as "seamstress", "dressmaker" and "cutter", as well as the connection between key and professional competences.

The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian.

This research highlights the theme of female evil in Rosalie Ham's novel The Dressmaker. It mainly seeks to examine the evil aspect of female as it is portrayed in the selected novel. The qualitative method is used to study the evil side of the main character. The focus is made on the psychological aspect of female evilness. Therefore, this research is psychoanalytical, and it is based on Heinz Kohut’s theory of self-psychology. Much specifically, Kohut's theory of self-psychology forms the basis of analyzing the heroine's psychological structure and her motives behind burning the city. The findings reflect that Rosalie Ham's The Dressmaker embodies representations of the female evil. Moreover, this female evil is a reaction, or in a sense an act of revenge, to bullying, abuse and rejection faced by the main character in the selected novel.

Cases of self-infection with cancer are described by Sippel. The author describes a case of self-infection with sarcoma. Dressmaker, 14 years old; complaints of severe constant pain in the lower abdomen. Recognized the neoplasm of common Fallopian tubes, or ovaries, probably of a sarcomatous nature. Gluttony showed that the tumor, extensively fused with the surrounding organs, belongs to the right appendage. When it was separated, part of its clumpy-purulent contents poured out into the abdominal cavity. The entire tumor was removed and, carefully examined, turned out to be a round-large-cell sarcoma, containing parts of fusiform cells in places.

The bridal gown is perhaps one of the most highly symbolic objects in the contemporary wedding ceremony. Fraught with images of sexuality and femininity, the bride conveys multiple messages with her choice of dress colour, style and adornment. As such, the dress communicates and performs as a significant material culture object within the custom of the wedding. This article examines the wedding dress within the North American context through the experiences of Nancy Harris, a dressmaker. The author discusses the struggles of the bride as she negotiates with family, friends and societal conventions while expressing herself through her choice of dress.

In this article, I discuss the private dress collection of Brita Kekkonen (1927–2013), a diplomatic wife, who was a very well-known figure in Finland during the period of the Cold War. Brita Kekkonen was also a very talented dressmaker and a very fashionable figure in diplomatic circles. Some eighty outfits made by Brita Kekkonen have survived to this day, in addition to her voluminous pattern collection, containing more than 1,000 patterns from several decades. The aim of my new postdoctoral research project is to identify Brita Kekkonen’s dresses and examine their use, politico-cultural meanings and design in the context of the Cold War, diplomatic etiquette and Kekkonen’s own personal history.

THE DRESSMAKERS, a feature-length documentary, contrasts the slow pace of artisanal clothes-making with the fast pace of the competitive textiles industry in Morocco, inviting a re-examination of the values represented by the clothing that people wear.
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À travers une étude générale de l’organisation et de l’évolution des costumes au cinéma en France, du début du cinématographe jusqu’à la fin du muet, l’ambition de cette thèse est d’étudier les liens qui se sont créés entre la mode et le cinéma par le biais des maisons de couture participant à la confection des costumes de la vedette principalement. Il s’agit également de montrer quel a été l’impact de l’arrivée d’un professionnel de l’écran : le créateur de costume dans la conception des costumes d’un personnage. Cette thèse analyse à travers les dimensions historiques, humaines, économiques, esthétiques, la création et l’évolution du costume au cinéma. La première partie aborde les débuts du cinématographe, le rôle des opérateurs Lumière tournant leurs premières vues « mises en scène » avec des méthodes héritées du théâtre. Puis la thèse met en valeur les différentes pratiques mises en place par Georges Méliès pour habiller ses artistes et figurants à la Star Film. Elle s’attache ensuite aux premiers acteurs célèbres confrontés à l’utilisation d’un costume particulier pour créer leur personnage : Max Linder, Charles Chaplin et Pearl White. La deuxième partie s’intéresse à la manière dont le cinéma français s’est servi de la mode dans les films pour tenter de rivaliser avec le cinéma américain. Puis, dans une troisième et quatrième partie, l’analyse s’attache au travail de la maison de couture lorsque celle-ci est appelée à créer et prêter des vêtements sous l’impulsion du réalisateur ou à exécuter sous l’autorité du créateur de costumes, les vêtements de la vedette pour des fictions à costumes ou à sujet contemporain. Enfin la cinquième partie relève les points de convergence entre ces deux arts : la mode et le cinéma lorsqu’à la fin de la Première Guerre mondiale, les arts se stimulent mutuellement donnant naissance au nouveau style de cette époque. Le projet de Louis Delluc, qui s’inspire d’une revue de mode pour réaliser une revue de cinéma, mais également l’introduction au Salon d’Automne de la mode et du cinéma, puis la réalisation de L’Inhumaine comme point de bascule vers cette synthèse des arts, et enfin l’Exposition des Arts décoratifs qui contribuent à faire de la mode et du cinéma des arts complémentaires, modernes et emblématiques de la période dite des Années Folles
Through a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles

This thesis focused on the use of paper patterns for home dressmaking in colonial Australasia, and the pioneer of paper pattern manufacturing, Madame Weigel. Her pattern series, catalogue, and fashion journal were examined, and an investigative approach taken to deconstruct this archive. This established an evidential data set of paper patterns for the period from 1878 to 1910, providing an important new resource for the identification and dating of extant fashion and clothing artefacts from late nineteenth century Australasia. Using mainly primary resources, comparisons were drawn between Madame Weigel’s patterns and those produced by overseas manufacturers. As Madame Weigel drew on her own international background, she passed such influences on to her Australasian customers through her patterns and travelogues, published in her journal. Madame Weigel’s transnational experience, it is argued, influenced her publications, in turn disseminating the global view of fashion to her customers. Madame Weigel’s adaptive strategies were argued as necessarily derivative of overseas trends and influences. Within the global context of transnational fashion trends, Madame Weigel’s empathy with her antipodean location was apparent. The asynchronicity of the antipodean calendar, climate, and seasons was fundamental to her work, set in a time when adaptation was resisted and northern hemisphere influences still strong. Results showed that Weigel’s pattern series supported both high fashion garments and everyday clothing. Even though women were found to be sewing primarily for themselves and their daughters during this period, Madame Weigel’s pattern range was inclusive of all family members across the lifecycle. New, empirical sizing information revealed how women’s patterns increased in size over seven decades. A mixed method approach drew on material culture, everyday history, and transnational studies to investigate the context and meaning of Madame Weigel’s business and impact.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text

Dissertação de Mestrado em Design, com a especialização em Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
Com o gosto e o interesse pela área do design de vestidos de noiva, bem como a ambição de obter experiência no ramo, tive oportunidade de realizar um estágio curricular no atelier de Iza Van. Iza Van dedica-se à criação e confeção de vestidos de noivas feitos por medida, com atendimento personalizado. A designer cria vestidos exclusivos para cada uma das suas clientes / noivas – não criando dois vestidos iguais. A técnica mais utilizada pela designer é o draping aplicado ao design. Esta técnica consiste no processo de criar diretamente no manequim com tecido. De imediato, o designer visualiza tridimensionalmente o que idealizou. Esta técnica e/ou este processo de criar é um dos motivos fulcrais para ter realizado o estágio académico neste atelier. Ao longo de três meses, aprofundei o modo como Iza Van trabalha diretamente no manequim. Deste modo, o tópico investigativo recaiu no processo de design do vestido de noiva e na envolvência do cliente no processo criativo, de modo a concluir se o draping oferece benefícios para a criação e porventura para a confeção. O enquadramento teórico começa por entender a importância do vestido de noiva e o seu papel em Portugal, bem como o Branco, enquanto cor tradicional e simbólica do vestido usado pela noiva. De seguida, fez-se um breve estudo sobre as “Modistas e Costureiras – As artesãs da moda”. Foram elas que constituíram uma parte importante da história da moda em Portugal, acrescentando à evolução do draping uma prática preciosa, no que diz respeito ao processo. Por último relatei o meu percurso durante o estágio académico – o meu acompanhamento e observação dos métodos de trabalho, a relação com o cliente e a chegada ao resultado final: o vestido de noiva.
ABSTRACT: I had the chance to complete an internship in Iza Van’s atelier, something that was fuelled by my passion and interest for the design of wedding dresses area, as well as my ambition to improve my overall knowledge in the subject. Iza Van is a designer who works in creating and making female wedding dresses custom made. The designer creates unique dresses for each one of their clients/brides – not creating two equal dresses. The most used technique by the designer is draping applied to design. This technique consists in creating directly in the manikin with fabric. With this technique, the designer can also have an immediate three-dimensional view of the project. This technique/process of creating is one of the main reasons why I chose this academical internship in Iza Van’s atelier. Throughout three months I deepened my knowledge in the way Iza Van works directly in the manikin. Therefore, my research topic was focused on the process of wedding dress and in wrapping the clients in the creative process, in order to conclude if the draping offers benefits for the creation as well as for the making. The theorical framework begins by understanding the importance of the wedding dress and its role in Portugal, as well as the White, as traditional and symbolic colour used by brides. After this, a brief study about “Dressmakers and Seamstresses – fashion artisans”. It was them who had a huge contribute for the fashion history in Portugal, adding to the evolution of draping a valuable practice. Lastly, I reported my course throughout the academical internship – my thoughts and opinions about the working methods, my relationship with the client and the reaching of the result: the wedding dress.
N/A

lt;p align="justify"gt; A pesquisa foi desenvolvida a partir de dados coletados em uma fábrica de confecção de moda íntima masculina no município de Muriaé-MG, para estudar os fatores de risco da coluna lombar relacionados às atividades exercidas pelas costureiras neste ambiente, visando segurança, saúde e conforto destas trabalhadoras. Os objetivos específicos foram analisados através das características do perfil, condições de trabalho e saúde das trabalhadoras; da incidência de sintomas osteomusculares; da avaliação da biomecânica postural da coluna lombar e dos fatores de risco da dor lombar. A investigação ocorreu com a aplicação de um questionário que continha dados sobre o perfil, condições de trabalho e saúde das trabalhadoras, além do questionário Nórdico Padrão. Este último é um instrumento validado que investiga a incidência de dor osteomuscular nas articulações. Realizou-se também uma análise biomecânica postural das costureiras através da Biofotogrametria® e um check list simplificado para os fatores de risco às lombalgias. Os resultados indicaram que a idade média das funcionárias é de 25, 75 anos. Já o tempo médio na empresa é de 37,92 meses e o tempo na atividade é de 31,57 meses. As maiores reclamações sobre dores no corpo ao final do dia foram relativas às dores lombares (74,20%). O questionário Nórdico Padrão revelou que 72,3% das costureiras sentiram dores na coluna lombar nos últimos 12 meses e 54,1% nos últimos 7 dias, e destas 27,1% referiram dificuldades na execução da tarefa devido à dor. Já a análise biomecânica postural apresentou 41,2% das trabalhadoras com algum tipo de assimetria na coluna lombar. Todas as atividades avaliadas sobre os fatores de risco à dor lombar pela postura estática adotada por elas num longo período de tempo foram classificadas como risco moderado no check list aplicado. Reforça-se que a alta incidência de dor na coluna lombar das costureiras pode estar relacionada à manutenção de posturas estáticas levando à fadiga muscular e à dor.lt;/pgt;
lt;p align="justify"gt; O perfil dos catadores de materiais recicláveis de uma associação, na cidade de Governador Valadares, Minas Gerais, Brasil, é apresentado neste trabalho. Não há registros sobre a realidade desses trabalhadores e mediante as dificuldades encontradas para sobrevivência desse grupo, foram descritas as condições de trabalho e de vida visando subsidiar propostas para melhoria dessas condições de vida, desse grupo social. Os catadores de materiais recicláveis são expostos, diariamente, a condições insalubres de trabalho que podem afetar sua saúde em função do tempo de exposição e do aumento de idade cronológica. Foram entrevistados 61,2% dos catadores associados na própria sede da associação, sendo abordados sobre questões referentes às condições de trabalho, moradia, lazer, renda, acesso a serviços de saúde, presença ou ausência de acidentes de trabalho e grau de satisfação pessoal. Também foram entrevistados os coordenadores da associação com abordagens sobre o histórico da associação, histórico pessoal dos catadores, a estrutura física da associação e a rotina de trabalho. Foram realizadas anotações em diário de campo, e durante as visitas, foram analisados os documentos e registros da associação desde o início das atividades. A atividade econômica da associação é fonte de renda para 67 catadores e garante a sobrevivência de 181 pessoas, catadores e seus dependentes. As variáveis dependentes (escolaridade, moradia, acidentes de trabalho e grau de satisfação pessoal) foram correlacionadas com a variável independente idade do trabalhador. A idade não tem nenhuma associação com a ocorrência de acidentes de trabalho e tipo de moradia. O nível de escolaridade dos trabalhadores é baixo, a maioria, 53,6% dos associados apresentam escolaridade igual ou inferior a três anos de estudo e teve associação negativa com a idade. Os catadores mais jovens apresentaram menor grau de satisfação com a vida, pois almejam maiores oportunidades de ascensão social. A desigualdade sócio-econômica ocasiona baixa auto-estima, desesperança e descrédito em alcançar melhores condições de vida. Contudo, para a maioria dos trabalhadores, o grau de satisfação com o trabalho e com a vida é grande.lt;/pgt;
lt;p align="justify"gt; The research was developed from data collected in a factory of masculine underwear clothes in the city of Muriaé-MG, to study the risk factors on the lumbar column related to the activities done by the dressmakers in this environment, aiming security, health and comfort of these workers. The specific objectives had been analyzed through the analysis of the profile, the conditions of work and the health of the workers; of the identification according to the incidence of osteomusculares symptoms; of the evaluation of the postural biomechanics of the lumbar column and the analysis of the risk factors on lumbar pain. The inquiry happened with the application of a questionnaire that contained data about the profile, conditions of work and health of the workers, and also the Nordic Standard questionnaire. The last one is a validated instrument that investigates the pain incidence to osteomuscular in the joints. One also became fulfilled a postural biomechanics analysis of the dressmakers through Biofotogrametria® and a simplified check list for the risk factors to the low back pain. The results had indicated that the average age of the employees is of 25,75 years. And the average time at the company is of 37, 92 months and the time in the activity is of 31,57 months. The major claims on pains on the body at the end of the day had been relative to lumbar pains (74,20%). The Nordic Standard questionnaire showed that 72.3% of the dressmakers had felt pains in the lumbar column for the last 12 months and 54.1% for the last 7 days and of these 27.1% had related difficulties in the execution of the tasks due to this pain. On the other hand the postural biomechanics analysis presented that 41.2% of the workers had demonstrated to have some type of asymmetry in the lumbar column. All the activities evaluated about the risk factors on lumbar pain for the static position adopted by them in a long period of time had been classified as moderate risk in check applied list. It is important to say that the high incidence of pain on the lumbar column of the dressmakers can be related to the maintenance of static positions leading to the muscular fatigue and pain.lt;/pgt;
lt;p align="justify"gt; The profile of recycling stuff collectors of an organization in Governador Valadares , Minas Gerais, Brazil is presented in this research . There are no registrations about this workers reality and through the difficulties which have been found for this group survival Work and life conditions were described, intending to subsidize proposals for improving life conditions of this social group Recycling stuff collectors are daily exposed to insalubrious work condition which can affect their health due to exposure time and rise of chronological age. 61,2% of the associated collectors were interviewed in the own commercial trade-hall of the corporation . They were interviewed with broaching of work conditions, housing , leisure, rent, health services access, presence or absence of work accidents and personal satisfaction grade . Corporation coordinators were also interviewed with broaching of corporation description , collectors personal description ,corporation physical structure and routine work . Notes on daily field about direct observations were peformed during visits to the corporation as well as documents and corporation registrations have been analysed from the beginning of its activities. Work in the corporation is source of revenue to 67 collectors and it guarantees survival to 181 people ,collectors and their dependents. As dependent variables (scholarship ,housing, work accidents and personal satisfaction grade) were correlationed to the independent variable worker age . Age isn’t associated to ocurrence of work accidents and kind of housing . Scholarship workers level is low most of them , 53,6% of the associates present scholarship iqual or under three school years and it was negatively associated to age . Younger collectors present lower life satisfaction grade for aiming at bigger oportunities of social ascension. Socioeconomic inequality causes low self-steem, hopelessness and discredit on achieving better life conditions . However ,work and life satisfaction grade is high for most part of the workers.lt;/pgt;

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Em função da restrição da mobilidade, as operações de costura podem facilmente provocar problemas de dores na coluna ou dores musculares, sendo que, em virtude do longo período em que se permanece na posição sentada, pode ocorrer uma tensão na parte mais baixa das costas. Tem-se que a lombalgia é uma patologia frequente na sociedade atual, representando 70% a 80% de afastamentos do trabalho em países industrializados. Entre os fatores de risco para este acometimento estão as posturas fixas, movimentos frequentes de rotação e flexão de tronco, e sobrecarga física excessiva. Este trabalho estuda o caso de costureiras que exercem suas atividades na posição sentada, tendo por principal objetivo verificar a qualidade de vida de costureiras que trabalham na indústria da confecção do vestuário, e, por objetivos específicos: avaliar a real severidade e o nível de incapacidade física causada pela lombalgia; e, identificar o impacto causado pela lombalgia na qualidade de vida desta população. Conclui-se que, em relação à qualidade de vida das costureiras participantes, a lombalgia causa maior impacto nos parâmetros capacidade funcional, aspectos sociais, estado geral de saúde, dor e aspectos emocionais. Os parâmetros aspectos físicos, vitalidade e saúde mental não apresentaram impacto significativo na qualidade de vida das costureiras. Verificou-se que o impacto da lombalgia na qualidade de vida de costureiras com a referida patologia, quando correlacionados com o parâmetro dor, demonstraram maior correlação com os parâmetros aspecto geral de saúde e vitalidade.
Because of mobility restrictions, sewing movements can easily cause back or muscular pain, and because of the long period in a seated position, a tension in the lower part of the back may occur. Back pain is a frquent pathology nowadays, representing 70% to 80% of sickness leaving in industrialized countrie. Among the risk factors are the standstill postures, frequent movements of rotation and the upper part of the body bending, and over weight. The present work studies the dressmakers who work in the seating position. The main objective is to verify the dressmakers' quality of life working in the clothing industry; and for the specific objectives: to evaluate the real severity and the level of physical impairment caused by back pain, and to identify the impact caused by back pain in the life quality of this population. In conclusion, it was understood that regarding to the dressmakers' quality of life, the back pain causes larger impact in the parameters of functional capacity, social aspects, overall health, pain and emotional aspects. The paremeters of physical aspects, mental health and vitality didn't represent significant impact in their life quality. It was noted that the impact of the back pain in the dressmakers' quality of life bearing the pathology, when correlated with the parameter of pain, demonstrated larger correlation with the parameters of overall aspects of health and vitality.

Orientador: João Guarnetti dos Santos
Banca: Luis Carlos Paschoarelli
Banca: Eduardo de Souza Meirelles
Resumo: Em função da restrição da mobilidade, as operações de costura podem facilmente provocar problemas de dores na coluna ou dores musculares, sendo que, em virtude do longo período em que se permanece na posição sentada, pode ocorrer uma tensão na parte mais baixa das costas. Tem-se que a lombalgia é uma patologia frequente na sociedade atual, representando 70% a 80% de afastamentos do trabalho em países industrializados. Entre os fatores de risco para este acometimento estão as posturas fixas, movimentos frequentes de rotação e flexão de tronco, e sobrecarga física excessiva. Este trabalho estuda o caso de costureiras que exercem suas atividades na posição sentada, tendo por principal objetivo verificar a qualidade de vida de costureiras que trabalham na indústria da confecção do vestuário, e, por objetivos específicos: avaliar a real severidade e o nível de incapacidade física causada pela lombalgia; e, identificar o impacto causado pela lombalgia na qualidade de vida desta população. Conclui-se que, em relação à qualidade de vida das costureiras participantes, a lombalgia causa maior impacto nos parâmetros capacidade funcional, aspectos sociais, estado geral de saúde, dor e aspectos emocionais. Os parâmetros aspectos físicos, vitalidade e saúde mental não apresentaram impacto significativo na qualidade de vida das costureiras. Verificou-se que o impacto da lombalgia na qualidade de vida de costureiras com a referida patologia, quando correlacionados com o parâmetro dor, demonstraram maior correlação com os parâmetros aspecto geral de saúde e vitalidade.
Abstract: Because of mobility restrictions, sewing movements can easily cause back or muscular pain, and because of the long period in a seated position, a tension in the lower part of the back may occur. Back pain is a frquent pathology nowadays, representing 70% to 80% of sickness leaving in industrialized countrie. Among the risk factors are the standstill postures, frequent movements of rotation and the upper part of the body bending, and over weight. The present work studies the dressmakers who work in the seating position. The main objective is to verify the dressmakers' quality of life working in the clothing industry; and for the specific objectives: to evaluate the real severity and the level of physical impairment caused by back pain, and to identify the impact caused by back pain in the life quality of this population. In conclusion, it was understood that regarding to the dressmakers' quality of life, the back pain causes larger impact in the parameters of functional capacity, social aspects, overall health, pain and emotional aspects. The paremeters of physical aspects, mental health and vitality didn't represent significant impact in their life quality. It was noted that the impact of the back pain in the dressmakers' quality of life bearing the pathology, when correlated with the parameter of pain, demonstrated larger correlation with the parameters of overall aspects of health and vitality.
Mestre

Born in Cork, Ireland, and reared in Toronto, Canada, Mary Harris trained as a dressmaker and teacher before she moved in 1861 to Memphis, Tennessee, where she met and married George Jones, an iron molder and member of the International Iron Molders Union. After the death of her husband and their four children in a yellow fever epidemic in 1867, she worked as a dressmaker in Chicago. There she became interested in the plight of the working class and began attending Knights of Labor meetings. After 1877, she devoted her life to improving the lot of working people, earning a reputation as a skilled and passionate orator....

The person of the house, dolls’ dressmaker and manufacturer of ornamental pincushions and penwipers, sat in her quaint little low arm-chair, singing in the dark, until Lizzie came back. The person of the house had attained that dignity while yet of very tender years...

The dolls’ dressmaker went no more to the business-premises of Pubsey and Co. in Saint Mary Axe, after chance had disclosed to her (as she supposed) the flinty and hypocritical character of Mr. Riah. She often moralised over her work on the tricks and...

Set down by the omnibus at the corner of Saint Mary Axe, and trusting to her feet and her crutch-stick within its precincts, the dolls’ dressmaker proceeded to the place of business of Pubsey and Co. All there was sunny and quiet externally, and...