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Portrait of a seamstress

机译:女裁缝的肖像

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I was 8 years old and my sister was 10 when we began riding the subway from Spanish Harlem to Manhattan's Fashion District every weekend to work with my mother. Raising us alone and living in Spanish Harlem, Mom worked relentlessly to be the best seamstress. In Puerto Rico, my mother had sewn for upscale clients, so she was confident about her creations when we moved to New York City in the late 1950s. When she began looking for work, she visited four or five factories that were affiliated with some of the best designers in the city. A couple of the factories were clean and organized, with superior sewing machines. Others looked like rundown prisons, with windows so dirty and dusty that you couldn't see daylight. Fortunately, my mother found work in one of the better factories, at least in part because she knew how to operate many of the specialty sewing machines. She soon mastered a particular machine called a Merrow (an industrial overlocker), and from that point on, her work was always in demand.
机译:当我们每个周末开始乘坐从西班牙哈林区到曼哈顿时尚区的地铁与母亲一起工作时,我8岁,姐姐10岁。妈妈一个人抚养我们,住在西班牙哈林区,他不懈地努力成为最好的裁缝。在波多黎各,我的母亲曾为高档客户缝制服装,因此当我们于1950年代后期搬到纽约市时,她对自己的作品充满信心。当她开始寻找工作时,她参观了与该市一些最好的设计师有联系的四到五个工厂。几个工厂干净整洁,配备了高级缝纫机。其他的看起来像破败的监狱,窗户是如此肮脏和多尘,以至于看不到日光。幸运的是,我的母亲在更好的工厂之一找到了工作,至少部分是因为她知道如何操作许多特种缝纫机。她很快就掌握了一种称为Merrow(工业锁扣机)的特殊机器,从那以后,她的工作总是很需要。

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  • 来源
    《Threads》 |2016年第182期|90-90|共1页
  • 作者

    ROSA VAZQUEZ;

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