Geriatric Nightgown, Short Sleeve, Made of Very Soft, Adaptable and Durable Fabric

Facilitates diaper change. Ideal for use in bed and wheelchair, as well as in patients with varying degrees of dependence.

Open and crossed back to prevent it from being exposed, geriatric nightgown.

Color:

Blue

FUNCTIONS OF GERIATRIC NIGHTGOWN:

Facilitates diaper change.

The geriatric gown is ideal for use in bed and wheelchair, as well as in patients with varying degrees of dependence.

GERIATRIC NIGHTGOWN FEATURES:

Made of very soft, adaptable and durable fabric.

Short sleeve

Open and crossed back to prevent it from being exposed.

Size 1: Standard for most users

All clothes are washable and high quality.

Which give longevity to the product.

And means considerable savings in time clothes and we dedicate to change, and with the discomfort caused uncontrolled or losses which exceed the ability of the absorbent used.

Producing discomfort odor, stains on clothing, and personal self-esteem, and the difficult task of changes, undress and re-dress

The closure is on the back. Closure behind.

Undressing independently is not possible

Change of underwear and incontinence products without undressing is entirely possible

Suitable for the care of immobile patients.

The patient should be moved with little clothing as possible for easy treatment and physical exam.

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PACKAGED PRODUCT:

How Embarrassing!

Gilda Williams, 4 July 2016, Tate Etc. issue 37: Summer 2016

The Austrian painter Maria Lassnig (1919–2014) spent her life exploring what she called ‘body awareness painting’, much of which was savagely observed self-portraiture.

Her paintings, drawings and films reveal an artist who was relentlessly devoted to examining the very human sentiments of being exposed and feeling vulnerable.

‘I want to paint things that are uncomfortable,’ said Lassnig

´The hardest thing is really to concentrate on the feeling while drawing.

Not drawing a rear-end because you know what it looks like, but drawing the rear-end feeling.’

Her painting Hospital 2005 presents a row of half-naked aching bodies, their exposed state instantly bringing to mind those awful back-to-front, neck-tied hospital gowns that leave their wearers worryingly unprotected from behind.

That queasy emotional cocktail – vulnerability, powerlessness, fear – was the mainstay of Lassnig’s art.

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