Textiles present many conservation challenges, from preserving an archaeological fragment of linen to stabilising chemical changes in a 1960s PVC mini skirt.
Curators often face the legacy of poor storage and earlier inappropriate display techniques, with limited resources to put things right.
Few museums can match the state-of-the-art facilities at large institutions such as the Metropolitan Museum of Art in New York, but the principles they use are widely disseminated and can be adopted by organisations of any size.
“Smaller museums often lack someone with specialist textile knowledge,” says Suzanne Smith, the manager of the Victoria & Albert Museum’s Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion in London. “However, there is a great deal of expertise out there to tap into, so most staff now understand the fragility of textiles and their needs.”
First principles
“Even the smallest museum can take a few simple measures to protect its textiles,” says Alison Lister, the director of Textile Conservation, a private conservation studio. “First of all, know what you have. Spend time documenting everything.”
Next, prevent contact with contaminants.
“Choose only inert materials for storage and display, and store only where exposure to unsuitable environments is as low as possible,” Lister says. “Buffering is key. Buffer your objects against the environment with an inert layer such as acid free tissue or undyed washed cotton sheets.”
A pest-monitoring system is essential; clothes moths and carpet beetles can cause a great deal of damage in a short amount of time.
Correct handling is also vital. “With a fine painting you would be much more cautious,” Lister says. “But textiles seem more familiar and are often picked up as you would an everyday item of clothing.”
In store
The need for handling can be reduced by well-planned storage that allows an item to be easily located without disturbing other parts of the collection. Clear labelling and photographs aid identification.
Dress can be hung on rails on padded hangers in individual Tyvek or unbleached calico covers. Flat textiles too large for drawers or boxes can be rolled up and hung on walls.
“Textiles are not modular,” says Suzanne Smith. “One size rarely fits all, so your storage system needs to be flexible.”
Counting the cost
Textile conservation is expensive, particularly if an item is being prepared for display.
“Even when we know about the many hours of work required, an estimate can come as a shock. It may well be into the thousands,” says Jenny van Enckevort, the senior conservator at the People’s History Museum in Manchester.
“A less interventive option – meaning fewer conservation hours – may seem cheaper, but this can mean the textile needs the support of a sloping board rather than hanging vertically, so could be a false economy as a larger showcase is needed.”
Lister says that museums need to be realistic about what can be achieved for the budget. “It’s often a false economy to go for cheaper materials or quicker solutions, when a better idea would be to reduce the number of objects being shown,” she adds.
Cash-strapped museums should not despair. There are several sources of funding for textile conservation projects, including the Heritage Lottery Fund, the Textile Society, the Daphne Bullard Trust, and the Clothworkers’ Foundation. Crowdfunding is also an option.
Online resources
Detailed advice about caring for textiles can be found online, including comprehensive guides produced by Museums Galleries Scotland (Protecting your textiles) and the Collections Trust (Collections care and conservation).
Curators often face the legacy of poor storage and earlier inappropriate display techniques, with limited resources to put things right.
Few museums can match the state-of-the-art facilities at large institutions such as the Metropolitan Museum of Art in New York, but the principles they use are widely disseminated and can be adopted by organisations of any size.
“Smaller museums often lack someone with specialist textile knowledge,” says Suzanne Smith, the manager of the Victoria & Albert Museum’s Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion in London. “However, there is a great deal of expertise out there to tap into, so most staff now understand the fragility of textiles and their needs.”
First principles
“Even the smallest museum can take a few simple measures to protect its textiles,” says Alison Lister, the director of Textile Conservation, a private conservation studio. “First of all, know what you have. Spend time documenting everything.”
Next, prevent contact with contaminants.
“Choose only inert materials for storage and display, and store only where exposure to unsuitable environments is as low as possible,” Lister says. “Buffering is key. Buffer your objects against the environment with an inert layer such as acid free tissue or undyed washed cotton sheets.”
A pest-monitoring system is essential; clothes moths and carpet beetles can cause a great deal of damage in a short amount of time.
Correct handling is also vital. “With a fine painting you would be much more cautious,” Lister says. “But textiles seem more familiar and are often picked up as you would an everyday item of clothing.”
In store
The need for handling can be reduced by well-planned storage that allows an item to be easily located without disturbing other parts of the collection. Clear labelling and photographs aid identification.
Dress can be hung on rails on padded hangers in individual Tyvek or unbleached calico covers. Flat textiles too large for drawers or boxes can be rolled up and hung on walls.
“Textiles are not modular,” says Suzanne Smith. “One size rarely fits all, so your storage system needs to be flexible.”
Counting the cost
Textile conservation is expensive, particularly if an item is being prepared for display.
“Even when we know about the many hours of work required, an estimate can come as a shock. It may well be into the thousands,” says Jenny van Enckevort, the senior conservator at the People’s History Museum in Manchester.
“A less interventive option – meaning fewer conservation hours – may seem cheaper, but this can mean the textile needs the support of a sloping board rather than hanging vertically, so could be a false economy as a larger showcase is needed.”
Lister says that museums need to be realistic about what can be achieved for the budget. “It’s often a false economy to go for cheaper materials or quicker solutions, when a better idea would be to reduce the number of objects being shown,” she adds.
Cash-strapped museums should not despair. There are several sources of funding for textile conservation projects, including the Heritage Lottery Fund, the Textile Society, the Daphne Bullard Trust, and the Clothworkers’ Foundation. Crowdfunding is also an option.
Online resources
Detailed advice about caring for textiles can be found online, including comprehensive guides produced by Museums Galleries Scotland (Protecting your textiles) and the Collections Trust (Collections care and conservation).
