Conservation and restoration of textiles. The conservation and restoration of textiles refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation as well as library preservation, depending on the type of collection.
- Textiles; Matting and Framing; More Resources.
- A textile conservator is a conservator. The following programs offer.
- Icon, the lead voice for the conservation of cultural heritage in the UK. The Textile Conservation Studio sells out of Heritage Open Days tickets. Meet Icon conservators at Heritage Open Days on 8.
- Our Courses an overview. Workroom of PG Dip Textile Conservation students at the TCC in Hampton Court Palace (1976-1999) (l) Kate Gill, Senior Conservator/Lecturer, examines upholstered furniture with MATC students.
- MA Textile Conservation ( 1999-2009) Frances Lennard (centre) MA Textile Conservation Programme Leader with HRH The Princess Royal and Elizabeth Palacios, the Centre’s first MATC student from Peru.
- Textile conservators are responsible for a large collection of approximately 20,000 objects including window treatments, bed curtains, rugs, costumes, quilts and coverlets, needlework and upholstery.
In this case, the concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which . Many of these artifacts require specialized care, often by a professional conservator. The goal of this article is to provide a general overview of the textile preservation process, and to serve as a jumping- off point for further research into more specialized care. Always contact a professional conservator if you are unsure of how to proceed in the preservation process. Collections. The needs of each of these locations will vary.
A private collection, for instance, is less likely to have as high a traffic flow as a museum, and may thus be able to take preservation steps that a working museum cannot (such as keeping lights to a minimum for longer periods of time). The different venues may also have different problems that arise, such as the fact that many historic homes do not have climate control, and rely strongly on natural light to display their furnishings, both of which may contribute to textile decay. Environment. Light, temperature, and humidity can all contribute to a textile. Additionally, pests, chemicals, and pollutants may also cause damage to an antique fabric. Airborne chemicals, such as smog or cigarette smoke are also harmful to the textiles, and should be avoided if at all possible: high- efficiency air filters should be installed throughout the building to reduce the presence of airborne chemicals that may stain, discolor, or weaken fabrics. Light can have a variety of effects on textiles over time.
William Morris Peacock and Dragon. William Morris 'Peacock and Dragon' 1878, jacquard-woven wool. Mentorship + Programs; Fellowships; Scholarships; Artmed; Art and Dementia Program; Shop; Engage. Sophie Younger offers talks, seminars and training courses on textile conservation.
In some cases, it may contribute to fading or discoloration, but of more concern is the damage which the fibers may suffer under prolonged exposure to non- visible light, such as ultraviolet and infrared lighting. Ideally, textiles should be stored or displayed in as little light as possible, and preferably in total darkness. This may mean storing or displaying textiles in an area without windows, or with blackout curtains, which can be pulled whenever the room is not in use. If a room relies on natural light, UV screens or coatings can be applied to the windows to block harmful rays while still allowing light to pass through. These filters should be checked periodically, however, as they have a limited lifespan and may need to be replaced every few years. Incandescent lights produce a large amount of heat in addition to large quantities of infrared radiation, which is likewise damaging to the fibers in antique textiles.
If incandescent lights must be used, they should be placed far enough away from display cases that their heat does not affect the contents. However, excessive dryness may also cause damage, especially to elastic fibers, such as wool, which rely on some amount of moisture to maintain their flexibility (Putnam and Finch). Additionally, temperature and humidity should be kept as constant as possible; changes in either of these may cause the textile fibers to expand and contract, which, over time, can also cause damage and deterioration to the textile.
For this reason, both storage and display areas should be fitted with monitoring equipment to gauge the temperature and humidity of rooms, display cases, enclosed storage facilities, and work areas. Ideally, temperature should be kept around 7. Fahrenheit. In enclosed display or storage cases, humidity can be somewhat maintained through the use of silica gel crystals. These crystals should not be placed in contact with the textiles, but may be placed in breathable muslin bags and hung inside the case to maintain a constant humidity.
Textiles should never be sealed in plastic or other air- tight casing unless it is part of a treatment or cleaning process. Proper circulation, combined with the suggested humidity, will help to prevent the growth of mold and mildew, which may stain or weaken antique textiles. Among the most common are clothes moths, carpet beetles, silverfish, firebrats and rodents. Clothes moths are attracted to protein fibres, and so are especially drawn to silk, wool, and feathers.
An infestation might be identified through the evidence of white cocoons (or the remnants thereof) on the textiles, or of sighting the insects themselves. They are roughly 8 centimetres long and white in colour.
Evidence of an infestation may take of the form of chewed holes, carcasses, or larvae, which appear as small pale worm- like insects. Both are attracted to dark, moist climates, though silverfish prefer cooler temperatures, while firebrats tend towards warmer.
Both are about 1. For rodents, snap traps may be effective, and if needed, a professional exterminator should be called. Poison baited traps should be avoided, as the rodent could die somewhere inaccessible, and provide a breeding ground for further pests. Also, sticky traps (replaced often) around doors, windows, and display cases may be useful for monitoring the insect population.
Furthermore, the population of carnivorous insects, such as spiders, should be observed. While such insects are not harmful to textiles by themselves, they may indicate another population of insects which are. The textile should be wrapped in plastic and vacuum- sealed, then brought to a freezing temperature as quickly as possible, to prevent the insects from adjusting to the cold. The object may be left frozen for several days, but should be brought slowly back up to room temperature to avoid further damage. Additionally, when dealing with a new acquisition which shows signs of insect damage, the specimen should be quarantined until it can be determined whether the insects are still present before introducing it to the rest of the collection. Textile instability.
However, as these fabrics have aged, the metals in the fibres have accelerated their decay and caused them to become extremely brittle. In this case, the environment of the textile contributes very little to the deterioration from the metallic salts, though exposure to light may accelerate it even further. Chemical tests can reveal the types of dyes and mordants used, as well as any other treatments applied to the fabric. However, should handling be necessary, there are precautions .
If gloves are unavailable, then frequent hand- washing should be undertaken to ensure that no damage is caused. For similar reasons, the working, display, and storage areas should be free of food, drink, and cigarette smoke, which can also stain or damage the fabric. Finally, to avoid ink stains, only pencils should be used for writing or sketching in the work space. To avoid snags and pulls, remove any jewelry that may catch in the fabric.
Long hair should also be tied back to allow a clear view of the working area, even when the head is bent over the table. When working with the textiles, it should be placed on a clean, flat surface which is larger than the textile itself, so that the whole piece is supported evenly.
Although it is supported, never place anything on top of the textile while it is in the flat position. When moving the textile, it is important to maintain the flat, even support of the work space.
If the piece is small enough (a handkerchief or sampler, for instance), it may be placed on an acid- free board or similar support and carried as if on a tray. If the piece is too large for this (a carpet or tapestry, for example), the piece may be rolled around an acid- free tube and carried by two people to its new location. Finally, antique costumes and clothing should never be worn, as the mere process of putting the clothes on and taking them off will cause damage. Additionally, the model may not fit the costume precisely (remember that clothing was for a long time made to fit a specific person, not mass- produced in approximate sizes), causing strain where there should be none and slack where there likewise should be none. Cleaning. The fabric is placed on a clean, flat work surface.
If the specimen is particularly delicate, or simply as a precaution, a fibreglassscreen edged with twill tape may be placed over the textile. The screen allows dirt and dust to pass through, but prevents individual threads from being pulled loose or unravelled further by the suction.
Using a vacuum attachment and the lowest power setting, move the suction over the screen until the entire area has been cleaned. If needed, move the screen to a new area and begin again. Always remember to vacuum both sides of the textile, as dirt may filter through to the other side. Because wet cleaning is a chemical process, it is not reversible, and so should be used only when absolutely necessary. Before cleaning a textile, certain questions? In other words, does it have a high acid content?
Were there chemicals used in its production that might contribute to how it reacts to water? Or how it may react to cleaning chemicals?
What are the characteristics of the fibres? For instance, cotton and linen, being plant fibers, are both stronger wet than dry, and so may be able to withstand a more mechanical stress than something like silk. Wool can absorb large amounts of water, but mats if washed in high temperatures.
All silks become brittle with age, but weighted silks (see Textile Instability above) decay more quickly, and thus must be handled with extreme care. Learn the basic characteristics of the type of fibres you have, and how they have been treated before undertaking any kind of cleaning.
What colourants have been used, and how will they react to cleaning? This can apply not only to dyes but to mordants as well.