To install click the Add extension button. That's it.

The source code for the WIKI 2 extension is being checked by specialists of the Mozilla Foundation, Google, and Apple. You could also do it yourself at any point in time.

How to transfigure the Wikipedia

Would you like Wikipedia to always look as professional and up-to-date? We have created a browser extension. It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology.

Try it — you can delete it anytime.

Install in 5 seconds
4,5
Kelly Slayton
Congratulations on this excellent venture… what a great idea!
Alexander Grigorievskiy
I use WIKI 2 every day and almost forgot how the original Wikipedia looks like.
Live Statistics
English Articles
Improved in 24 Hours
Added in 24 Hours
What we do. Every page goes through several hundred of perfecting techniques; in live mode. Quite the same Wikipedia. Just better.
Great Wikipedia has got greater.
.
Leo
Newton
Brights
Milds

Textile conservator

From Wikipedia, the free encyclopedia

Karen France works to clean a flag at the Naval Historical Center in Washington, D.C

A textile conservator is a conservator-restorer charged with the care, treatment, research, and preservation of textiles. Issues addressed by a textile conservator are generally related to the field of textile preservation, and include damage caused to textiles by: light, mold and mildew, insects, cleaning, surface cleaning, washing, mounting for display, and storage.[1] Variations in textile types and "the diversity of the textile conservator's work makes it a very rewarding profession".[2]: x  Textiles are among the most fragile artifacts, as they are susceptible to damage from atmospheric pollutants, moisture, biological organisms, and environmental changes and care varies with size, shape, material, and condition issues, all of which a textile conservator must be well versed.

A textile conservator may be employed by a museum, other institution, or be an independent contractor. Most textile conservators have or will be in private practice at one time in their career.[2]: 37  In the current professional climate, "funding cuts have led to a reduction in the number of permanent jobs available in textile conservation and a contract culture exists in many museums".[2]: x  A positive result "of the economic constraints on modern textile conservation is that conservators have developed a more reflective practice and think in a creative and flexible way of how to balance the key issues of access and preservation in their work."[2]: x 

YouTube Encyclopedic

  • 1/5
    Views:
    9 472
    34 296
    41 139
    75 551
    1 098
  • Materials You Need - (Part 1 of 6) Conservation and Preservation of Heirloom Textiles
  • Civil War Uniform Conservation
  • The Burgos Tapestry: A Study in Conservation
  • The Art and Science of Conservation: Behind the Scenes at the Freer Gallery of Art
  • Some Examples of Historic Italian Restoration Techniques

Transcription

[Ann Frisina] Hello and welcome to the Textile Conservation Lab of the Minnesota Historical Society. My name is Ann Frisina and I'm the textile conservator. We have created a series of podcasts to assist you in the storage of heirloom textiles. In this podcast I’ll be showing you suitable storage materials made out of paper, plastic and fabric. Storage materials are very important because they lie in direct contact with your textiles. For that reason, only stable materials that will not cause harm should be used. Let’s look at acid-free paper materials first as they are the most commonly used in textile storage. Now acid free paper products are made from a fiber base pulp that has the lignin and other impurities removed. These are paper materials that are pH balanced. Paper materials that are not acid free, like this brown tube here, are not used because they can discolor your textile over time. Now, how can you tell if something is acid free? Knowing the pH of paper based materials is extremely important. The acidity and alkalinity is expressed by a scale, which I have here, from 1 to 14. And in this scale 7 is considered neutral. Any number below 7 is acidic and any number above 7 is alkaline. When ordering paper base materials it's important to check the pH between the range of 7 and 8.5 and that is considered neutral for conservation. There are 2 types of tissue paper that you can choose to use when you're storing your textiles. The first one is a buffered tissue paper and it's buffered with this material called calcium carbonate and what this calcium carbonate does is that it acts to neutralize any acid that might form in the tissue at a later date, so if you're got something stored in tissue for a long period of time, like a plant material based item, such as cotton or linen the thought is that the buffering will prevent it from becoming, the environment around it from becoming acidic which as we talked about before breaks down plant material such as cotton and linen. In comparison there's unbuffered tissue and that means that there's absolutely no buffering compound added to it it's simply a neutral pH. Now the unbuffered tissue can also be used for the cotton and linen plant fibers but it can be used, not only for plant fibers but the wool and silk and animal fibers as well and thats the thing. The calcium carbonate buffered paper, this buffered paper, can not be used for any kind of wool or silk item and should not be used. Where as the unbuffered paper can be used for both wool and silk, animal fibers as well as cotton and linen plant fibers. Now a quick note about boxes, boxes come in buffered materials, all are buffered calcium carbonate that being said it's always important to line a box before you put a textile into it with a piece of tissue paper thats a suitable choice or a piece of washed undyed muslin. One more thing about tissue paper, it's not uncommon to receive a wedding dress after it's been stored at a dry cleaners with this blue tissue here. I don't recommend using any kind of tissue that has any kind of coloring in it. It's very easy for this tissue paper to, when it becomes wet, say in a flood or say you have a high humidity situation in the basement, to transfer the dye onto the textile it's next to, and so for that reason all of our tissue paper is either undyed or white. Although most storage materials are paper based some can be made of plastics. Now plastics for the most part are considered damaging to textiles long term preservation, however 3 types of plastics are considered suitable for long term storage and they include polyester, polypropylene, polyethylene. The first item I want to talk about is polyester file, and it's often referred to as melinex as a trade name and this polyester film comes in sheets, it comes in rolls or even pre made envelopes, which are fabulous for storing small flat textiles like samplers or fragments. Another material thats great to use is marvel seal. It is an aluminum film with polyethylene on the other side and this matte side is the polyethylene side and the shiny side is the aluminum side. It's a barrier film and it will prevent any kind of water vapor or off gassing, like acidic acid from transmitting through it and it's great to use on shelves to line them to protect the textiles that might be sitting directly on a wooden shelf or in a drawer or cedar chest for that matter or even on an acidic tube. If you have to use an acidic tube it can act as a barrier that you can roll your textiles around. Finally I want to talk about a polyethylene product called coroplast, and the coroplast is the trade name and it's basically a board just like any kind of corrugated board and it's a wonderful material, it doesn't change over time and it doesn't off gas and it's very very rugged. If you have boxes made out of coroplast and there is a flood or a leak of some kind it will protect your textile from getting wet. However that being said many conservators are worried that if there is a fire of some sort, it will melt. The polyethylene boxes, coroplast boxes, unfortunately come in very few sizes so if you do want to use a coroplast box to store your textile your probably going to have to make your own boxes. Whilst storing textiles, fabric is commonly used to assist in the process and the first fabric I'd like to talk to you about is muslin. Undyed muslin is commonly made out of cotton fibers so it can be a cotton - polyester blend. The thing to remember whenever you're using a fabric is that it must be washed prior to use and tyne reason is, is that because when the fabric is woven finishes are applied to assist in the weaving and processing of it and you want to remove those finishes. Whenever you're washing a textile for storage you need to use a base surfactant called Orvus W.A. paste and by surfactant I mean soap. Orvus is a soap that is commonly used by textile conservators and it is available in many quilt shops today so it should be within your community. When you're using the Orvus you want to be sure to use a small amount and rinse all of it out. If you have too much soaping there and the soap remains in the textile it can be a nice little tasty snack for later insect infestation and you don't want to attract anything so all the soap has to be removed from your textile when you're washing it. Another textile that we commonly use is called stockinet and this is a material that they use, they usually put this on a limb when they are putting a cast on, so it come, it's a tube form and it comes in many different sizes. These are two sizes that I use quite often. Now this cotton stockinet is also, while it's a knit fabric it too needs to be washed prior to use so you need to again wash it the the Orvus W.A. paste and be sure to rinse out all the soap. Finally I'd like to talk about batting and felt. These two materials are commonly used to cushion your textile and I recommend that people purchase these from conservation suppliers. Most batting and felt is made with an adhesive applied to the fibers to make them stick together. However that adhesive is detrimental to textiles and I recommend against purchasing any of this within a dress making shop, instead you should go to a conservation supplier and buy a batting or felt that is either spun bonded or needle punched and what that means is that no adhesive was used when they were made. So almost always or always, go to a conservation supplier when you're purchasing these two items. Obtaining the proper storage materials is a costly, time consuming process however it's the only way to promote the long term preservation of your textiles while in storage. Please go the Minnesota Historical Societies website for information on where to purchase these supplies in catalog form or online. Please join us in our next podcast where we will show you how to use these materials.

Responsibilities and duties

Textile conservators are responsible for condition assessment, treatment, and preventive measures performed on objects to preserve cultural heritage. Some conservators "have the added responsibility of acting as couriers of these objects to loan venues or with touring exhibitions".[2]: x  Textile conservators may also construct storage solutions or display mounts, such as dress forms.[3]

Also of note is that textile conservators in museum or private practice, generally, "consult not only their colleagues but every stakeholder involved with the future of the object".[2]: x 

Preventive measures

Textile conservators are charged with caring for and protecting textiles from potential or further damage "to prevent unnecessary deterioration of an object so that it remains available for research or exhibition. Any treatment should respect the historic and artistic integrity of an object and should therefore be kept as minimal as possible".[4] All treatments should be capable of being reversed or retreated with minimal intervention.[2]: ix  Preventive conservation includes "measures and treatments aimed at creating an optimum environment for storing and exhibiting objects, serving to avoid or delay the natural degradation of objects".[5]: 133  These include climate control, temperature and relative humidity; light control; control of environmental pollution; pest management; and appropriate storage methods and materials.[5] Preventive conservation "is sometimes referred to as remedial conservation".[5]: 133 

Treatment protocol

The typical protocol for the treatment and conservation of textiles includes examination, documentation, research, treatment, and documentation again.

A textile conservator's first task is to write a treatment proposal that includes an examination of the object and condition issues. A typical report includes a technical description of an object, historical data, information on the object's present state, recommendations for treatment, and expected results of treatment. Extensive written and photographic documentation is made. During treatment, photo documentation is also maintained, as well as after. After treatment, a final treatment report is completed and includes recommendations for continued care.[6]

Textile conservators must be able to treat all types of media used. As textiles may include additional adornments, such as glass beads or metal fringes, conservators must have a wide knowledge of preservation techniques for all types of media and material.

Tools

For examination, handling and/or treatment, equipment can include: gloves (cotton, vinyl, latex, or nitrile), a lab coat, a respirator, safety glasses, a magnifier; binocular microscope; magnifying glass; microscope; and other lab related equipment.

For treatment, tools can include: sewing supplies, such as needles, pins, thimble, scissors, dress makers tape; various adhesives; tweezers; brushes, "Large, medium, and small, in all kinds of shapes and in all kinds of bristle";[7] irons; steam table; ironing boards; vacuums with a variable, controllable suction like the Nilfisk vacuum cleaner; embroidery frames; wet cleaning supplies; dry cleaning supplies; insect repellents; or materials for restoration, like an aplix, cotton fabric, non-woven interfacing, nylon net or silk crepeline (both of which can be dyed to match the color of the object and used as support),[5] tetex, and velcro.

For storage, equipment can include: acid-free materials, such as tissue paper, tubes, and boxes; and flat storage mats; centerfoam; correx; foamboard/kapaline; etamine; ethafoam; plastazote; active carbon, as powder or on cloth; Art Sorb/ProSorb; Desi Pak; Japanese paper; nylon fishing line; oxygen absorbers or oxygen scavengers; silica gel; or zip-lock bags, sometimes perforated.[5]

Additionally, a large workspace with large surfaces for expansive tapestries and a well-ventilated space, perhaps with hood and extractor fan, is necessary.[8] Some conservators and projects require a glass-topped table that can be lit from underneath.[9] Use of computers and digital imaging "enable conservators to illustrate the possible outcomes of treatment proposals and document the condition of an object with more clarity".[2]: ix 

Ethics

A textile conservator, and conservators in general, ought to adhere to the ethical code of conservation. This code, generally accepted by professional organizations, was established by the American Institute of Conservation (AIC) and addresses standards, methods and principles on the form of the Code of Ethics and Guidelines for Practice.[10] The ethical code was approved by AIC Fellows and Professional Associates through a mail vote in 1994.[11] It addresses conservators keeping current with standard techniques and practices, as well as, performing treatments that are reversible, necessary, and within the conservator's ability. The Institute of Conservation London, U.K. also has Professional Guidelines.[12]

Knowledge, abilities, and skills

Some of the basic knowledge, skills, and abilities needed by textile conservators are:

  • Knowledge of fibers (classification, chemistry and physics)
  • Knowledge of textile techniques (spinning, weaving, binding, tapestries, knitting, knotting, dying, printing, and finishes)
  • Knowledge of textile degradation
  • Knowledge of environmental effects
  • Knowledge of insect and fungi identification and disinfestation or disinfection methods, including integrated pest management (IPM)
  • Knowledge of proper storage, storage systems, and materials
  • Ability to determine object's fragility
  • Ability to perform risk analysis
  • Sewing abilities/skills
  • Object handling training and skills
  • Project planning and management skills
  • Negotiating skills and financial acumen[2]: ix 

Education and training

The following North American institutions offer graduate degrees, Master's and/or PhD, in conservation: Institute of Fine Arts Conservation Center at New York University (NYU); Art Conservation Department at the University of Delaware in cooperation with the Winterthur Museum; the Art Conservation Program at Queen's University in Ontario, Canada; and the Conservation Analytical Laboratory at the Smithsonian Institution in cooperation with The Johns Hopkins University.[13]

A Master's degree in textile chemistry or textile engineering may be offered at other universities and colleges.

The following programs offer specialization in costume conservation: Fashion Institute of Technology, New York; University of Rhode Island; and the Centre for Textile Conservation at the University of Glasgow.[citation needed]

Examples of projects

Costume conservation of Gone With the Wind (1939) gowns, all designed by Walter Plunkett, in the David O. Selznick archive of the Harry Ransom Center at the University of Texas at Austin took place in preparation for temporary exhibition. A textile conservator and other museum staff worked to conserve and preserve the gowns.[14]

Organizations and professional societies

Textile conservators often join an assortment of professional organizations to suit their varied needs and specializations. These organizations may include those dedicated to conservation, textiles, or a related field. The following list is by no means comprehensive, as there are numerous regional, national, and international associations and organizations.

Organizations and societies dedicated to textiles

  • The Textile Society of America, Inc.[15]
  • American Association of Textile Chemists & Colorists[16]
  • Costume Society of America[17]

Organizations and societies dedicated to conservation in general

  • American Institute for Conservation of Historic and Artistic Works (AIC)[18]
  • International Council of Museums – Committee for Conservation(ICOM-CC)[19]
  • International Institute for Conservation of Historic and Artistic Works (ICC)[20]
  • Canadian Association for Conservation (CAC)[21]
  • Getty Conservation Institute
  • International Centre for the Study of Preservation and Restoration of Cultural Property (ICCROM)[22]
  • Heritage Preservation,[23] formerly the National Institute for the Conservation of Cultural Property, Inc. (NIC)

See also

References

  1. ^ The Winterthur Guide to Caring for Your Collection(2000). The Henry Francis Du Pont Winterthur Museum, Inc.: Delaware.
  2. ^ a b c d e f g h i Lennard, Frances; Ewer, Patricia (2010). Textile Conservation: Advances in Practice. Oxford: Butterworth-Heinemann.
  3. ^ Finch, Karen; Putnam, Greta (1985). The Care and Preservation of Textiles. London: B.T. Batsford Ltd.
  4. ^ Boersma, Foekje; Brokerhof, A.; van den Berg, S.; Tegelaers, J. (2013). Unravelling Textiles: A Handbook for the Preservation of Textile Collections. London: Archetype Books London. p. 133.
  5. ^ a b c d e Boersma, Foekje; Brokerhof, A.; van den Berg, S.; Tegelaers, J. (2013). Unravelling Textiles: A Handbook for the Preservation of Textile Collections. London: Archetype Books.
  6. ^ Konstanze Bachmann, ed. (1992). Conservation Concerns: A Guide for Collectors and Curators. Washington D.C.: Smithsonian Institution.
  7. ^ Landi, Sheila B. "The Equipment of a Textile Conservation Workroom" in Textile Conservation (1972), edited by Jentina E. Leene. Smithsonian Institution: Washington, D.C., p. 131
  8. ^ Landi, Sheila B. "The Equipment of a Textile Conservation Workroom" in Textile Conservation (1972), edited by Jentina E. Leene. Smithsonian Institution: Washington, D.C., p. 128–129
  9. ^ Landi, Sheila B. (1972). "The Equipment of a Textile Conservation Workroom". In Jentina E. Leene (ed.). Textile Conservation. Washington D.C.: Smithsonian Institution. p. 129.
  10. ^ Code of Ethics (2013). American Institute for the Conservation of Historic and Artistic Works Washington, D.C. Retrieved from AIC website at http://www.conservation-us.org/about-us/core-documents/code-of-ethics#.U0yECsd026w on April 29, 2015
  11. ^ HISTORICAL BACKGROUND from the AIC website at http://www.conservation-us.org/about-us/core-documents/code-of-ethics-and-guidelines-for-practice/historical-background#.VUEbk5VFDIU on April 29, 2015
  12. ^ Professional Guidelines (2002). Institute of Conservation London, U.K. Retrieved from: http://www.icon.org.uk/index.php?option=com_content&view=article&id=121&Itemid=1 on April 29, 2015
  13. ^ Bachmann, Konstanze (ed.), Conservation Concerns: A Guide for Collectors and Curators (1992). Smithsonian Institution: Washington, D.C., p. 139
  14. ^ The following videos produced by the Harry Ransom Center include interviews and discussion of varying treatments for the following objects:
  15. ^ The Textile Society of America, Inc.
  16. ^ American Association of Textile Chemists & Colorists
  17. ^ Costume Society of America
  18. ^ American Institute for Conservation of Historic and Artistic Works (AIC)
  19. ^ International Council of Museums - Committee for Conservation(ICOM-CC)
  20. ^ International Institute for Conservation of Historic and Artistic Works (ICC)
  21. ^ Canadian Association for Conservation (CAC)
  22. ^ International Centre for the Study of Preservation and Restoration of Cultural Property (ICCROM)
  23. ^ Heritage Preservation formerly the National Institute for the Conservation of Cultural Property, Inc. (NIC)

External links

This page was last edited on 23 September 2023, at 18:53
Basis of this page is in Wikipedia. Text is available under the CC BY-SA 3.0 Unported License. Non-text media are available under their specified licenses. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc. WIKI 2 is an independent company and has no affiliation with Wikimedia Foundation.
Contact WIKI 2
Introduction
Terms of Service
Privacy Policy