Textiles and Their Environment

Textiles are perhaps the most fragile of all objects found in museum collections. They degrade quickly when subjected to poor environmental conditions, especially excessive light, fluctuating temperature and humidity, airborne pollution and biological pests. If these factors are monitored and controlled, generally it will prevent damage that may be costly or possibly untreatable.

Light

All light exposure is harmful to textiles. It will cause fibers to break down and dyes to fade. Light damage is cumulative and irreversible, occurring progressively. Textiles will lose flexibility, becoming weak and brittle. They will initially begin to fracture along crease lines, and then break into fragments and eventually powder. For textiles made from cotton and linen, the degradation process will be accompanied by general yellowing and browning.

Since it is not reasonable to keep your textiles in the dark all the time, what you can do is limit the time, amount and type of light exposure. Textiles can be kept in the dark when galleries are closed and storage rooms are unoccupied. Windows in storage and galleries should be covered because natural light is variable and loaded with damaging ultraviolet radiation. Keep light levels for display at no more than 50 lux or 5 footcandles, always avoiding direct light on textiles.

Temperature and Humidity

These two environmental factors are interrelated. High air temperatures have a greater capacity to hold moisture while lower temperatures hold less moisture. This explains why in the summer the air may seem heavy or muggy, while in the winter static cling and fly-away hair are problematic. Fluctuations in temperature and humidity cause fibers to shrink and swell, thus weakening the textile. Textiles should be placed in a controlled environment with a temperature of 70° F + or - 5° (21°C + or - 3°C) and a relative humidity of 50 percent, plus or minus 5 percent. Textiles should not be stored in attics or basements where humidity and temperatures can be extreme. The optimum storage area is in a central room within a building with good air circulation. Temperature and humidity levels should be recorded and monitored with a recording hygrothermograph or datalogger in any area where the collection is kept, including both storage and display.

Airborne Pollution

Dust and other airborne atmospheric pollutants can settle on textiles and cause severe damage. Dusts contain fine, sharp particles that, if not removed, will eventually become embedded into textiles and abrade fibers. Dust contains mold spores, which under high temperature and humid conditions, will flourish and grow on textiles. Dust also provides nourishment for insects and other pests. Good housekeeping will serve to keep the level of airborne pollutants at a minimum.

Biological Pests

Insects, rodents, mold and mildew all view textiles not as wonderful objects but as excellent sources of nourishment and really comfortable homes. They will nest in or feed on textiles causing small and big areas of loss. Clothes moths and carpet beetles are attracted to protein fibers; silk, wool, fur and feathers. Silverfish feed on cellulose and starch found in cotton and linen textiles. Mold and mildew grow in warm, damp locations. Areas that contain collections should be monitored and inspected on a regular basis for infestations. An integrated pest management plan (IPM) should be collection's first line of defense.

Conclusion

It is important to understand what causes damage to textiles, but at the same time it might seem rather overwhelming to correct all problems at once. Remember that awareness of how to recognize problematic situations together with small changes can often result in damage prevention for your textile collection.

Excerpt from Care of Textiles course starting May 5. 2014  

Ann Coppinger runs the conservation department and teaches conservation at the Fashion Institute of Technology in New York. She has a master's in museum studies specializing in costume and textile conservation from FIT. She is a former NEA master apprentice at the Textile Conservation Workshop. Ms. Coppinger previously worked for 22 years in fashion in New York City. She has degrees in both fashion design and pattern making from FIT. 

Care of Basketry News

Care of Basketry Instructor Sherry Doyal is based in London but her interest in basketry spans all areas. Here are some of her recent activities.

This April Dr. Nancy Odegaard of the Arizona State Museum and University of Arizona (also a Northern States Conservation Center museum classes on-line instructor) was in town. Nancy gave an illustrated lecture at the University College, London Institute for Archaeology. Nancy spoke about the ASM culturally comprehensive assemblage of basketry and cordage from the arid Southwest region (nearly 27,000 items). A Save America's Treasures grant in 2010 supported a condition survey, storage room improvements, and specialized storage furniture for the collection. Advances in conservation treatment from the ASM lab for basketry objects include new analytical techniques and identification of indigenous repairs; new treatment techniques using CO2-snow for cleaning (http://www.co2clean.com/ ); calibration and identification methods using X-ray and Xeroradiograph documentation; and new procedures for reversal of failing restorations, and stabilization of degraded pitched surfaces.   The lab continues to seek tribal consultations to address cultural concerns and inform the development of guidelines regarding access, handling, and preservation of fibre-based objects (some of which come from mortuary contexts). ASM is working on an extensive review of the conservation literature related to the products used in the stabilization of basketry.   An informal reception which followed Nancy's talk was a very happy occasion reuniting colleagues and Nancy's former interns now based in the UK.     

To contrast with the dry site basketry of the arid Southwestern US Sherry has been organizing a panel meeting late in April at the invitation Curator Fiona Pitt of Plymouth City Museums of conservators, basket makers and archaeologists to look at an exciting Bronze age basket find from Dartmoor National Park Devon, England (http://www.dartmoor-npa.gov.uk/aboutus/news/au-geninterestnews/prehistburial).  This basket is of coiled lime bast cordage and has been conserved by Helen Williams at Wiltshire & Swindon History Centre, Chippenham and will part of an exhibition later this year. The panel is meeting to look at replication of the basket for the displays. Sherry has consulted with Dr. Susanna Harris of University College London who very generously shared her knowledge of lime bast processing (http://forestry.oxfordjournals.org/content/78/1/65.abstract). Sherry will attend a workshop to gain practical experience of the process in May (for more information on the workshop go to http://www.woodlandsurvivalcrafts.com/bushcraft-courses/).

To increase interest in contemporary basketry Sherry is organizing a display of bicycle baskets by members of the Basketmakers' Association in Knaresborough, North Yorkshire for June/July of this year (for more information on the association go to http://www.basketassoc.org/index.php). Stages of the sporting Tour de France will take place in England this year with 48 thousand cycle enthusiasts predicted to arrive in Yorkshire. This will be a great opportunity to showcase the breadth of basket making with members providing both traditional and modern versions. Sherry called in on the Spring School run by the Basketmakers' Association in the City of York this week to collect baskets from makers for this exhibit.

Hairy biker's basket by Cumbrian maker and grower Susan Pettman in willow "Green Dicks" based on an Irish creel.

Edinburgh maker Anna Liebmann Coldham in organic willow "Bleu" and "Brittany Green" varieties.

To learn more about baskets and their care join Sherry for the Care of Baskets course starting May 5, 2014.

Sherry Doyal is head of the organic artefacts conservation section at the British Museum. She now specializes in conservation of botanic materials. Sherry has previous experience of private practice conservation serving regional historic houses, scientific botany collections (herbaria) and small museums. Her employment history also includes large museums (Metropolitan Museum of Art, NY and Victoria and Albert Museum, London). Sherry received a conservation and restoration studies certificate with distinction from Lincoln College of Art in 1980 and a post graduate certificate in upholstery conservation from the Textile Conservation Centre, Hampton Court Palace in 1984. Sherry received a further and adult education teachers' certificate from Exeter College in 1998 and a diploma in design and craft (constructed textiles) in the context of basketry from City Literacy College, London in 2008. In her spare time she is a maker and exhibitor of contemporary basketry works.

May 2014 Courses

MS109: Museum Management

Instructor: Sue Near

May 5 - Jun 13, 2014

Sound business practices are critical for a museum to fulfill its mission. Sounds like vegetables, right? Museum Management is complex. A museum exists to preserve collections and educate, but it is also an institution that must employ sound business practices while being accountable to the public as a non-profit organization. Instructor Sue Near teaches participants how to administer a successful museum efficiently and effectively. Participants will engage in discussions about the changing cultural climate and its effect on museum operations.

MS202: Museum Storage Facilities and Furniture

Instructor: Lori Benson

May 5 - May 30, 2014

The course will start with a refresher on the agents of deterioration and environmental issues to assure that the students have a common base to begin. After this introduction, topics include determining storage and defining space, architectural design considerations and issues such as lighting, security and planning. We will discuss general information about storage furniture types and storage materials, how to modify existing cabinets and information on homemade storage systems. The last section includes specific information from a variety of vendors, specifics on writing a Request for Proposal (RFP), and what to consider when making a decision on a furniture type and vendor. The instructor will add readings and other information depending upon the students and their individual institutional problems and concerns.

MS212: Care of Textiles

Instructor: Ann Coppinger

May 5 - May 30, 2014

Caring for textiles demands an understanding of how and why they deteriorate. This course offers a simplified explanation of the origin and structure of textile fibers as well as the finished textile object; be it either a piece of whole cloth or a finished garment. Care of Textiles teaches students to identify fibers, fabric structures and finishes, write condition reports, and understand the agents of deterioration that are harmful to various fabrics both in storage on exhibit. Topics include preparing textiles for storage and exhibit, the use of archival materials with textiles, and three dimensional supports.

MS225: Care of Baskets

Instructor: Sherry Doyal 

May 5 - Jun 13, 2014

Baskets are an important part of nearly every world culture. Caring for baskets requires an understanding of why and how they deteriorate. Care of Baskets provides a simplified explanation of the chemistry and structure of basketry materials. Starting with an overview of the history and function of baskets and how they are made, Care of Baskets will cover guidelines for handling, labeling, exhibiting and storing baskets, including condition assessments and an introduction to integrated pest management. An overview of treatments used on baskets and how appropriate they are for the long-term preservation of the basket will help students make care decisions when consulting with conservators.

MS233: Matting and Framing

Instructor: Susan Duhl

May 5 - May 30, 2014

Matting and Framing teaches the materials and techniques of conservation-quality framing. For display, matting and framing provides both protective and aesthetic contributions to art on paper. Students will learn about different types of enclosures, different mat styles and cutting methods, the pros and cons of different backing boards and glazing, and different methods of attaching items to a mat, some of which do not involve adhering hinges to art on paper. Lectures, illustrations, product resources, and additional informational references will be provided.

MS011: Gallery Guides (short course)

Instructor: Karin Hostetter

May 12 - May 16, 2014

Self-guided brochures, exhibit labels, docent led tours, guest speakers, and audio tours are only a few of the methods available to guide visitors through an exhibit. Explore the strengths and challenges of many different methods and garner resources for further information. Learn how to determine which method works best with which exhibits and how to provide variety to enhance the visitor experience.

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