Conservation and restoration of textiles

For instance, many historic homes do not have climate control and rely on natural light to display their furnishings, both factors that may contribute to textile decay.

In museum or otherwise specialist collections, high-efficiency air filters are typically installed throughout the building to reduce the presence of airborne chemicals that may stain, discolor, or weaken fabrics.

[1] However, as this is impractical for display and care of the piece, knowledge of UV exposure limits and how a textile can be handled under safe amounts of lighting are also necessary for conservation.

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).

[7] For instance, temperature may be slightly lower in winter to save energy costs, but the change should be effected slowly, so as not to place the fibers under undue stress.

In areas where climate control is unavailable (such as in historic buildings), the conservator can still moderate the temperature and relative humidity through use of fans, humidifiers and dehumidifiers, and portable heating or cooling units.

Proper circulation, combined with the suggested humidity, will help to prevent the growth of mold and mildew, which may stain or weaken antique textiles.

Evidence of an infestation may take the form of chewed holes, carcasses, or larvae, which appear as small pale worm-like insects.

[6] Silverfish and firebrats are related insects that consume starch, usually found in sizing or other treatments applied to fabrics, as well as plant-based textiles such as linen and cotton.

Both are attracted to dark, moist climates, though silverfish prefer cooler temperatures, while firebrats tend towards warmer.

[6] Rodent infestations can be identified in the usual ways, such as seeing droppings, nests, or comparatively large chewed areas of textile where they have caused damage.

Poison baited traps should be avoided, as the rodent could die somewhere inaccessible, and provide a breeding ground for further pests.

[11] In the case of a rodent infestation, all access points to the room (such as cracks or holes) through which they might be entering should also be located and sealed if possible.

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.

This has the effect of shredding, or "shattering", the silk fibre, with the environment and conservation of the textile contributing very little to prevent this deterioration, though exposure to light may accelerate it even further.

Because human hands contain oils and acids in the skin, clean cloth gloves should be worn when handling textiles.

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.

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.

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 specimen is particularly delicate, or simply as a precaution, a fibreglass screen 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.

Old storm-windowpanes and glass shower doors are often used for this task, and they usually have their original edging left on, if it is not too bulky, for reasons of safety in handling.

As sections are wetted, any crumples, folds, or details (such as fringes, the picots on the edges of lace, or fine pleats) can be gently teased into place with clean fingertips so that they lie as flat as possible on the glass.

[26][27][28][29] The best storage environment for textiles is clean, dark, cool, and moderately dry, with a constant temperature and relative humidity.

[31] For costumes, flat storage may create more problems than it solves, since it is impossible to store them in this manner without forming folds and creases.

If this method is used, dummies should be fitted out with the proper undergarments, such as bustles or panniers, to provide adequate support for the garments as they were intended to be worn.

Generally, bonnets and gloves should be loosely stuffed with acid-free tissue and placed in archival-quality boxes or under cover.

The conservator prevents works of art from disappearing or loses its purpose whilst analyzing the complex stage of its material history and the cause of alteration.