An Illustrated Guide to theCare of Costume andTextile Collections

The Museums & Galleries Commission (MGC)is the national advisory body for museums inthe United Kingdom. It promotes the interestsof all museums and galleries and undertakesstrategic work to raise museum standards.The MGC provides expert and impartial adviceto museums and others and advises theGovernment on museum policy. Through itswork the MGC aims to encourage as manypeople as possible to visit and enjoy the nation'smuseums and galleries.

Find out more about the MGC by visitingour website at www.museums.gov.uk

Copies of this publication can beprovided in alternative formatsupon request. Please contactMGC Publications on 020 7233 4200for further information.

© Museums & Galleries Commission16 Queen Anne's GateLondon SW1 H 9 A A

Illustrations: Jane Robinson, Lynn Grant

First published in 2000

ISBN 0 948630 95 7

Designed and printed by James Stewart Ltd

An Illustrated Guide to the Care of Costumeand Textile Collections

Jane Robinson, Tuula Pardoe

Acknowledgements

2 Lesley Castell Publications Officer, Scottish Museums CouncilMolly Coghill Volunteer, Blaise Castle House Museum, BristolDavid Eveleigh, Curator Blaise Castle House Museum, BristolAnn French Chair, UKIC Textile SectionRosemary Harden Keeper of Collections, Museum of Costume BathEmma Hook Conservation Adviser, Scottish Museums CouncilRachel Hunter Museum Development Manager, Scottish Museums CouncilFrances Hinchcliffe Paper Conservator, Bristol Museums ServiceElaine Kilgour Training Manager, Scottish Museums CouncilCarol VVhittaker Collections Manager, Falkirk Museums

The Museums & Galleries Commission(now Resource:The Council for Museums, Archives and Libraries)

Contents

Introduct ion 5

1 Basics 6

1.1 Principles of Care 6

1.2 Conservation Quality Materials 7

2 Col lect ions Maintenance 9

2.1 Introduction 9

2.2 Workspace and Equipment 9

2.3 Housekeeping 11

2.4 Checking and Monitoring 13

2.5 Materials and Supplies 13

2.6 Handling 15

2.7 Packing and Unpacking 16

2.8 Moving 17

2.9 Rolling and Unrolling 18

2.10 Labelling 20

2.11 Cleaning 21

2.12 Dealing with Separations 22

3 Storage 24

3.1 Introduction 24

3.2 Flat Textiles 25

3.3 Rolled Textiles 26

3.4 Framed and Mounted Textiles 27

3.5 Costume Garments in Boxes 28

3.6 Hanging Costume Garments 31

3.7 Costume Accessories 32

4 Display 36

4.1 Introduction 36

4.2 Textiles in Showcases and Galleries 36

4.3 Textiles in Frames 38

4.4 Costume Garments on Mannequins 39

4.5 Costume Garments without Mannequins ...41

4.6 Costume Accessories .41

5 Specialist Help 43

Appendices 44 3

Appendix A Glossary of Terms 44

Appendix B Bibliography 47

Appendix C Suppliers 50

4 List of Figures

1. A collection care workstation2. Annual deep clean of stores3. Using a work board4. Lifting on a support5. Two safe ways to turn over6. Using a hanger to lift and turn over7. Tissue 'sausages'8. Tissue 'snowballs'9. Moving boxes and rolled textiles

10. Carrying garments11. Carrying 3-D items on trays12. Rolling a textile13. Attaching an accession label14. Secondary labels15. Modifying a vacuum cleaner16. Vacuum cleaning a textile17. Retaining loose parts with the object18. When loose trim can and cannot be stitched

back19. A well-organised store20. Packing a textile that is too long for its box21. Use of storage boards in drawers22. Use of Melinex/Mylar sleeves23. Drop-fronted boxes for mounted textiles24. Storage rack for large rolled textiles25. Rack for frames and framed textiles26. Storage bags for mounted textiles27. Garments in boxes - best practice28. Garments in boxes - basic practice29. Garment bags and open-sided covers30. The requirements of a padded hanger31. Shape options for padded hangers32. Basic practice storage method for

supporting hats33. Basic practice storage method for closed fans

34. Basic practice storage method for parasols35. Basic practice storage method for jewellery

etc.36. Basic practice storage method for shoes37. Vertical hanging methods for textiles38. Textile mounted on board39. Textile display stands40. The components of a frame for small textiles41. The mannequin as a support stand42. Adapting a mannequin to provide support43. Stylised forms for supporting costumes44. Mounting costume on vertical boards

List of Tables

1. Basic equipment and tools2. Basic and best practice for checking and

monitoring3. List of useful materials4. Examples of materials for rolling different

types of textiles5. Considerations when selecting garment

storage boxes6. Advantages and disadvantages of hanging

Introduction

This guide is for anyone who works with costumeand textile collections in museums. It will beespecially useful for those who are not specialistsin costume and textiles, but who find themselvesresponsible for; or are regularly involved with, theirday-to-day care.

Collection care is a responsibility, but the term alsodefines a range of activities. Caring for collections,like caring for children, is active, not passive. Thispublication is a practical guide that tacklescollection care under three main headings:maintenance, storage and display.

With such a large topic and with limited space, thisguide is a compromise of both breadth and depth.It focuses on what is most needed, based onknowledge and experience acquired through thework of the Area Museum Councils (AMCs).Wherever possible, illustrations are used to conveythe message.

The guide aims to show what to do and, wherespace allows, outlines how to do it. It does notcover aspects of collections management that arereally the responsibility of either the specialistcurator or conservator; but highlights circumstanceswhere expert advice may be needed.

To help those new to the subject to understandwhy seemingly ordinary tasks are sometimes donein apparently peculiar ways, the principles ofcollection care have been included at the front ofthe guide for easy reference.

Costume and textiles are collected by museumslarge and small, with varying levels of resources.Wherever possible, the guide shows what shouldbe aspired to as best practice, as well as what isacceptable basic practice.

This publication is intended to complement and be 5complemented by others. It should be usedalongside the Museums & Galleries Commission(MGC) publications: Standards in the Museum Careof Costume and Textile Collections (1998) and Levelsof Collection Care (1998).

museum. The most important regular checks tomake are of: premises, facilities, furniture andcontainers and condition of the collection, as wellas the checks normally described as monitoring ofenvironment and for pests.

• Set time aside for making checks, establishchecking regimes - and keep to them.

• Review your findings - and make improvementswhere necessary.

ProtectProtecting collections is another key principle.Typical threats are dust, dirt, air pollution andcontact with harmful materials, light (especiallyultra-violet light), pests, damp, sticky and carelessfingers, accident and theft. The appropriate level ofprotection must be judged according to theintended use of individual items. Providing a clean,tidy and well-organised environment is a goodstart towards protecting collections.

• Be aware of the common threats to costumeand textiles.

• Provide protection according to intended use,and plan use according to ability to protect.

SupportEvery textile must be supported at all times toavoid the risk of it coming apart under its ownweight. The basic principle is to give maximumsupport by laying objects out as close to horizontalas possible. The greatest challenge is providingsupport to an item of costume or textile so that itappears to hang naturally. Usually, the longer theperiod it needs to do so, the more support it willneed. Good support must always be providedwhen moving objects.

• Always provide a support - even if the costumeor textile appears strong enough to support itself.

• Design the support to match the expectedduration of display.

Chapter 1 - Basics

6 I.I Principles of CareCollection care is about ensuring object safety atall times, on the basis that prevention is better thancure. The principles laid out here underlie allcollection care activities.

Applying these principles will help museums meetthe standards laid out in the MGC publicationStandards in the Museum Care of Costume andTextile Collections (1998), especially those describedin Chapter 2: Protecting Collections.

Balance conservation and useThe need to strike a balance between safeguardingthe collection and enabling access to it is implicit inthe definition of a museum.

• Weigh up the conservation impact on access andthe access impact on conservation in allcollection care activities.

• Ensure that every collection care activity bothpromotes conservation and enables access.

RespectHaving respect means providing an appropriatelevel of care to the objects. For individualcostumes/textiles, especially the finer specimens, itis easy to have respect. It is harder when the objectlooks like something you use at home, and evenharder to learn to respect the unknown contentsof boxes and containers.

• Plan activities with consideration for the effectthey may have on objects - think before youtouch.

• Consider every costume/textile as potentiallyirreplaceable, and every box or container aspossibly containing something very fragile.

CheckChecking that all is well is an underlying principle ofcollection care. It soon becomes part of theestablished routine of everyone working in a

Conservat ion qual i ty 7For the purposes of this guide, the termconservation quality is used to describe materialsthat meet one or more of the following criteria:• are chemically inert, or• have been tested by conservation scientists and

approved for use with museum objects.Some companies specialise in supplyingconservation quality products to museums, librariesand archives.

The term 'acid-free' is commonly used, but thisdoes not always mean that a product is ofconservation quality and the specifications shouldbe checked. There are two types of acid-free tissuepaper Unbuffered acid-free tissue is naturallyneutral, whereas buffered or 'ordinary' acid-freetissue is only neutral because acidic paper has beentreated with an acid-absorbing compound such aschalk. For the purposes of this guide, only theformer is classed as being of conservation quality,although the other type does have its uses withinmuseums. For further information see the MGC'sStandards in the Museum Care of Costume andTextile Collections (1998), Appendix D.

FabricsIt is basic practice to scour all unbleached, undyedcotton fabrics by boil-washing before use incontact with textiles. This is to removemanufacturers' finishes and soften the fabric. Newlypurchased fabrics may need two washes tosatisfactorily remove all finishes. The abovetreatment may not produce a satisfactory result ondyed fabrics used for display purposes. It is basicpractice that these should be tested for suitabilityinstead (see Chapter 5).

Barr iers and po l lu t ion absorbersSometimes the use of materials that are not ofconservation quality is unavoidable. In such casessome form of barrier layer must be used. Varnishesand paints do not perform sufficiently well to act as

Avo id unnecessary touch ing, handl ing andmovingIt is physical forces such as twisting, shaking, pulling,snagging and rubbing that cause materials, alreadyweakened by age and wear; to suffer catastrophicdamage. Costumes in museum collections shouldnever be tried on.

Contact with skin damages costume and textiles.Salts and oils present in the skin transfer fromfingers on to object surfaces and after a period oftime become visible as yellowish, greasydiscoloration.

• Ensure that any movement of costumes/textilesis kept to a minimum.

• Avoid touching the object directly by providingand using supports.

• Wear gloves when touching is unavoidable.

Be wary of changeDuring any period of change, the level of riskincreases. Ensure that the environment is stable atall times and minimise the effect of changesthrough careful planning. This is the final underlyingprinciple of collection care. Lending to otherinstitutions, setting up exhibitions and moving tonew stores are circumstances where change bringsnew risks.

• Aim for collection stability at all times, but expectchange and plan to minimise the impact.

• Ensure that standards of care are maintainedthrough periods of change.

1.2 Conservat ion Qual i ty MaterialsAll aspects of collection care involve the use ofmaterials for packing or support. Textiles can bedamaged by polluting vapours from and contactwith poor quality materials. It is an underlyingprinciple of collection care that materials used nearobjects in displays and stores are of 'conservation'quality.

8 barriers for new wood, or wood products such asmedium density fibreboard. If these materials areused in showcases and storage units, a metalisedplastic film should be applied to the interiorsurfaces.

Some materials act as useful pollution absorbers,e.g. charcoal cloth and buffered acid-free tissue.If boxes made of non-conservation qualitymaterials cannot be replaced (see Table 3 and Table5). they can be lined with buffered acid-free tissueto help protect the contents. However; they mustbe checked annually to ensure their continuedeffectiveness. A pH indicator pen is a useful toolfor this but it is always advisable to replace tissue atthe first sign of discoloration.

Prox imi ty , dura t ion and enclosureIt is important to use conservation-qualitymaterials where it is in direct contact with theobject or where it is in an enclosed space for anindefinite period.

Improv ing mater ia ls already in useIt is basic practice to have a programme to replacematerials that are not up to standard or ofunknown quality. It is best practice to keep a recordof all materials in use, their specification and dateof installation.

Volunteers often come to museums because they 9have relevant skills to offer In the case of costumeand textile collections those with sewing skills maywell come forward, with the hope that they willsoon be mending collection items. They can makean enormous contribution, so it is important toclarify from the outset that the kind of sewingrequired involves making dust covers, paddinghangers and stitching on labels. This may seem lessimportant, but is actually very valuable. For somecomplex tasks more information is needed than isgiven here, and training should be sought from atextile conservator (see Chapter 5).

2.2 Workspace and Equipment

WorkspaceAlthough aspects of collection care work takeplace in different parts of the museum premises, anarea should be set aside specifically for inspectionof collections, and for preparing objects forstorage, display or loan. This space should notnormally be accessible to visitors, but could doubleup for use by researchers.

It is basic practice to locate the collection careworkspace near; but not within, the store. It is bestpractice to have separate spaces in different partsof the museum for display preparation, for dealingwith incoming material (i.e. loans and newacquisitions) and for ongoing work with the storedcollection.

Furni tureLarge tables, comfortable work chairs, trolleys (tokeep tables clear of tools, pens etc.) and goodillumination are essential. It is also useful if sometables are mobile and to have some folding onesfor temporary use.

Chapter 2 - Collections Maintenance

2.1 Introduct ion

Maintaining collections in good orderCollections do not look after themselves; theyneed to be actively cared for Collection care ismore than ensuring good storage and displayconditions, or simply applying the underlyingprinciples. It involves performing a number ofnecessary and often routine tasks in a particularway so that the collection is maintained in goodorder. Time must be set aside to ensure thatroutine tasks are carried out and that every task isperformed properly to the appropriate standard.

Procedures manualBecause many collection maintenance tasks areroutine and specific to a site, it is worth recordingthem in a Collection Care Procedures Manual toensure that standards are maintained. This is agood investment as, once written down, it is easierto pass these tasks on to new staff, trainees,students and volunteers once they have receivedsome basic training.

Developing skills in col lection careCollection maintenance activities make good'starter tasks to introduce those new to museumwork with what is involved, and so develop theirunderstanding and skills.

A new worker should start on those tasks that donot involve directly handling objects, such ascleaning and tidying stores, moving empty boxes,writing labels etc. They should progress gradually tothose that require more understanding and skillsuch as packing and unpacking boxes, and rollingand unrolling textiles.

Training and making use of skillsThe following notes are aimed at those wishing todelegate collection care tasks.

10 Equipping the workspaceYour needs will depend on the size of thecollection and the scale of collection use.Provision of, or access to, the basic items listedin Table 1 is recommended.

W h a t t o wearSome basic protective clothing should be providedbecause collection care can be dirty work. Cleanoveralls, or aprons and clean white cotton gloves,are basic requirements. Vinyl and latex gloves anddust-masks may also be useful. Jewellery, such asrings, brooches and chunky necklaces, should beremoved before handling costume or textiles asthey present a risk of causing damage.

TABLE 1: Basic equipment and tools

Equipment and Tools Usesewing tools (scissors, pins, needles) and threads making dust-covers, sewing on labelsiron and ironing board ironing storage materials and dust sheetswashing machine or hand-washing facility washing dust-sheets, overalls and glovessewing machine making dust-covers, costume underpinningscylinder type vacuum cleaner with cleaning stores and displaysadjustable suctionsoft natural bristle brushes (paint, shaving, makeup) cleaning surfacesmagnifiers (possibly also a microscope) inspection and research, pest identificationdust-sheets and padded boards in a range of sizes inspection and research - lifting, rotatingshallow trays of various sizes for lifting, segregating, preventing loss

off-cuts of plastic sheeting, conservation quality lifting, turning, moving during inspection andpapers and boards, spare card rollers research- various sizes (see Table 3)monitoring equipment, e.g. thermohygrograph, checking environmental conditions and pestwhirling hygrometer lux meter; activity around the museumultra-violet monitor and insect trap

FIGURE 1: A collection care workstation

Costume displays in room settings need to be 11cleaned as though they are historic interiors.A useful guide in these circumstances is theNational Trust Manual of Housekeeping (Sandwithand Stainton, Allen Lane, 1993).

Cleaning protect ive clothing and dust sheetsSoiled overalls, aprons and gloves should bewashed after use, preferably through the hot washcycle in a washing machine using a bleach-free,non-biological detergent. Dust-sheets that are usedin close contact with objects should be boil-washed without any detergent added.

Taking quarant ine measuresIncoming objects made of wool, fur or feather andany object showing signs of pest infestation mustbe quarantined so that it can be monitored andthen treated, if infested. Quarantine involves sealingobjects in clear polythene bags or sheets. Furtherinformation on this and treatment options isprovided in Integrated Pest Management (Pinnigerand Winsor, MGC, 1998). It is best practice to buildquarantine measures into your object entryprocedure.

2.3 HousekeepingThe routine housekeeping tasks, which ensure thatacceptable standards are maintained, are at thebasis of good collection care. The key tasks are:cleaning the collection environment; cleaningprotective clothing and dust-sheets; andestablishing appropriate quarantine procedures.Good housekeeping practices and establishingchecking regimes (see Section 2.4) go hand-in-hand.

Ensuring that these routine tasks are carried out isbasic practice and it is best practice to preparewritten procedures and log what has been done.

Cleaning the col lect ion env i ronmentThe museum's cleaning staff usually undertakeroutine cleaning of the museum site but somecleaning activities, especially of object stores, arebest integrated into the collection careprogram me. The basic tool for space cleaning is theadjustable suction, cylinder-type vacuum cleanerwith a range of nozzles and soft brushes.

It is basic practice to deep-clean storage rooms anddisplay galleries at least once a year This involvesvacuum cleaning the spaces under and behindfurniture, plinths, cases etc. If there is evidence ofpest activity, the vacuum-cleaner bags should beremoved after each use, sealed in a polythene bagand disposed of.

Well-sealed display cases and storage units do notnormally need regular cleaning. If it is necessary, thecontents should be carefully removed beforevacuuming the interior surfaces. Shaving brushesare useful for brushing debris into the suctionstream and avoid damaging the surface of displayboards. If vacuuming does not give a satisfactoryresult, it may be because the case dressing is old orhas deteriorated because of some unrecognisedpollutant. Seek advice from your AMC or aconservator

FIGURE 2: Annual deep clean of stores

2 TABLE 2: Basic and best practice for checking and monitoring

Premises Basic practiceand facilities • Routine (daily/weekly) checks of galleries and stores to ensure preventive

conservation measures have not been altered e.g. blinds are drawn as andwhen they should be, settings for lighting and environmental controls arecorrect.

• Routine checks (monthly/seasonally) of identified and unavoidable hazards(e.g. water pipes and sources of pest infestation).

Environment Basic practice

• Regular measurement of temperature and relative humidity, at least weekly.• Annual checks of performance of ultra-violet filters.• Routine checks of visible light levels, depending on how variable it is -

several times a day if necessary.• Records updated monthly with comments on findings, plus reports as

necessary.

Best practice

• Continuous monitoring of temperature, relative humidity, visible andultra-violet light.

• Records as for basic practice, and publish annual report withrecommendations.

Pests Basic practice

• Monthly checks for evidence of activity in spring/summer, plus record of findings.• Inspection of debris from cleaning under units and on windowsills

for evidence, plus record of findings.

Best practice• Routine monitoring as part of an Integrated Pest Management programme.

Furni ture and Basic practice

containers • Annual maintenance check of stability of racking, function of locks, drawer-sliders,hinges etc.

• Annual check of condition of boxes for replacement requirements, and quality ofacid-free tissue paper

Condi t ion Basic practice

• Annual check of condition details against that on accession records and updatingif necessary (on rolling programme for large collections).

• Full condition assessment of all objects going to and from display and loan, andchecks against report on routine basis for duration of display or loan, dependingon degree of risk.

Best practice• As for basic practice, but also commission a collection condition survey from a

textile conservator; and monitor changes every five years.

2.4 Checking and Moni tor ingTime spent on making regular checks of thecollection environment is seldom wasted. However;to be really useful, the information that is gatheredneeds to be integrated with the other aspects ofmanaging the organisation. Monitoring of theenvironment and checking for pests are part of theinspection process.

2.5 Materials and Supplies 13It is sensible to have a stock of the materials andsupplies needed to look after collections.Use Table 3 as a guide to what is needed.Materials used for storage and display must be ofconservation quality (see Section 1.2 and theGlossary).

TABLE 3: List of useful materials (N.B. most useful are in bold)

Material Use

Unbuffered acid-free tissue paper General-purpose use for packing andin sheets and on rolls. Available from interleaving where there will be prolongedspecialist conservation suppliers. direct contact with textiles.

Unbleached, undyed cot ton fabric General protection and support. Must be('calico'), in various widths and weights. boil-washed before used in direct contactCan be bought locally, or available in bulk with textiles,from fabric suppliers.

Polyethylene foam ('Ethafoam', Support mounts, especially shaped ones.'Plastazote'). Available from specialistsuppliers in a range of thicknesses anddensities, in grey or white.

Woven cot ton tape in a range of widths. Labels and ties. Unbleached tape must beUnbleached cotton available from used for sewn-in identification labels andspecialist suppliers, other types may be other uses where it is in direct contact withbought locally. textile objects.

Polyester wadding (or batting). General-purpose padding.Buy spun-bonded or heat-bonded types,not resin or adhesive-bonded types.Can be bought locally as quilter'swadding, or from specialist suppliers.

Spun-bonded polyolefin sheet (Tyvek'). General protection and support, tie-onOnly available from specialist suppliers. labels. Use with smooth surface outermost

when wrapping.

14Transparent polyester sheet ('Melinex' Protection and support, lifting, makingor 'Mylar') in various thicknesses, in roll lightweight tubes for storage (N.B. bewareor sheet form, and as heat-welded sleeves of sharp edges and corners).and pockets. Only available fromspecialist suppliers.

Lightweight surgical cotton stockinette tube Covering rollers, hangers and(Tubegauz') in various sizes. Can be mannequins, making display arms forbought from local chemists, or from mannequins.specialist suppliers.

'Conservation' and 'museum' quality General support, framing and mounting,acid-free boards, in various thicknesses. constructing 3D mounts.Only buy from specialist conservationsuppliers to be sure of exact productspecification.

Acid-free corrugated cardboard ('Perma'/'Dur Making boxes, trays, support forms andboard'). Only from specialist suppliers. boards.

Twin-wall polyethylene board ('Correx'). Making trays, boards, boxes for transportAvailable from specialist suppliers. and temporary storage

Hook-and-loop fastener (Velcro'). Mounting for display. Must first be sewn toAvailable from local haberdashers and in fabric or tape, that is then hand-stitched onlarge quantities from specialist suppliers. to the textile.

Laminated barrier film ('Moistop','Seet', Covering materials that are not of'Marvelseal'). Only from specialist suppliers. conservation quality, such as new wood

and particle board. (N.B. be careful not topuncture film with pins or nails.)

Aluminium foil. Can be bought locally. As a barrier film - see above.

Wooden coat hangers, wishbone and Hanging costume in store. Making simplecrescent types. Available locally and from display mounts for costume.specialist suppliers who also stockextra-long hooks.

Buffered acid-free tissue paper Use only as a short-term packing materialSold as 'acid-free tissue paper' by the ream. required - see Section 1.2. (N.B. This isfor transport and where acid absorption is not the same product as buffered tissueAvailable from stationers or paper from conservation suppliers.)merchants.

2.6 HandlingWorking with a collection always requires somehandling of objects. Museum staff are most involvedwith the collection, so handle it most and do morewith it. Good handling practice is based on stafftraining and developing good working procedures.

No t touchingGloves should be worn when objects are touched(see Chapter 1, Basics). The need to touch objectsis quite small if the methods described below arefollowed.

Handling aidsBasic materials, (e.g. sheets of tissue, fabric, card,and card tubes) can be used to improve the qualityof handling and eliminate the need to touch theobjects themselves.

Storage and work environmentGood storage and working environments lead togood handling. All handling should be done in aclear workplace, preferably on a clean dust sheetor work board (Figure 3).

Basic methods

FIGURE 5: Two safe ways to turn over

15

FIGURE 4: Lifting on a support

FIGURE 6: Using a hanger to lift and turn overFIGURE 3: Using a work board

16 Public accessEnsure good handling through:• preparing clear; written guidelines;• creating a good working environment;• enabling pre-selection of objects through good

documentation;• present objects in a form that minimises handling;• setting a good example to others;• invigilation.

2.7 Packing and UnpackingThe requirements for packing will differ dependingon whether an object is being packed to protect it,to move it, or for long-term store. Whenever youpack an object, bear in mind that the unpackingmay be done by someone else. See also Sections1.2,2.5,2.6,2.8 and 2.10.

Packing to moveBefore you start ask yourself:• how long could it be in its packing materials?• how much movement will it experience, and will

it need restraint and/or cushioning?• is it going on a journey out of the building, and if

so what protection will it need e.g. againstclimate extremes?

• who is going to move it and will they needspecial instructions?

Packing to storeAsk yourself:• are all the materials used of conservation quality?

(see Section 1.2.)• is there enough cushioning and space in the

container to prevent crease formation?• is it packed in such a way as to ensure good

handling when being unpacked?• is it packed so that the most important

identification information is visible withoutneeding to touch the object?

UnpackingThe ease with which unpacking can be carried outdepends on the skill of the person who packed it. Ifthe packer has concealed objects in wrappings orbeen unsystematic, unpacking will have to be doneslowly and very carefully.

To pack a box w i t h several i tems1. Line the box with sheets of tissue paper

(Figures 27 and 28).2. Determine number of objects, allowing space

for cushioning. Never overfill a container3. Decide the order of packing - the heavier and

most robust items at the bottom, with lighterand more crushable ones on top.

4. Label the box, listing items in the order in thatthey will be found when unpacking. Clearlymark which is the top and bottom.

5. Place each object on a separate handling sheetof tissue, approximately the size of the base ofthe box.

6. Arrange the item, cushioning any unavoidablefolds that can be reached with tissue paper'sausages', and voids with tissue 'snowballs'(Figures 7 and 8).

7. Use the tissue to lift the object into the box.The tissue acts as an interleaf.

8. Repeat with next object and stop packingbefore the box is full, closing the tissue linerover the objects.

Packing aids

FIGURE 7: Tissue 'sausages'

FIGURE 8: Tissue 'snowballs'

2.8 MovingThere will always be a need to move objects,e.g. for putting on display, photography andresearch. Occasionally whole or parts of collectionsneed to be moved for re-location or in anemergency (see also Sections 2.5, 2.6, and 2.7).

Reducing risk dur ing movement 17Many moves take place when other pressuresprevail (e.g. exhibition deadlines) and when otherstaff and contractors also need space. Some movesinvolve taking objects outside in vehicles. It is basicpractice to identify hazards and assess the level ofrisks to objects when planning moves and to takeaction to eliminate or reduce the risks.

Considerations when moving costume andtext i les• always plan the route, including any rest stops,

and clear it of obstacles;• choose containers that pass easily through

doorways;• have enough people to carry and assist by

opening doors etc.• keep boxes and rolled textiles level and do not

stack them (Figure 9);• look where you are going (Figure 9);• garments can be carried short distances

wrapped in a dust-sheet, supported on a coat-hanger and over the arm (Figure 10);

• restrain objects carried in trays by padding withtissue or foam (Figure 11);

• trolleys should be fitted with swivel castors andtyres that damp vibration;

FIGURE 9: Moving boxes and rolled textiles

18 • objects being moved to another building shouldbe in containers fitted with lids.

FIGURE 10: Carrying garments

To rol l a text i le(See Figure 12 and Table 4)1. Place the textile face down on a clean flat

surface.2. Roll interleaving material twice around the tube,

leaving an end on which to place the textile andlead it smoothly onto the tube.

3. Roll until the end of the interleaving appears onthe surface and add more sheets if needed.

4. Continue rolling keeping the textile straight andsmooth, and edges even until only a small lengthremains.

5. Lay one edge of wrapper over the textile infront of the tube, and roll on until the wrapperis in place.

6. Use woven cotton-tape ties to secure, and thenlabel. It is useful to include the dimensions ofthe unrolled textile on the label.

FIGURE 11: Carrying 3-D items on trays

2.9 Rolling and Unrol l ingMany textiles are stored rolled (see Section 3.3).Conservation quality materials must be used(see Section 1.2).

FIGURE 12: Rolling a textile

Unrol l ingUnrolling must be done on a clean surface largeenough to spread the whole textile. Unroll sointerleaving appears on the surface, and remove asunrolling progresses for replacement or re-use.

TABLE 4: Examples of materials needed for rolling different types of textiles (see also Sections 1.2 and 2.5) 19

Pile rug Painted banner Shawl Silk Ribbon

Tube l5-20cm 10-20+cm 5-10cm 5cmdiameter depending on

stiffness andsurfaceundulation

Tube length width plus width plus width including width plus 5-10cm,15-20 cm 15-20 cm fringes plus or width of

15 -20 cm container

Material of card or plastic card or plastic card a sheet oftube drainpipe* drainpipe* Melinex/Mylar rolled

into tube andwrapped in surgicalgauze

Materials for barrier film** as rug or shawl barrier film** not neededtube covers and two layers and unbuffered

of cotton fabric tissueor unbufferedtissue

Interleaving unbuffered unbuffered unbuffered unbufferedtissue tissue, tissue tissue

silicone paper iftacky, waddingsandwichedbetween tissue ifsurfaceundulates

Protective two layers of two layers of two layers of none if stored inwrapper woven fabric or woven fabric or woven fabric or drawer

Tyvek Tyvek Tyvek

Ties 2.5cm wide 2.5cm wide 2cm wide tape 1 cm wide tape orwoven tape woven tape tuck ends of

* Plastic rollers should not be used in poorly ventilated areas.** E.g. Melinex/Mylar; laminated barrier film or aluminium foil.

20 2.10 Label l ingAttaching identity labels is essential fordocumentation purposes, but this must be donepaying attention to an object's specific needs.Secondary labels, which allow recognition withouthaving to touch objects, and location labels thatfacilitate finding objects easily in store, bothcontribute to improved collection care (see alsoSection 2.7).

Ident i f icat ion labelsIt is usual to label textiles with their accessionnumbers using sewn-on tags made from cottontape marked with ink. This method is explained inthe mda's (Museum Documentation Association's)fact sheet, Labelling and Marking Museum Objects,1995, and in their video Labelling and Marking.Further information is available in the MGC'sStandards in the Museum Care of Costume andTextile Collections, 1998.

FIGURE 13: Attaching an accession label

Because labels are in such close contact with theobject, there is a risk of damage from the label.Tape used for labelling should be boil-washedbefore use and the ink should be tested for water-fastness. To test ink, mark some tape and let it dryovernight Sandwich it between two pieces ofabsorbent paper; moisten with warm water; weightit under a piece of glass and allow it to dry slowly.Check for signs of any migration of ink into thepaper It is also advisable to test the ink used oncontainers and secondary labels.

To reduce handling to a minimum, the positioningof labels should be consistent across the collectionand labels must be placed so that they are easy tofind.

Secondary ident i f icat ion labelsThe purpose of secondary labels is to allowaccurate identification without the need to locatethe accession label. They are therefore best placedat eye level. Types of secondary labels include:• Tyvek"flags' on the hooks of coat-hangers

(Figure 14);• labels with photograph of the object;• box labels that include sufficiently detailed

description to enable identification;• markings (using tested ink) on garment bags and

other wrappers;• contents lists inside boxes that map the exact

location of contents.

FIGURE 14: Secondary labels

Locat ion labelsA consistent hierarchy of location markingsthroughout the store speeds up the process offinding individual objects, allowing more time forcareful handling and moving of them. This shouldinclude rooms, aisles, bays, shelves and containers.

2.11 Cleaning

Surface cleaningThe only type of object cleaning undertaken as acollection care activity is surface cleaning. Thisnormally involves gentle use of vacuum suction.Vacuum cleaning should only be carried out ontextiles that are in good condition and where thesoiling is of no historical significance.

It is normal practice to clean only newly acquiredobjects, those being returned to the store afterdisplay or pest treatment, and those on display thatrequire interim cleaning because dust has settledon them.

The process of cleaning provides the opportunityfor a detailed inspection of an object's condition.Object cleaning and condition recording go handin hand.

Modify ing a domest ic cyl inder cleanerSpecial museum vacuum cleaners are the preferredoption, but if one is not available an ordinarycylinder-type machine with variable suction can bemodified for low-suction work. It should then bereserved solely for object cleaning use.

To vacuum clean text i les 211. Support the textile, ideally on a flat surface.2. Secure net over the vacuum nozzle with a

rubber band, or place a sheet of net over thearea of textile being vacuumed, to prevent anyitem that becomes detached from being suckedinto the machine.

3. Adjust the suction so that particles of debris liftfrom the surface without lifting the textile.

4. Work in the direction of warp and weft, or pile.5. Work on a small area at a time.6. Glide lightly over the surface without pressing .

or rubbing.7. If needed, use a soft, natural bristle brush to

dislodge particles into the suction stream.

FIGURE 15: Modifying a vacuum cleaner

FIGURE 16: Vacuum cleaning a textile

A note on washing and dry-cleaningWashing is not a collection care activity. It is aninterventive process that alters the state of theobject and as such is classed as conservationtreatment. A conservator should be involved inthe decision as to whether washing is appropriate.Similarly, the decision to dry-clean a museumobject should only be made after consulting atextile conservator (see Chapter 5).

22 2.12 Dealing with SeparationsSometimes, those working with costume andtextile collections have to deal with the completeor partial separation of part of an object.

Retaining separated partsIt is basic practice that the separated part(s) shouldbe gathered together; placed in a labelled envelopeor bag and kept either with the object or itsdocumentation.

FIGURE 17: Retaining loose parts with the object

Investigating separationsIt is best practice to undertake an investigation ofwhy the separation has occurred and record thereason. All damages are indicators of instability thatcould lead to further damage or loss. If possible, theinvestigation should be done together with a textileconservator A full investigation is essential if thepart is to be reinstated.

Thread and fabric damageThe elements that most frequently becomeseparated or loose are fastenings and trimmingssuch as buttons, hooks and eyes, waist tapes, beads,lace and fringes. In such cases, the separation hasusually, but not always, occurred due to weakthread being used for attachment or construction.

A second type of separation is of fragments offabric, parts or trimmings that has occurredbecause the textile is weak. It is important to beable to distinguish between the two.

FIGURE 18: When loose trim can and cannot bestitched back

Where thread damage has resulted in separation, itis necessary to establish the degree to which theseparation is a local problem or a sign ofwidespread weakness. Any object with widespreadtextile damage or widespread thread weaknessmust be referred to a conservator for assessmentand, in the meantime, stored.

Only consider stitching a part back if:

• the missing part is available - never attempt toreplace a missing part with new;

• it is absolutely necessary to do so e.g. for displaypurposes;

• the separation was clearly caused by localdamage to the attaching thread;

• the surrounding fabric is in good condition;• it is possible to return the part only using the

original stitch holes;• it is not necessary to sew through additional

layers;• no unpicking is necessary;• a suitable workspace is available;

• someone with the relevant skills and experience 23is available to carry out the work;

• the process, materials and name of the personcarrying out the work are recorded in theobject's file.

Chapter 3 - Storage

24 3.1 In t roduct ionIt is easier to achieve the optimum conditions forthe long-term preservation of collections in storethan in other circumstances. The requirements forstorage of costume and textile collections aregiven in the MGC's Standards in the Museum Careof Costume and Textile Collections (1998).

Locat ion and spaceIt is best practice to locate stores in the core of abuilding, avoiding attics and cellars, and also to havean adjacent study room.

Best use must be made of available space throughcareful design of the facility and selection offurniture and containers. Box sizes and turningspaces for rolled items must be taken into accountwhen planning routes into and through stores (seeSection 2.8). If storage at heights above two metrescannot be avoided, risk assessments must be donefor both workers and objects.

Furni ture and containersIt is best practice to have storage furnitureconstructed using metal rather than wood. It is alsobest practice to use unbuffered acid-free boxes in alimited range of sizes so that they fit together andfit the shelves (see Section 1.2.)

AccessStorage solutions should balance the requirementsof both access and care. It is best practice to packand store objects so that good handling is naturaland automatic when retrieving them (see Section2.7). For costume, and for some textiles, this is achallenge because care techniques that support,protect and avoid disturbance can compromiseaccessibility.

Organisat ionIt always pays to be tidy and well organised. Thewell-designed store is easy to clean and provideseasy access to the objects. Everything should belabelled and have its own place, boxes should fit

and fill racking to avoid wasted space, heavier andlarge items should be placed at lower levels, anddust protection should be provided (see Sections2.3 and 2.10).

FIGURE 19: A well-organised store

Textile storageThe main challenge of storing textiles isaccommodating two-dimensional objects in arange of sizes in a manageable way. Folding andcrushing must be avoided because fibres becomestiff and brittle, and lose their ability to recoverfrom creasing as they age (see Sections 3.2, 3.3 and3.4.).

Costume storageThere are additional challenges of storing costume,which are:

• the need to protect the three-dimensional formof textiles, which have been shaped to fit arounda human body that is absent;

• the presence of non-textile materials such asmetal, bone or glass;

• the variety of shape, size, material and formencountered, even in a small collection.(See Sections 3.5, 3.6 and 3.7.)

3.2 Flat Texti lesIt is best practice to store textiles flat, as singlelayers in boxes, trays or drawers, surrounded byconservation quality materials (see Section 1.2).Flat storage such as this is only a realistic option forsmall, unmounted textiles. The maximum size isapproximately 90cm, because this is about thelargest that can be carried horizontally (on a boardor in a tray or box) by one person and can passthrough most doorways. Larger sizes can be keptflat if laid in single layers on supports in thesmooth-sliding drawers of large metal cabinets, buttwo people will be needed to retrieve them. In thecase of very fragile textiles, flat storage withrestricted access may be the only safe option. It isbasic practice to allow some stacking of flat textiles(see Section 2.7).

If rolling is not an option (Section 3.3) textiles thatare no wider than the width of the box but longermay be kept part-rolled and part-flat by using light-weight rollers, such as tissue 'sausages', to shapeand cushion the curves.

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FIGURE 21: Use of storage boards in drawers

Melinex/Mylar sleeves are useful for small textilesin clean condition (e.g. handkerchiefs and fabricsamples).This method is useful for researchcollections.

FIGURE 20: Packing a textile that is too long forits box

Flat storage opt ionsPadded boards are useful when textiles are storedin drawers.

FIGURE 22: Use of Melinex/Mylar sleeves

Textiles can be laid on fabric-covered boards,equipped with window mounts and stacked indrop-fronted boxes.

FIGURE 23: Drop-fronted boxes for mountedtextiles

3.3 Rolled TextilesIf storing textiles flat is not possible, then rolling isthe next best solution for storing unshapedtextiles. It is the only practical solution for outsizeobjects such as carpets. Rolling provides goodsupport and protection for the textile and enableit to be moved safely. However; access is slow, re-packing even slower; and the tube and supportpole (if used) put weight inside the textile (seeSections 2.8 and 2.9.)

Basic and best pract iceBest practice storage of a rolled textile involveseither suspension on a pole or propping the endsof the roller tube on brackets. It is important thatthe weight is transferred away from the undersideof the textile and is essential for the heavier items.If this is not possible, it would be basic practice toshelve rolled textiles in a single layer; and to rotatethem a quarter turn to spread the effect of theirweight. This should be done every few months forheavy objects but lighter ones can be rotated lessfrequently

A note on materialsIt can be difficult to find large roller tubes with thenecessary stiffness, strength and low weight that arealso chemically inert, therefore it is basic practice touse ordinary card ones (from carpet warehouses)or plastic drainpipes, and to apply a barrier film plusan isolating layer (see Table 4). For small, lighttextiles, roller tubes can be made from materialssuch as conservation quality paper or card heldwith archival quality tape or polyester film(Melinex/Mylar) inserted into a restraining cover oftubular stockinette (see Section 1.2 and 2.9).

Storage of long and heavy rolled textilesFor long and heavy rolled textiles such as quilts andcarpets, heavy-duty, floor-standing storage racks areneeded. Before installing such racking, check with abuilding surveyor that the floor-loading is sufficient.Also, plan the location so as to allow good accessand turning space for long objects. Heavy textilesshould not be placed high on racks for the safetyof both staff and objects.

FIGURE 24: Storage rack for large rolled textiles

26

Storage of medium-sized rol led text i lesWall-mounted systems are suitable for shawls andsmaller banners, which are generally lighter inweight and need shorter rollers. Traditional shelfbrackets can be used to support the poles, with athin sheet of polyethylene foam (Plastazote) boundaround the ends of the brackets to preventaccidental roll-off or damage to the rolled textile.

Storage of small rol led text i lesThese should be kept in boxes and drawers fittedwith notched, side-supports to hold small roller-rods. Rollers made from Melinex/Mylar sheetwrapped in stockinette sleeves are self-supportingand can be designed to fit the container

3.4 Framed and Mounted TextilesA frame should always provide a good protectiveenvelope for its contents, whether these are ondisplay or in store. For more information onframing to conservation standards, see 4.3.

Storage practiceIf the condition of the textile is sound, framedtextiles are usually stored vertically. This is becausethis orientation puts least stress on the frame andits glazing. Framed textiles should be stored inracks (preferably made from metal) with verticalcompartments that hold no more than four or fiveframes. They should stand on a layer of thickpolyethylene foam and be separated one fromanother with corrugated boards. Any mountingplates, screw eyes and other projecting or hangingfixtures should be removed prior to storing in theracks.

27

FIGURE 25: Rack for frames and framed textiles

The exception to the above is for framed textilesthat are in poor condition; these must be storedhorizontally until they can be treated.

28 Original framesThe condition and effectiveness of an originalframe must be checked before storage. Only inexceptional circumstances should a textile be takenout of its original frame. If construction joints showsigns of failure, the frame should be tied togetherwith woven cotton tape using cushions ofpolyethylene foam to protect mouldings, ifnecessary. If the glass or back-board is loose, orseals are broken, dust will get in. In this case theframe should be first wrapped in eitherunbleached cotton or Tyvek sheet (see 2.5). If thetextile is damaged or glass is cracked or broken, itshould be referred to a conservation framerand/or a textile conservator for assessment (seeChapter 5.)

Mounted text i les in exhibi t ion framesTextiles in exhibition frames can remain in theirframes and be stored as above. However it is moreusual to dismount in order to reuse the frame. If theframe is not being reused, it is best storedreassembled using card or polyethylene foam to fillthe void left by removing the mounted textile.Textiles that have been mounted by a textileconservator (see Sections 4.2 and 4.3) should bestored on their mounts after removal from theirframe, whilst others need to be removed from themount Small mounted textiles can be stored asshown in Figure 23 and larger ones should be

provided with individual dust-covers (see Figure26) and stored vertically as above.

3.5 Costume Garments in BoxesGarments can be stored by laying them, looselypacked, in boxes on racking, or in trays anddrawers in cabinets. The most common type ofsystem uses metal racking with conservationquality acid-free boxes. It is this method that isdescribed below, although the same general rulesapply for other methods of storage of garmentslaid flat (see 1.2.)

Selecting storage method and boxesFor small collections and those that are not caredfor by a costume specialist, boxing and racking is abetter option than hanging. This is because:

• there is less risk of serious permanent damagethan from hanging;

• it is a suitable method for those less familiar withthe special needs of costume;

• objects can be safely moved about the museumwithout being taken out of their containers;

• unlike hanging, the method does not requirespecial equipment or facilities.

FIGURE 26: Storage bags for mounted textiles

TABLE 5: Considerations when selecting garment storage boxes 29

C o n s e r v a t i o n r e q u i r e m e n t s O t h e r r e q u i r e m e n t s

Dimensions • For the best practice method • Must fit gangway and doorway widths,(Figure 27): length and width are that including turning space.of the unfolded garment; depth is for • Avoid wasting space by having a rangea single heavy garment of standard sizes that fit shelves. (N.B.(e.g. Victorian silk dress) or a small shallow boxes waste less space thannumber of light garments part-full deep ones.)(e.g. night-dresses). • Must take into account the number of

• For the basic practice method staff regularly available (long narrow(Figure 28): width is that of unfolded boxes will need two people to takegarment; length is for one or two them from shelves safely).folds across garment; depth is for oneheavy or two light garments.

Physical • Smooth surfaces on inside (to • Long narrow boxes must be madepropert ies of box prevent snagging) and outside from corrugated board, which is stifferboard (to allow easy dust removal). and so resists skewing.

Box construct ion • No gaps through which dust and • Reinforced corners help preventpests could creep. skewing, especially of long narrow

• Metal fixers and re-inforcers should boxes.be non-corrosive.

• Adhesives must be of conservationquality.

Fit of lid • No suction on opening lid. • Must be possible to fit and remove• Depth of lid sufficient to keep dust lids with the number of staff

out. normally available.• Lid is not so tight as to need shaking

to release it.

Chemical • Best practice: buffered acid-freeproperties of board box board lined with unbuffered

tissue.• Basic practice: a programme of

replacement for ordinary card boxes.Meanwhile boxes must be lined withbuffered acid-free tissue that shouldbe checked annually (see 1.2).

30 Home-made boxesAlthough there is now a reasonable range of boxesavailable that meets the above requirements,garment boxes made in-house remain a viablealternative. The advantage is that they can betailored to meet your particular needs. They shouldbe constructed from corrugated box board(available from conservation suppliers) and heldtogether with woven cotton tape (see 2.5.)

Considerat ions when packing garmentsin to boxes (See also sections .1.2 and 2.7.)The following points should also be consideredwhen packing garments:

• packing should allow the parts of a garment mostimportant for identification and information to bevisible before the item is removed from the box.For a dress, this would normally be the front of thebodice, which may mean starting packing it withthe front facing down;

• because of the 3-dimensional form of costume, itwill be necessary to cushion folds and creases.This is most important for fabrics such as: silk,which can suffer permanently damage throughfolding; for already damaged fabrics; and forgarment parts where creases tend to always fallin the same place, such as sleeves;

FIGURE 27: Garments in boxes - best practice

• care must be taken when padding areas offullness, such as skirt tops and sleeve heads, touse tissue sausages without hard, tightly-twistedends (see Figures 7, 28 and 29);

• heavy garments may require the use of strongermaterials, such as 'sausages' made from sewnpolyester wadding and handling sheets madefrom soft, boil-washed unbleached cotton.

TABLE 6: Advantages and disadvantages of hanging

Advantages of hanging Disadvantages of hanging

Quick and easy to locate individual objects. Garments can sag and tear under their ownweight.

Easy retrieval and re-storing. It is easy to over-crowd rails and this can causedamage through one garment rubbing andsnagging against another

Enables examination without needing to Not suitable for every garment - somedirectly handle. will still need to be laid out in boxes and drawers.

Retains shape and form of garments, especially Need to provide individual solutions based onimportant with tailored ones. individual assessment.

FIGURE 28: Garments in boxes - basic practice

3.6 Hanging Cos tume GarmentsHanging storage is, without doubt, the mostpopular method of storing medium-sized and largegarment collections because it provides thesimplest and most convenient access to storedmaterial. When done well, hanging storage is verysuccessful, but if done badly it can be verydamaging to the costume. Boxed storage presentsfewer risks (see 3.5).

Assessing suitabi l i ty for hangingAssess all garments individually for their suitabilityfor hanging, paying particular attention to:

• the ability of shoulder area of garment tosupport its own weight. Do not hang garmentswith narrow shoulder straps or where most ofthis part is flimsy fabric or lace;

• potential distortion. Do not hang knitted or bias-cut garments;

• weight distribution. Do not hang garments thatare bottom-heavy;

• fabric damage. Do not hang garments if thefabric has extensive areas of weakness orwidespread damage;

• strength of construction. Do not hang garments 31that are coming apart at the seams;

• attachment of trimmings. Garments with loosetrimmings such as lace, beads or a fringe shouldnot be hung.

Storage by hanging is most suited to tailoredgarments (e.g. uniforms) and those that are eitherstrongly shaped or are easily crushed (e.g. silkdresses from the 1830s to 1880s and plasticraincoats). It is also a good solution for storage ofrobust garments from the second half of the 20thcentury.

Dispell ing some mythsHanging storage does not save space - hangingrails hold about the same number of garments asthe same volume of boxes.

Hanging storage does not save money - if thewhole system is costed up, boxes and racking areboth cheaper than wardrobes and individuallymade hangers.

Hanging storage only saves time for collectionswith high levels of use.

Padded hangers can cause harm, particularly ifthey are the wrong shape or the padding makesthe neck too short.

Sewing tape loops into a garment to 'spread theweight' or secure it to a hanger often causestearing and strain damage. Reduce the need fortaping by using suitably shaped hangers.

Individual garment bags can harm as well asprotect, especially if the garment has to be pulledout of the bottom of a tight tube. Only use themif there is no better way to protect the itemfrom dust

32 SpaceOvercrowding on hanging rails causes moredamage than overcrowding in boxes. Allow nomore than 10-12 items per running metre of railfor pre-20th century garments or any tailoredgarments. This can be increased to up to 20 itemsof children's wear and ladies' 20th-century dresses.The rail must be at least 1.8 metres off the floor

Storage furn i tureIt is better to use metal storage bays equippedwith rails than wooden wardrobes. Any woodencupboards should be fully lined with acid-free card,vapour barrier film or charcoal cloth to protect thetextiles from harmful pollutants given off by woodproducts and adhesives. If the cupboard is well-constructed, the main source of dust will bearound the doors. This can be reduced by fitting adust screen of densely woven cotton fabric orTyvek, held in place with strips of hook-and-loopfastener

FIGURE 29: Garment bags and open-sided covers

Garment bags

Hanging garments are most at risk when being putonto or taken off rails. Garment bags can preventdamage to costumes, but have the disadvantage ofconcealing identity and any problems such as tearsor insect activity. Use loose, side-opening bagsmade from boil-washed, unbleached and undyedcotton. A simple open-sided cover covering theupper part of the garment may provide sufficientdust and abrasion protection whilst retainingvisibility.

Hangers

A good hanger provides shaped support whilst thegarment is hanging as well as a means of lifting itfrom the rail and carrying it. Commercially availablehangers need to be carefully selected to besuitable for museum use. The hooks may need tobe replaced with long-necked screw-in ones.

FIGURE 30: The requirements of a padded hanger

3.7 Costume AccessoriesThis section covers the storage of items ofcostume that are loosely described as costumeaccessories. These are normally stored as part ofcostume collections, but are made mainly or atleast in part from non-textile materials(see also 4.6.).

FIGURE 31: Shape options for padded hangers

Accessories can be divided into those that are'hard' and those that are 'soft'. The soft, flataccessories such as shawls, collars, lace, ribbons etc.can be stored using the methods used for flattextiles or garments (see Sections 3.2 and 3.3).

Hard accessory items include shoes, hats andhead-dresses, fans, jewellery, parasols, umbrellas andhandbags. These have special physical storagerequirements, being three-dimensional in form.These often have working parts and are madefrom a variety of organic and inorganic materials,including metals, glass, leather; bone and plastics.

Storage solutions for accessories 33The range and variety of accessories mean thatthere are no simple, universal storage solutions,although the methods outlined below are cheapand work for a wide range of object types. Theyare suggestions, however, not prescriptive solutions.It is important to assess individual objects andmodify technique accordingly.

Storage of hatsThe following points should be considered whenstoring hats:

• most hats need internal support to preserve theshape;

• many also need support for the brim becausethe weight of the hat on the brim or on thecrown-brim joint can result in structural damage;

FIGURE 32: Basic practice storage method forsupporting hats

34 • all hats are vulnerable to damage throughhandling, and need storage mounts and handlingboards that allow lifting without touching;

• the orientation of the hat in store will depend onneed, though most are best stored with thecrown uppermost;

• storage mounts must serve as handling mountsand can also serve as a display mount;

• any trimmings need to be restrained orprotected to prevent tearing;

• secondary labelling systems are a useful finding aid;• hats should only be placed in containers as a

single layer

Storage of fansThe following points should be considered whenstoring fans:

• the main decision is whether to store fans openor closed. On balance, closed storage presentsfewer risks as long as precautions are taken whenopening them. Fans that are stored open aremore accessible but must be kept on individuallyshaped supports under optimum environmentalconditions;

• fans can suffer a range of problems caused byweakness to or failure of the folding mechanism.This can result in instability and possibleirreparable damage;

• fans stored closed should be tied closed (but nottightly) to prevent accidental opening;

• store fans in a dust-proof container or wrap inacid-free tissue;

• wear gloves when handling fans;• open fans on to a surface one leaf at a time -

never fully stretched open;• good quality images of the fan in the open

position are useful surrogates and reduce theneed for handling;

• do not store fans in their original cases but storethem alongside;

• use cabinets with shallow drawers and store insingle layers.

Storage of parasols and umbrel lasParasols and umbrellas need to be stored so thatthe folds are not crushed (especially important forsilk).This usually means supporting the pole at bothends.

FIGURE 33: Basic practice storage method forclosed fans

FIGURE 34: Basic practice storage method forparasols

Storage of jewel lery, but tons and o the rsmal l , hard objectsSmall items of jewellery are easily misplaced or lostand so it is basic practice to use storage systemsthat have fixed and clearly labelled locations. Toavoid snagging and scratching some cushioning maybe necessary. Storage should be in single layers, socabinets with shallow drawers are required.

35

FIGURE 35: Basic practice storage method forjewellery etc.

Storage of shoes

FIGURE 36: Basic practice storage method forshoes

Chapter 4 - Display

36 4.1 Int roduct ionThe requirements for display of costume andtextile collections are given in the MGC'spublication Standards in the Museum Care ofCostume and Textile Collections (1998). Preservationof costume and textiles on display involves strikinga balance between making them accessible andtheir conservation. The nature and variety of theobjects and of the display situation means thatoptimum solutions vary. Therefore, it is best practiceto seek advice from a textile conservator whenmaking decisions about exhibiting textiles orcostume (see Chapter 5).

Assessing condit ionThe condition of an object will affect its suitabilityfor display and show what must be done toprotect it for the planned duration of theexhibition. It is basic practice for a conditionassessment to be carried out on every item toidentify its needs for any planned exhibition.

SupportIt is basic practice to spread the weight of costumeor textiles through the use of a continuous hangingmechanism and so reduce the risk of damage.Using pins for hanging results in an unevendistribution of weight and they must not be usedfor hanging textiles and costume, even for a shortperiod of time. It is best practice to providecomplete or full support

Mounting displaysCostume and textiles are at greatest risk duringthe installation and dismantling of exhibitions. Therisks are reduced if support/mount preparationand as much of the mounting/dismounting aspossible are carried out in the workroom, ratherthan the gallery. Mounting can be a complexoperation and may need to be done by aconservator. The risks, of damage through mountingand dismounting objects for exhibition must bereviewed along with the risks of prolonged display.

Environmental conditionsIt is basic practice to exclude ultra-violet from alllight sources and to keep visible light levels andduration of exposure to a minimum. It is bestpractice to track cumulative illumination byrecording the level of illumination and duration ofexposure in the object history file.

It is also best practice to display costume andtextiles in well-sealed, metal-framed showcases,specially designed for museum use. Showcases builtin-house from conservation quality materials andwith controlled ventilation are a good alternative. Itis basic practice to prevent soiling by operating aregular cleaning regime. Textiles on open displayroom-settings should be positioned so that visitorscannot touch them.

Durat ionIt is basic practice to specify the duration of anexhibition at the planning stage in order to providethe appropriate quality of support materials andenvironmental conditions.

Use of surrogatesIt is basic practice to use replicas or unaccessionedmaterial when costume and textiles are displayed,not for their individual qualities, but to complete abigger picture (e.g. the clothing on the mannequindriver of a tank in a military museum).

4.2 Textiles in Showcases and GalleriesThe degree of support a textile requires will varyaccording to its condition and various other factors(see 4.1). A damaged textile that is to be mountedvertically must be treated by a textile conservatorbefore display. Display materials should be ofconservation quality (see 1.2).

For objects in poor condit ion, the followingoptions are available:• laying the textile flat on a fabric-covered board,

kept horizontal or at an angle of no more thanten degrees;

• have the object treated and mounted by a textileconservator

For texti les in good and stable condit ion, thefollowing methods can be used:• vertical hanging using a continuous fixing that

spreads the weight evenly.

37

FIGURE 37: Vertical hanging methods for textiles1. pole and sewn-on sleeve2. hook-and-loop fastener and batten3. rolled around pole4. laid over pole

• Stitch the textile, evenly tensioned, to a boardcovered in fabric of conservation quality.This can be displayed vertically (see 4.3). Adviceshould be sought from a textile conservator fortextiles larger than one square metre becauseadditional stitching may be needed.

FIGURE 38: Textile mounted on board

• Draping the textile over a padded stand, coveredwith a fabric of conservation quality, so that mostof the weight is supported either by the stand orthe floor of the case.

FIGURE 39: Textile display stands

Notes on materials(See Section 2.5.) Stitching and fixings will puncturebarrier films (used to bring display boards up toconservation standard) and severely reduce theireffectiveness.

A note on techniquesFlat mounting on to boards, the use of pole sleevesand hook-and-loop fastener can cause damage ifnot done correctly. Advice or training from atextile conservator is recommended.

38 4.3 Textiles in Frames

Performance of framesFrames act as mini-showcases, protecting theircontents from the environment, physical damageand theft. The materials used for construction,particularly the interior, must be of conservationquality (see 1.2). They should be tightly sealed toexclude dust and insects. Textiles in original framesshould be referred to a textile conservator forassessment of condition before use in displays (seeSections 2.5, 3.5 and Chapter 5.)

Mount ing for f ramingTextiles are mounted by stitching them onto fabric-covered boards. Only small robust textiles in stablecondition should be mounted for framing, withoutfirst consulting a textile conservator (see 5.2.)

To prepare a small textile mount board you will need• conservation quality stiff card;• boil-washed interlining (thick soft cotton, as used

for curtains), 5cms larger than the card;• conservation quality top cover fabric, l0cms

larger than the card.

To cover the card with interlining• fold the interlining in half and machine-stitch one

side, 2cm from edge, to make a pocket.• turn it inside out. Insert the card into the pocket.

Fold raw edges on remaining two sides to theback of the board, tensioning to fit snugly aroundthe card. Pin and stitch by hand.

To apply the top cover

Position the top fabric, pinning into the edges ofthe card, keeping it straight and moderatelytensioned. Hem the raw edges to the back ofmount board.

FramingAlways brief the framer on all components of theframe and provide the textile ready mounted.Specify conservation quality materials (not simply

'acid-free' ones) and ask for an itemised accountthat records the materials used.

Further information on conservation framing canbe obtained from Guidelines for ConservationFraming of Works of Art on Paper, the Institute ofPaper Conservation, 1991.

only use conservation qualitymaterials between * and *

FIGURE 40: The components of a frame for smalltextiles

Hanging f ramed texti lesMirror plates should be used, fixed over spacers toallow air circulation between wall and frame.

4.4 Costume Garments on Mannequins

Selecting mannequinsThe strong association between people andclothing makes display of costume on full bodymannequins desirable, whether the aim is to depictgeneral themes of social history or the morespecific areas of the history of dress and fashiondesign. When selecting mannequins it is necessaryto meet both aesthetic and conservationrequirements.

Opt ionsThere are a number of different types ofmannequins available. The range includes realistic,articulated action-pose figures, mannequins shapedand styled especially for historic dress, anddressmakers' torsos in a range of shapes and sizes.Some dress collections include period mannequinsas part of the collection.

Aesthet ic considerationsThe initial choice of mannequin is governed by thenature of the display. Those with realistic featuresand poses are needed for depicting people in real-life situations but look badly out of place whenused in displays of historic dress. Similarly,mannequins with toned down features designedfor historic dress are inappropriate for roomsettings.

CostAppearance is important because mannequins areexpensive, especially when wigs, make-up, replicaaccessories and stands are also needed.Mannequins that are neutral in appearance,adaptable and robust enough for re-use, are bestvalue for money. Dressmakers' torsos on stands arealso a good low-budget option for historic dressand fashion displays. They are particularly suitablewhen no accessories are shown with an outfit.

Care considerat ions 39Mannequins play a significant role in supportingcostumes during display. They must fit the garmentwell, which means that it must be possible to adjustthe body shape, size and stance of the mannequin.It must also have a stand that can bear the weightof heavy costumes without becoming unstable,postures that do not strain garments, and jointsthat fit securely but are also secure. The materialsfrom which mannequins are made should betested or known to be safe for museum use,especially where they are in direct contact with thecostume.

The mannequin as a suppor t standFor most historic dress, the mannequin is only partof the support and must be padded and dressedto make it match the shape of the garments.Padding has the added advantage of providing asurface which holds the garment in place. Thedegree of support needed depends on the type ofgarment, its condition and the duration ofexhibition. It should be noted that padding amannequin never achieves complete support, sinceappearance dictates that some semblance ofdraping is desirable to make garments look natural,rather than stuffed.

Mannequins made especially for the display ofhistoric dress have torsos that are significantlysmaller than actual size to allow for the necessarypadding. Some are also adjustable.

Padding a mannequinTo achieve support, the mannequin must bepadded to shape. The illustrations below showpadding a small dressmaker's torso to fit the dressof a large lady of the period 1875-1880. Theprocess will adapt for other styles of mannequins.

40

FIGURE 41: The mannequin as a support stand

The upper body is built up with layers of polyesterwadding. Initially, the wadding can be crudelywrapped and tied in place with woven cottontape. As the form progresses, symmetrically placedoval patches are stitched in place, sometimesstuffed with shredded wadding to give bulk. Onthis model a replica corset front has been used, butthis is not essential.

It is essential to establish the shape first, and to letsize follow. Research into the body form of theperiod will complement information taken fromthe garment. This will help establish the key linesthat dictate the form, such as shoulder slope, backwidth, waistline and bustline. Trial fitting of thegarment should be kept to a minimum, by takingmeasurements at the initial fitting and referring tothem as work progresses. In the final stages, thegarment itself will indicate what fine-tuning isneeded.

The lower body relies on the use of amultipurpose petticoat that can be made to fit arange of skirt shapes, by adjusting the density ofgathering. It is made from a four-metre long strip ofmedium-weight, boil-washed, unbleached cottonthat is pleated (to half its length) onto a yoke oflightweight soft cotton that is then held round the

waist with a drawstring. Dressmakers steel boning(from haberdashers) is inserted into threechannels, made by stitching 25mm wide cottontape at roughly hip, knee and mid-calf levels. Theboning needs to be at least 30cms longer than thefinished circumference of the skirt, so that it can belapped to hold the join of the petticoat. Adjustingthe position of the gathers adjusts the shape of thepetticoat in the vertical dimension. Adjusting thelapping of the boning alters its shape and size inthe horizontal dimension.

Arms are simply made from wadding covered withcotton fabric or surgical gauze. It is usuallynecessary to pad the join between arm andshoulder after the bodice is put on.

FIGURE 42: Adapting a mannequin to providesupport

4.5 Costume Garments withoutMannequins

OptionsThe levels of cost, space, and time required tomount costumes on mannequins are high.Alternative methods of display that provideopportunities for close examination of technicaland decorative detail or for varied interpretationare described below.

Laying f latNot using mannequins enables costumes that aretoo weak, or too damaged to stand vertically to bedisplayed. Frail items can be laid on fabric coveredboards with their folds gently padded and shownlaid flat or on slopes often degrees or less.

Stylised formsThere are a number of options. Selection dependson the amount of support required as well asappearance. Fabric covered surfaces provide moresupport than slippery ones such as those madefrom methyl methacrylate (Perspex) sheet

Mounting on vertical display panels 41Pinning and stitching through costumes is avoidedby fitting a padded support through the garmentand securing that to the backboard. Pins shouldnever be used to mount costumes, as they areliable to corrode and cause staining.

FIGURE 43: Stylised forms for supporting costumes

FIGURE 44: Mounting costume on vertical boards

Purpose made costume figuresVery fragile items may be unsuitable formannequins because they need total support on aform made to fit exactly the inside of the garment.Making such mounts is a specialist task and shouldbe referred to a textile conservator

4.6 Cos tume Accessories

Care considerat ionsAccessories are made from a great variety ofmaterials and environmental conditions may needto be adjusted to suit them. Conservation qualitymaterials should be used (see section 2.2). As withother costume items, the support should bedesigned so that it will work successfully for the

42 duration of the display period. Some accessories(e.g. head-dresses, fans and jewellery) may needextra support because of their weight and mayalso need to be secured or restrained to holdthem in place. Others (e.g. shoes) may not requireany support but need padding to prevent themlosing shape.

Using accessories on mannequinsAccessories used on mannequins must be securedor supported discreetly in order to achieve anatural appearance. Mounts made from clearPerspex (methyl methacrylate sheeting) can beused (e.g. to hold a fan open in the hand, or toprovide a support for a hat). If nylon fishing line isused to hold accessories in place, the potentialcutting effect of the line will be reduced by usingMelinex/Mylar strips placed between it and theobject.

Polyethylene foam (Plastazote) in thin sheet formcan be wrapped and tied around objects such asumbrella handles or closed fans to provide bulkand grip so that it appears to be held in the hand.Parasols and umbrellas should not be displayedfully open. A band of Plastazote tied around thestem immediately beneath the ribs will support itin a near-open position.

Avo id ing unnecessary damageAccessories should only be used when they arenecessary for the theme of the display. If an objecteither does not show (e.g. a corset or crinolineunder a dress) or only a glimpse is visible (e.g. ashirt under a suit jacket) a replica or non-accessioned item should be used.

Replica and non-accessioned accessories play animportant role in protecting costume collections indisplays where full dressing is necessary more foreffect than for information. Mannequins that aresupported by a spike through one foot willobviously not be fitted with a shoe from thecollection.

Display w i t h o u t mannequinsIf invisible supports are not necessary, thensupports made in-house using basic conservationmaterials should be used. For example, simpletailor-made stands for hats can be made from cardand wadding, or shaped Plastazote with a fabriccover

Chapter 5 - Specialist Help

This publication is not a comprehensive guide toevery aspect of caring for costume and textilecollections. Further help will be needed, whether itis to identify costume and textile material or toexpand on techniques in the guide.

Texti le conservatorsThroughout the guide the reader has been advisedwhen help or advice from a textile conservator isnecessary to carry out specific tasks or to helpwith decision-making. Textile conservators alsoundertake remedial treatment of damaged objectsso that they can be made accessible to visitors.They can also help with planning and decision-making on aspects of collection care by advisingand undertaking condition surveys of collections.Many will also provide coaching or short trainingcourses. Many of the techniques in this guide aredescribed only in outline and each one could bethe subject of a coaching session, demonstration orworkshop to adapt techniques to meet specificrequirements.

Textile conservators can be found through thenational register of independent conservationpractices, which is jointly maintained by UKIC andHistoric Scotland's Scottish Conservation Bureau.Practices admitted on to the register must meetcertain specified standards. Details are available bytelephoning 020 7721 8246. Individualconservators may also be accredited under arecently launched scheme operated by the UnitedKingdom Institute for Conservation. Accreditationis an assurance of individual competence across arange of specified conservation standards. Textileconservators may specialise in particular areas, e.g.costume so it is always worth checking their pastwork and clients.

Cos tume and tex t i le specialistsWhere no specialist staff are available in-house,help may be required to identify and establish thesignificance of costume and textile items in a

collection. It is recommended that you cultivate 43contacts with museums that do employ textilespecialists, either through local museum networks,or nationally. Making contact with other museumswill also provide inspiration and information onways of using costume and textiles. The Group forCostume and Textile Staff in Museums is a specialinterest group for those with a special interest incostume and textiles working in museums,including those from small collections. For details,contact Elizabeth McCrum, Membership Secretary,on 028 9038 3072.

Analysis of mater ia lsA few large museums that have analytical researchdepartments may be able to undertake testing ofmaterials for conservation quality. The BritishMuseum offers a testing service. Details areavailable by telephoning 020 7323 8772.

A r e a Museum Councils (AMCs)The AMCs are a first port of call when seekingspecialist help. They provide advice and informationon a range of museum issues, including collectioncare, and support caring for collections throughgrant-aid programmes. Some organise shorttraining courses and all support training in generalcollection care skills.

Appendix A - Glossary of Terms

44 Acid-freeA term commonly used in museums to describethe properties of paper and paper products forstorage or mounting purposes. As a general rule,the term acid-free needs to be further definedthrough a product specification.

Taken literally, acid-free means that a material isfree of acid. Acidity and alkalinity are measured onthe pH scale, where 1 is the extreme of acidity 14the extreme of alkalinity, and 7 is neutral. Sinceacids are damaging to many museum artefacts,'acid-free' suggests that a material is safe. This maynot, however; be the case, since it might be alkalinethat can also be damaging to some textilematerials. The term is also used to describe aproduct that has been rendered pH neutral duringmanufacture by the addition of some bufferingcompound such as chalk. However; the acidityremains and overtime the buffering material losesits potency and the material becomes acidic.

Paper products are available that are naturally acid-free and these are recommended for use in directcontact with textiles or costume.

Barr ier f i lmThis term is used to mean a layer of material thatfunctions as a barrier to prevent transfer ofharmful substances from an unsuitable material toa museum object. The barrier film may be neededto prevent passage of gases and/or direct contact.Some materials are specifically designed for thispurpose (e.g. vapour barrier films) and others mayhave the right properties (e.g. aluminium foil).

Boil-washingA method of scouring the manufacturer's surfacefinishes from fabric before it is first used formuseum purposes. Boil-washing should be donewithout chemical cleaning agents in a washingmachine on the programme that washes at 95degrees Centigrade. It is the simplest method ofscouring fabrics for collection care use and can also

be used to clean soiled dust sheets, gloves andother protective clothing etc.

BufferedThe term is used to describe a material (usuallypaper or a paper product) that has been treatedwith a chemical to reduce its acidity. The chemicalis the buffer. The usual process of neutralisingacidity is by adding an alkali or sacrificial materialsuch as chalk.

Charcoal clothA cloth that contains a pure form cloth of carbonthat absorbs pollutant gases such as hydrogensulphide or sulphur dioxide. It is used to lineshowcases and storage units to remove harmfulgases. Once all the absorbing sites on the carbonare used up, it stops working and must be replaced.

Conservation qualityA generic term used to describe materials that aresafe for use with museum collections. It indicatesthat materials are chemically stable, free fromimpurities, durable and generally suitable for long-term storage of museum objects. In this publication,it is used to describe materials that are chemicallyinert, sold according to product specification byconservation suppliers or have been tested andapproved for conservation use.

Deep-cleaningA term used in the context of museumhousekeeping, and synonymous with spring-cleaning. The frequency may be dictated byexhibition programme and level of use, rather thanthe time of year

Dust covers & sheetsA tightly woven fabric or other material used toprotect something from dust. Dust covers areusually shaped to fit, whereas dust-sheets arenormally simply hemmed on the raw edges anddraped. An important property of a dust-sheet orcover is that it is easy to clean.

Finishes (on fabrics)A physical or chemical process applied during themanufacture of a fabric to alter its appearance, feelor performance before sale.

Hook-and-loop fastenerFastener consisting of two woven tapes, onecovered in stiff hooks and the other with a loopedsurface. When pushed together the hooks engagewith the loops to produce a good contact bondthat must be peeled to be released. They aresometimes referred to as Velcro', though thisrefers to a particular brand.

InterleafThis term is used for a sheet of light material, thepurpose of which is to prevent contact betweenthe materials on either side of it. The process ofinserting these sheets is described as interleaving.

InterventiveA term used to describe treatment that involvesaltering the state of an object, resulting in animprovement of its condition. Interventivetreatment should only be undertaken by trainedconservators. It is governed by ethical codes ofpractice, and requires training.

Museum boardA term that describes a particular type ofconservation quality cardboard made from 100%cotton fibres. It is the best board available forpermanent framing of objects.

Integrated pest management (IPM)A term adopted to describe the method ofcontrolling pests so that the use of pesticides is alast resort. IPM involves establishing practices thatprevent pests threatening collections and minimisepest activity, thus reducing the occurrence ofinfestations.

Quarantine 45Isolation from the main collection of objects orpacking materials that are, or suspected of being,infested with an insect pest. This prevents a localincident becoming widespread.

Pile (on a fabric)A surface effect on a fabric formed by loops ortufts standing up from the fabric surface, as onvelvet fabrics, carpets and rugs.

Protective wrapperTerm used to describe the covering on a costumeor textile when it is not in a container Wrappersmay be used temporarily, e.g. to move a costumethrough the museum, or permanently, e.g. to covera large rolled textile for storage.

Roller tubesRigid cylinders used for rolling textiles. Poles orrods inserted into the cylinder cavity allow thecylinder to be slung, thus preventing crushing ofthe underside of the rolled textile.

ScouringThe process of removing manufacturer's surfacefinishes from fabric before it is used for museumpurposes. This is most important for fabrics thatcome into direct contact with museum textiles(see boil-washing).

Secondary labelsLabels used in addition to fixed object identificationlabels, to help retrieval of objects in store.Secondary labels are not normally fixed to theobject. They need to be large, easy to find and easyto read.

Silicone paperPaper treated with a non-stick finish for use incontact with surfaces that are slightly sticky, e.g. thepainted areas of some banners. The silicone paperprevents adhesion between the tacky areas andother parts of a textile.

46 TiesWoven tapes or strips of woven fabric used to securewrappings, dust covers etc. Because they are notnormally in direct contact with textiles, ties do notalways need to be of conservation quality. The widthof the tie depends on its purpose. For rolled textiles,wide ties are best, since they do not cut into thetextile. Ties can be fixed with a hook-and-loopfastener in circumstances where a knot or bow couldpress into the textile.

Tube coverTextiles absorb moisture readily so should not beplaced in prolonged contact with impermeablematerials. Therefore when barrier films are used onroller tubes, they should be covered with anabsorbent material such as unbleached cottonfabric or unbuffered tissue paper

UnbleachedBleaching is a purification process in cellulose (plantfibres) fabric, paper and card manufacture. Itdestroys the impurities and any natural colouringmatter from the fibres. Bleached products arebright white. Unbleached products retain thenatural colour; usually cream, of the fibres. Residuesfrom bleaching agents in bleached and dyed fabricsare potentially hazardous to museum textiles. Forthis reason, unbleached - and scoured - cotton isthe preferred fabric for use in contact withmuseum textile objects.

UnbufferedThe opposite of buffered, thus indicating that amaterial has not been treated with a chemical toalter its acidity. It is a term used by suppliers ofconservation quality materials. Unbuffered acid-freetissue paper is made from pure materials andtherefore will remain acid-free overtime.

Vapour barr ier f i lmA specific term used to describe a number ofproducts designed to prevent passage of gases,including water vapour Originally manufactured to

protect weapons from being affected by humiditychange, they have been adopted for museum useto protect objects from harmful vapours.

W a r p and wef tThe longitudinal and widthways structure of awoven textile. When a textile is woven, the warpthreads are those that are put onto the loom. Theweft threads are laced through the warps to createthe woven fabric.

Appendix B - Bibliography

The references cited in the text refer to the keypublications which support this guide. ThisAppendix provides additional information ondifferent aspects of caring for costume and textiles.

Anstey, H and Weston,T (1997) The Anstey WestonGuide to Textile Terms, Weston Publishing Limited.

Anthony, P and J Arnold (1977) Costume, London:Costume Society.

Arnold, J (1973) Handbook of Costume, London:Macmillan.

Burnham, D K (1995) (2nd edn.) Warp and Weft:ATextile Terminology, London: Routledge.

Calasibetta, C M (1988) Fairchild's Dictionary ofFashion, New York: Fairchild Publications.

Canadian Conservation Institute (CCI) (1993)'FlatStorage for Textiles', 13/2, in Conservation Notes,Ottawa: CCI.

Canadian Conservation Institute (1993) 'RolledStorage for Textiles', 13/3, in Conservation Notes,Ottawa: CCI.

Canadian Conservation Institute (1994) Storagefor Costume Accessories, 13/12, in ConservationNotes, Ottawa: CCI.

Canadian Conservation Institute (1992)Precautions for Storage Areas, 1/1, in ConservationNotes, Ottawa: CCI.

Canadian Conservation Institute (1986) Examiningfor Insect Infestation, 3/1, in Conservation Notes,Ottawa: CCI.

Carman, WY (1977) A Dictionary of MilitaryUniform, London: Batsfords.

Cassar, M (1995) Environmental Management: 47Guidelines for Museums and Galleries, London:Museums & Galleries Commission and Routledge.

Centre International D'etudes des Textiles Ancient(CIETA) (1964) (2nd edition), Vocabulary ofTechnical Terms: Fabrics, English, French, Italian,

Spanish, Lyon: CIETA.

Craddock,A B (1994) Construction Materials forStorage and Exhibitions, in Care of Collections, 129-134, Leicester Readers in Museum Studies, London:Routledge.

Cunnington, CW, Beard P and Beard C (1976)A Dictionary of English Costume, London: A & CBlack.

Eastop, D & M Brooks (1996) To clean or not toclean:The value of soils and creases,Post-prints of the Meeting of the ICOM ConservationCommittee, Edinburgh.

Ellis, H M (1994) 'Glass or Plastic? Glazing Optionsfor Framing Prints and Drawings', in MuseumsManagement and Curatorship, 280-294, London:Butten/vorth-Heinemann.

Emery, I (1966) The Primary Structure of Fabrics,Washington DC: Textile Museum.

Fabric of an Exhibition: An Interdisciplinary Approach,Pre-prints of the first biennial North AmericanTextile Conservation Conference (1997) Ottawa:Canadian Conservation Institute.

Finch, K and G Putnam (1985) The Care andPreservation of Textiles, London: Batsford.

Frost, M (1991) 'Planning for PreventiveConservation', in Manual of Museum Planning,Editors B Lord and G Dexter Lord, 127-160.London: HMSO

48 Glover, Jean M (1992) (2nd edition) 'Conservationand storage: textiles', in Manual of Curatorship, Ed.JMA Thompson, London: Butterworth-Heinemann/Museums Association.

Institute of Paper Conservation (1991) Guidelinesfor Conservation Framing of Works of Art on Paper,Worcester: The Institute of Paper Conservation.

International Council of Museums (ICOM)Costume Committee (A Buck, 1976) 'CataloguingCostume', Museums Journal, (December): 109-110.

International Council of Museums (ICOM)International Costume Committee (1994)Guidelines for Costume, Paris: ICOM.

International Council of Museums (ICOM)Costume Committee (1982) Vocabulary of BasicTerms for Cataloguing Costume', Waffen-undKostumkunde, Munchen, Berlin, 24:1 10-152.

Kite, M (1994) 'Support Stand for the Storage andDisplay of Hats' in Preventive Conservation Practice,Theory and Research, London: International Institutefor Conservation.

Lister; A (1996) Guidelines for the Conservation ofTextiles, London: English Heritage.

mda (Museum Documentation Association) (1995,revised edition) Labelling & Marking MuseumObjects, Cambridge: MDA.

Museums & Galleries Commission (MGC) (1997)Developing and Training Staff in Museums andGalleries, London: MGC.

Museums & Galleries Commission (1995)Standards for Touring Exhibitions, London: MGC.

Museums Association (MA) (1995) Codes of Ethics,London: MA.

Museums Association Museum Practice (threeissues a year), London: MA.

National Association of Decorative and Fine ArtsSocieties (NADFAS) (1991) NADFAS VolunteersHandbook, London: NADFAS.

Odegard, N (1992) A Guide to HandlingAnthropological Museum Collections, Tucson, USA:The Western Association for Art Conservation.

Roy, A and Smith, P Eds. (1994) PreventiveConservation: Practice Theory and Research, London:International Institute for Conservation.

Sandwith, H and Stainton, S (1984) The NationalTrust Manual of Housekeeping, Hardmondsworth:Penguin in association with the National Trust.

Sierksam, K (1980) 'Flag Glossary and DescriptionRules', in Symposium Conservation of Flags,Rijksmuseum Amsterdam 1977.

StrangT (1992) 'Museum Pest Management', inSystematic Approach to Conservation (Care) ofMuseum Collections, SA Michalski, Ottawa:Canadian Conservation Institute.

Staniforth, S (1992) 'Control and Measurement ofthe Environment', in Manual of Curatorship, Eds.JMA Thompson et al, Oxford: Butterworth-Heinemann/Museums Association.

TetreaultJ (1994) Display Materials: The Good, theBad and the Ugly, in Exhibitions and Conservation,Scottish Society for Conservation and Restoration,79-89.

Walton P and Eastwood, G (1988) A Brief Guide 49to the Cataloguing of Archaeological Textiles, London:Institute of Archaeological Publications.

White, S The Role of Costume Mounting inPreventive Conservation', in PreventiveConservation, Practice,Theory and Research, London:International Institute for Conservation.

Appendix C - Suppliers

50 The companies listed below supply museums and conservation practices in the UK with collection carematerials. The inclusion of a supplier in this guide does not imply approval or endorsement by the MGC,the Scottish Museums Council or the authors of the product or service. Users should ensure the clearestpossible specification of their requirements before deciding whether a particular product or service meetstheir needs.

Atlantis European Limited Preservation Equipment Ltd146 Brick Lane Shelfanger, DissLondon E1 6RU Norfolk IP22 2DGTel: 0207 377 8855 Tel: 01379 65 1 527Fax: 0207 377 8850 Fax: 01 379 650 582

Conservation By Design Limited Proportion London5 Singer Way 9 Dallington StreetWoburn Road Industrial Estate LondonKempston EC1V 0LNBedford MK42 7AW Tel: 0207 25 1 6943Tel: 01234 853 555 Fax: 0207 250 1798Fax: 01234 852 334

Secol LimitedConservation Resources UK Limited 15 HowlettWayUnits 1,2 & 4 Pony Road Fison Way Industrial EstateHorspath Industrial Estate ThetfordCowley Norfolk 1P24 1HZOxfordshire OX4 2RD Tel: 01842 752 341Tel: 01865 747 755 Fax: 01842 762 159Fax: 01844 218 277

Whaleys (Bradford) LtdMacCulloch & Wallis (London) Ltd Harris CourtPO Box 3AX Great Horton25-26 Dering Street, BradfordLondon W I A 3AX West YorkshireTel: 0800 834 384 BD7 4EQFax: 0800 834 957 Tel: 01274 576 718

Fax: 01274 521 309