{"id":1944,"date":"2022-01-17T13:46:38","date_gmt":"2022-01-17T13:46:38","guid":{"rendered":"https:\/\/blogs.cardiff.ac.uk\/conservation\/?p=1944"},"modified":"2022-01-19T15:04:07","modified_gmt":"2022-01-19T15:04:07","slug":"make-do-and-conserve-mechanical-skills-and-conservation-principles-in-context","status":"publish","type":"post","link":"https:\/\/blogs.cardiff.ac.uk\/conservation\/make-do-and-conserve-mechanical-skills-and-conservation-principles-in-context\/","title":{"rendered":"Make Do and Conserve: Mechanical Skills and Conservation Principles in Context"},"content":{"rendered":"

Conservation is collaborative field. Training is a constant process of learning, tying together strands of different disciplines to understand options for treating an object \u2013 how it was made, the chemical structure of its components, how they react with each other, and how they may degrade. Particularly in a conversion degree, as at Cardiff, people from myriad different backgrounds bring their own unique skillsets to the sector.<\/p>\n

My own background is in Art \u2013 history and practical – and I believe that having experience of different making techniques helps when understanding an object: for instance, you may be more equipped to understand how defects can occur in a ceramic if one of your own pieces exploded in the kiln!<\/p>\n

Understanding making methods also puts theoretical concepts into context. For a long time, I have wanted to make a piece of clothing from scratch, and the discovery of a vintage Vogue pattern in my Nana\u2019s old fabric box provided the perfect opportunity. Inspired by the archaeological textiles I\u2019m currently working on, it is also a chance to explore basic aspects of textile conservation through a new lens.<\/p>\n

 <\/p>\n

\n

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Figure 1: The Fabric and Pattern- the paper template for the dress pieces.<\/figcaption><\/figure><\/figure>\n
<\/figure>\n

 <\/p>\n

Step 1: Cutting the pieces out<\/u><\/strong><\/p>\n

The first stage was to cut the pattern out of the fabric. I didn\u2019t need to be perfectly accurate here because the seam allowance \u2013 the space between the fabric edge and the future seams \u2013 is also included in the pattern and allows space for adjustment (Law, S. pers. comm). The pieces needed were: two skirt fronts and backs, two bodice fronts, a back, four pockets and shoulder straps, plus three pieces of facing to go on the inside of the bodice.<\/p>\n

 <\/p>\n

Structure of Cotton<\/u><\/strong><\/p>\n

I\u2019m using a printed cotton with a plain weave structure, so what does that look like on a structural level? Cotton is a plant fibre, derived from seed hairs from several different species of the Gossypium genus. Fibres are recognisable under a microscope due to their flat, twisted shape [Fig. 2], caused by its hollow structure, which collapses and warps as a fibre dries (Carr et al. 2008, 79). Each fibre is approximately 85% cellulose [Fig. 3], the remaining substances include wax, pectin and sugars (Landi 2012, 17; Foster 2021); and consists of several different layers: the outer, protective cuticle, the primary cell wall, and the secondary cell wall [Fig. 4] (Landi 2012, 17). In each of the cell walls, fibrils \u2013 cellulose chains \u2013 spiral around the centre and provide strength to the fibre (Foster 2021).<\/p>\n

\n

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Figure 2: A Cotton Fibre<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

\n

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Figure 3: Structure of a cellulose monomer \u2013 it comprises of two glucose molecules joined with a glycosidic link.<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

\n

\"\"
Figure 4: Cross Section of a cotton fibre<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

Plain weave is the most basic style of weave, where the warp (the static threads in the loom) and the weft (those that are fed between the warp threads on a shuttle) alternately overlap one another [Fig. 5]. It usually uses the same weight of yarn for both parts and produces a consistent surface (Landi 2012, 8).<\/p>\n

 <\/p>\n

\n

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Figure 5: Plain Weave Structure<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

Step 2: Tacking<\/u><\/strong><\/p>\n

I tacked the positions marked on the pattern \u2013 these, along with notches on the edges, allow the pieces to line up when put together. Here I made a simple, loose loop with contrasting thread \u2013 there was no knot in the thread, so it can be easily removed [Fig. 6 & 7].<\/p>\n

 <\/p>\n

\n

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Figure 6: Stitching Tacks<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

\n

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Figure 7: The Tacks<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

Temporary Attachments in Conservation<\/u><\/strong><\/p>\n

Tacks are simple, temporary stitches that hold pieces in place, pins can also be used (Landi 2012, 39). Because I\u2019ve used an unglazed, modern fabric, rearranging pins and unpicking stitches is less of an issue, but if this dress were made from a fabric such as velvet, or was an archaeological specimen I would need to be careful not to make any unnecessary holes, as marks could remain in the former, and the latter would be too brittle to support pins (Landi 2012, 39). I would also need to make sure that I pushed the needle between yarns rather than through them, which will avoid causing unnecessary damage (CCI Notes 10: Stitches Used in Textile Conservation<\/em>\u00a02008, 1).<\/p>\n

Generally, knots aren\u2019t recommended in conservation, as it risks pulling the fabric, creating gathers, or even being pulled through the weave, all of which can break threads and cause damage to the textile (CCI Notes 10: Stitches Used in Textile Conservation<\/em>\u00a02008, 1; Landi 2012, 117). Instead, a single backstitch is often used to secure the thread, or alternatively, a knot until the thread is securely in place, before being cut off (Landi 2012, 117).<\/p>\n

 <\/p>\n

Step 3: Stitching Pattern Pieces<\/u><\/strong><\/p>\n

Once the pieces were cut out and marked, it could start being pieced together. Using a sewing machine, I stitched darts on the two front bodice pieces, to help it fit the body, and attached them to the back, aligning with the tacks and the notches [Fig. 8]. I stitched the shoulder straps, with two pieces face to face, before turning them the right way out and pressing to make the seams crisp [Fig. 9]. I fused the interfacing with the inner bodice pieces using an iron \u2013 this adds strength to the fabric, especially useful on an area of tension such as the seam between the straps and main garment. These were attached to the outer bodice, again with right sides facing each other, before being turned the right way out and pressed.<\/p>\n

 <\/p>\n

\n

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Figure 8: Lining up bodice pieces using notches and tacks, pinning into place.<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

\n

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Figure 9: Sewing topstitch (decorative) onto shoulder straps<\/figcaption><\/figure><\/figure>\n
<\/figure>\n

Stitching Techniques in Conservation<\/u><\/strong><\/p>\n

If I were working on this piece as a conservator, to patch a hole or add a support, there are several stitches I could use which overlap with embroidery, although the thread would likely be finer on heritage textiles, so the stitches would be less visible. These include:<\/p>\n

Back Stitch<\/strong><\/p>\n

\"\"<\/figure>\n

 <\/p>\n

Running Stitch<\/strong><\/p>\n

\"\"<\/figure>\n

 <\/p>\n

Herringbone Stitch<\/strong><\/p>\n

\"\"<\/figure>\n

 <\/p>\n

Whipping\/Overcast Stitch<\/strong><\/p>\n

\"\"<\/figure>\n

Blanket Stitch<\/strong><\/p>\n

\"\"<\/figure>\n

One of the most widely used stitches in conservation is couching [Fig. 10]: a long stitch aligned with the warp or weft threads, held in place by smaller holding stitches, which is used to secure a worn or broken piece of fabric to a support (CCI Notes 10: Stitches Used in Textile Conservation<\/em>\u00a02008, 1; Landi 2012, 117).<\/p>\n

\n

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Figure 10: Couching Stitch<\/figcaption><\/figure><\/figure>\n

Step 4: Making the Skirt<\/u><\/strong><\/p>\n

I attached the skirt backs together at the centre seam, and used a basic running stitch on all four skirt pieces that could be tightened into gathers, adding fullness [Fig. 11]. I stitched the rest of the skirt sides and pocket edges together, making sure to leave a space for the pocket openings [Fig. 12]. Bodice and skirt were attached\u2026 although I caught the bodice in a couple of places, and needed to unpick several times before I finally got it right, but I got there in the end!<\/p>\n

<\/figure>\n

 <\/p>\n

\n

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Figure 11: Creating gathers- tightening running stitches to create lots of small folds to shorten the length and add body to the piece- and attaching the skirt.<\/figcaption><\/figure><\/figure>\n

 <\/p>\n

\n

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Figure 12: A finished pocket<\/figcaption><\/figure>
<\/figcaption><\/figure>\n

 <\/p>\n

Step 5: Finishing Up<\/u><\/strong><\/p>\n

All that was left to do was to fold and stitch the hems \u2013 which neatens the edges and prevents the material from fraying \u2013 attach the shoulder straps, and add the buttons and buttonholes, and the dress was complete [Fig. 13]!<\/p>\n

\n

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Figure 13: The Finished Dress<\/figcaption><\/figure><\/figure>\n

What if it Were a Heritage Object in a Museum?<\/u><\/strong><\/p>\n

This dress, as many textiles, is organic, and more susceptible to environmental factors than inorganic material such as stone or ceramics. Although brand new, it will eventually deteriorate, and if I were to put it into storage or on display in a museum, there are several factors I would need to manage so it could last as long as possible.<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n
Agent of Deterioration<\/strong><\/td>\nRisks to the Dress<\/strong><\/td>\nManaging the Risks <\/strong><\/td>\n<\/tr>\n
Pests<\/td>\n\u00b7 Silverfish and Cockroaches eat cellulose.<\/p>\n

\u00b7 Clothes Moths, Carpet Beetle eat protein, but can also eat cotton if soiled, e.g., animal pests.<\/td>\n

\u00b7 Keep the dress in a sealed cabinet, away from possible entry points, to make it more difficult for pests to access.<\/p>\n

\u00b7 Make sure that external doors and windows are sealed.<\/p>\n

\u00b7 Monitor pest activity around the dress with traps.<\/p>\n

\u00b7 E.g., Place dress in a freezer or oxygen-free environment to treat if pests found.<\/td>\n<\/tr>\n

Light and Ultraviolet Radiation<\/p>\n

 <\/td>\n

\u00b7 Colour fading<\/p>\n

\u00b7 Yellowing<\/p>\n

\u00b7 Fibre weakening<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/td>\n

\u00b7 Keep it in dark storage when not in use, and always out of direct sunlight.<\/p>\n

\u00b7 If on display, Install UV filters on light bulbs and windows<\/p>\n

\u00b7 Reduce the lighting levels while making sure it can be seen.<\/p>\n

\u00b7 Take it off display after a set time. E.g., I could take it out for a few days a year and keep it in dark storage the rest of the time.<\/td>\n<\/tr>\n

Incorrect Temperature<\/p>\n

and Relative Humidity (the amount of moisture in the air relative to the maximum amount it can hold)<\/td>\n

Textiles absorb water from the atmosphere.<\/p>\n

Too high an RH:<\/p>\n

\u00b7 Fibre swelling<\/p>\n

\u00b7 Mould<\/p>\n

Too low an RH:<\/p>\n

\u00b7 Fibres become brittle<\/p>\n

 <\/p>\n

High temperatures:<\/p>\n

\u00b7Hasten deterioration processes.<\/p>\n

 <\/p>\n

Too low temperatures and poor ventilation can cause high RH, but if controlled, can reduce chemical deterioration and pests.<\/td>\n

\u00b7 Keep the dress at a moderate level of RH, approximately 50%, with room for fluctuation.<\/p>\n

\u00b7 Monitor conditions with a thermo-hygrograph.<\/p>\n

\u00b7 Remove sources of damp, e.g., leaks.<\/p>\n

\u00b7 Make sure it\u2019s not situated too close to an exterior wall.<\/p>\n

\u00b7 Good air circulation.<\/td>\n<\/tr>\n

Pollution<\/p>\n

From:<\/p>\n

\u00b7 Handling \u2013 sweat<\/p>\n

\u00b7 External Emissions – sulphur dioxide, nitrogen dioxide, ozone.<\/p>\n

\u00b7 Interior Emissions -organic acids from wood.<\/p>\n

\u00b7 Dust<\/p>\n

\u00b7 Dyes<\/p>\n

\u00b7 Substances in the buttons, e.g. plasticisers.<\/td>\n

\u00b7 Chemical reactions with fabric or dye.<\/p>\n

\u00b7 Attract pests.<\/p>\n

\u00b7 Mould<\/p>\n

\u00b7 Sharp particles could break fibres.<\/td>\n

\u00b7 Don\u2019t store the dress near wood<\/p>\n

\u00b7 Acid-free packaging.<\/p>\n

\u00b7 Display\/Storage room not directly connected to outside \u2013 reducing external pollutants.<\/p>\n

\u00b7 Handle with gloves.<\/td>\n<\/tr>\n

Physical Damage<\/td>\n\u00b7 Threads breaking, holes, splits and creases from wear.<\/p>\n

\u00b7 Shoulder straps, seams and buttonholes are areas of tension.<\/td>\n

\u00b7 Wear a replica rather than the original.<\/p>\n

\u00b7 Handle fabric as little as possible.<\/p>\n

\u00b7 Commission a custom mount, or choose to store it flat.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

(Insect Pests Found in Historic Houses and Museums<\/em>\u00a0[No Date]; Comparison of Treatment Methods 2017; Materials, objects and common damaging insect pests 2017; Caring for Textiles and Constumes 2019; Mould Growth on Textiles 2019; Pests 2021; Pollutants 2021)<\/p>\n

Conclusion<\/u><\/strong><\/p>\n

So there we have it, a finished garment! It\u2019s not perfect, but for a first attempt, I\u2019m proud of what I achieved. There are a few places where the stitches will probably need to be tweaked in the future, but that is also the nature of conservation \u2013 there is very rarely one straightforward route through a treatment, and testing things is the only way to establish what does and doesn\u2019t work. This is a good philosophy to take into the worlds of craft and conservation, because there\u2019s not as much difference between them as may first appear.<\/p>\n

 <\/p>\n

References<\/u><\/strong><\/p>\n

All pictures and Illustrations are author\u2019s own.<\/em><\/p>\n

Caring for textiles and costumes – Preventive conservation guidelines for collections – Canada.ca. 2018. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/preventive-conservation\/guidelines-collections\/textiles-costumes.html#a2 [Accessed: 14 January 2022].<\/p>\n

Carr, D. et al. 2008. Identification of selected vegetable textile fibres.\u00a0Studies in Conservation<\/em>\u00a053(sup2), pp. 75-87. doi: 10.1179\/sic.2008.53.supplement-2.75.<\/p>\n

Cotton – CAMEO. 2021. Available at: http:\/\/cameo.mfa.org\/wiki\/Cotton [Accessed: 13 January 2022].<\/p>\n

CCI Notes 10: Stitches Used in Textile Conservation<\/em>\u00a02008. Ottawa: Canadian Conservation Institute. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/conservation-preservation-publications\/canadian-conservation-institute-notes\/stitches-textile-conservation.html [Accessed: 13 January 2022].<\/p>\n

Comparison of Treatment Methods – Canada.ca. 2017. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/agents-deterioration\/pests\/comparison-treatment-methods.html [Accessed: 15 January 2022].<\/p>\n

Foster, C. 2021. Icon Textiles Group: Fibres Back to Basics.<\/p>\n

Insect Pests Found in Historic Houses and Museums<\/em>. [No Date]. English Heritage. Available at: https:\/\/www.english-heritage.org.uk\/siteassets\/home\/learn\/conservation\/science\/serpentine\/insect-pests-historic-houses-poster.pdf [Accessed: 13 January 2022].<\/p>\n

Materials, objects and common damaging insect pests – Canada.ca. 2017. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/agents-deterioration\/pests\/materials-objects-damaging-insects.html [Accessed: 13 January 2022].<\/p>\n

Mould Growth on Textiles \u2013 Canadian Conservation Institute (CCI) Notes 13\/15 – Canada.ca. 2019. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/conservation-preservation-publications\/canadian-conservation-institute-notes\/mould-growth-textiles.html [Accessed: 14 January 2022].<\/p>\n

Landi, S. 2012.\u00a0Textile Conservator’s Manual<\/em>. Hoboken: Taylor and Francis.<\/p>\n

Misses’ Top and Dress, <\/em>1985. New York: Vogue Pattern Service, Butterick Company Inc.<\/p>\n

Pests \u2013 Canadian Conservation Institute. 2021. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/agents-deterioration\/pests.html [Accessed: 13 January 2022].<\/p>\n

Pollutants \u2013 Canadian Conservation Institute. 2021. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/agents-deterioration\/pollutants.html#strat6 [Accessed: 14 January 2022].<\/p>\n

The Identification of Natural Fibres \u2013 Canadian Conservation Institute (CCI) Notes 13\/18 – Canada.ca. 2019. Available at: https:\/\/www.canada.ca\/en\/conservation-institute\/services\/conservation-preservation-publications\/canadian-conservation-institute-notes\/identification-natural-fibres.html [Accessed: 13 January 2022].<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"Conservation is collaborative field. Training is a constant process of learning, tying together strands of different disciplines to understand options for treating an object \u2013 how it was made, the […]","protected":false},"author":6884,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1,293],"tags":[389,10,386,387,31,357,388],"class_list":["post-1944","post","type-post","status-publish","format-standard","hentry","category-about-cu-conservation","category-students-stories","tag-agents-of-deterioration","tag-conservation","tag-cotton","tag-mechanical-skills","tag-objects","tag-skills","tag-textiles"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4fDDX-vm","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2474,"url":"https:\/\/blogs.cardiff.ac.uk\/conservation\/from-archaeology-and-heritage-to-conservation\/","url_meta":{"origin":1944,"position":0},"title":"From Archaeology and Heritage to Conservation","author":"Kimberley Dowding","date":"November 26, 2023","format":false,"excerpt":"Do you work in the field of Archaeology or Heritage? Have you been considering taking a leap into the world of Conservation? Maybe you are a Field Archaeologist and are considering being a Field Conservator? Or do you want to get hands on with history after researching and writing for\u2026","rel":"","context":"In "About CU Conservation"","block_context":{"text":"About CU Conservation","link":"https:\/\/blogs.cardiff.ac.uk\/conservation\/category\/about-cu-conservation\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2023\/11\/Project-report-image.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2023\/11\/Project-report-image.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2023\/11\/Project-report-image.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2023\/11\/Project-report-image.png?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":583,"url":"https:\/\/blogs.cardiff.ac.uk\/conservation\/private-vs-public\/","url_meta":{"origin":1944,"position":1},"title":"Life as a Private Conservator vs. Working in the Public Sector","author":"Stephanie Whitehead","date":"August 26, 2017","format":false,"excerpt":"This summer has seen many of the Cardiff University students on summer placements and internships. As I headed into my internship at Bolton Museum I expected and prepared myself for a lot of practical desk work within the lab. 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As I was getting off the 4-hour coach ride from Athens to Volos, eagerly looking for someone I had\u2026","rel":"","context":"In "Internships and Placements"","block_context":{"text":"Internships and Placements","link":"https:\/\/blogs.cardiff.ac.uk\/conservation\/category\/internships-and-placements\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2017\/01\/15970569_10207641852109989_840193128_n.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1526,"url":"https:\/\/blogs.cardiff.ac.uk\/conservation\/p-s-we-love-you\/","url_meta":{"origin":1944,"position":4},"title":"P.S. We love you","author":"Caitlin Jenkins","date":"February 14, 2020","format":false,"excerpt":"Cardiff students work with a wide variety of objects at the university lab, on placements or other volunteering opportunities. It's difficult to pick a favourite object - like choosing a favourite child! But in the spirit of Valentine's Day, we've asked six students to tell us about a special object\u2026","rel":"","context":"In "About CU Conservation"","block_context":{"text":"About CU Conservation","link":"https:\/\/blogs.cardiff.ac.uk\/conservation\/category\/about-cu-conservation\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.cardiff.ac.uk\/conservation\/wp-content\/uploads\/sites\/228\/2020\/02\/valentine-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1817,"url":"https:\/\/blogs.cardiff.ac.uk\/conservation\/stakeholders-who-are-they\/","url_meta":{"origin":1944,"position":5},"title":"Stakeholders \u2013 Who Are They?","author":"niamhgrady","date":"January 22, 2021","format":false,"excerpt":"In heritage conservation, each object has its own stakeholders who could be affected by the outcomes of any conservation treatment that is carried out on that particular object. At Cardiff University, we are encouraged to consult with an objects stakeholders in order to access the best possible outcomes. 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