Dress and textiles are amongst the most delicate and ephemeral objects in museum collections and need careful handling. The frst process when preparing any garment for display should always be a detailed assessment of its condition. It is essential to establish the fragility of the garment, the weakness of its fabrics and the strength of the stitching holding it together.
Condition
As they age, fabrics, particularly those that have at some time in their past been exposed to strong daylight or sunshine, become weaker and their colour fades. The threads used to stitch garments also become brittle over time and can break, leaving gaps in the seam stitching. It is important to remember that further breakages could occur when you are trying the garment on a display support and conservation may be needed before this can be safely attempted. Insect activity, usually caused by clothes moths, can leave holes or ‘grazing marks’on textiles, which are not only visually distracting but can, in a worst-case scenario, also weaken the fabric. Splits or tears in fabrics are another indicator that conservation might be required before a garment can be safely displayed. Simply lifting a weak garment can increase the possibility of the splits or tears becoming longer. This is particularly characteristic of some nineteenth-century silk fabrics. Silk was sold by weight and in order to replace the weight lost in the production process mineral salts were often added during the fnishing process. This gave the silk an added lustre and a more luxurious feel. Unfortunately, over time the silk becomes very brittle and shatters causing many short splits. The most common metal salt was tin and the efects of tin weighting can be found in many elaborate silk evening dresses from the nineteenth century.
The state of the fastenings is another consideration. Are they strong enough to close a tightly fitting bodice around a display form without breaking? For example, are the hooks and eyes all intact and functioning? If the garment has a zip, can it be closed?The teeth on early metal zips are sometimes corroded, making them impossible to close, and early versions of nylon zips can pull apart as the nylon degrades over time, making them no longer functional as an effective method of fastening a garment.
Every aspect of any garment must be closely investigated to ascertain the appropriate type of display support. If you are in any doubt about a garment’s suitability for display it is always best to consult an expert in costume conservation. A weak and fragile garment may not be suitable for display on a mannequin. Ideally, no garment should be selected for display if it is very fragile, but for unique items for which no substitute is available, discussing display options with a textile conservator could lead to an innovative solution. A cushioned support on a flat board may be the only safe option, despite the aspirations of the curator and exhibition designer, or in certain instances, a replica could be made or a more robust item substituted.
Textile conservation can often be a lengthy process and fully conserving a garment can cost a great deal of money. However, if funds are available, even fragile items can respond to skilled conservation, thus allowing them to be displayed safely on a mannequin. A full condition check by an experienced textile conservator should be undertaken to assess the level of treatment required. There may be several options for conservation depending on the length of the exhibition, time needed to complete the conservation treatment and, most importantly, the budget available to pay for the conservation. However, even with limited resources it may still be possible to carry out a‘make safe for display’conservation treatment to enable the garment to be safely exhibited for a‘short-term’display. Obtaining professional advice from a textile conservator is crucial for a successful result. The 1920s dress, figure 1. 1, has a very weak silk georgette ground fabric but the beading is mostly intact and the stitching attaching the beads is good. A full conservation fabric support stitched behind the georgette and beading could enable this dress to be put on a mannequin for a short-term display.
Having confirmed that a garment can be safely displayed on a mannequin or bust form it is essential to establish as near as possible the date when it was worn as this will refine the appropriate silhouette for the support. Within the date range required by the theme of the display or exhibition, further work on dating will ensure that the garments are correctly presented. How to achieve the best results is the subject matter of the next three chapters.
Figure 1. 1 How fragile is this beaded 1920s dress? Can it be safely displayed on a mannequin? Possibly with a full conservation treatment. Always ask a conservator. Image courtesy of the Manley FamilyArchive. Photography Peter Greenland.
Figure 1. 2 Detail of the stitching attaching the beads in the beaded dress as seen in figure 1. 1. The thread is good but the ground fabric is splitting at the top of the tabs. Image courtesy of the Manley Family Archive. Photography Peter Greenland.
Figure 1. 3 The dark stain on the cuff of this muslin sleeve is visually distracting and over time liable to weaken the structure of the fabric. Wet cleaning by a conservator with a specialist detergent and de-ionised water could reduce the visual impact of the stain and prevent further degradation of the fabric. © ZenzieTinker Conservation.
Figure 1. 4 The cause of the dark staining under the arm on the bodice and sleeve is unknown and it will be necessary to carry out tests to ascertain whether it is safe to display the dress without causing further damage as there are several small splits in the stained areas. Bodice courtesy of ZenzieTinker Conservation. Photography Peter Greenland.
Figure 1. 5 The bodice of this dress shows extensive fading due to overexposure to light, which has so weakened the fabric that a full conservations support will be needed in order to display the dress on a mannequin. Zenzie Tinker Conservation. ©The Royal Pavilion & MuseumTrust.
