Fabric Conservation Techniques

Environmental Factors (Part 1)

The deterioration of textiles is largely chemical in nature. The specific factors affecting degradation are light, temperature and relative humidity, dust, and pollutants (Mostly from smoke from the various fuels used, on Pern).

Light

Light is a form of energy that can fade color and cause chemical and physical degradation of textile fibers. Fabrics and finishes, such as starches, may also turn yellow as a result of chemical breakdown. Natural light sources can cause this photochemical degradation. The effect is cumulative and irreversible. The rate of deterioration is determined by the level of illumination and the duration of exposure. Limiting both factors will reduce damage. (Note: In a Pernese setting, this type of exposure is limitted as most of the older holds and halls have very small windows that let in little light. In the south, this varies.)

Temperature and Relative Humidity (Part 2)

Higher temperatures accelerate the rate of chemical reactions, speeding up the degradation of fibers, dyes, and contaminants. Therefore, textiles should not be displayed near direct sources of heat such as fireplaces, spotlights, and windows. They also should not be stored in areas inclined to high temperature, such as attics (Note: This problem is solved by placing most materials in cool store rooms until needed though things like blankets, rugs, and tapestries suffer some inevitable exposure).

Relative humidity is a measure of the moisture in the air. Because all organic materials contain moisture, fluctuations in temperature and the resulting changes in relative humidity will cause objects to expand and contract. Over time, continuing dimensional changes will result in permanent damage to both organic and inorganic substances. This phenomenon is compounded in textiles made of disparate materials. A painted sissal banner, for example, can be adversely affected when the sissal shrinks or swells, causing the paint (which does not as readily absorb moisture) to crack and flake. Other problems associated with high relative humidity are bleeding dyes and corroding metals. Relative humidity should be kept as constant as possible between 35% and 70%, avoiding the drying up of textiles at the lower end and blooming of mold growths at the upper.

Pollution and Airborne Soils (Part 3)

Textiles are also subject to physical abrasion and damage by dust and gritty particles. These particles in combination with air pollutants (Smoke, chemicals from nearby smith activities)may accelerate the rate of chemical reactions.

Housing: Framing, Display, and Storage

The materials used in exhibition cases, frames, or storage units must be carefully selected to ensure environmental stability. Wood and metals are considered unsatisfactory because they emit volatile acids or chemicals. If these materials are the only ones available, place a barrier of stable material, such as heavy-duty linnen, between the object and the support. Cotton sheets also provide protection for pieces in storage, but they need to be washed periodically since they will absorb any volatile emissions. Avoid tightly sealed cases since they can trap damaging vapors and provide an environment associated with high humidity problems.

Archival materials such as rolling tubes, and storage boxes, are available from the smiths but are generally used in halls such as Healer and Harper.

Housekeeping (Part 4)

Textiles should be displayed and stored in clean areas that are routinely and adequately maintained. Good housekeeping will reduce damage caused by insects, rodents, and microorganism such as molds and fungi. Signs of infestation include small, irregularly shaped holes, the presence of casings, and excrement. Other indications of housing problems include an increase in discoloration and a sweet, musty odor. Inspect your collections every six months to identify any problems early.

Dusting is the primary means of cleaning textiles. It is effective in removing dust and other physical contaminants and discourages insects and molds as well. For many fragile or three-dimensional textiles, dusting the piece with a soft brush directly may be recommended. For large or sturdy textiles, beating through a sheet of flexible cotton screening may be suggested. Contact a professional conservator to discuss the preferred technique.

Handling (Part 5)

Along with housekeeping, proper handling is important. Textiles are frequently more fragile than they first appear. Before attempting to move a piece, familiarize yourself with its weak areas. Support textiles in a manner that distributes the weight evenly. A delicate embroidery, for example, may be supported by sliding a piece of paper or cardboard underneath, while heavier pieces such as carpets and tapestries may be rolled on a carpet tube or carried in a fabric sling.

Clean hands are also important when handling textiles, as skin contains oils, perspiration, and, often, skin creams that are readily absorbed by fibers, causing stains. Use inexpensive white cotton gloves. Remove any dangling jewelry or fashion accessories that could snag the textile.

Disasters (Part 6)

The two most common forms of disaster damage are those caused by water and fire. Prompt attention to textiles following a disaster will greatly reduce any permanent damage.

In the case of wet objects, remember that most textiles become weaker when wet and will need supports for transport. If handling is possible, separate whites from darks to reduce the risk of dye transfer. Rinse any silt or debris off with clean, cool water. Then blot the textiles carefully with absorbent toweling to remove as much moisture as possible. Lay them flat to dry, covered with clean, thin, cotton sheets in a room with good air circulation.

If there are too many pieces to dry immediately, contact a local conservator. It may be possible to freeze the textiles (to prevent mold growth) until they can be examined and dried. If pieces are already dry, soil may be removed with a soft brush.

In the case of fire, soot and smoke damage need to be addressed. Remove particulate matter as described above, and call on a master weaver, as they will know how to preserve the material.