The professionals at the American Institute for Conservation offer these guidelines for taking care of clothing and fabrics. 

Since prehistoric times, textiles have played a rich part in the lives and traditions of people of all cultures. They have been constructed using myriad materials and techniques, and they have been made from natural fibers such as cotton, flax, silk or wool or from man-made fibers such as rayon, nylon, and polyester. Textiles can be simple in structure and composition, or they can be composite objects incorporating many materials like quills, beads, metals, paints, bones, shells, feathers, and leathers.

Contemporary household furnishings, clothing, many fashion accessories, and even fragmented archeological finds may all be classified as textiles. Pieces such as quilts, tapestries, embroideries, flags, and christening gowns have been treasured for their artistic, technical, cultural, or sentimental value.

Most textiles have served as functional objects. This use, compounded by environmental factors, affects an object's condition and often results in the need for special care. Decisions on the handling, display, and storage of textiles can make the difference between a short life span or survival for generations.

Environmental Factors

The deterioration of textiles is largely chemical in nature. The specific factors affecting degradation are light, temperature and relative humidity, dust, and pollutants. These factors will be discussed as separate topics, but it is important to remember that they function together and frequently have synergistic effects.

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. Both natural and artificial 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. Rotating a collection--displaying textiles for short periods at low light levels--is recommended.

Temperature and Relative Humidity

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.

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 silk banner, for example, can be adversely affected when the silk 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 desiccation of textiles at the lower end and blooming of mold growths at the upper.

Pollution and Airborne Soils

Smog, car exhaust, and ozone are pollutants that cause chemical degradation of objects. Textiles are also subject to physical abrasion and damage by dust and gritty particles. These particles in combination with air pollutants may accelerate the rate of chemical reactions. Household cleaners, particularly those containing chlorine, bleach, and ammonia, are also sources of chemical pollution.

Housing: Framing, Display, and Storage

The materials used in exhibition cases, frames, or storage units must be carefully selected to ensure environmental stability. Wood, cardboard, and many plastics 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 aluminum foil, 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, plastic bags, or frames, since they can trap damaging vapors and provide an environment associated with high humidity problems.

Archival materials, such as barrier films, acid-free unbuffered board, rolling tubes, and storage boxes, are available through art supply stores and conservation supply catalogues. Contact your local museum for sources near you.

Housekeeping

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, the tarnishing of metal, and a sweet, musty odor. Inspect your collections every six months to identify any problems early.

Vacuuming is the primary means of cleaning textiles. It is effective in removing dust and other physical contaminants and discourages insects and molds as well. Vacuuming is object-specific. For many fragile or three-dimensional textiles, dusting the piece with a soft brush directly into the nozzle of a vacuum may be recommended. For large or sturdy textiles, vacuuming with an up and down motion (lifting, not dragging, the nozzle) through a sheet of flexible plastic screening may be suggested. Contact a professional conservator to discuss the preferred technique. Not all pieces can be readily vacuumed, and not all vacuums are appropriate conservation tools.

Handling

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, which are available through photographic and conservation supply stores. Remove any dangling jewelry or fashion accessories that could snag the textile.

Disasters

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 a conservator. Do not permit the use of ozone to remove smoky odors. It will accelerate the aging and degradation of the textile.

When to Contact a Conservator

Before attempting to repair, clean, or mount a textile, contact a professional textile conservator. A conservator will examine the artifact, determine the fiber composition and method of manufacture, and document its condition and any inherent problems. Taking into account the client's concerns and any relevant historical information, a treatment option will be proposed. Questions to consider when determining a course of action include:

• Is treatment necessary, or is it based on popular aesthetics?
• Is the object strong enough to be displayed?
• Do the risks of treatment outweigh the benefits?
• What treatment provides the most results with the least intervention?

Working with a conservator will help ensure that you can enjoy your objects for years to come.

Suggested Further Reading

Bachmann, Konstanze, ed. Conservation Concerns: A Guide for Curators and Collectors. Washington, DC: Smithsonian Institution Press, 1992

Mailand, Harold F. Considerations for the Care of Textiles and Costumes: A Handbook for the Non-Specialist. Indianapolis, IN: Indianapolis Museum of Art, 1980.

National Committee to Save America's Cultural Collections. Caring for Your Collections: Preserving and Protecting Your Art and Other Collectibles. New York: Harry N. Abrams, 1992.

This brochure is provided courtesy of the American Institute for Conservation of Historic and Artistic Works (AIC), the national membership organization of conservation professionals dedicated to preserving the art and historic artifacts of our cultural heritage for future generations. Among other services of the AIC is the Guide to Conservation Services, which provides a free list of conservators in your geographic region. The AIC brochure Guidelines for Selecting a Conservatorwill help you make an informed choice.

The recommendations in this brochure are intended as guidance only, and AIC does not assume responsibility or liability.

For more information, contact:
American Institute for Conservation of Historic and Artistic Works (AIC)
1717 K St., NW, Ste. 200
Washington, DC 20006
Telephone: (202) 452-9545
Facsimile: (202) 452-9328
E-mail: info@aic-faic.org
http://aic.stanford.edu

This brochure was prepared by Denise Krieger Migdail and Gwen Spicer, with assistance from Margaret Geiss-Mooney and Zoe Perkins.