TEXTILES

Displaying textiles

When textiles are on display they are perhaps more vulnerable to damage than when they are in storage, particularly from light and UV radiation.

How does light affect textiles?

Light and UV radiation are the greatest enemies of textiles. They cause photochemical deterioration: the colours fade and fabrics become fragile and split readily.

By folding this textile back onto itself you can see the extreme fading caused by exposure to light. Photograph courtesy of Artlab Australia, reproduced with the permission of the Art Gallery of South Australia

Exposure to light can multiply the adverse affects of poor environmental conditions, and damage caused by light is often accelerated by high relative humidity and temperature.

Textiles produced in the late 19th century need particular care. The aniline dyes which were first manufactured and became popular around this time were very susceptible to fading—especially purples, blues and greens. This is particularly important for many regional museums, because it is often textiles from this period that are on display.

Ideal conditions for displaying textiles

Display textiles in similar conditions to those outlined for storage; however, as light is essential in a display environment there are some differences that must be taken into account.

Textiles are considered sensitive to light, so lighting levels must be set so that they do not damage the collection. The brightness of the light should be less than 50 lux; and the UV content of light should be preferably below 30 µW/lm and no greater than 75 µW/lm.

The temperature should be constant and kept in the range of 18–22⁰C.

Relative humidity should be in the moderate range of 45–55%.

Controlling relative humidity in a display area may be more difficult than in a storage area. Fluctuations are much more likely, because of the varying numbers of people visiting when the display is open followed by no people at times when the display is closed.

Protect textiles from pollutants, dust and insects.

It is also necessary to provide adequate support for costume and textiles while they are on display.

Mounting flat textiles

The following method of mounting a flat textile involves a number of steps, but it is quite simple if the instructions are followed closely. You will need:

• white cotton flannelette. This layer acts as an environmental buffer and as padding for the textile. It is advisable to wash the flannelette in hot water before you use it, so that it shrinks. Shrinkage after you use it on the mount board causes distortion of the board;

• a background, support fabric which has a suitable colour, weave and fibre to harmonise with the textile to be mounted. A general rule for selecting backing fabrics is that they should be made of the same fibre as that being mounted. For example, a silk textile should be mounted on a silk fabric. If you can't use the same fabric, a chemically inert polyester fabric should be used. Wool and silk are chemically compatible and can be used together;

• acid-free board, such as acid-free Foam Cor, for the base of the mount;

• a Stanley knife or utility knife and metal rule for cutting out the board;

• PVA glue—acid-free PVA is available and should be used if possible;

• a fine needle—a slightly bent needle or a curved needle will be easier to use;

• thread;

• pins; and

• scissors.

Cut the acid-free board to the required size—usually the size of the textile to be mounted plus a border. Borders generally have the same dimensions at the top and sides, with a slightly larger allowance at the bottom edge. The extra allowance at the bottom edge makes the item being mounted look centred on the mount. If this allowance is not made, the item will look as though it is too low on the mount. This is called optical centring.

Click here to see diagram

The backing board is cut to size to provide a border around the textile. Note the border is wider at the bottom.

Cover the board with white, cotton flannelette. The fabric should be cut larger than the board, so that it can be folded to the back of the board to be attached firmly.

Pull the flannelette tightly over the board and pin it to the sides of the board. Cut the corners away to allow a flat fold-over.

Check that the grain of the fabric is straight in both directions before fixing it in place.

To fix it in place, glue the fold-overs of fabric to the back of the board using a polyvinyl acetate—PVA—adhesive. Pin the fold-overs in place, to hold them while the glue dries. PVA can be used as long as it dries fully and cures before the mounted textile is framed.

Click here to see diagram

Cut the background support fabric and attach it to the board in the same way as you did with the flannelette. Remember to cut the fabric larger than the board, because it has to overlap on the back of the board.

Once the glue attaching the background fabric has dried, glue another piece of this fabric in place onto the back of the board over the fold-overs. This gives the back of the board a finished appearance and hides the cut edges of the fold-overs.

Once the prepared board is completely dry, lay the textile on the front fabric and stitch it into place. Don't apply tension to the textile when you are stitching it.

Before stitching, ensure that the grain of the textile is aligned with the grain of the backing fabric, otherwise it can look lopsided.

Use herringbone stitches on frayed edges—this will help prevent further fraying. A running stitch can be used on hemmed edges or selvages.

Click here to see diagram

All edges of the textile should be sewn. It ensures that the weight of the textile is distributed evenly.

For larger pieces, grid lines of stitching may be required through the middle of the textiles, to provide extra support. Generally a line of stitching is needed every 200mm.

Conservation framing

Having mounted your textile in such a way as to protect it and reduce the stresses placed on it, it is important to frame it correctly. Conservation framing is designed to protect against harmful environmental effects such as light, dust and insect attack.

Framing your textile using the wrong techniques and materials can cause irreparable damage. Conservation materials and techniques may be more expensive than general framing, but it is really worth the investment. The following notes outline the main points to be considered when framing textiles.

It is strongly recommended that frames containing textiles be glazed to provide added protection. Glazing provides a barrier at the front of the frame. The barrier buffers the textile against fluctuations in relative humidity and temperature. It keeps insects, dust and pollutant gases away from the textile, and provides some protection against the harmful effects of light and UV radiation.

The selection of glazing materials is important. Glass can be used, but it does have disadvantages:

• if the glass breaks, it can very easily cut your textile; and

• glass provides only a little protection against the harmful effects of UV radiation.

Plexiglas 231, an acrylic UV-filtering glazing, is much better than glass. It does not break and it gives added protection against UV radiation.

The glazing material should not be in direct contact with the textile because:

• this can flatten the texture of the textile through pressure; and

• mould can grow on the item, if environmental changes result in condensation forming on the inside of the glazing.

A slip, spacer or window mount should be used to separate the glazing from the mounted item.

The covered, acid-free board on which the textile is mounted should fit into the frame with a couple of millimetres gap in each direction: so that if the board expands, it will not distort.

An acid-free board should be placed on the back of the frame, to seal the frame from dust and insects. It should be attached firmly to the frame and sealed with tape.

The correct mounting and framing of textiles not only protects and prolongs their lives, but can also greatly enhance their appearance.

Components of a conservation framing system. On the right, the frame moulding and glazing; on the left, the mounted textile with a window mount. In this case the window mount is cut away to show the mounting technique. Photograph courtesy of Artlab Australia