Spring 2012 - Dress and Textile Specialists

The work done for this theme fed into the two Fibres and Fabrics workshops. One was for museum
staff and the other, organised with through the Social History Curator’s Group, was for colleagues
outside the museum. These workshops aimed to introduce participants to the natural, man-made
and synthetic fibres and their behaviours and patterns of degradation. Participants explored fibre
and fabrics through hands-on examination of samples and an observation activity in the museum.
Although there had been some concern that using microscopes would be off-putting as it was too
‘science’ orientated, participants found the opportunity to make a fibre slide and use a simple
microscope to identify a variety of fibres the most exciting and rewarding part of the day.
Sharing knowledge with visitors
A self-guided tour for visitors interested in learning more about textiles and dress on display in the
museum was developed and can be downloaded from the museum website. 14 Called ‘Following the
Thread’, this was evaluated as part of in-gallery CPD sessions with the museum guides. These
sessions aimed to enhance the guides’ knowledge of textiles and dress on display so they could
respond effectively to visitors’ questions. They also provided invaluable feedback on which items
visitors found most intriguing or most puzzling. It was also illuminating to ask the guides for their
favourite textile and dress objects – and also those they found most difficult to understand and
explain.
Deepening knowledge of the collection
One key aspect of the project which is still on-going was to capture knowledge of the history of the
collection. Research was undertaken in to the earlier registers recording the type of textiles and
dress acquired names of donors and location. Key aims here are to explore Kirk’s interests in this
material, explore the rationality of the collection and recognise the huge contribution of YCM textile
and dress curators and conservators Pat Clegg, Clare Rose, Josie Sheppard and Jane Mckinley.
What did we learn?
Through the project, I tried to work as a good reflective practitioner and think about the process as
well as the product. It was thought important to record the process for further development as the
museum was undergoing major changes. The Museums Association undertook formal monitoring
and evaluation to ensure that projects ran smoothly and meet their objectives. They also produced
advice and guidance on knowledge-sharing for the wider museum community in the form of the
Sharing Knowledge Toolkit which drew on the work of the Monument Fellows and is intended as a
practical guide for museums. 15 An issue of Museum Practice focusing on succession planning also
drew on the Monument experience. 16
It was clear that this level of close working with objects was engaging, enjoyable and
generated information and ideas which feed into understanding of collection. Colleagues
welcomed the opportunity to work closely with objects and use object-research model –
something that is all too rare in daily working life in the museum. Participants enjoyed the
workshops including learning how to use the microscopes and found understanding the
fibres and fabrics informed their thinking about textiles and dress. Hopefully, long-term
public benefits will grow out of this deeper understanding of such collections.
Acknowledgements
York Castle Museum: I would like to thank colleagues for their support and positive engagement in
the project and for sharing their knowledge and expertise so generously.
Gwendolen Whitaker, Curator, History; Fellowship supervisor; Sheri Steel, previously Curator, Social
History; Katy Turner, previously Curator, Social History; Sarah Maultby, previously Assistant Curator,
Social History; Michelle Petyt, previously Assistant Curator, Social History;
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