Spring 2012 - Dress and Textile Specialists

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Digital Record A database has been created to record the accession number, category, date, type, condition and location of The Blackborne Lace Collection. Storage, Conservation and Display Lace from the 5 main collection categories is being selected and relocated into accessible drawers and storage boxes within the study area. The storage and display solutions have been established for the lace collection, which allow for increased accessibility and assist with collections management and care. Main issue and result A substantial amount of the lace Study Collection was originally mounted on purple silk, which had started to break down, shattering into small pieces. It was evident that the dye used in the fabric had in some instances transferred onto the lace. Therefore, it was concluded for reasons relating to continuity of display, increased stability and long term storage, that it was necessary to re-mount the whole of the Study Collection on Correx board covered in Baumann’s conservation grade fabric. A few examples of lace have been left with their original mounts to highlight how they were previously displayed. This decision, though integral to the successful display and care of the collection, has substantially increased the time spent on this section of the project. It also required focused training and added commitment from the team of volunteers working on the project. Original mount New storage Project Outcomes The relocation and digital documentation has allowed for increased access and study. A variety of collaborative projects, research, loan requests and exhibitions, which already have occurred as a result of the project, have highlighted the potential of The Blackborne Collection as a study resource and The Glass Cube as an integral element to the Fashion and Textile Gallery and the textile department. There has been a growing interest and enthusiasm for the collection and increasing demand for access, as more people become aware of the resource. Acknowledgments: I would like to acknowledge Santina Levey Fashion and Textile historian, Caroline Rendell, Textile Conservator, Joanna Hashagen Keeper, of Textiles and the team of textile volunteers at The Bowes Museum as they have all contributed to The Blackborne Lace Project. 38
NEWS and EVENTS LIFE IN THE OLD CLOTHES YET?: ACCESSIONING, DE - ACCESSIONING AND DEALING WITH DONORS… As a discussion at the last DATS committee meeting revealed, there are few curators who don’t have a story about garments which have either been previously donated, or recently offered, to their collections which really aren’t suitable for retention. I’m not advocating a mass disposal of all items that people feel are taking up valuable space in already overcrowded stores, but my own recent experience with donors desperate to donate garments to a museum led me to begin research into finding alternative homes for their precious items… I therefore wanted to write this plea to DATS members to help me begin to assemble a list of institutions who might be able to make use of that “important” Wedding Dress; those scraps of fabric which “we might be able to use to ‘restore some of our items”; that faded and slightly moth eaten, suit, in fact of any items which could never be displayed, and yet might still offer a useful reference point for research. I’m particularly interested in identifying teaching collections within universities or independent institutions where we can confidently assure prospective donors that their garments will be used for research and valued. Any information, or contacts, that members could provide for their regions would be gratefully received! Contact Veronica Isaacs v.isaac@vam.ac.uk or veronica.isaac@runnymede.gov.uk ____ The Textile Society is a charity which promotes the history, culture and study of textiles. Established in 1982 it is 30years old this year, so as well as offering the usual annual awards and bursaries, which includes the Museum Award, this year the society is also offering two new awards: the Conservation Award and the Natalie Rothstein Silk Award. The Conservation Award of £2,000 is for a textile conservation project within a museum or archive. The Award is designed to support the conservation of a textile related object/s from a collection that will help achieve greater awareness and access for the public. This together with the use of new technologies, where appropriate, will also be considered. Deadline 1 st April 2012. The Natalie Rothstein Silk Award Natalie Rothstein was an eminent curator and researcher of textiles at the V & A. Her specialist field of study was the English silk industry from 1600-1850. The Textile Society has received donations in her memory to fund two activities, first, a piece of critical writing on new research, which reflects a continuity of Natalie’s research interests and philosophies. Second, the finalists will be invited to present their papers at a special symposium on the theme of silk in spring 2013. The sum of £1000 will be awarded to the winning paper. Deadline 31 st August 2012. 39
Page 1 and 2: DATS Dress and Textile Specialists
Page 3 and 4: DATS Committee 2012 Chair Christine
Page 5 and 6: Effective Collections - making the
Page 7 and 8: This assessment method could be app
Page 9 and 10: Mad Hatter Knitting ‘The Big Weav
Page 11 and 12: An exhibition from the Embroiderer'
Page 13 and 14: This special exhibition will examin
Page 15 and 16: This ‘storage backdrop’ is some
Page 17 and 18: Increasingly too, access to the col
Page 19 and 20: aimed to enhance the collection’s
Page 21 and 22: Figure 1. Linking understanding of
Page 23 and 24: Josie Sheppard, previously Curator,
Page 25 and 26: department/officer, 3. if you can,
Page 27 and 28: Figure 2 YFA Branding applications
Page 29 and 30: Without the YFA Mrs H would not hav
Page 31 and 32: Access and the new Fashion & Textil
Page 33 and 34: A review of temporary exhibitions,
Page 35 and 36: Photo 1: Bowes 1 Photo 2: Bowes 2 L
Page 37: I am currently working on The Black
Page 41 and 42: vistas reopened, reinstating the dr
Page 43 and 44: The Costume Project studio is based
Page 45 and 46: powerful images! The three below ar
Page 47 and 48: Dovecot Studios, Dovecot, 10 Infirm

Spring 2012 - Dress and Textile Specialists

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