Textiles: A Conversation about Conservation


My favourite phrase was coined by my friend, Amy, who got her words tangled and said “Speaking of talking…” I just thought that was great! You can say that at anytime, in any conversation, on any topic. Eventually it became a subtle way of changing the subject.

So, speaking of talking. In my previous post I gave you a tour of my tour of the People’s History Museum in Salford. In the museum there is a textile conservation studio, and I got to talk to one of the conservationists there and ask some questions about her work.

I learnt that conservation is not restoration. The team work on prolonging the life expectancy of historic textiles, but they are not interested in making it look as it did it its glory days. What they focus on is how to prevent further damage, not necessarily fixing the current damage.


For example, this is one of the banners that she was working on, an old family crest flag, that was crumbly. I don’t know if that is the technical term, but the thing looked super fragile! Most of the banners and flags they work on are made of silk, as it was the most popular choice throughout the 19th century to use. For two reasons: Silk is extremely strong when it is densely woven, and it absorbed the pigments well creating a vibrant cloth. So, if you wanted to advertise your trade society as being worthwhile, you had better make an eye-catching banner! This flag, while not a trade union banner, was still used to celebrate the family’s heritage and had either been used to death or had been improperly stored; resulting in deterioration.  So, the conservation team had to flatten it all out, keep in mind that they cannot steam or iron it because of the paint, so they lay glass over the top to weigh it down and prevent curling. They traced the flag design onto a plastic sheet, which was then transferred by hand painting onto a piece of fine silk, which had been dyed to match the cream colour. This is the stage it is at in the photo, and so far 45 hours has been spent on this single project! The flag will be adhered to this piece of silk, being sandwiched with another at the back, so any crumbly bits cannot peel away from either side.  The design had to be transferred this way because as the silk was dyed cream, it made the darker areas of the flag painting look cloudy. Once the flag is sandwiched in, the piece will be near invisibly hand stitched in a pattern of vertical and horizontal lines which will reinforce the flags weakest spots.


When the flag is to be displayed, they will mount it onto a cloth covered board by hand stitching it around the edges and standing it at a slight angle leaning back. This helps to distribute the weight of the flag, decreasing the amount of stress on the top edge. The woman we spoke to also said she would paint a fish eye on a piece of wooden board and place it behind the flag so the eyeless fish doesn’t look too scary!


The Conservation Studio was just amazing in itself! It was in the newer part of the museum and was very open and spacious. It had it’s own little library of books to refer to, and piles and piles of rolled up banners and flags. My only complaint is that I wanted to touch things, but my grubby mitts were not allowed, for obvious reasons. I’m surprised how much I enjoyed it really, as textile conservation isn’t something I’ve ever looked into. But as soon as I got in that room, I had tons and tons of questions for her; I’m usually quite quiet so it was a change for me to be genuinely engaged when talking to a stranger! I’m beginning to wonder if this is a path I would like to take, I shall have to look into it, this textiles conservation thing.


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