Textile stabilization

Textile stabilization is a conservation method used to stabilize weak points in textile pieces and prevent further degradation or damage to the fabric.

Methods

Localized and Overall Support

Fabric may be used to provide support for the garment by stabilizing weak sections or by creating a backing or lining for the piece. Darning may be utilized on coarsely-woven fabrics with localized areas of damage. ^[1]

Fabric Properties

Should not cause damage through friction with the original fabric
Be of similar or lighter weight than the original fabric.
Match the original fabric with consideration of the loss of color or sheen
Be of a tight enough weave to exclude dust if being used as a barrier^[2]

Overlay

Translucent or sheer fabrics are used to stabilize the textile without altering its appearance. This is typically done using nylon netting, silk crepeline, or polyester Tetex. Overlay is generally applied to textiles too fragile to withstand localized stitching methods. Overlay materials may be stitched to a more stable backing fabric.

Materials and Techniques

Conservation Stitching

Careful stitching is used to secure stabilizing materials to the original fabric.

Nylon Netting

Textile Conservators may use either heat set or bobbinet netting, both of which do not fray but are susceptible to degradation and reactions from light. Netting may be used together with a backing fabric. ^[4]

Heat Set

Available in a variety of colors
Some varieties are very stiff

Bobbinet

Available in fewer colors, but is easily dyed
Has a better drape than heat set netting or Tetex

Silk Crepeline

Silk Crepeline Silk is less sheer than nylon netting and is also susceptible to reactions to light, but may be used as an overlay technique as well as for patching specific areas and can be easily dyed. Because it can fray, the edges need to be hemmed, which can create less sheer areas.

Polyester Tetex (Stabiltex)

The least sheer overlay material, Tetex also has a sheen and is available in a selected range of colors which are not easily dyed. The material does not require hemming but is the most difficult to drape over fabrics. It is most often chosen for its long term stability.^[5]

References

↑ "Treatment of Textiles". AIC Wiki.
↑ "Fabrics Used for Stabilization" (PDF). Museum Textile Services.
↑ "Conservation Stitching Guide" (PDF). Museum Textile Services.
↑ "Conservation Netting" (PDF). Museum Textile Services.
↑ "Hot Cutting and Applying Sheer Overlays" (PDF). Museum Textile Services.

Conservation-restoration of cultural heritage

Collection care and management	Collecting Collection (artwork) Collections care Collection catalog Collections maintenance Collections management (museum) Collection Management Policy Collections Management System Cultural heritage management Cultural resources management Deaccessioning (museum) Digital repository audit method based on risk assessment Display case Documentation of cultural property Emergency response (museum) Exhibition of cultural heritage objects Found in collection Inherent vice Inventory (museum) Museum integrated pest management Preservation metadata Preservation Metadata: Implementation Strategies Preservation of meaning Preservation survey Provenance Repatriation Restoration (cultural heritage) Storage of cultural heritage objects

Expertise	Art handler Collection manager Conservator-restorer Conservation scientist Conservation technician Curator Exhibition designer Mount maker Objects conservator Paintings conservator Photograph conservator Preservationist Registrar (museum) Textile conservator

Area specialities	Antiques restoration Archaeology Bioarchaeology Building restoration Conservation science Digital photograph restoration Digital preservation Database preservation Film preservation Frame conservation Heritage science Historic preservation Media preservation Object conservation Optical media preservation Painting conservation Preservation (library and archival science) Restoration Sustainable preservation Web archiving

Techniques	Aging (artwork) Anastylosis Arrested decay Archaeological sites Architecture Automobiles Bone, horn, and antler objects Books, manuscripts, documents and ephemera Ceramic objects Clocks Copper-based objects Feathers Flags and banners Frescos Fur objects Glass objects Historic gardens Human remains Illuminated manuscripts Iron and steel objects Ivory objects Lacquerware Leather objects Lighthouses Metals Musical instruments Neon objects New media art Outdoor artworks Outdoor bronze objects Outdoor murals Paintings Painting frames Parchment Photographs Plastic objects Shipwreck artifacts Silver objects Stained glass Textiles Tibetan thangkas Time-based media art Totem poles Vehicles Vinyl discs Woodblock prints Wooden furniture Cradling (paintings) Detachment of wall paintings Desmet method Fabric restoration Historic paint analysis Inpainting Kintsugi Leafcasting Lining of paintings Mass deacidification Mold control and prevention in libraries Mold prevention Overpainting Paper splitting Radiography of cultural objects Reconstruction (architecture) Textile stabilization Transfer of panel paintings UVC-based preservation

Notable projects	Conservation issues of Pompeii and Herculaneum Conservation-restoration of Ecce Homo by Elías García Martínez Conservation-restoration of Leonardo da Vinci's The Last Supper Conservation-restoration of the Shroud of Turin Conservation-restoration of the Sistine Chapel frescoes Conservation-restoration of the Statue of Liberty

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