Caring for Your

T re asur e s
Throughout human history, textiles have played a rich part in textiles on and off display.
the lives and traditions of people of all cultures. They have been
constructed using a wide variety of materials and techniques—from Temperature and Relative
natural fibers such as cotton, silk, flax, and wool to regenerated or Humidity
manufactured fibers such as rayon, nylon, and polyester.
High temperatures speed up the rate of many chemical reactions,
Textiles can be simple in structure and composition or can be
and as a result, speed up the rate at which damage can occur in fibers,
part of complex composite objects that incorporate other materials
dyes, and other component materials of textiles. For this reason,
like paper, leather, glass, metals, paint, stone, horn, bone, shell and
textiles are best stored and displayed as far away from heat sources
feathers.
(fireplaces, spotlights, windows, etc.) as possible. Areas inclined to
Contemporary household furnishings, clothing, many fashion
high temperatures (above 80°F) and those subject to sudden or great
accessories, and even fragmented archaeological finds are all textiles.
temperature changes, such as unfinished attics and basements, are not
Textiles, such as quilts, tapestries, embroideries, flags, and christen-
appropriate for the safe storage of textile artifacts.
ing gowns are often treasured for their artistic, technical, cultural,
Relative humidity is a measure of the amount of moisture in the
and sentimental value.
air. Because many organic materials contain moisture, fluctuations in
Most textiles, at some time in their history, have served as func-
temperature and relative humidity can cause these materials to expand
tional objects. This history of use, along with environmental and
and contract as they take in or lose moisture. A painted silk banner,
handling factors, can affect a textile’s condition, resulting in the need
for example, can be adversely affected when the pigment and binder
for special care to ensure its long-term preservation. Making careful
in the painted design do not expand and contract at the same rate
and informed decisions regarding the handling, display, and storage
as the fibers in the silk fabric. As a result, the paint layer will tend to
of a textile can make the difference between a short life span and a
crack and flake off. Other potential problems associated with high
textile’s preservation for future generations.
relative humidity are mold and mildew, the corrosion of metals, and
the bleeding of some dyes. Relative humidity is best maintained at a
Environment constant level between 35 and 65 percent.
The deterioration of textiles is often due to a combination of
physical, biological, and/or chemical factors working together to Pollution and Airborne Soiling
cause damage. Inappropriate lighting; improper temperature and
Smog, car exhaust, and ozone are common pollutants that can
relative humidity levels; excessive dust, dirt, and other pollutants;
cause physical and chemical damage. Textiles are particularly suscep-
insects; mold and mildew; and incorrect handling all contribute to
tible to abrasion and physical damage caused by dust and other gritty
damage.
particulate surface soiling. Eliminating exposure to these contaminants
is an important aspect of preventive conservation care. The use of
Light particulate air filters and protective display and storage enclosures
Both natural and artificial light can fade color and contribute to is recommended when planning for the long-term preservation of
the degradation and permanent damage of many textile fibers. The textiles.
rate at which damage occurs is determined by the level of illumina-
tion and the duration of exposure. And, unfortunately, light damage Display and Storage
is cumulative and irreversible. If long-term preservation is a concern,
Textiles are best preserved when displayed and stored in clean,
protecting textiles from light exposure is key. To this end, several
well-ventilated areas that are routinely and adequately maintained.
simple and practical steps can be taken: keep draperies drawn to
Controlling dust, clutter, and other accumulations of extraneous
protect textiles from strong, direct light; use ultraviolet light filter-
material will greatly reduce the possibility of damage caused by
ing glazing when framing textiles for display; and install ultraviolet
insects, rodents, and microorganisms such as molds and fungi. Inspect
light filtering films on windows and over other light sources. Keep
your textiles often, ideally at six-month intervals, to identify problems
in mind, however, that all types of light damage textiles. The risk of
early on. Indications of active deterioration are an increase in textile
light damage can be further minimized by periodically rotating your
discoloration, tarnishing of metal components, and the presence of a

A guide for cleaning, storing, dis-

playing, handling, and protecting
your personal heritage

textiles
 “ most textiles
become weaker
when wet and
will need support
for safe

sweet or musty odor. Signs of insect infestation include small, irregu-

larly shaped holes, and/or the presence of insect casings and excrement.
Controlled vacuuming can be an effective means of reducing dust
and other particulate soiling, though not all textiles, can be safely
vacuumed. There are various methods of vacuuming depending upon
handling

”
greatly reduce the likelihood that they will suffer permanent damage.
In the case of wet artifacts, remember that most textiles become
weaker when wet and will need support for safe handling and trans-
port. If handling is possible, separate colored textiles from others to
reduce the risk of dye transfer. Rinse any silt or debris off with clean,
a textile’s condition, component materials, and method of construc- cool water, then blot the textiles carefully with absorbent toweling to
tion. Specially-modified equipment allowing for low suction is often remove as much moisture as possible. Lay the textiles flat to dry in a
necessary for vacuuming to be accomplished safely. For large or sturdy room with good air circulation. Cover them with clean, thin, cotton
textiles, vacuuming with an up and down motion (lifting, not dragging sheets to absorb impurities and provide protection during drying. If
the vacuum nozzle) over a protective sheet of flexible plastic screening the water-damaged textiles are already dry, deposited soiling may
may be recommended. For fragile three-dimensional textile artifacts, often be removed with a soft brush and special low-suction vacuum,
dusting lightly with a soft brush into a specially-modified low-suction as previously described.
vacuum nozzle may be preferable. Contact a professional conservator When there are too many water damaged textiles to dry immedi-
to discuss appropriate techniques before you begin. ately, it is advisable to contact a conservator or local museum for advice.
It may be possible to freeze the wet textiles to prevent mold growth and
Handling arrest bleeding dyes. Arrangements can then be made to examine and
dry the textiles under controlled conditions.
Proper handling is important for the long-term preservation of tex-
Fire, soot, and smoke damage pose special problems for textiles.
tiles. Textiles are frequently more fragile than they first appear. Before
It is always advisable to contact a conservator before handling a soot-
attempting to handle or move a textile, familiarize yourself with its
damaged artifact. Handling can irreversibly drive sooty surface soiling
weak areas. Physical damage can occur suddenly as a result of even
deep into the fibers of a textile. The use of ozone to remove smoky
careful handling. Support a textile in a manner that distributes its weight
and/or mold and mildew odors from a textile is not recommended as
evenly. A delicate silk embroidery may be supported by sliding a piece
ozone will accelerate aging and degradation in many textile artifacts.
of paper or cardboard underneath, while a heavier textile such as a car-
pet or tapestry is best rolled on a large tube or carried in a fabric sling.
Clean hands are important when handling textiles, as human skin When to Consult a Conservator
contains oils and perspiration. Refrain from using skin creams as they Before attempting to repair, clean, or mount a textile artifact, con-
may be readily absorbed by textile fibers and later contribute to staining. tact a professional textile conservator for advice. The conservator will
Wash your hands frequently or wear inexpensive white cotton gloves examine your textile, evaluate its composition and method of manufac-
that are available through photographic and conservation suppliers. ture, document its condition, and make note of inherent problems and
Remove jewelry or anything that may snag and be careful not to rub areas of damage. A treatment option will then be proposed, taking into
or drag your hands against the textile. Be aware that yarns and fibers account your concerns and any relevant historical information.
can be easily pulled, frayed, and weakened depending upon the textile’s AIC’s Find a Conservator at www.conservation-us.org can
condition, its component materials and method of construction. direct you to a qualified conservator in your area.

Housing: Framing, Display and Storage About AIC

The materials used in frames and storage enclosures must be care-
The American Institute for Conservation of Historic and Artistic
fully selected to ensure a protective and stable environment. Most
Works (AIC) exists to support the conservation professionals who
wood, packing cardboards, and some plastics are chemically unstable.
preserve our cultural heritage. AIC plays a crucial role in establish-
Use archivally-stable materials such as barrier films, acid-free unbuffered
ing and upholding professional standards, promoting research nand
matboards and paperboards, rolling tubes, and storage boxes that are
publications, providing educational opportunities, and fostering the
available through conservation supply catalogues and at some art supply
exchange of knowledge among conservators, allied professionals,
stores instead. Contact your local museum for sources near you.
and the public. AIC’s 3,500 members all of share the same goal: to
preserve the material evidence of our past so we can learn from it
Disasters
today and appreciate it in the future.
The two most common forms of disaster damage are those caused To learn more about AIC or to become a member, please visit
by water and fire. Prompt attention to textiles following a disaster can www.conservation-us.org.

The recommendations in this document are intended for guidance only. The AIC does not assume responsibility or liability.

American Institute for Conservation of Historic and Artistic Works (AIC)

1156 15th Street NW, Suite 320 • Washington, DC 20005 • PH: (202) 452-9545 • FX: (202) 452-9328 • [email protected] • www.conservation-us.org