BodyText2
The focus of
my first major treatment was the degraded silk lining of a 1936 Schiaparelli
evening coat. Elsa Schiaparelli was an influential designer with close ties to
the European Surrealists, known for her fanciful designs and innovative use of
embellishments like sequins and embroidery. My treatment involved stabilizing
the fragile lining of the coat by adding a support lining of silk crepeline,
secured with an adhesive and further stabilized with stitching. Treatment will
allow the garment to be safely exhibited without causing additional damage to
the silk. Over the course of treatment, I’ve had the opportunity to expand my
understanding of garment construction and to experiment with the use of
adhesives in textile conservation, two topics that I began to explore during my
second year in the WUDPAC program.
I’ve also
had the opportunity to explore some of the textile components of the Carl Otto
Kretzchmar von Kienbusch Collection of arms and armor, including decorative
tassels and fragmentary embroidered silk on ceremonial polearms. A
sampling of the polearm collection is on open display in close proximity to the
public at all times, making it particularly challenging to protect the fragile
silk tassels from dust accumulation and curious fingers. In addition to surface
cleaning the textile elements of these impressive objects, I will be exploring
methods of stabilization to offer some long-term protection to the susceptible
silks.
The
second half of my internship at the Philadelphia Museum of Art promises to be
as exciting and challenging as the first half has been. In addition to my work
with the polearms, I will also be assisting with a survey and the treatment of
Chinese textiles in preparation for upcoming object rotations in the Chinese
galleries, slated for renovation in the coming years.
