There are currently over 100 Notes in this ever-expanding series written by CCI staff members. Ottawa, ON: Canadian Conservation Institute, 2010. There is no known danger to textiles when treating them at -30°C for insect infestation. Until the commercial introduction of synthetic dyes in the latter half of the 19th century, all dyes were obtained from natural sources, such as plants and certain shellfish and insects. Consult CCI Note 13/3 Rolled Storage for Textiles for more details on rolled storage. The plastic sheeting will also protect from water leaks. Figure 26a. Historically, felts were made of wool. Figure 10b. Costumes on ill-fitting mannequins or heavy flat textiles on vertical display without adequate support may become distorted due to the effects of gravity. The phrase “or more” means that the actual time for most material–lighting combinations may be much longer. Fading may not be noticed until it has developed to a considerable degree and, by then, irreversible damage has been done. Ottawa, ON: Canadian Conservation Institute, 2008. Examples: Natural fibres acidified by pollution, weighted silk and fibres mordanted with metal ions (e.g. During the winter, heating without humidification leads to low RH. Risk of mould in ~20 days, RHcool side= ~90% More information on RH and how it affects heritage collections can be found under Agent of deterioration: incorrect relative humidity. Canadian Conservation Institute. Some textiles, referred to as non-wovens, are made directly from fibres by bonding or interlocking manufactured fibres either mechanically, thermally, with adhesives or with a combination of these techniques. CCI Notes 13/18. Textiles provide many places for dust and particulates (solid contaminants) to lodge. Satin weave has long floating yarns which gives a smooth, lustrous appearance. Figure 31a. The fibres that make up the majority of textiles in museum collections are classified as either natural fibres (plant or animal) or manufactured fibres (regenerated or synthetic). Note, however, that even if using the lowest light level (50 lux) without any UV, colours in the high sensitivity range may nevertheless fade within a few years if continuously displayed, and those in the medium sensitivity range, within decades; that is why limiting exposure times is also very important to preserve sensitive colours as long as possible. Consult. For example, silk was bleached with sulfur to remove any original yellowness. © Government of Canada, Canadian Conservation Institute, 2018, Published by: Rayon is more absorbent but much weaker than cotton, particularly when wet. Despite this, they were often used to whiten fabrics either during manufacture or use. Figure 13. The gown can be stored in a lined drawer or box that is large enough to eliminate the need for much folding. CCI 129981-0014 In the case of painted textiles, UV radiation can also cause physical damage and disintegration of the paint media (chalking), which usually results in an overall fading of the paint colour even if the pigments may not be directly affected. Textiles can be damaged by external agents of deterioration, such as elevated levels of light, ultraviolet (UV) radiation, inappropriate relative humidity (RH) and temperature, attack by insect pests and rodents, and poor handling, display and storage practices. Ottawa, ON: Canadian Conservation Institute, 2009. © Government of Canada, Canadian Conservation Institute. Natural fibres originate from plants or animals. A classic example is the weighting of silk with metallic salts that contain metals such as iron and tin. CCI 120171-0013 Toronto, ON: Royal Ontario Museum, 1980. © Government of Canada, Canadian Conservation Institute. A detail of a cross-section and longitudinal view of a flax fibre can be found in Figure 3. Ensure woollens and other keratinous objects in the collection are regularly inspected for the presence of insect pests (in particular clothes moths and carpet beetles). Use physical barriers or display cases when possible. Shattered weighted silk costume. Prepare a large enough space to accommodate objects before moving them. Preventive conservation guidelines for collections, Preventive conservation guidelines for collections, Understanding  textiles and costumes and how they are damaged, Causes of damage to textiles and costumes and key preventive conservation strategies, Key preventive conservation strategies for textiles, Examples of preventive conservation practices, Display and flat storage of a cotton christening gown, Display and hanging storage for a military tunic, Agent of deterioration: light, ultraviolet and infrared, Agent of deterioration: light, ultraviolet and infrared, Agent of deterioration: light, ultraviolet and infrared, Agent of deterioration: incorrect temperature, Agent of deterioration: incorrect relative humidity, Environmental monitoring equipment loans program, Agent of deterioration: incorrect relative humidity, Agent of deterioration: incorrect relative humidity. If the mounts are neatly made and covered with a display fabric, they can be used for both storage and display (Figures 30a and 30b). 1030 Innes Road Tétreault, J. A detail of a cross-section and longitudinal view of a silk fibre can be found in Figure 5. dander, wool and silk carpet fibres). Photochemical damage such as this occurs faster in the presence of moisture and metal ions (traditionally used as mordants), which act as catalysts to the chemical reactions. © Government of Canada, Canadian Conservation Institute. Anionic Detergent, revised. NY: Harcourt Brace College Publishers, 1993. A textile is stored in a large flat support to facilitate safe storage and handling. Canadian Conservation Institute. Ottawa, ON: Canadian Conservation Institute, 1997. Light damage is both cumulative and irreversible. Insect attack is less frequent below 40% RH. CCI 129981-0011 If left to dry without treatment for an extended period of time, these damages become difficult or impossible to reverse. Intended for a broad audience, the Notes offer practical advice about issues and questions related to the care, handling and storage of cultural objects. Provide custom supports for displaying oversized textiles. needlepoint fixed to a stretcher or upholstered seat cover) may tear during fluctuation from moderate to high RH. Consult CCI Note 13/15 Mould Growth on Textiles for more information on detecting and preventing mould on textiles. iron); these textiles will weaken and may disintegrate. You will not receive a reply. Some natural and synthetic dyes may be sensitive to sulfur dioxide, nitrogen dioxide or ozone present in the ambient air, which may result in fading. Figure 33. CCI 73062-0034 Ottawa, ON  K1B 4S7 CCI 129981-0003 Historical textiles often appear deceptively strong and resistant, but they are vulnerable to damage not only due to their past history (age, wear, fragility) or composition (including combinations of heavy and lightweight materials), but also because they are familiar objects. © Government of Canada, Canadian Conservation Institute. weighting of silk) or mechanical (e.g. CCI 127438-0045 © Government of Canada, Canadian Conservation Institute. Plexiglas rod is ideal as a dowel since it is inert and unobtrusive. Consider keeping storage cool to cold, especially for high vulnerability objects. With moisture, heat and mechanical action, these scales can become interlocked in a process known as felting. (a stable RH at 65%* is required; any intermittent period at less than 60% will stop growth), Mould growth is strongly active above 85%, RHcool side= 67% Many Notes are illustrated and provide bibliographies as well as suggestions for contacting suppliers. Other metal mordants (e.g. CCI 129981-0008 Canadian Conservation Institute. Visible mould growth unlikely Key preservation strategies for handling, storing and displaying textiles are provided below. Low temperatures (5°C and lower) have many benefits for textiles. These estimates are averages calculated for a perfect UV filter that blocks radiation below 400 nm, equivalent within error to light sources that measure 75 µW/lm. Certain aspects of fabric structure have implications for preservation. Cotton is a vegetable fibre obtained from the cotton plant (genus Gossypium). CCI 129981-0016 gummed paper tape, polyethylene foam, buckram, Fosshape). Hang costumes on padded hangers or store them flat if they are very fragile, heavy, beaded or cut on the bias. Have staff report any signs of insect activity. Hat mount consisting of two padded foam elements covered with knit fabric. Detail of netting. with Marvelseal) any acidic or emissive materials (e.g. (Materials rated ISO Blue Wool 7, 8 or higher). It is important to provide adequate support evenly along the edge from which the quilt will be suspended. Do not wear historical costumes. Conservation and preservation publications, N1/1 General precautions for storage areas (, N1/2 Cleaning Glass and Acrylic Display Cases (, N1/8 Lead in Museum Collections and Heritage Buildings (, N1/9 Low-Cost Plastic/Aluminum Barrier Foil (, N2/2 Measurement of Ultraviolet Radiation (, CCI's Environmental Monitoring Equipment Loan Program, request this service to borrow environmental monitoring equipment, N2/6 Fire Protection Issues for Historic Buildings (, N2/8 Automatic Sprinkler Systems for Museums (, N3/1 Preventing Infestations: Control Strategies and Detection Methods (, N3/2 Detecting Infestations: Facility Inspection Procedure and Checklist (, N3/3 Controlling Insect Pests with Low Temperature (, N3/4 Psocids or "Book Lice": a Warning of Dampness (, N4/2 Vacuum Freeze-drying Archaeological Artifacts (, N4/3 Conservation of Wet Faunal Remains: Bone, Antler, and Ivory (, N4/4 Test for Chloride Ions in Iron Treatment Solutions Using Quantab Test Strips (2016), N4/5 How to Test for Chloride Ions in Iron Treatment Solutions Using Silver Nitrate (2016), N6/1 Care of Ivory, Bone, Horn and Antler (, N6/4 Care of Objects Decorated with Glass Beads (, N7/1 Care and Cleaning of Unfinished Wood (, N8/2 Care of Alum, Vegetable, and Mineral Tanned Leather (, N8/3 Care of Mounted Specimens and Pelts (, N8/4 Care of Rawhide and Semi-Tanned Leather (, N9/3 The Cleaning, Polishing and Protective Waxing of Brass and Copper (, N9/4 Basic Care of Coins, Medals and Medallic Art (, N9/5 Tannic Acid Coating for Rusted Iron Artifacts, formerly published under the title Tannic Acid Treatment (, N9/8 Mechanical Removal of Rust from Machined Ferrous Surfaces (, N9/11 How to Make and Use a Precipitated Calcium Carbonate Silver Polish (, N9/12 How to Plate Silver onto Copper Alloys Using Chemicals (, N9/13 Preventing and Treating the Dezincification of Brass (, N9/14 Preparing Silica Gel for Contained Storage of Metal Objects (, N10/3 Storage and Display Guidelines for Paintings (, N10/4 Environmental Guidelines for Paintings (, N10/5 Emergency Treatment of Water-damaged Paintings on Canvas (, N10/6 Condition Reporting – Paintings.