Across a conservator's bench
Spaceship cleaning & other things - by Roisin Morris
As a textile conservator working in the Collection Services Department, I work on a wide variety of objects in preparation for exhibition within the V&A, and for loan to other museums and institutions. Primarily, I treat objects at my bench in the textile studio; however, preparation for exhibition and loan also requires planning and consultation. This involves liaison with other departments, such as curatorial, mounting and packing technical services, exhibitions and design.I am very interested in composite objects and in particular, their reactions to and relationship with other materials. For example, in the case of the scabbards, the interaction between leather, wood, textile and metal, in addition to the effect of original adhesives and repairs that have been added over time.
Many museum objects have been altered or changed in some way prior to their accession into collections. As a conservator, one of the aspects of my work is to document and record information relating to an objects construction, technology, materials, evidence of previous repairs and use in addition to patterns of damage. This helps to inform the treatment and can provide additional information related to its history and the way in which it was used.
Many people interact with an object during its 'life' in the museum but conservators frequently have the opportunity to look beyond immediate visual information, which enables us to record a view of an object that may not have been seen since it was constructed.
The conservation department has a busy work schedule and here I hope to provide a snapshot of the interesting, curious and exciting objects that I have worked on and projects that I have been involved with over a relatively short period of time. The three projects introduced below, and on the associated pages, illustrate the diversity of a textile conservator's role.
Millennium Falcon
The "Space Age: Exploration, Design & Popular Culture" exhibition is broad in content and 'examines the impact space exploration has had on everyday life, especially futuristic design and the fantasy worlds created for children and adults alike'.
Objects that were treated and prepared for display in the studio, range from a cosmonaut space suit which reflects the technology of space travel, costume objects that characterise the futuristic themes embraced by designers, such as Pierre Cardin, to plastic toys and other collectables from film and television programmes that have influenced popular culture.
As well as costume and furnishing fabrics, such as a sample called 'Rocket Rascals' designed by Michael Miller, I worked on a plastic model of the 'Millennium Falcon' from the Star Wars series of films.
Dior 'Ecarlate' Cocktail Dress
Preparations, in the textile conservation studio, for the display of 'The Golden Age of Couture: Paris and London 1947-1957' exhibition began a little over a year before it opened. It features examples of Haute Couture from designers, such as Cristobal Balenciaga, Christian Dior and Hardy Amies, between the periods 1947-1957. To deliver this principally textile show, approximately 120 costume pieces together with numerous accessories, it was necessary for additional conservators to join the team. I was involved in the conservation of the Dior 'Ecarlate' cocktail dress.
Dior 'Ecarlate' cocktail dress before conservation, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (before conservation)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress after mounting, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (after mounting)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with new straps on bodice, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with new straps on bodice)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with boning detail, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with boning detail)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress during steaming, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (during steaming)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with detail of previous stitching, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with detail of previous stitching)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with reinforced section, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with reinforced section)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress during steaming, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (during steaming)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with support pads, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with support pads)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Dior 'Ecarlate' cocktail dress with support pads, Autumn/Winter Y-line collection 1955-56. Museum no. T.25-2007
Dior 'Ecarlate' cocktail dress (with support pads)
Autumn/Winter Y-line collection 1955-56
Museum no. T.25-2007One of the first projects that I worked on for 'The Golden Age of Couture' exhibition was a cocktail dress designed by Christian Dior for his Autumn/Winter Y-line collection in 1955-56. This typifies the Y-line motif that Dior employed - the deep V-neck and the inverted Y of the skirt pleats.
'Ecarlate' (scarlet), a signature costume in the exhibition, is cut and pieced to give the impression that it is formed in two main sections - an under layer and a simulated over-skirt tied at the waist with a fringed tie.A number of previous repairs and alterations that were made prior to acquisition had altered the original profile. From evidence found in a contemporary image, released from the House of Dior to advertise the dress, it was possible, with the curator's help, to return it to a more appropriate shape.
Additionally the original lightweight silk underdress was in poor condition and required a considerable stitch support treatment to stabilise it before it could be mounted on a mannequin for display.
Installing The Golden Age of Couture Exhibition
I had the opportunity to assist with the installation of the Golden Age of Couture, which took place over a two-week period. As a member of the team, I dealt with a number of the loan objects and their couriers. This included the loan from the Dior: three costume ensembles designed by John Galliano, they are on loan to the V&A for the duration of the exhibition. Three Dior representatives arrived to accompany the objects; an archivist and two stylists.
Condition assessments were undertaken in addition to assisting the courier and stylists to dress the mannequins. They were placed on display with the assistance of technical services. In order to care for the objects while on display it was necessary to put preventive conservation measures in place, such as barrier foils and films between display surfaces and the costume they were in contact with. The security of the objects is also vital, particularly while on open display, therefore time was spent attaching alarms and tying down accessories.
Installing Dior 'Ecarlate' cocktail dress (main image). Museum no. T.25-2007. Dark blue suit/ensemble by Michael (left)Museum no. T.52:1&2-1997
Installing Dior 'Ecarlate' cocktail dress (main image). Museum no. T.25-2007. Dark blue suit/ensemble by Michael (left) Museum no. T.52:1&2-1997
Installing Dior 'Ecarlate' cocktail dress. Museum no. T.25-2007.
Installing Dior 'Ecarlate' cocktail dress. Museum no. T.25-2007.
Installing a selection of Dior dresses
Installing a selection of Dior dresses
(left, front) Marcelle Chaumont
1949 spring/summer collections
A full length, strapless evening dress of off-white organza. The skirt is hand-painted with a gold design of ribbons and bows.
Museum no. T.92&A-1974
Donated by Gloria Guinness.(left, back) Lafaurie
1950-1953
Evening dress of printed silk organdie with sequins and diamante embroidery
Museum no. T.281A&B-1974(centre) Christian Dior 'Belle de Nuit'
1954
Bolero and dress of organza embroidered with ribbon, sequins, beads and metal thread
Museum no. T.133A&B-1974(right) Christian Dior 'Perou'
1954
Evening dress of heavy gold satin covered with embroidery in silver thread and couched gold metal thread in an interlaced foral design
Museum no. T.12-1977
Installing a selection of Dior dresses
Installing a selection of Dior dresses
(right) Christian Dior 'Perou'
1954
Evening dress of heavy gold satin covered with embroidery in silver thread and couched gold metal thread in an interlaced foral design
Museum no. T.12-1977(left, front) Christian Dior 'Belle de Nuit'
1954
Bolero and dress of organza embroidered with ribbon, sequins, beads and metal thread
Museum no. T.133A&B-1974(left, back) Lafaurie
1950-1953
Evening dress of printed silk organdie with sequins and diamante embroidery
Museum no. T.281A&B-1974
Three Dior dresses designed by John Galliano
Three Dior dresses designed by John Galliano
Installing Dior dress designed by John Galliano
Installing Dior dress designed by John Galliano
Installing Dior dress designed by John Galliano
Installing Dior dress designed by John Galliano
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