Leyre Quevedo Bayona. Textile Conservation Portfolio.

LEYRE QUEVEDO BAYONA

TEXTILE CONSERVATION

PORTFOLIO

ABOUT ME

TEXTILE CONSERVATION

18th CENTURY DAY BODICE DESCRIPTION: 

Fitted bodice in violet silk with darker spots. Front fastening with nine deep violet crochet covered buttons. Long fitted sleeves, broad shoulders. Fully lined with white glazed cotton, front padded and boned. Dress protectors. Trimmed at neck and shoulders, sleeve tops and cuffs with bands of deep violet satin. Belong to Josephine Bowes, founder of the Bowes Museum.

DAMAGE •Surface soiling •Overall distortion due to storage •Dress protector really distorted and stiff, could end up damaging the silk.

•Small loses on the silk.

INTERVENTION AIMS •Prepare it for mounting to be displayed.

•Make sure it's structurally sound and can be handled without risk.

TREATMENT •surface cleaning •Reshaping •Stitched support

The dress protector inside the armpit before and after humidification.

Detail of some of the decorations before and after the reshaping treatment

Aligning process. One of the sleeves before and after humidification.

Left: the biggest loss on the waistline, before and after placing a patch and supporting it with stitching. Right: a smaller loss located above a button, after placing a patch and supporting it.

The object mounted on an acrylic mannequin, on display in the Bowes Museum.

18th CENTURY EVENING BODICE DESCRIPTION:  Pale violet silk bodice. Shaped and boned.

Low round neck edged with bobbin lace.

Short white silk sleeves under wide violet sleeves fully lined with white cotton. square.

Over sleeves edged with matching ribbon over black lace.

DAMAGE •Surface soiling •Ingrained soiling in the lace •Overall distortion due to storage •Severe damage under armpits •Damage in the silk covering the back bone.

INTERVENTION AIMS •Prepare it for mounting to be displayed.

•Achieve a lighter colour in the lace •Make sure it's structurally sound and can be handled without risk.

TREATMENT •surface cleaning •Wet cleaning of the lace •Reshaping •Stitched support •Adhesive support

Detail of the lace and ribbon before and after the reshaping process.

Before and after the reshaping and stitched support under the proper right armpit.

Details of the dyed crepeline used for the adhesive support, with Lascaux ÂŽ

Before and after the consolidation of the lace by stitching the loose threads in place.

Above: comparative of the upper part of the bodice before and after the conservation treatment. Right: the bodice on display with a bespoke replica skirt.

18th CENTURY COPE DESCRIPTION:  Ecclesiastical costume  124 x 273 cm  Silk, cotton, metal threads.

DAMAGE • • • • •

Superficial soiling Distortion between the layers Open seams Loses on the decorative band Distortion on the metal threads • damage due to previous treatments.

Vacuuming trough a net to avoid damage.

INTERVENTION AIMS • Reatach all the layers • Make it structurally sound • Focus on the loses and distortion of the decorative band .

TREATMENT • surface cleaning • Reshaping • removal of previous treatments when damaging • Stitched suport with silk patchs and thread.

Using pins and an ultrasonic humidifier to align the layers

Using weights after humidification to maintain the desired shape after aligning the seams.

Left: detail of the grain before and after aligning. Right: before and after the stitched support.

Before and after tidying and securing the metal threads with silk thread matching the base colour.

SCHIAPARELLI JACKET DESCRIPTION:  Navy blue silk velvet jacket, richly decorated with rhinestones and metal embroidery  1930s

DAMAGE •Surface soiling •Overall distortion in all the metal elements •Open seam in the shoulder •Open seams in the lining •Loose rhinestone's holders •Broken label

INTERVENTION AIMS •Make sure it's structurally sound and can be handled without risk.

•Secure all the rhinestone's holders.

•Align the messy metal embroidery.

•recover the legibility of the label, as it states the designer.

TREATMENT •Surface cleaning •Solvent cleaning for the metal elements •Stitched support •Mount in an acrylic mannequin fitted for display

Detail of some of the metal embroidery before and after aligning it.

The open seam in the lining, before and after stitching it using the original stitch holes.

Above: different stages of the label’s consolidation process. In the right, padding the acrylic mannequin and the jacket after conservation, on display at the Bowes Museum.

18th CENTURY PETTICOAT DESCRIPTION:  Women’s open robe petticoat.  Woven silk brocade with floral motives in pink and green in a cream ground woven with a stripe design.  Waist: 70cm  Length: 110 cm

INTERVENTION AIMS

DAMAGE •Dye Bleeding •Overall distortion due to storage •Previous repairs causing tensions, mostly in waistline •Silk breaking in several areas

•Prepare it for mounting to be displayed.

•Make sure it's structurally sound and can be handled without risk, focusing on the waistline.

TREATMENT •Surface cleaning •Reshaping •Removal of old repairs if they are causing damage.

•Stitched support

Different stages of the removal of non-original ties added during a size alteration, probably carried out on the 19th century for fancy dressing.

Stitched support in one of the open sides of the waist.

Detail of the condition before and after the stitched support in one of the open sides of the waist.

Before and after the stitched support in the waistline

One of the open sides before and after the conservation treatment.

HEADPIECE DESCRIPTION:  Accessory to be worn over the head  Belongs to dressed effigy  Lace, metal threads and cotton  20 x 55 cm

DAMAGE • Surface and ingrained soiling • Distortion, mostly on the lace and the metal threads

INTERVENTION AIMS • Make the object structurally safe • Prevent/slow down further damage • Try to achieve a lighter colour

TREATMENT • surface cleaning • wet cleaning with foam • Solvent cleaning metal • reshaping • stitched support.

Wet cleaning process, after the surface cleaning.

Aligning and cleaning the metal trims.

Placing the metal trims onto their original position

Detail of the metal decorations placed on the object after the wetcleaning

The headpiece before and after the conservation treatment.

EFFIGY CUFFS INTERVENTION AIMS

TREATMENT

• Make sure it's structurally sound and can be handled without risk.

• Try to remove some of the dirt.

• Surface cleaning • Wet cleaning • Aligning • Place again on the effigy.

Above: different stages of the label’s consolidation process. In the right, padding the acrylic mannequin and the jacket after conservation, on display at the Bowes Museum.

Different parts of the cuff’s conservation process, from the initial condition to the wet cleaning and placing of the cuffs on the mannequin.

EFFIGY. Other processes.

CARPET RESTORATION DESCRIPTION:     

Owned by Palencia’s Cathedral 19th Century Wool and cotton 311 x 190 cm It’s going to be used

TREATMENT

DAMAGE

• • • •

Superficial soiling Wax stains Frayed edges Knot loss

• • • •

Surface cleaning Re-warping Re-weaving stitched support.

Analysis of the wool knot fibres: with thread counter, USB microscope, and EM microscope.

Location of the damage in both sides.

Weaving the wefts after the rewarping. In the far right, the same technique used on the edge binding.

On the left, the process of knotting and then trimming the knots, and the effect once trimmed to the same level as the originals. Under the text, the carpet before and after conservation.

Details of the condition before (above) and after (below) the conservation treatment

EMBROIDERED NET FRAGMENT DESCRIPTION:    

Machine-made net and embroidery 20th Century Mercerised Cotton 35 x 55 cm

DAMAGE • Frayed edges due to cuts • Distortion on net structure • Loses on the net

INTERVENTION AIMS • Make the object structurally safe • Prevent/slow down further damage

TREATMENT • surface cleaning • wet cleaning with foam • reshaping • stitched support.

Vacuuming trough a net to avoid damage.

Loss protected with net before wet cleaning

Wet cleaning process

Aligning and reshaping process

One of the losses before, during and after the reshaping and stitched support.

Details of the condition before (above) and after (below) the conservation treatment

The object before and after conservation.

17th CENTURY LACE COLLAR DESCRIPTION:  Needle lace collar with linen piece in the centre and neckline.  Linen + cotton  98 x 52cm

DAMAGE •Surface soiling •Ingrained soiling •Overall distortion due to storage •Small losses in linnen •Structure loss in some points of the lace

INTERVENTION AIMS •Prepare it for mounting to be displayed.

•Soften stains •Make sure it's structurally sound and can be handled without risk.

TREATMENT •Surface cleaning •Wet cleaning •Reshaping •Stitched support

The object after the wetcleaning, still wet, during the reshaping process..

Detail of the consolidation process, and the object mounted on an acrylic mannequin, on display in the Bowes Museum.

20th CENTURY STOLE DESCRIPTION:  Ecclesiastical accessory  25 x 230 cm  Silk, metal threads.

DAMAGE •Superficial soiling •Loses on the silk •Distortion on the metal threads •Open seam between fringe and silk •Distortion on the fringe

INTERVENTION AIMS •Tidy the fringe to avoid further damage.

•Avoid further damage in the ends and prevent contact with other objects.

TREATMENT •Surface cleaning •Reatach fringe to the silk with poliester thread •Align and keep the fringe in place by stitching it to a dyed nylon net.

Vacuuming trough a net to avoid damage.

Left: The fringe before the intervention and different stages of the treatment, aligning the fringes and attaching them to the net.

On the right, Tyvek cover closed with Velcro to protect the delicate decoration and the fringe.

MOUNTING

Costume mounting: 20TH CENTURY OUTFITS  Three projects as part of a short placement at Textile Conservation Limited, Bristol, during ICON/HLF Internship.  Punk outfit, 80’s outfit and a pair of Doc. Martens that also needed cleaning. They all were going on display as part of a Bristol Museum’s exhibition called Bristol Music: Seven decades of sound.

80’s OUTFIT  Denim skirt, mohair jumper and denim jacket  Mannequin needed some padding in the waist and hips and a pair of arms  All the visible parts of the mannequin had to be covered in calico.

Mounting process of the 80’s Outfit.

PUNK OUTFIT  Mannequin needed to be cut to fit size 4 trousers, padding and a pair of arms  All the visible parts of the mannequin had to be covered in calico.  Fake had was made to hold the arm in the desired place.

Mounting process of the Punk Outfit.

DOC. MARTENS BOOTS  Inner mount: a ring and a semicircle made out of Rigilene® and covered with polyester felt in a matching colour to the inside of the boots.

Comparative of the boots before and after the inner mounts where placed.

MOUNT MAKING: WWII GAS MASK STORAGE MOUNT NEEDS • Mask partially made of rubber: said rubber is melting so it can't be in contact with fabric because it would stick to it and end up damaging the object. It can’t be in touch with itself either, because it will melt together.

• Mask has a heavy part (the yellow filter) that, if it's not placed correctly, will end up distorting the rubber and causing its break.

• The mask has some accessories that needs to be stored with it, while keeping it on a reasonable size to make the handling process easier.

SOLUTION • Attach laminated Teflon (non-adherent material) to the parts of the mount in contact with the rubber.

• Create an elevated support for the filter, to keep it in the shape, and a padded mount (Covered with Teflon) to go inside.

• Made a bespoke box that fits two trays, one with the mask and one with the accessories.

The mask and accessories mount.

The padded boards for the mask and accessories, with Teflon on the places where the rubber is in contact with the mount, including the ties in the mask’s.

Different stages of the construction and layering of the inner mount, that needs to hold all the weight to avoid the rubber from getting distorted, while preventing it to stick to the mount.

The mount finished in the box. In the right, HM the Queen looking at the mount during her visit to Heritage Malta studios, where the mask is stored. Š Heritage Malta

Costume mounting: 1950’s DRESS

Padding the stocking mannequin to achieve the desired shape in the bust and waist, and covering the padding with jersey.

Adding the underpinnings and the dress after mounting, before trimming the underskirt.

Mount Making: SCHOOL PROJECTS PADDED BOARD

ROLL

3D MOUNT FOR DOLL’S DRESS

OTHER PROJECTS

DEEP CLEANING AT THE BOWES MUSEUM  Condition survey of +40 objects  Surface cleaning in situ of +40 pieces of upholstered furniture  Tamping, hoovering, cleaning with microfiber clothes, and minor conservation in 4 big carpets on open display.

INSTALLING AND DEINSTALLING AN EXHIBITION  Condition checking in the museum, and once in the venue  Packing and unpacking  Installing the objects in the cases  Supervising the transport.

CREATING AN 18TH CENTURY REPLICA SKIRT  For Josephine’s Bowes evening bodice  Working with Viviane Chen, costume, and Luca Costigliolo, historical costumier, following historical techniques.