The Costume Collection

Pale pink and black silk evening dress composed of a bodice and a skirt. Gold trim and black velvet belt. A black lace overlay covers the shoulders and the skirt. Surplice neckline on the front and back. Probably Callot Soeurs, around 1910-12. ©New York University, Acton Collection, Villa La Pietra.

http://lapietra.nyu.edu/project/a-garden-with-a-view/#unique-identifier

Mounting Dresses for Display

Before beginning to prepare a costume for display many factors have to be taken into account, such as the condition of the garment, the need for consolidation treatment, the availability of an appropriate mannequin, the dressing and the environmental conditions in the exhibition space. Our role is to stabilize the garment so that it will not deteriorate while it is on public display. Costumes are very fragile because they are made of a number of different fabrics and other associated materials, like metal threads, sequins, glass beads and rhinestones. Often heavy layers are attached to very light tulles and chiffons, so these fabrics have deteriorated even more. Metals can corrode, tarnish and dull over time, so these additional materials can stain the surrounding fabric. The lining of the bodice of the dress can become very fragile and degraded through wear and tear. The fabric fibers can fade and yellow and become very brittle. There can be food spills of non-identifiable origins and perspiration stains. The sewing threads can also become brittle. Gloves or clean hands are essential for a safe handling.  

The first important step in the conservation process is the examination of the costume as a work of art: photographs will be taken, research carried out, measurements taken, techniques and materials will be identified. If a costume needs to be displayed it has to be supported on a mannequin fitted to its particular silhouette so that it can express accurate information about the fashion and customs of its period. During the consolidation stage through a minimal treatment we focus on the fabric’s mechanical fragility. To provide additional strength and cohesion to the original fabric we often apply a double layer of a very fine silk fabric, on either side of the original as in a sandwich. We regain volume and release the creases using an ultrasonic humidifier which controls and directs the necessary moisture, taking into account the different materials. At this stage we also, where possible, remove stains. 

Once the consolidation is completed, we proceed to build the mannequin, which is very important since it can restore the garment to life.  Unlike a dress designer or a seamstress who fits the dress to a body, we make a body that fits the dress. The dresses presented on this occasion date from the Edwardian era, when fashion was still dictated by the S silhouette created by a corset with a restrained waist, that propelled the high bust forward and the hips backward. We usually start with a smaller mannequin and in order to build volume we add wadding that is held in place by a cotton stretch fabric. Tacking stitches are used for additional support. When a costume needs arms we create them on the mannequin. The additions and modeling are carried out until the mannequin is the right size and silhouette for the garment.When all the precautions have been taken and the dress fits perfectly on the mannequin our mission is accomplished, and this is always an exciting moment in the conservation laboratory.