This message is being posted for Jenny Barnett
>
> From: Jenny Barnett <[log in to unmask]>
> Date: Wed Jul 09, 2003  02:04:00 AM America/Edmonton
> To: [log in to unmask]
> Subject: Re: Lanvin Gown
> Reply-To: [log in to unmask]
>
>
> dear Kim,
> A full support of crepeline would indeed be a grand undertaking! I 
> presume you mean silk bobbin net or something similar.
> If it cannot be handled without tearing, then the process of applying a 
> full support would certainly cause more damage.
> Then there is the question of appearance: if the original fabric is 
> silk tulle, the increased stiffness resulting from a full support would 
> probably affect the fullness and or draping of the tulle. If the full 
> support is applied with adhesive, there would be even more increased 
> stiffness. The degree of this effect would depend on the cut of the 
> neckline and sleeves. If slim fitting with no draping or fullness, 
> stiffness would not show so much. And you would always see that there 
> are 2 layers - how important is that?
>
> As for context, how does the owner use the dress if she does not wear 
> it? If it is not displayed or studied then handling is rare and the 
> risk of further damage would be limited altho' the deterioration will 
> continue. Perhaps treatment is then not necessary. However, if the 
> authenticity of the garment is to be retained this would seem to be a 
> good moment to take action (any action!) before the deterioration is so 
> extensive that the original cut can no longer be determined and the 
> fabric is still recognizable. Now you can still document and copy the 
> pattern of the tulle parts without causing too much damage. 
> Construction details should of course be documented with text and 
> photo's before and during and after removal.
>
> There is another option to a full support treatment of the tuille  and 
> that is replacing it. This would of course be a contentious decision. 
> However, if the dress is not an important or unique Lavin dress and it 
> has no documentary value, I think that the replacement of parts which 
> no longer function and are in a state of advanced deterioration can be 
> justified, provided all aspects of  future use have been considered . I 
> must say that I favour the making of replicas to the Frankenstein 
> effect of mixed parts which could be misleading to scholars in the 
> future. However in this case a replica would probably be easier, less 
> expensive and the owner could wear it.  But this solution is not 
> without an ethical problem: there would have to be a clear indication 
> somewhere on the inside of the dress that it is a replica so that 
> no-one could pass it off as original.
>
> Consider that the original look   is of vital importance for all 
> costume and particularly haute couture costume: it is an essential 
> quality which must be preserved. It is such a pity when costume is 
> conserved 'virtuously' with more focus on carrying out the treatment 
> than on the authenticity of the visual result.
>
> I hope this helps your decision making.
>
> best wishes,
>
> Jenny Barnett
> Andelos textile conservation, research & consulting
> Oude Looiersstraat 65-67
> 1016 VH Amsterdam
> NETHERLANDS
> tel/fax 00 31 (0)20 427 18 27
> [log in to unmask]
>
>
> Kimberly Kotary wrote:
>
> Hi,
>  
> I was just asked what the best couse of action is to preserve the value 
> of a blue silk gown with the neckline and sleeves made from tuille dyed 
> to match.  The gown is stable but the tuille can't even be handled 
> without it tearing.  The sensible owner does not want to wear it, she 
> just wants to prevent further deterioration.  The tuille is also 
> discolored under the arms.  I suggested a full underlay of crepeline 
> dyed to match but that may a grand undertaking.
>  
> Any suggestions would be appreciated,
> Thanks,
> Kim Kotary
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