Chapters in Books by Laura Garcia-Vedrenne
Fashioning San Francisco: A Century of Style, 2024
This contribution describes the challenges of preserving garments with weighted silk elements, mo... more This contribution describes the challenges of preserving garments with weighted silk elements, mostly produced at the turn of the twentieth century, and how preservation is a primary filter in shaping our understanding of fashion from these years. Cracks, splits, and powdering signal an advanced stage of deterioration for weighted silks, though disingenuously weakened structures can exist at earlier stages of degradation with no apparent visual signposts. Awareness about the degradation of weighted silk allows for a deeper understanding of how costume collections are formed and why certain garments are more likely to be preserved and displayed.
Collecting to Collectingism: New Directions in Women's Transcultural Practices, Sep 20, 2022
The National Museum of History in Mexico City is home to a stunning collection of four court dres... more The National Museum of History in Mexico City is home to a stunning collection of four court dresses: two from the late-eighteenth century and two from the early nineteenth century. These are lavishly constructed with silk fabrics and heavily decorated with silver spangles, threads, edgings, enamelled foils, and glass pastes. The provenance, the evidence of personal taste, and the close similarities in size suggest that these dresses were created for and worn by the same woman, whose identity remains unknown, though in this chapter we will propose an educated guess.
Hilos de Historia. Colección de Indumentaria del Museo Nacional de Historia, 2017
Breve explicación sobre cómo se aborda la conservación de indumentaria en el Museo Nacional de Hi... more Breve explicación sobre cómo se aborda la conservación de indumentaria en el Museo Nacional de Historia, Castillo de Chapultepec
Papers by Laura Garcia-Vedrenne
Western Association of Art Conservation Newsletter, 2023
A written version of the presentation given at WAAC 2022.
This research originated from the need... more A written version of the presentation given at WAAC 2022.
This research originated from the need to conserve various garments from a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. While completing the condition reports for the garments, broken or missing pieces of boning were often found. This common issue can cause the silhouette, bodice structure, or weight distribution to be altered during costume mounting. Though some conservators have opted to solve this issue by replacing the material with baleen or Rigilene polyester boning, there are some scenarios where modifying the flexibility, weight, thickness, or durability, as well as materially-differentiating the conservation treatment, may prove useful. The lack of options for replacement and the few resources available on the topic prompted research for exploring other materials. Rigilene, Teflon, Nomex, commercial plastic boning, and featherbone (boning fabricated out of turkey quills which briefly replaced the usage of baleen around 1883) were tested and compared to find feasible alternatives.
North American Textile Conservation Conference Preprints. Considering Costume: The Conservation, Apparel, Adornment, and Accessories, 2023
This is the story of the decision-making process and the lessons learned by a team at the Fine Ar... more This is the story of the decision-making process and the lessons learned by a team at the Fine Arts Museums of San Francisco (FAMSF) while planning, mounting, and installing an exhibition of the work of premier Chinese designer Guo Pei. During the pandemic, the FAMSF team was tasked with the off-site installation of 82 ensembles without the knowledgeable support of couriers from Guo Pei’s couture atelier Rose Studio. Registration rushed to get the ensembles to San Francisco, despite the complexities of crating and shipping from China and Paris. The install team assembled in tight quarters while navigating external and internal hiccups exacerbated by mounting a large exhibition planned largely on video conferencing. Deep in an earthquake zone, mounting expertise achieved the curator’s vision and the fashion designer’s original concept by securing teetering headpieces, balancing 6’3” mannequins on 11” heels, and designing supports to enable densely embroidered garments to appear to hang effortlessly. Conservators tackled composite and modern materials by juggling the realities of high fashion runway with the Museums expectations. In the end, troubleshooting speedy mannequin modifications and disputed touch distances wrapped up in a record-breaking exhibition.
Working Towards a Sustainable Past. ICOM-CC 20th Triennial Conference Preprints, Valencia, 2023
Indigo carmine is a water-soluble blue acid dye for proteinaceous substrates invented in 1740. Fe... more Indigo carmine is a water-soluble blue acid dye for proteinaceous substrates invented in 1740. Few publications exist on its analysis or identification, and little is known on the specific causes and mechanisms behind its low fastness. This project investigated the wash-fastness of indigo carmine dyes by dyeing conditions and formulations and
whether there was any relationship between washand lightfastness. Findings confirmed that constitutive dyeing matter is easily solubilised and that repetitive wetting and drying cycles can lead to dye loss and colour change.
North American Textile Conservation Conference (NATCC), 2021
Two evening dresses designed by the Parisian design house Callot Soeurs (1895-1937) were conserve... more Two evening dresses designed by the Parisian design house Callot Soeurs (1895-1937) were conserved for a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. The parallel treatments focused on replacing the shattered silk linings, which had ceased to provide support to the heavy, tight dresses, due to their loss of structural integrity. This paper discusses the underlying ethical tensions behind recreating elements that are not meant to be seen by the public but still require a high level of technical skill to reproduce and are essential for a functional museum garment with a historically accurate silhouette.
This paper also reviews how past repairs are identified. Since one of the distinguishing characteristics of the Callot sisters’ work is their “relaxed craftsmanship” - which allowed for draping fabric directly on the body and leaving tacks in the garment’s final version - it is difficult to differentiate authentic aspects from alterations. A search for information regarding the designers' technique and choice of materials prompted collaboration with professionals outside the Museums. Curators at other institutions with Callot Soeurs holdings were contacted, as well as conservators that had treated similarly degrading objects. Drawing on knowledge from diverse sources successfully informed the treatment.
Pest Odyssey: The Next Generation, 2021
In 2007 an ad hoc group of museum and entomology professionals launched the MuseumsPests.net webs... more In 2007 an ad hoc group of museum and entomology professionals launched the MuseumsPests.net website. Since then, it has become one of the core online resources promoting best practice in Integrated Pest Management (IPM) for collections and heritage institutions. However, to fully benefit from the comprehensive information provided, a good command of the English language is needed. To reach a wider audience and to connect with the IPM community in other regions of the world, MuseumPests.net began a project in 2020 to translate the website, including all its training materials and resources, into Spanish.
The translation project saw leaders of the MuseumPests Working Group collaborating with bilingual (Spanish-English) professionals who work in the IPM field around the world, and APOYOnline - Association for Heritage Preservation of the Americas. These professionals volunteered to translate the site, bringing their technical knowledge and expertise.
This venture is part of a comprehensive effort to expand the MuseumPests.net community by creating additional Working Groups to educate, inform, and collaborate with colleagues in combating pest infestations in cultural heritage institutions around the world.
AIC Virtual Conference, 2020
This paper examines the story behind the term ‘riggisberg’ which has been used in Mexico over the... more This paper examines the story behind the term ‘riggisberg’ which has been used in Mexico over the last 40 years to refer to the laid-thread and self-couching conservation stitch. This term is now falling out of use and being replaced with the phrase ‘costura de restauración’ (conservation stitch), which may be an imprecise term for the purposes of documentation.
A questionnaire directed towards Spanish-speaking conservators was distributed to survey and reflect on the diverse forms of speech related to conservation stitching.
In addition, a review of how textile conservation as a profession was
born and spread across Mexico, specifically concerning stitching treatments. By looking at previous documentation and comparing it with references published outside of Mexico, this paper explores how information was interpreted to create the term ‘riggisberg’ and to adopt it for daily use within confined geographic borders. This review provided insight on the unique aspects and traditions of textile conservation practice in Mexico. To conclude, the effectiveness of communication between conservators is addressed, raising issues on inclusion and diversity.
Intervención Revista Internacional de Conservación Restauración y Museología, May 1, 2010
This essay draws upon Igor Kopytoff's article "The Cultural Biography of Things: Commoditization ... more This essay draws upon Igor Kopytoff's article "The Cultural Biography of Things: Commoditization as Process" (1986) to analyse the cultural biography of Hernan Cortes' funerary cloth, a remarkable item that is part of the collection of the Museo Nacional de Historia, Instituto Nacional de Antropología e Historia (mnh, National Museum of History, National Institute of Anthropology and History), Mexico. By examining the way certain practices (i.e. documentation, conservation treatment and display) recently influenced this artefact's representation, it offers a critical perspective by integrating the object's biography. Thus, this essay adds to recent debates regarding the impact of conservation on museum interpretation.
Planteamiento y logros de Proyecto
de Conservación Preventiva de los Tapices con
Representaciones... more Planteamiento y logros de Proyecto
de Conservación Preventiva de los Tapices con
Representaciones de Fábulas de La Fontaine de la
Sala de Pianos y Sala de Lectura del Museo Nacional
de Historia “Castillo de Chapultepec”. Se generó un
diagnóstico puntual, se realizó un acercamiento a la
materia y técnica de factura y se comenzó una breve
investigación histórico-cultural de las piezas, además
de concluir la limpieza superficial de los muebles.
Intervencion, 2015
El Museo Nacional de Historia (MNH), Instituto Nacional de Antropología e Historia (INAH, México)... more El Museo Nacional de Historia (MNH), Instituto Nacional de Antropología e Historia (INAH, México) conserva un registro relacionado con un pañuelo que se describe como el que posiblemente contuvo los huesos del conquistador Hernán Cortés. En febrero de 2014 inició un proyecto dirigido a la conservación-restauración de este singular objeto, el cual comprendió dos fases. Por un lado, y con el fin de comprobar su asociación histórica, se llevó a cabo un estudio histórico-cultural para rastrear la información relativa a los últimos años de vida del conquistador y fundador Hernán Cortés, así como las inhumaciones y exhumaciones de sus restos mortales. Por otro lado, se destinaron largas horas de observación y registro para entender la manufactura del bien cultural y su problemática de deterioro. Este informe da cuenta del doble proceso de investigación, así como de la intervención técnica a dicho asombroso ejemplar de nuestro patrimonio cultural.
---
The Museo Nacional de Historia (MNH, National Museum of History) of the Instituto Nacional de Antropología e Historia (INAH, National Institute of Anthropology and History, Mexico) holds a very special linen in its collection: a kerchief associated to the skeletal remains of conquistador Hernán Cortés. A two-stage project —aiming at the conservation and restoration of this particular linen— started in February 2014. On one hand a cultural-historical study was carried out in order to prove the historical value of the textile. Information was traced about the final years of conquistador and founder Hernán Cortés as well as about the burials and exhumations of his mortal remains. On the other hand extensive time was dedicated to the observation and recording of the cultural object in order to understand the linen’s manufacturing and its deterioration problems. This report shows the twofold process of research
as well as the technical intervention of an astonishing piece belonging to our cultural heritage.
Conferences and Presentations by Laura Garcia-Vedrenne
WAAC 48th Annual Meeting, 2022
This research originated from the need to conserve various garments from a major survey of the Fi... more This research originated from the need to conserve various garments from a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. While completing the condition reports for the garments, broken or missing pieces of boning were often found. This common issue can cause the silhouette, bodice structure, or weight distribution to be altered during costume mounting. Though some conservators have opted to solve this issue by replacing the material with baleen or Rigilene polyester boning, there are some scenarios where modifying the flexibility, weight, thickness, or durability, as well as materially-differentiating the conservation treatment, may prove useful. The lack of options for replacement and the few resources available on the topic prompted research for exploring other materials. Rigilene, Teflon, Nomex, commercial plastic boning, and featherbone (boning fabricated out of turkey quills which briefly replaced the usage of baleen around 1883) were tested and compared to find feasible alternatives.
University of Washington Libraries & Seattle Art Museum
Seattle, WA
October 11, 2022.
Dress under the Microscope: Contributions of Science and Technology to the Study of Early Modern ... more Dress under the Microscope: Contributions of Science and Technology to the Study of Early Modern Dress, Dressing The Early Modern Network Conference. Lisbon.
Indigo carmine is a textile-based acid blue dye which was used throughout the eighteenth and nine... more Indigo carmine is a textile-based acid blue dye which was used throughout the eighteenth and nineteenth centuries. The poor washfastness of indigo carmine is a problematic issue for textile conservators, although little is known or discussed about the specific causes and mechanisms behind its colour-bleeding. This paper discusses in-depth research which was required to build on current published knowledge and conservation practice.
An experimental methodological approach was adopted to answer whether the low washfastness of indigo carmine showed variations according to dyeing conditions and formulations. For this, historical dye recipes were critically reviewed to find trends in use and manufacture. After identifying relevant variables in preparation and dyeing methods, different formulations of indigo carmine were recreated. Dye transfer and solubilisation for replica wool samples were experimentally assessed by visual examination and colourimetry. For the first time, a relationship between the lightfastness and washfastness of indigo carmine was identified, showing the impact of numerous interconnected factors on the dye’s behaviour when wet. Further experimentation with historical samplers from the Karen Finch Collection allowed for comparison between theoretical arguments and expectations from practical conservation experience.
Dentro del panorama nacional, son pocas las colecciones de indumentaria que se han integrado a lo... more Dentro del panorama nacional, son pocas las colecciones de indumentaria que se han integrado a los museos. Aunque recientemente se ha buscado promover su estudio, aún no se logra validar la relevancia y la gran variedad de temas que pueden surgir a partir de la investigación de una prenda. De hecho, alrededor de estos objetos, podemos conocer o ver reflejados asuntos tan variados como el comercio y la industria textil, las tradiciones de la vida cotidiana, los cambios de gusto y de silueta, la moda, los avances tecnológicos y las formas de confección, entre otras.
La conservación de indumentaria y accesorios afines implica actividades de diversa índole: desde garantizar su adecuado almacenamiento y conocer con certeza la composición del objeto antes de realizar un tratamiento de limpieza, hasta estabilizar la materia por medio de los procesos de restauración directa y colocar las piezas sobre soportes auxiliares para permitir su exhibición sin riesgos latentes de deterioro. La realidad es que la materia constitutiva de las prendas suele ser sumamente frágil y fácilmente perecedera por lo que las investigaciones previas y la adecuada preparación del personal involucrado en su manejo resultan primordiales para su conservación.
Como parte de una donación de material didáctico para la Escuela de Conservación y Restauración d... more Como parte de una donación de material didáctico para la Escuela de Conservación y Restauración de Occidente (ECRO), la Biblioteca de la Universidad de Guanajuato cedió documentos que –por su lamentable estado de conservación— se consideraban material de descarte. Entre estas obras, se encontraba Cursus theologiae moralis tomus tertius, de iustitia, & iure que, por la falta de portada y cubierta, no podía ser identificado adecuadamente. Sin embargo, resultaba notorio a simple vista que se trataba de un objeto con cierta antigüedad,
así como con características tradicionales de factura en el papel verjurado y en el tipo de costuras. Por ello, los alumnos encargados de la restauración reconocieron la importancia
del ejemplar y se adentraron en un proceso de identificación para comprender de manera más amplia el devenir histórico del libro. A pesar de que no se tiene información acerca de
cómo llegó esta obra al territorio mexicano desde el continente europeo, es posible suponer que alguna orden religiosa fue la responsable del traslado debido al carácter temático del
libro y a que estos grupos apoyaban la erudición dentro de la Nueva España.
Se dictaminaron 166 láminas de La Moda Elegante Ilustrada (una de las publicaciones litográficas ... more Se dictaminaron 166 láminas de La Moda Elegante Ilustrada (una de las publicaciones litográficas más longevas del siglo XIX) que incluían la palabra “Guerlain” en su leyenda publicitaria, así como dos lotes con dos cajas de perfume de dicha marca. De esta forma, se buscó observar la relación existente entre la revista de moda y la perfumería Guerlain en un periodo que comprende los años de 1886 a 1895. Las representaciones mostradas en los figurines son reflejo de la vida social de la alta burguesía y permiten explicar asuntos tan variados como la indumentaria, los accesorios, el maquillaje, la peluquería, etc. que se acostumbraba en esta época, así como el cambio paulatino de la silueta femenina.
Por otro lado, al hacer un análisis y ejercicio comparativo entre varias láminas, es posible identificar diferencias sutiles en el tipo de impresión, en el estilo del artista, en los pliegos y las tintas empleadas, entre otros asuntos. Dichas observaciones y hallazgos se describen brevemente a continuación. Esta ponencia buscó resaltar la importancia de cada lámina como parte de una sola colección, así como señalar porqué es pertinente dedicar esfuerzos a su adecuada conservación.
Durante el ciclo escolar 2011-2012 se intervino la pintura al óleo sobre tela titulada La Piedad ... more Durante el ciclo escolar 2011-2012 se intervino la pintura al óleo sobre tela titulada La Piedad como parte de las actividades del Seminario Taller de Restauración de Pintura de Caballete (STRPC) de la Escuela de Conservación y Restauración de Occidente (ECRO). Esta pintura proviene de la colección particular de la Casa del Arquitecto Rafael Urzúa de Concepción de Buenos Aires, Jalisco. Debido al estado de conservación de la obra, resultaba complicado realizar un análisis formal de la imagen sin omitir importantes aspectos iconográficos y elementos formales, así como detalles estilísticos del artista y
valores cromáticos. Sin embargo, se encontró la fuente directa de inspiración de la pintura (un grabado en cobre) y una imagen de similitud evidente perteneciente a la Parroquia de
Nuestra Señora de la Piedad, por lo que se contaba con apoyo gráfico que permitía formular hipótesis e intuiciones sobre la imagen a tratar. Aunado a esto, se realizaron fotografías con luz infrarroja y ultravioleta que indicaron la existencia de elementos en la pintura que no eran visibles a simple vista. Durante el proceso de limpieza crítica, también se obtuvieron resultados de gran interés al eliminar el barniz oxidado y los numerosos repintes de la obra.
Dissertations by Laura Garcia-Vedrenne
Submitted in partial fulfilment of the requirements for the Master of Philosophy in Textile Conse... more Submitted in partial fulfilment of the requirements for the Master of Philosophy in Textile Conservation in the School of Culture and Creative Arts, University of Glasgow, August 17th, 2018.
This research sought a basic level of understanding of the variability exhibited by indigo carmine during conservation wet cleaning, by studying its inherent properties. Thus far, causes and mechanisms behind indigo carmine bleeding have been minimally explained in published literature.
This research contributed to the understanding of the historical and technological context of indigo carmine production. It concluded that assumptions about the dye’s properties have led to an overly simplistic view of its behaviour during wet cleaning. Informed decision-making is needed, balancing the benefits of wet cleaning against the likelihood of dye loss and colour change.
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Chapters in Books by Laura Garcia-Vedrenne
Papers by Laura Garcia-Vedrenne
This research originated from the need to conserve various garments from a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. While completing the condition reports for the garments, broken or missing pieces of boning were often found. This common issue can cause the silhouette, bodice structure, or weight distribution to be altered during costume mounting. Though some conservators have opted to solve this issue by replacing the material with baleen or Rigilene polyester boning, there are some scenarios where modifying the flexibility, weight, thickness, or durability, as well as materially-differentiating the conservation treatment, may prove useful. The lack of options for replacement and the few resources available on the topic prompted research for exploring other materials. Rigilene, Teflon, Nomex, commercial plastic boning, and featherbone (boning fabricated out of turkey quills which briefly replaced the usage of baleen around 1883) were tested and compared to find feasible alternatives.
whether there was any relationship between washand lightfastness. Findings confirmed that constitutive dyeing matter is easily solubilised and that repetitive wetting and drying cycles can lead to dye loss and colour change.
This paper also reviews how past repairs are identified. Since one of the distinguishing characteristics of the Callot sisters’ work is their “relaxed craftsmanship” - which allowed for draping fabric directly on the body and leaving tacks in the garment’s final version - it is difficult to differentiate authentic aspects from alterations. A search for information regarding the designers' technique and choice of materials prompted collaboration with professionals outside the Museums. Curators at other institutions with Callot Soeurs holdings were contacted, as well as conservators that had treated similarly degrading objects. Drawing on knowledge from diverse sources successfully informed the treatment.
The translation project saw leaders of the MuseumPests Working Group collaborating with bilingual (Spanish-English) professionals who work in the IPM field around the world, and APOYOnline - Association for Heritage Preservation of the Americas. These professionals volunteered to translate the site, bringing their technical knowledge and expertise.
This venture is part of a comprehensive effort to expand the MuseumPests.net community by creating additional Working Groups to educate, inform, and collaborate with colleagues in combating pest infestations in cultural heritage institutions around the world.
A questionnaire directed towards Spanish-speaking conservators was distributed to survey and reflect on the diverse forms of speech related to conservation stitching.
In addition, a review of how textile conservation as a profession was
born and spread across Mexico, specifically concerning stitching treatments. By looking at previous documentation and comparing it with references published outside of Mexico, this paper explores how information was interpreted to create the term ‘riggisberg’ and to adopt it for daily use within confined geographic borders. This review provided insight on the unique aspects and traditions of textile conservation practice in Mexico. To conclude, the effectiveness of communication between conservators is addressed, raising issues on inclusion and diversity.
de Conservación Preventiva de los Tapices con
Representaciones de Fábulas de La Fontaine de la
Sala de Pianos y Sala de Lectura del Museo Nacional
de Historia “Castillo de Chapultepec”. Se generó un
diagnóstico puntual, se realizó un acercamiento a la
materia y técnica de factura y se comenzó una breve
investigación histórico-cultural de las piezas, además
de concluir la limpieza superficial de los muebles.
---
The Museo Nacional de Historia (MNH, National Museum of History) of the Instituto Nacional de Antropología e Historia (INAH, National Institute of Anthropology and History, Mexico) holds a very special linen in its collection: a kerchief associated to the skeletal remains of conquistador Hernán Cortés. A two-stage project —aiming at the conservation and restoration of this particular linen— started in February 2014. On one hand a cultural-historical study was carried out in order to prove the historical value of the textile. Information was traced about the final years of conquistador and founder Hernán Cortés as well as about the burials and exhumations of his mortal remains. On the other hand extensive time was dedicated to the observation and recording of the cultural object in order to understand the linen’s manufacturing and its deterioration problems. This report shows the twofold process of research
as well as the technical intervention of an astonishing piece belonging to our cultural heritage.
Conferences and Presentations by Laura Garcia-Vedrenne
University of Washington Libraries & Seattle Art Museum
Seattle, WA
October 11, 2022.
An experimental methodological approach was adopted to answer whether the low washfastness of indigo carmine showed variations according to dyeing conditions and formulations. For this, historical dye recipes were critically reviewed to find trends in use and manufacture. After identifying relevant variables in preparation and dyeing methods, different formulations of indigo carmine were recreated. Dye transfer and solubilisation for replica wool samples were experimentally assessed by visual examination and colourimetry. For the first time, a relationship between the lightfastness and washfastness of indigo carmine was identified, showing the impact of numerous interconnected factors on the dye’s behaviour when wet. Further experimentation with historical samplers from the Karen Finch Collection allowed for comparison between theoretical arguments and expectations from practical conservation experience.
La conservación de indumentaria y accesorios afines implica actividades de diversa índole: desde garantizar su adecuado almacenamiento y conocer con certeza la composición del objeto antes de realizar un tratamiento de limpieza, hasta estabilizar la materia por medio de los procesos de restauración directa y colocar las piezas sobre soportes auxiliares para permitir su exhibición sin riesgos latentes de deterioro. La realidad es que la materia constitutiva de las prendas suele ser sumamente frágil y fácilmente perecedera por lo que las investigaciones previas y la adecuada preparación del personal involucrado en su manejo resultan primordiales para su conservación.
así como con características tradicionales de factura en el papel verjurado y en el tipo de costuras. Por ello, los alumnos encargados de la restauración reconocieron la importancia
del ejemplar y se adentraron en un proceso de identificación para comprender de manera más amplia el devenir histórico del libro. A pesar de que no se tiene información acerca de
cómo llegó esta obra al territorio mexicano desde el continente europeo, es posible suponer que alguna orden religiosa fue la responsable del traslado debido al carácter temático del
libro y a que estos grupos apoyaban la erudición dentro de la Nueva España.
Por otro lado, al hacer un análisis y ejercicio comparativo entre varias láminas, es posible identificar diferencias sutiles en el tipo de impresión, en el estilo del artista, en los pliegos y las tintas empleadas, entre otros asuntos. Dichas observaciones y hallazgos se describen brevemente a continuación. Esta ponencia buscó resaltar la importancia de cada lámina como parte de una sola colección, así como señalar porqué es pertinente dedicar esfuerzos a su adecuada conservación.
valores cromáticos. Sin embargo, se encontró la fuente directa de inspiración de la pintura (un grabado en cobre) y una imagen de similitud evidente perteneciente a la Parroquia de
Nuestra Señora de la Piedad, por lo que se contaba con apoyo gráfico que permitía formular hipótesis e intuiciones sobre la imagen a tratar. Aunado a esto, se realizaron fotografías con luz infrarroja y ultravioleta que indicaron la existencia de elementos en la pintura que no eran visibles a simple vista. Durante el proceso de limpieza crítica, también se obtuvieron resultados de gran interés al eliminar el barniz oxidado y los numerosos repintes de la obra.
Dissertations by Laura Garcia-Vedrenne
This research sought a basic level of understanding of the variability exhibited by indigo carmine during conservation wet cleaning, by studying its inherent properties. Thus far, causes and mechanisms behind indigo carmine bleeding have been minimally explained in published literature.
This research contributed to the understanding of the historical and technological context of indigo carmine production. It concluded that assumptions about the dye’s properties have led to an overly simplistic view of its behaviour during wet cleaning. Informed decision-making is needed, balancing the benefits of wet cleaning against the likelihood of dye loss and colour change.
This research originated from the need to conserve various garments from a major survey of the Fine Arts Museums of San Francisco’s women’s fashion collection. While completing the condition reports for the garments, broken or missing pieces of boning were often found. This common issue can cause the silhouette, bodice structure, or weight distribution to be altered during costume mounting. Though some conservators have opted to solve this issue by replacing the material with baleen or Rigilene polyester boning, there are some scenarios where modifying the flexibility, weight, thickness, or durability, as well as materially-differentiating the conservation treatment, may prove useful. The lack of options for replacement and the few resources available on the topic prompted research for exploring other materials. Rigilene, Teflon, Nomex, commercial plastic boning, and featherbone (boning fabricated out of turkey quills which briefly replaced the usage of baleen around 1883) were tested and compared to find feasible alternatives.
whether there was any relationship between washand lightfastness. Findings confirmed that constitutive dyeing matter is easily solubilised and that repetitive wetting and drying cycles can lead to dye loss and colour change.
This paper also reviews how past repairs are identified. Since one of the distinguishing characteristics of the Callot sisters’ work is their “relaxed craftsmanship” - which allowed for draping fabric directly on the body and leaving tacks in the garment’s final version - it is difficult to differentiate authentic aspects from alterations. A search for information regarding the designers' technique and choice of materials prompted collaboration with professionals outside the Museums. Curators at other institutions with Callot Soeurs holdings were contacted, as well as conservators that had treated similarly degrading objects. Drawing on knowledge from diverse sources successfully informed the treatment.
The translation project saw leaders of the MuseumPests Working Group collaborating with bilingual (Spanish-English) professionals who work in the IPM field around the world, and APOYOnline - Association for Heritage Preservation of the Americas. These professionals volunteered to translate the site, bringing their technical knowledge and expertise.
This venture is part of a comprehensive effort to expand the MuseumPests.net community by creating additional Working Groups to educate, inform, and collaborate with colleagues in combating pest infestations in cultural heritage institutions around the world.
A questionnaire directed towards Spanish-speaking conservators was distributed to survey and reflect on the diverse forms of speech related to conservation stitching.
In addition, a review of how textile conservation as a profession was
born and spread across Mexico, specifically concerning stitching treatments. By looking at previous documentation and comparing it with references published outside of Mexico, this paper explores how information was interpreted to create the term ‘riggisberg’ and to adopt it for daily use within confined geographic borders. This review provided insight on the unique aspects and traditions of textile conservation practice in Mexico. To conclude, the effectiveness of communication between conservators is addressed, raising issues on inclusion and diversity.
de Conservación Preventiva de los Tapices con
Representaciones de Fábulas de La Fontaine de la
Sala de Pianos y Sala de Lectura del Museo Nacional
de Historia “Castillo de Chapultepec”. Se generó un
diagnóstico puntual, se realizó un acercamiento a la
materia y técnica de factura y se comenzó una breve
investigación histórico-cultural de las piezas, además
de concluir la limpieza superficial de los muebles.
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The Museo Nacional de Historia (MNH, National Museum of History) of the Instituto Nacional de Antropología e Historia (INAH, National Institute of Anthropology and History, Mexico) holds a very special linen in its collection: a kerchief associated to the skeletal remains of conquistador Hernán Cortés. A two-stage project —aiming at the conservation and restoration of this particular linen— started in February 2014. On one hand a cultural-historical study was carried out in order to prove the historical value of the textile. Information was traced about the final years of conquistador and founder Hernán Cortés as well as about the burials and exhumations of his mortal remains. On the other hand extensive time was dedicated to the observation and recording of the cultural object in order to understand the linen’s manufacturing and its deterioration problems. This report shows the twofold process of research
as well as the technical intervention of an astonishing piece belonging to our cultural heritage.
University of Washington Libraries & Seattle Art Museum
Seattle, WA
October 11, 2022.
An experimental methodological approach was adopted to answer whether the low washfastness of indigo carmine showed variations according to dyeing conditions and formulations. For this, historical dye recipes were critically reviewed to find trends in use and manufacture. After identifying relevant variables in preparation and dyeing methods, different formulations of indigo carmine were recreated. Dye transfer and solubilisation for replica wool samples were experimentally assessed by visual examination and colourimetry. For the first time, a relationship between the lightfastness and washfastness of indigo carmine was identified, showing the impact of numerous interconnected factors on the dye’s behaviour when wet. Further experimentation with historical samplers from the Karen Finch Collection allowed for comparison between theoretical arguments and expectations from practical conservation experience.
La conservación de indumentaria y accesorios afines implica actividades de diversa índole: desde garantizar su adecuado almacenamiento y conocer con certeza la composición del objeto antes de realizar un tratamiento de limpieza, hasta estabilizar la materia por medio de los procesos de restauración directa y colocar las piezas sobre soportes auxiliares para permitir su exhibición sin riesgos latentes de deterioro. La realidad es que la materia constitutiva de las prendas suele ser sumamente frágil y fácilmente perecedera por lo que las investigaciones previas y la adecuada preparación del personal involucrado en su manejo resultan primordiales para su conservación.
así como con características tradicionales de factura en el papel verjurado y en el tipo de costuras. Por ello, los alumnos encargados de la restauración reconocieron la importancia
del ejemplar y se adentraron en un proceso de identificación para comprender de manera más amplia el devenir histórico del libro. A pesar de que no se tiene información acerca de
cómo llegó esta obra al territorio mexicano desde el continente europeo, es posible suponer que alguna orden religiosa fue la responsable del traslado debido al carácter temático del
libro y a que estos grupos apoyaban la erudición dentro de la Nueva España.
Por otro lado, al hacer un análisis y ejercicio comparativo entre varias láminas, es posible identificar diferencias sutiles en el tipo de impresión, en el estilo del artista, en los pliegos y las tintas empleadas, entre otros asuntos. Dichas observaciones y hallazgos se describen brevemente a continuación. Esta ponencia buscó resaltar la importancia de cada lámina como parte de una sola colección, así como señalar porqué es pertinente dedicar esfuerzos a su adecuada conservación.
valores cromáticos. Sin embargo, se encontró la fuente directa de inspiración de la pintura (un grabado en cobre) y una imagen de similitud evidente perteneciente a la Parroquia de
Nuestra Señora de la Piedad, por lo que se contaba con apoyo gráfico que permitía formular hipótesis e intuiciones sobre la imagen a tratar. Aunado a esto, se realizaron fotografías con luz infrarroja y ultravioleta que indicaron la existencia de elementos en la pintura que no eran visibles a simple vista. Durante el proceso de limpieza crítica, también se obtuvieron resultados de gran interés al eliminar el barniz oxidado y los numerosos repintes de la obra.
This research sought a basic level of understanding of the variability exhibited by indigo carmine during conservation wet cleaning, by studying its inherent properties. Thus far, causes and mechanisms behind indigo carmine bleeding have been minimally explained in published literature.
This research contributed to the understanding of the historical and technological context of indigo carmine production. It concluded that assumptions about the dye’s properties have led to an overly simplistic view of its behaviour during wet cleaning. Informed decision-making is needed, balancing the benefits of wet cleaning against the likelihood of dye loss and colour change.
Escuela de Conservación y Restauración de Occidente.
Directores de tesis: Martha Inés Sandoval Villegas y Diego Iván Quintero Balbás
Sinodales: Martha Inés Sandoval Villegas, María Laura Flores Barba, Ingrid Karina Jiménez Cosme y Ana Laura Camacho Puebla
Estudio integral sobre una pieza de indumentaria femenina, abordada desde la perspectiva de la cultura material. La prenda estudiada fue contextualizada al investigar sobre las prácticas sociales existentes en la época, así como sobre el devenir y la donación de la pieza al Museo Nacional de Historia. Se realizó la descripción formal del ejemplar, lo cual fue una tarea compleja debido a la multiplicidad de materiales y elementos decorativos que fueron empleados en su confección.
La metodología de estudio incluyó distintos niveles de aproximación, haciendo uso de fuentes documentales y análisis científicos para comprender los materiales constitutivos y la técnica de factura de los textiles, sin dejar de lado la existencia de elementos metálicos y pastas vítreas que forman parte del conjunto verde de terciopelo. Utilizando a la pieza como fuente primaria de información, se adaptó la metodología de Jules Prown para acercarse al objeto. Se realizaron estudios macroscópicos y microscópicos, así uso de técnicas de imagen – como radiografías – y análisis instrumentales – como espectrometría infrarroja con transformada de Fourier (FTIR) y Fluorescencia de Rayos X (FRX). Una vez que se comprendió el simbolismo y la materialidad del objeto, fue posible realizar un diagnóstico y una propuesta de conservación de acuerdo a las particularidades del vestido y a las características del espacio museal en el que se encuentra actualmente.
Using Christian Dior’s evening gown Junon as a case study, this presentation will reveal what conservators do on a daily basis to preserve such treasures in the collection.
Co-authored with Beth Szuhay and Anne Getts.
"Painted Cloth: Fashion and Ritual in Colonial Latin America" features 300-year-old fabrics, from satins and silks to alpaca fleece. Each require expert care to make last for future generations. Textile conservators Laura García Vedrenne and Mónica Solórzano Gonzales talk about preservation techniques for historic tapestries and costumes, and how textiles better our understanding of the colonial past.
Funding provided by the College of Liberal Arts, College of Fine Arts, and the School of Architecture.
Originally recorded on September 22, 2022.
Pensar en los vestidos de la reina María Antonieta, en los tapices de los castillos feudales o en antiguos huipiles mayas nos remite de inmediato al arte y a la historia, pero ¿y a la ciencia? La conservación y la restauración de objetos históricos es un campo multidisciplinar que implica, entre otras, a una amplia diversidad de disciplinas científicas.
¿Qué papel tiene la química en el control de plagas de un museo?, ¿y en la fotodegradación de un textil?, ¿qué han permitido para conocer y conservar piezas antiguas los instrumentales propios de la ciencia, como los espectrómetros, los microscopios o los cromatógrafos? ¿o qué puede decir la anatomía para comprender cómo se soporta una indumentaria? Estas preguntas son tan solo algunos guiños a las cuestiones en que la ciencia y la restauración dialogan, ya sea desde la biología, la química, la física, o la antropología, además de la historia, la filosofía y la ética.
Esta charla tratará sobre las representaciones y la materialidad de algunas pinturas y vestidos de la colección en relación al juego de la apariencia en la sociedad novohispana del siglo XVIII.
Co-authored by Karen Thompson.
In 2018, an early nineteenth-century embroidered and painted silk picture was conserved as part
of the MPhil Textile Conservation course. The primary aim of the treatment was to stabilise the
silk ground to prevent further loss, while enhancing overall aesthetics. It was necessary to
support areas of splits, minimise distortions, and infill areas of loss by completing an adhesive
treatment that provided overall support and reduced lifting of the painted surface. The condition,
materials, and techniques used to create the object limited the options for conservation. This
poster describes one of the biggest challenges of the project: dealing with static electricity to
place the inserts and the overlay with precision. It was concluded that conducting fundamental
and specific research allows for successful implementation of alternative conservation methods
by synthesising theoretical knowledge into practical solutions.
(The link to the report is provided)
Entrada para el blog "Textile Conservation: A blog about textile conservation at the University of Glasgow"
The original version was written in English
También existe una versión en español
LAURA G. GARCÍA-VEDRENNE, M PHIL STUDENT IN TEXTILE CONSERVATION, CENTRE FOR TEXTILE CONSERVATION, UNIVERSITY OF GLASGOW
LAURA G. GARCÍA-VEDRENNE, CONSERVATOR, NATIONAL MUSEUM OF HISTORY, MEXICO