Re: Lanvin Gown]

[Gail Niinimaa <niinimaa@xxxxxxxxxxx>]

This message is being posted for Jenny Barnett
> From: Jenny Barnett <andelos@xxxxxxxxx>
> Date: Wed Jul 09, 2003  02:04:00 AM America/Edmonton
> To: TEXCONS@xxxxxxxxxxx
> Subject: Re: Lanvin Gown
> Reply-To: andelos@xxxxxxxxx
>
>
> 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
> andelos@xxxxxxxxx
>
>
> 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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Gail Niinimaa