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Handbook of Museum Textiles, Volume 1 -

Handbook of Museum Textiles, Volume 1

Conservation and Cultural Research
Buch | Hardcover
416 Seiten
2022
Wiley-Scrivener (Verlag)
978-1-119-79170-6 (ISBN)
CHF 288,20 inkl. MwSt
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Handbook of Museum Textiles Textiles have been known to us throughout human history and played a vital role in the lives and traditions of people. Clothing was made by using different materials and methods from natural fibers. There are different varieties of textiles, out of which certain traditional textiles, archaeological findings, or fragments are of cultural, historical, and sentimental value such as tapestries, embroideries, flags, shawls, etc. These kinds of textiles, due to their historical use and environmental factors, require special attention to guarantee their long-term stability. Textile conservation is a complex, challenging, and multi-faceted discipline and it is one of the most versatile branches of conservation.

Volume 1 of the Handbook of Museum Textiles focuses on conservation and cultural research and addresses the proper display, storage, upkeep, handling, and conservation technology of textile artifacts to ensure their presence for coming generations. Spread over 19 chapters, the volume is a unique body of knowledge of theoretical and practical details of museum practices. Chapters on textile museums, the importance of cultural heritage, conservation, and documentation of textiles are covered in depth. Conservation case studies and examples are highlighted in many chapters. Management practices and guidelines to pursue a career in the museum textile field have been given due attention. The respective authors of the chapters are of international repute and are researchers, academicians, conservators, and curators in this field.

Audience

The book is a unique asset for textile researchers, fine art scholars, archaeologists, museum curators, designers, and those who are interested in the field of traditional or historic textile collections.

Seiko Jose is a scientist at Central Sheep and Wool Research Institute, Avikanagar, Rajasthan, India, and specializes in textile chemistry. He has more than 16 years of experience in textiles of which 7 years in the industry and 9 years in research. He has extensive experience in cotton, silk, and linen processing industries as well as natural and synthetic dyes. Since 2013, he has handled many natural fibers like wool, jute, pineapple leaf fiber, coir, ramie, etc. He contributed to more than 40 international peer-reviewed research papers and 11 book chapters. Sabu Thomas, PhD, is the Vice-Chancellor of Mahathma Gandhi University, Kottayam, Kerala, India. He is a fellow of the Royal Society of Chemistry and has been ranked no.5 in India with regard to the number of publications. Prof. Thomas’s research group specializes in the areas of polymers, natural fiber, biocomposites, sorption and diffusion, interpenetrating polymer systems, recyclability and reuse of waste plastics and rubbers, elastomer crosslinking, dual porous nanocomposite scaffolds for tissue engineering, etc. He has published more than 1200 publications as well as over 150 books. Pintu Pandit, PhD, is an assistant professor in the Textile Design Department at the National Institute of Fashion Technology under the Ministry of Textiles, Govt. of India, Patna campus. He is a PhD (Tech.) and M.Tech. in Fibers and Textile Processing Technology from the Institute of Chemical Technology, Mumbai, India. He has published many research articles in SCI journals as well as edited 4 books with the Wiley-Scrivener imprint. Ritu Pandey, PhD, is an assistant professor at Chandra Shekhar Azad University of Agriculture & Technology (CSAUAT) Kanpur, India She has 25 years of teaching experience. She has published more than 35 research papers in various national and international journals and her specialist area is in flax. Vandana Gupta, PhD, is a Professor and Head of Parul Institute of Design & Fine Arts at Parul University, Vadodara, Gujarat. She has worked in reputed fashion and design institutions and was awarded for her academic and administrative contributions. She has several research, review, and book chapter publications in the areas of sustainability, smart textiles, natural dyes, antibacterial and UV protective finishes, museums, and textile design.

Preface xix

1 Textile Museums: Its Importance, Objectives and Functions 1
Vandana Gupta and Mangesh S. Manekar

1.1 Introduction 1

1.2 Museum Definition and Its Existence 2

1.3 Textile Museums and Their History 4

1.4 Importance of Textile Museums 6

1.4.1 Connective Value 6

1.4.2 Collective Value 7

1.4.3 Educative Value 10

1.4.4 Economic Value 11

1.5 Objectives of Textile Museum 14

1.6 Function of Textile Museum 14

1.7 Textile Museum and Their Future Prospects 16

1.8 Conclusion 16

References 16

2 Textile Intangible Cultural Heritage of the World 19
Ritu Pandey, Vandana Gupta, Pintu Pandit, Kumar Rohit and Suruchi Pandey

2.1 Introduction 19

2.1.1 Ancient Textiles of the World 20

2.2 Ancient Textiles of the World: Techniques and Historical Perspective 24

2.2.1 Ancient Heritage Textiles—Asia and Australia 24

2.2.1.1 Chinese Textiles 24

2.2.1.2 Japanese Textiles 24

2.2.1.3 Indian Textile 26

2.2.1.4 Turkish Textiles 27

2.2.1.5 Persian Rugs 27

2.2.2 African Textile 28

2.2.3 Scandinavian Textile Design 29

2.2.4 American Textiles 30

2.3 Role of Museum: Textile as a Part of Heritage and Culture 32

2.4 Marketing Strategies for Museums and Conservation 33

2.5 Conclusion 35

References 35

3 Important Woven Textile Specimens in World Museums 39
Karthika Audinet

3.1 Introduction 39

3.2 Methodology 40

3.3 Prehistoric Textiles 42

3.3.1 Textile Specimen 1.3.1 44

3.3.2 Textile Specimen 1.3.2 44

3.3.3 Textile Specimen 1.3.3 45

3.3.4 Textile Specimen 1.3.4 45

3.3.5 Textile Specimen 1.3.5 46

3.3.6 Textile Specimen 1.3.6 46

3.4 Textiles from Peru 46

3.4.1 Textile Specimen 1.4.1 48

3.4.2 Textile Specimen 1.4.2 48

3.4.3 Textile Specimen 1.4.3 49

3.4.4 Textile Specimen 1.4.4 49

3.4.5 Textile Specimen 1.4.5 49

3.4.6 Textile Specimen 1.4.6 50

3.4.7 Textile Specimen 1.4.7 50

3.5 Chinese Textiles 50

3.5.1 Textile Specimen 1.5.1 52

3.5.2 Textile Specimen 1.5.2 52

3.5.3 Textile Specimen 1.5.3 53

3.5.4 Textile Specimen 1.5.4 54

3.5.5 Textile Specimen 1.5.5 54

3.5.6 Textile Specimen 1.5.6 55

3.5.7 Textile Specimen 1.5.7 55

3.6 Textiles from the Indian Subcontinent 56

3.6.1 Textile Specimen 1.6.1 57

3.6.2 Textile Specimen 1.6.2 58

3.6.3 Textile Specimen 1.6.3 58

3.6.4 Textile Specimen 1.6.4 58

3.6.5 Textile Specimen 1.6.5 59

3.6.6 Textile Specimen 1.6.6 59

3.6.7 Textile Specimen 1.6.7 59

3.7 Textiles from Sudan, Egypt, Mali, and Ghana (North and West African Textiles) 60

3.7.1 Textile Specimen 1.7.1 61

3.7.2 Textile Specimen 1.7.2 62

3.7.3 Textile Specimen 1.7.3 63

3.7.4 Textile Specimen 1.7.4 63

3.8 Textiles from Japan 64

3.8.1 Textile Specimen 1.8.1 65

3.8.2 Textile Specimen 1.8.2 65

3.8.3 Textile Specimen 1.8.3 66

3.8.4 Textile Specimen 1.8.4 66

3.8.5 Textile Specimen 1.8.5 66

3.8.6 Textile Specimen 1.8.6 67

3.9 Textiles from Iran and Central Asia 67

3.9.1 Textile Specimen 1.9.1 69

3.9.2 Textile Specimen 1.9.2 69

3.9.3 Textile Specimen 1.9.3 69

3.9.4 Textile Specimen 1.9.4 70

3.9.5 Textile Specimen 1.9.5 70

3.10 Textiles from Italy and France 71

3.10.1 Textile Specimen 1.10.1 73

3.10.2 Textile Specimen 1.10.2 73

3.10.3 Textile Specimen 1.10.3 73

3.10.4 Textile Specimen 1.10.4 73

3.11 Conclusion: Toward an Understanding of the Historic Foundations of Woven Structures 74

References 77

List of Museums 82

Glossary 83

4 Types of Conservation of Textiles in the Museum: Their Importance and Scope 87
K. B. Binita and B. Sunita

4.1 Introduction 87

4.2 Importance of Conservation 88

4.3 Principles of Conservation 89

4.3.1 Determining the Need and Laying the Foundation for Conservation 89

4.3.2 The Conservation Assessment and Process 89

4.3.3 Obtaining a Conservation Assessment 89

4.3.4 Selecting an Assessor or Conservator 89

4.3.5 The Assessment as a Planning Tool 90

4.3.6 Conservation Collection Condition Survey 90

4.3.7 Object Treatment 90

4.3.8 Risk Assessment and Management 90

4.4 Types of Textile Articles Conserved 90

4.5 Methods of Conservation 91

4.5.1 Preventive Conservation 91

4.5.1.1 Climate 92

4.5.1.2 Light 92

4.5.1.3 Insects 93

4.5.1.4 Microorganisms 93

4.5.1.5 Dust, Soil, and Other Contaminants 94

4.5.1.6 Disaster 94

4.5.2 Curative/Interventive Conservation 95

4.5.2.1 Surface Cleaning 95

4.5.2.2 Vacuuming 95

4.5.2.3 Wet Cleaning 95

4.5.2.4 Solvent or Dry Cleaning 96

4.5.2.5 Stabilization 96

4.6 Storage, Display, and Handling of Museum Textiles 96

4.7 Scope of Conservation 97

4.7.1 Education and Knowledge Dissemination 97

4.7.2 Lecture, Seminar, Workshops, and Research 98

4.7.3 Photography and Publication 98

4.8 New Approaches in Conservation 98

4.9 Conclusion 99

References 99

Webliography 100

5 Fashion and Textile Museums Across the Globe 101
Arpana Kamboj and Surabhi Mahajan

5.1 Introduction 101

5.2 Victoria and Albert Museum, London 103

5.2.1 History 103

5.2.2 Collection 104

5.3 Fashion Museum, Bath, UK 104

5.3.1 History 104

5.3.2 Collection 105

5.4 Metropolitan Museum of Art, New York City 106

5.4.1 History 106

5.4.2 Collection 107

5.5 Musée De La Mode Et Du Textile, France 108

5.5.1 History 108

5.5.2 Collection 109

5.6 Palais Galliera, France 109

5.6.1 History 110

5.6.2 Collection 110

5.6.2.1 Eighteenth Century Dress Office 110

5.6.2.2 Nineteenth Century Ensembles Division 111

5.6.2.3 Fashion of the Principal Half of 20th Century 111

5.6.2.4 Haute Couture 111

5.6.2.5 Contemporary Office 111

5.6.2.6 Extras Office 111

5.7 Kyoto Costume Institute, Japan 111

5.7.1 History 112

5.7.2 Collection 112

5.8 Museum of Fashion Institute of Technology, New York, USA 113

5.8.1 History 113

5.8.2 Collection 114

5.9 Museo Del Traje, Spain 115

5.9.1 History 115

5.9.2 Collection 116

5.10 Fashion Institute of Design & Merchandising, California 116

5.10.1 History 117

5.10.2 Collection 117

5.11 Kent State University Museum, USA 117

5.11.1 History 118

5.11.2 Collection 119

5.12 Conclusion 119

References 119

6 Documentation of Museum Textiles 123
Simmi Bhagat and Radhana Raheja

6.1 Introduction 123

6.2 Functions of Documentation 124

6.3 Features of Documentation System 125

6.4 Collection Management Policy 126

6.5 Assessment Standards 128

6.5.1 Collection Assessment 128

6.5.2 Assessment of Objects 129

6.6 Types of Documentation 130

6.6.1 Written Description 130

6.6.2 Photographic Records 131

6.7 Formats of Documentation 136

6.7.1 Styles of Written Documentation 136

6.7.2 Manual and Digitized Documentation 136

6.8 Case Study 137

6.9 Conclusion 141

References 141

7 Ideal Storage Conditions for Museum Textiles 143
Simmi Bhagat and Kanika Sachdeva

7.1 Introduction 143

7.2 Published Standards in Museum Storage 144

7.3 Storage Design and Architecture 145

7.3.1 Museum Storage Building and Space Allocation 146

7.3.2 Building Monitoring and Maintenance 146

7.4 Environmental Conditions 147

7.4.1 Temperature and Relative Humidity 147

7.4.2 Light 148

7.5 Storage Techniques 148

7.5.1 Accession and Labeling 149

7.5.2 Flat Storage 149

7.5.3 Rolled Storage 150

7.5.4 Hanging Storage 151

7.5.5 Special Storage 152

7.6 Safety Systems 153

7.6.1 Location, Structural, and Physical Protection 153

7.6.2 Perimeter Alarms 153

7.6.3 Invigilation 154

7.6.4 Key Security 154

7.7 Disaster Handling 154

7.7.1 Protecting from Fire 155

7.7.2 Protecting from Floods 155

7.7.3 Protecting from Pests 156

7.7.4 Day-to-Day Maintenance 156

7.8 Managing Dust and Dirt 157

7.9 Pollutants 157

7.10 Conclusion 159

References 159

8 Tools and Methods for Handling and Storage of Museum Textiles 161
Pratikhya Badanayak, Seiko Jose, Ragini Dubey and Ritu Pandey

8.1 Introduction 161

8.2 Care, Maintenance, and Handling of Museum Textiles 162

8.2.1 General Storage Factors 162

8.2.2 General Guideline in Handling 163

8.3 Ideal Conditions, Temperature, Humidity 163

8.4 Storage Units 163

8.5 Storage Materials 164

8.6 Tools Used in Maintenance of Museum Textiles 164

8.6.1 Equipping the Workspace 164

8.6.2 Housekeeping 164

8.6.2.1 Cleaning the Collection and Environment 166

8.6.2.2 Basic and Best Practices for Checking and Monitoring in Museum 166

8.6.3 Materials and Supplies 167

8.6.3.1 Handling 167

8.6.4 Packing and Unpacking 168

8.6.5 Moving 170

8.6.6 Rolling and Unrolling 170

8.7 Labeling 170

8.8 Cleaning 171

8.9 Dealing with Separations 171

8.10 Tools Used for Displaying Museum Textiles 172

8.10.1 Showcases and Galleries 172

8.10.2 Frames 172

8.10.3 Mannequins 173

8.10.4 Hangers 174

8.11 Handling During Transportation 175

8.11.1 By Road 175

8.11.2 By Rail 176

8.11.3 By Sea 176

8.11.4 By Air 176

8.12 Handling Techniques and Conservation Practices of Ancient Textiles in Museums 177

8.12.1 Egyptian Shroud 177

8.12.2 Jordanian Belt 177

8.12.3 Silk Textile 177

8.12.4 Coptic Tapestry 178

8.13 Conclusions 178

References 178

9 Roles and Responsibilities of Museum Professionals 181
Kanika Sachdeva

9.1 Introduction 181

9.2 History of Museums Professionals Training in India 182

9.3 Roles in a Textile Museum 182

9.3.1 Conservator 185

9.3.2 Conservation Scientist 185

9.3.3 Curator 186

9.3.4 Collections Manager 187

9.3.5 Registrar/Documentalist 187

9.3.6 Historian 188

9.3.7 Exhibition Coordinator/Designer 188

9.3.8 Museum Education Officer 189

9.3.9 Photographer 189

9.3.10 Information Technologist 190

9.3.11 Health and Safety Officer 190

9.3.12 Security Officer 191

9.4 Conclusion 191

References 191

10 Ancient Weaving and Dyeing Techniques 193
Hannah Dewey, Meghan Lord, Seonyoung Youn, Januka Budhathoki-Uprety and Kavita Mathur

10.1 Introduction to Weaving 193

10.2 Ancient Weaving by Geographical Region 194

10.2.1 In the Middle East and Central Eurasia 194

10.2.2 In Egypt 195

10.2.3 In Greece, Italy, and Romania 196

10.2.4 In India 198

10.2.5 In Southeast Asia and China 199

10.2.6 In The Americas 200

10.3 Conclusion on Weaving Techniques 203

10.4 Introduction to Dyes and Dyeing Technologies 203

10.5 Ancient Dyes, Pigments, and Dyeing Technologies 203

10.5.1 Indigoids (Indigo and Tyrian Purple) 203

10.5.2 Quinonoids (Madder) 204

10.5.3 Carotenoids (Saffron) 204

10.5.4 Flavonoids 205

10.5.5 Dihydropyran (Brazilwood and Logwood) 205

10.5.6 Tannins 205

10.6 Conclusion 205

References 205

11 Armours: Ancient Metallic Textiles 209
Ritu Pandey, Ragini Dubey, Pintu Pandit, Suruchi Pandey, Mukesh Kumar Sinha and Amarish Dubey

11.1 Introduction 209

11.2 Parts of Armour and Accessories 210

11.2.1 Helmet 210

11.2.2 Coif 210

11.2.3 Ventail 213

11.2.4 Mail 213

11.2.5 Hauberk 213

11.2.6 Gauntlet and Pauldron 213

11.2.7 Sabatons and Greaves 214

11.3 Armour Designs 215

11.4 Armour Materials 215

11.5 Metallic Costume of King Tutankhamen 217

11.6 Conclusion 217

References 218

12 Textile Conservation in India: A Case Series 219
Deepshikha Kalsi, Elizabeth-Anne Haldane and Lynda Hillyer

12.1 Introduction 219

12.2 Internship Training in Textile Conservation at the V&A 220

12.2.1 Condition Assessment 221

12.2.2 Case Study: Conservation of a Painted and Dyed Cotton Chintz Appliqué Panel 221

12.2.3 Condition Assessment 222

12.2.4 Conservation Treatment and Mounting 222

12.3 Setting Up a Textile Conservation Studio in India 224

12.4 Conservation of an 19th Century Jama 225

12.5 Case Study—Conservation of a Military Frock Coat 227

12.5.1 Historical Context 227

12.5.2 Documentation of Construction and Condition Assessment 228

12.5.3 Conservation Treatment 229

12.5.4 Customizing the Mannequin Mount 232

12.6 Developing Display and Mounting Solutions for Flat Textiles and Costumes for the Special Exhibition PRA-KASHI Silk, Gold and Silver from the City of Lights at the National Museum, New Delhi 232

12.7 Technical Analysis and Documentation 233

12.8 Training and Outreach 234

12.8.1 Case Study—Indian Museum, Kolkata 235

12.8.2 Case Study—The Registry of Sarees, Bangalore 235

12.9 Conclusion 236

Acknowledgments 237

References 237

13 Symbolism and Conservation of Indigenous African Textiles for Museums 239
Raphael Kanyire Seidu, Ebenezer Kofi Howard, Edward Apau and Benjamin Eghan

13.1 Introduction 239

13.2 Types of Indigenous African Textiles 240

13.2.1 African Weave Traditions 240

13.2.1.1 Smock Weaves/Fugu 240

13.2.1.2 Aso-Oke 242

13.2.1.3 Kente 243

13.2.1.4 Kete 244

13.2.1.5 Akwete 245

13.2.1.6 Berber Cloth 246

13.2.1.7 Shuka Cloth 247

13.2.1.8 Kuba Raffia Cloth 247

13.2.2 African Dye Traditions 248

13.2.2.1 Adire 248

13.2.2.2 Ukara 250

13.2.2.3 Mud Cloth 251

13.2.3 African Print Traditions 253

13.2.3.1 Adinkra Cloth 253

13.2.3.2 Kanga Cloth 255

13.2.3.3 Shweshwe 256

13.2.3.4 Ankara or African Wax Prints (West Africa) or Kitenge (East Africa) 256

13.2.4 Other African Traditions 257

13.2.4.1 Bark Cloth 257

13.2.4.2 Fon Appliqué Cloth 258

13.3 Indigenous African Textiles Techniques 259

13.4 Museums in African 259

13.4.1 Challenges of Museums in Africa 260

13.4.2 Contribution of Technology for African Museums 260

13.5 Conclusion 261

References 261

Appendix (Figure sources) 265

14 Conservation of Textile Immemorial: The Fading Past of Uttarakhand Museums 267
Pooja Singh and Alka Goel

14.1 Introduction 267

14.2 Materials and Methods 269

14.2.1 Selection of Locale 269

14.2.2 Tool Preparation and Data Collection 269

14.2.3 Data Collection 269

14.2.4 Statistical Analysis of the Data 270

14.2.4.1 Weighted Mean Score 270

14.3 Results and Discussion 270

14.3.1 General Information About the Museums 270

14.3.1.1 The Number of People Who Work at the Museums that Have Been Chosen 270

14.3.1.2 Conservation Laboratories 271

14.3.1.3 Acquisition of Textile Antiquities 272

12.3.1.4 Ageing of Textile Articles Placed in Different Museums 274

14.3.1.5 Air Circulation Facilities in Museums 274

14.3.1.6 Protective Measures Used to Protect the Windows/ Ventilators From Sunlight and Dust 275

14.3.1.7 Methods Used for Identification of Fibers 276

14.3.1.8 The Details of Temperature and Relative Humidity Ranges in a Variety of Museums 276

14.3.2 Types of Display Techniques Used for Textile Antiquities 276

14.3.2.1 Labeling Methods Carried Out for the Displayed Artifacts 279

14.3.3 Storage Equipments Used in Selected Museums 280

14.3.4 The Collection of Textile Artifacts Collections in Various Museums of Uttarakhand 281

14.3.4.1 Details of Stored Textile Materials 281

14.3.4.2 Govind Ballabh Pant Museum, Almora 281

14.3.4.3 Tribal Museum, Munsyari 282

14.3.4.4 Kumaon Regiment Museum, Ranikhet 282

14.3.4.5 Lok Sangrah, Folk Culture Museum, Bhimtal 283

14.3.4.6 Jim Corbett Museum 283

14.3.4.7 Gurney House Museum, Nainital 284

14.3.5 Various Methods of Prevention Used in Various Selected Museums 284

14.3.5.1 Covering Materials Used for Various Artifacts Displayed in Selected Museums 285

14.3.5.2 Special Kind of Lighting System in the Museum to Protect the Textiles/Garments From Fading/Ageing 286

14.3.5.3 Touching on Museum Antiquities 287

14.3.6 Conservation Techniques Used in the Museum 287

14.3.6.1 Pretreatments Given to Textile Antiquities and Display Boards 287

14.3.6.2 Methods of Reinforcing the Deteriorated Textile Antiquities 288

14.3.6.3 Backing Material Used in Conservation of Museum Textiles 288

14.4 Conclusion 289

References 289

15 The Conservation and Display of Indian Textiles at the Victoria and Albert Museum 291
Elizabeth-Anne Haldane, Lynda Hillyer and Deepshikha Kalsi

15.1 Introduction to the V&A and the Indian Textile Collections 291

15.2 Care of Collections 294

15.3 Conservation 295

15.3.1 Principles of Conservation 295

15.3.2 Assessing Condition, Causes of Deterioration 295

15.3.3 Preventive Conservation 297

15.3.4 Understanding the Object—Context and Scientific Investigation 297

15.4 Object Treatment 300

15.4.1 Object Treatment—Cleaning 300

15.4.2 Surface Cleaning and Humidification 301

15.4.3 Wet Cleaning 303

15.4.4 Solvent Cleaning 305

15.4.5 Stabilization and Support 306

15.5 Display 308

15.6 Conclusion 312

Acknowledgments 312

References 313

16 Between Science and Art: Activities of the Natural Dyeing Laboratory 315
Katarzyna Schmidt-Przewoźna

16.1 Introduction 315

16.2 Promotion of Antique Dyes, Pigments, and Prints 320

16.2.1 Projects 320

16.2.2 Workshop and Exhibitions 321

16.2.3 Color Catalog of Ancient Dye and Its Reproduction 323

16.2.4 Reconstruction of Ancient Dyeing Techniques 323

16.3 Analysis of Antique Polish Kontush Sash Dyeing Material: A Case Study 324

16.4 Conclusion 325

Acknowledgment 326

References 326

17 Visitor Interactions and Museum Textiles 327
Kanika Sachdeva and Divya Singhal Gupta

17.1 Introduction 327

17.2 Textile Exhibitions—Challenges in Display 328

17.2.1 Display Method 328

17.2.1.1 Open Display or Display Cases 329

17.2.1.2 Display Design 330

17.2.1.3 Points to be Considered While Planning a Textile Display 332

17.2.1.4 Level of Interaction Between the Visitors and the Objects on Display 333

17.2.2 Display Lighting 334

17.2.2.1 Hacks for Appropriate Lighting of Textile Exhibitions in Museums 335

17.3 Exhibition Protocols Followed by the Museum 335

17.3.1 Safety Guidelines—Visitor Safety, Conduct and Access 335

17.3.2 Safety of Museum Artifacts 336

17.3.3 Let Us Look at Some Examples of the Protocols Followed by the Museums and the Changes that Have Taken Place After the Pandemic 336

17.4 Photography and Memorabilia 336

17.5 Access Guidelines for Museum Storage 337

17.6 An Ideal Textile Exhibition 338

17.6.1 Case Study 1 338

17.6.2 Case Study 2 338

17.7 Conclusion 339

References 339

18 Educational Value of Clothing and Textile Museums 341
Sara Marcketti and Jennifer Gordon

18.1 Introduction 341

18.2 Importance of Conservation in Textiles and Clothing Collections 342

18.3 Frameworks for Material Culture Analysis in the Learning Process 344

18.4 The Value of Collections to Students’ Education 344

18.4.1 The Collection at Iowa State University 345

18.5 Taxonomy of Significant Learning and Collections 345

18.5.1 Foundational Knowledge 346

18.5.2 Application 347

18.5.3 Integration 348

18.5.4 Human Dimensions 349

18.5.5 Caring 350

18.5.6 Learning How to Learn 351

18.6 Conclusion 352

References 352

19 Career in Textile Museum 355
Maanasaa Sethuraman, Suruchi Pandey and Ritu Pandey

19.1 Introduction 355

19.2 Sources of Textile Museum Collections 356

19.3 Scope of Careers in Textile Museum 358

19.3.1 Job Opportunities 358

19.3.1.1 Public Sector 359

19.3.1.2 Private Sector 361

19.3.1.3 Opportunities Offshores 362

19.3.2 Changing Hiring Trends 362

19.3.2.1 Work-Life Balance in Careers in Museum Textile 363

19.3.2.2 Job Description 363

19.4 Glimpses of Work in Progress on Museum Textile 366

19.5 Sourcing for Talent at Textile Museums 369

19.5.1 Private Job Sites 369

19.5.2 Museum Websites 370

19.5.3 Consultant Hiring 371

19.5.4 Social Media 371

19.5.5 Newspaper Advertisement 371

19.5.6 Word of Mouth 372

19.5.7 Campus Hiring 372

19.6 Educational Opportunities 374

19.6.1 School or Pre-University Level 374

19.6.2 University Level (Under Graduation) 374

19.6.3 Postgraduation 374

19.7 Sample Organization Structure 375

19.8 Limitations and Challenges in the Field of Textile Museum 375

19.9 Conclusion 375

Acknowledgment 379

References 379

Index 383

Erscheinungsdatum
Sprache englisch
Gewicht 993 g
Themenwelt Naturwissenschaften Chemie
Technik Maschinenbau
ISBN-10 1-119-79170-7 / 1119791707
ISBN-13 978-1-119-79170-6 / 9781119791706
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