Posts written by Anne Peranteau

Collaboration in conservation: Deborah Crowe and Kim Fraser’s Dual Outlook

  • Kim Fraser and Deborah Crowe. Image provided by D. Crowe.
  • GH006532/4, Dual Outlook visor after treatment.
  • Underside of visor edge, showing sticky, soiled adhesive residue. The maker’s label is a separate layer and remains in place following treatment.
  • Deborah Crowe consulting on the treatment of her work in the textile conservation lab at Te Papa.

Te Papa’s textile conservator Anne Peranteau runs through the process involved in preparing a much-loved garment for public display. In March, the exhibition When Dreams Turn to Gold: The Benson and Hedges Fashion Design Awards will open at the Dunedin Public Art Gallery (DPAG). The Benson & Hedges event was New Zealand’s premier fashion competition, running for 34 years… Read more »

The treasures of Broadgreen Historic House

""

Conservator Anne Peranteau visited Broadgreen, an historic house in the Stoke neighborhood, to give some advice on the display and storage of collection items. Anne tells us about some of her favourite items in the Broadgreen collections.  Last month I filled my suitcase with my tricks of the trade and headed to Nelson. I brought an assortment of… Read more »

Picking a pocket…or two

Intern Keira Miller in the lab, preparing materials for dyeing. Photo by A. Peranteau, copyright Te Papa.

Have you ever thought about the history of the humble pocket?  This past winter, Keira Miller, an intern from the University of Glasgow’s Center for Textile Conservation, helped us with the treatment of some detachable 18th century pockets for the exhibition European Splendour 1500-1800.   Keira writes about the importance of pockets in 18th century fashion and the… Read more »

Catwalk couture in detail

  • The sheer Versace day dress at far right (GH013642), on display in April 2001 alongside three other Versace dresses in Te Papa's collection.
  • Day dress, 1997, Milan, by Gianni Versace. Gift of Gianni Versace S.p.A., Italy, 2001. Te Papa (GH013642)
  • Detail of GH013642, showing sheer and opaque areas of burnout fabric. Photo by A. Peranteau, copyright Te Papa.
  • 2001 cartoon commentary on Te Papa's Versace exhibition.

Catwalk glamour This week I’ve been working on couture garments that are destined for display at Expressions in Upper Hutt. The Catwalk to Cover exhibition will include fashions from Te Papa’s collection by international and New Zealand designers alongside photographs that capture the dynamism, creativity and glamour that epitomize the runway fashion show experience. The… Read more »

Prepping a 1905 replica All Blacks jersey for the road

Rugby jersey [1905 replica], 2011, New Zealand, by Robertina Downes, Deborah Cumming, Manawatu Knitting Mills Ltd, New Zealand Rugby Museum. Commissioned 2011. Te Papa (GH017325). After padding out for display.

Recently I blogged about preparing an 18th century gown (now on display in European Splendour).  A few weeks ago, the same skills were applied to a very different type of garment—the replica All Blacks “Originals” 1905 jersey. The jersey will be on display in Hamilton until January 8th in the Waikato Museum exhibition Fernz: an exploration of… Read more »

Conserving and dressing 18th c. Splendour

  • Here we are carrying out the final fitting of both the dress to unsure that the garment is properly supported but not under any stress. At this point we can also adjust the final height of the ensemble and check the silhouette that has been created. Photo by S. Gatley, copyright Te Papa.
  • The near-finished mount, complete with silk petticoat, jersey top cover and sleeve supports. There are strong small magnets attached to the front which will hold the bodice section in position- These are needed as the dress doesn’t have any buttons or other fastening. The opposing magnets will be placed on the outside of the garment. These should be difficult to see as they will be coloured to match the dress.
  • The torso after it has been padded into the correct size and period shape. There is a cotton tube underskirt to hold out the multiple layers of net underskirts instead of legs! Photo by S. Gatley, copyright Te Papa.
  • The mannequin torso with the bust and waist cut away. A cotton cover is attached to the newly shaped form ready for padding to be stitched into place. Photo by Sam Gatey, copyright Te Papa.

A co-authored post by Anne Peranteau, Textile Conservator and Sam Gatley, Costume Mountmaker Historic dress, historic problems In 1951, Te Papa was given three 18th century dresses, all dating to approximately 1780.   Our work in the textile lab is currently focused on preparing two of these gowns for display in the Splendour module of Nga… Read more »

Very rare indeed: a Malawian dance garment

  • Hair fibers from each respective sampled area, GH024606; shown at 200x magnification. Image copyright Te Papa.
  • GH024606, detail of skins used to make the garment. Image copyright Te Papa.
  • Images of hair fibers removed from GH024606 showing exterior scale patterning and the structure of the interior. Images by A. Peranteau, copyright Te Papa.

Witchy tale In 1936, the Dominion Museum was given a gift so rare and strange that it made the news.  Described in the Auckland Star and in museum records as a “witch doctor’s outfit”, the garment was subsequently displayed for many years in the Buckle St building that opened that same year.   During an… Read more »

Te Papa’s international textiles – Nigeria to New Zealand

East & West Missionary Exhibition label attached to one of the curios displayed there

East & West Missionary Exhibition A survey of the costume and textiles Te Papa’s International History collections now underway has shown that many of our collections from Africa and Asia retain links with an exhibition held almost 90 years ago.  In most instances, they have not been exhibited since then.  I’ve become fascinated by these… Read more »

Conservation of a Micronesian textile

Recently I completed a two year project to conserve a unique Micronesian textile.  It was such a pleasure to get acquainted with this very rare object with distinctive features–I was amazed to see that the colour changes in the patterned end of the cloth had been created by either interlinking or knotting  warps of two colours together (photomicrograph image below), indicating a high level weaving… Read more »