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
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.
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
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
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 Replica Project The jersey is the outcome of a multiyear project headed by
Textile conservator Anne Peranteau, and costume mount maker Sam Gatley describe the process of preparing two 18th century dresses for display in an exhibition. Historic dress, historic problems Anne Peranteau – In 1951, Te Papa was given three 18th century dresses, all dating to approximately 1780. Our work in the textile lab
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.
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),
Hopefully many of you have seen or plan to see our newest Eyelights gallery exhibition that opened on the 24th of September. Uniformity: Cracking the Dress Code features uniforms worn in various contexts—school, church, battlefield, rugby field, and even those worn on the street. A previous post about Uniformity talked
As an art conservation student, I was frequently encouraged by my tutors to think of my profession as a three-legged stool—a platform supported by the three disciplines of connoisseurship, fine arts, and science. Understanding the science of how materials age is critical for being able to slow down deterioration. In addition,
Many of the kākahu on display in Te Papa’s Kahu Ora exhibition are contemporary works that serve as fantastic examples of the vitality of raranga as an art form. During preparation of the items for display, as we dressed them on mannequins and cloak forms, we had the special opportunity to work