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NEMA 2015: A Categorical Success

11/12/2015

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All five current staff members from Museum Textile Services made the trip to Portland, Maine, last week for the 97 Annual Conference of the New England Museum Association. A mere 90 minutes north of our studio, the vibrant and historical city of Portland is a favorite summer destination with great restaurants, bustling street life, and many cultural institutions. The unseasonably warm November weather was an added bonus that made our excursions and dinner treks even more memorable.
The conference marked the official launching of Andover Figures, the costume-mounting system developed by MTS Director Camille Myers Breeze and KHG Arts Principal Katrina Herron Gendreau. Our good friend John Dunphy, Vice President of University Products, provided a space at his booth for us to display four manikins, and fielded questions when we weren't there from potential customers. In 2016, University Products will be selling Andover Figures, allowing us to reach a nation-wide market.
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John Dunphy, Vice President of University Products archival supply company, generously shared his booth in the NEMA exhibit hall to allow us to display our Andover Figures.
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Camille's next matter of business was the annual breakfast of the NEMA Independent Museum Professionals group. She and her two co-chairs updated attendees on the group's 2015 projects and enjoyed a tips session from long-time business colleague Marilyn Hoffman of Museum Search and Reference. Camille was delighted to find two new people to join her on the IMP committee for the remainder of her tenure.
The following day, Camille and Kate presented their talk Articulating Bodies: Developing and Disseminating New Tools for Historic Costume Display in Small Museums​ to a standing-room-only crowd. Also participating in the presentation was author and museum archivist Jennifer Emerson, who Camille met while working at the Denison Homestead in Mystic, CT. Jennifer began the meeting in street clothes and allowed her silhouette to be traced onto a board. Later, she returned dressed in a replica 1814 outfit and her silhouette was again traced. 
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As attendees learned about the importance of proper costume display in museums, they began to understand how drastically the human figure is manipulated over time. Jennifer's final appearance was in a replica 1876 ensemble complete with bustle and bonnet. The final tracing made clear that understanding the historical silhouette takes some research but results in much more authentic--and safer--costume display.  ​
Kate and Camille made a selection of reference materials available for conference attendees through the NEMA web site, including a PDF of their Powerpoint presentation and the Resource Guide and Product Sheet from the Andover Figures booklet, which is free with all manikin purchases.

Camille's final responsibility of the 2015 NEMA Conference was a presentation called Speaking Textile Conservation. After colleagues David Dempsey and David Colglazier gave illustrations of condition description terms relating to paintings and objects, Camille showed slides of every term included on the MTS Handout, Textile Conditioning Terms. Her slide show and a series of related handouts are also available through the NEMA Website.
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​We couldn't leave Portland without a meal at Duck Fat, where we enjoyed poutine, roasted Brussels sprouts, smoked meats, seasonal soup, and beer and cider. One of the best things about Portland is that we were all soon home in time to recuperate over the weekend.
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Andover Figures: Custom Museum Forms to Fit your Needs

10/28/2015

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November 1, 2015, marks the official launch of Andover Figures, a new costume-mounting system developed by Museum Textile Services Director Camille Myers breeze and KHG Arts Founder and Principal Katrina Herron Gendreau. 
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Katrina Herron Gendreau and Camille Myers Breeze, co-founders and creators of Andover Figures.
Safe and effective costume mounting is essential to creating a successful exhibition of historic clothing. With every garment being completely unique in size, shape, and construction, we cannot rely on a “one size fits all” solution for displaying period garments. Additionally, the fragile and unique nature of these objects makes collecting, caring for, and exhibiting them one of the most labor- and resource-intensive undertakings in any museum.
In developing the Andover Figures system, our aim has been to meet these concerns as well as to provide accessible training and resources that allow everyone to effectively and more easily care for and share these engaging and unique objects. Our manikins and suspension forms fit juvenile, women’s, and men’s garments. They can be customized for any historical silhouette with easy-to-find, museum-quality materials. You can reuse Andover Figures again and again, making the already-low price an even better investment.
To determine which Andover figure is right for you, answer the following two questions—What type of garment you are displaying? Where are you displaying it?

If you plan on having people view all sides of your garment, the Andover Figures manikin is ideal. Voluminous skirts or other garments with complex shapes need the support of the manikin for proper display. Items such as pants, shorts, and bathing suits should not be displayed on a manikin because we do not recommend making a hole in the garment for a central pole to pass through. 
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Andover Figures manikin M1.
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Andover Figures suspension form S1.

​Andover Figures suspension forms are an excellent choice for exhibiting all types of costume including pants, shorts, and bathing suits. They are shallower than our manikins, but still provide an excellent support. Garments with voluminous skirts or complex three-dimensional shapes are not suitable for suspension forms.​

Every Andover Figure comes with a supply kit containing polyester batting, a sheath, an instructional booklet, and a piece of show fabric to put the finishing touch on the visible neck and shoulder area. Our fabric choices include brown, tan, cream, white, pink, and chartreuse.​

​The Andover Figures instructional booklet is a comprehensive guide to selecting and purchasing Andover Figures, choosing suitable garments for display, establishing the historic silhouette, and padding out the torso, bust, and limbs of your manikin or suspension form. Display considerations, such as lighting, environment, and theft prevention area also addressed. The resource guide contains information about where to buy the supplies mentioned in the booklet. It also contains a list of further readings in costume and textile care, costume history, and costume mounting.  
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Instructional booklet free with every purchase.
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Kate dressing an Andover Figures suspension form.
​Co-founders Kate and Camille understand that many museums need hands-on training sessions for staff and volunteers. We are available to teach your staff and volunteers how to mount garments for display using Andover Figures manikins and suspension forms. We also cover how to choose appropriate garments, reduce surface wrinkles, and perform surface cleaning. 

To learn more about Andover Figures, please visit our website www.andoverfigures.com or contact us at
andoverfigures@gmail.com. Complete measuring and ordering instructions are provided, as are links to the men's and women's order forms. Once you submit an order form, we will contact you and let you know which manikin or suspension form will fit your garment. Andover Figures can be shipped anywhere in the world. Local customers are also welcome to pick their order up to avoid shipping charges.
Visit us at the 2016 NEMA Conference in Portland, ME! Our products will be on display at the University Products booth in the exhibit hall. Kate and Camille will also be presenting a talk entitled, "Articulating Bodies: Developing and Disseminating New Tools for Historic Costume Display in Small Museums" at 3:15 on Thursday, November 5th.
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Tracing the Thread to Wheaton

11/24/2014

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One week before the opening of a new student-curated exhibit at the Beard Gallery at Wheaton College, MTS intern Katrina Herron Gendreau and Director Camille Myers Breeze  spent a day with students and staff, in what has become an annual collaboration between the school and Museum Textile Services.
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Kate Herron mounting the 1801 Wedding Dress.
Before Camille's 2 pm lecture to Museum Studies students, she and Kate started mounting the purported 1801 Wedding dress of Eliza Wheaton, the college's namesake. The extremely fragile dress has been heavily altered as recently as the early 20th century, when the embroidered net cape and waistband were apparently added.
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19th-century marble copy of a renaissance sculpture of Isabella Sforza juxtaposed with the dress's bodice.
The archival manikin was custom made by Camille and Kate as part of Kate's thesis capstone project for the Master's program in Museum Studies at Harvard University's Extension School. Kate is researching affordable costume-mounting solutions for small museum who cannot afford the services of a professional conservator or costume-mounting specialist.
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Photo courtesy of Keith Nordstrom/Wheaton College.
Tracing the Thread features more than 55 objects from Wheaton’s Permanent Collection, the Gebbie Archives and Special Collections and private collections, including the Museum Textile Services study collection. In preparing the exhibit, students wanted to illustrate ways in which humans from various cultures create and use fiber throughout history. The exhibit theme was chosen earlier in 2014 by a committee including MTS Director Camille Myers Breeze.
The project is the culmination of the art history course “Exhibition Design,” led by co-instructors Leah Niederstadt, Zephorene Stickney and Megan Wheaton-Book. In addition to choosing a title, the students chose the objects, designed layouts for the exhibition, presented their designs in front of an independent jury, chose the final design, researched the objects, wrote all of the exhibition text except for the introductory wall panel, and collaborated with staff and student designers on the publicity materials.
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Photo courtesy of Keith Nordstrom/Wheaton College.
Tracing the Thread is on exhibit through February 13, 2015. The Beard Gallery is located in the Watson Fine Arts Building at Wheaton College and is open Monday through Saturday from 12:30 to 4:30 pm. 







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Camille Myers Breeze founded Museum Textile services in 1999. She is a prolific author, and educator of museum personnel and emerging conservation professionals in the US and abroad.
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Best of 2012: "Cannonball" Before & After

12/31/2012

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by Camille Myers Breeze

Our choice for favorite project from 2012 has to be the conservation of a baseball uniform belonging to the great Negro league player William "Cannonball" Jackman. As we learned from Sarah Berlinger's March 12th, 2012, blog Will "Cannonball" Jackman Comes to Life, he was perhaps the greatest player you've never heard of.
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Uniform on display in "The Color of Baseball in Boston." Courtesy of the Museum of African American History, Boston and Nantucket, MA, USA.
Prior to the completion of this project, Boston globe writer Joel Brown paid Museum Textile Services a visit to learn more about the project. His article, entitled "Preserving the Fabric of History," appeared in the April 19, 2012, issue of the Boston Globe North. Joel's article was a wonderful opportunity for us to let the public know about textile conservation and as a result we have seen a huge increase in the amount of sports memorabilia brought to MTS. In response, we launched a new Sports Memorabilia page in the Conservation section of our web page.
You can see some more images of the conservation of "Cannonball" Jackman's uniform in this short slideshow. Many thanks the Museum of African American History, Boston, and to all who worked on this project, including Cara, Courtney, Katey and Sarah.
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Project EXHIBIT! 

12/3/2012

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by Camille Myers Breeze

For nearly a week, the Beard & Weil Galleries at Wheaton College in Norton, MA, was the scene of great collaboration and ingenuity as students of ARTH 335 Exhibition Design installed their Fall 2012 show, "100 Years 100 Objects." The exhibit showcases an object for each of the 100 years since Wheaton Female Seminary became Wheaton College.
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"100 Years 100 Objects" will be on display December 3, 2012, through February 15, 2013.
Camille Breeze was hired to participate in two days of teaching and exhibit prep thanks to funding from the Art/Art History Department and the Evelyn Danzig Haas '39 Visiting Artist Program. After a short presentation about careers in conservation, Camille broke students into teams according to what remained to be done to install a pair of priceless textiles conserved by MTS.
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Pair of Buddhist scrolls, conserved with assistance of Wheaton College interns Michelle Drummey and Gabrielle Ferreira in summer 2012, were already hanging when Camille arrived.
The first team underwent the final framing of a silk embroidery depicting "Hagar and Ishmael are Cast Out by Abraham" (Genesis Chapter XXI), by Eliza Wheaton Strong (1795-1834).   This exquisite textile is very fragile but together the team cleaned the framing materials, placed the embroidery behind the custom mat, and backed the new frame with Marvelseal before hanging it in the gallery.
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Upon Eliza Wheaton Strong's death, family members established Wheaton Female Seminary, which later became Wheaton College.
The remaining student teams addressed tasks related to the mounting of the c 1780 costume of the Duchesse de Choiseul, which had been conserved at Museum Textile Services in 2012. You can read about this project in intern Gabrielle Ferreira's first and second blogs.

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Josephine Johnson '13.
The bust of the custom manikin was covered with show fabric by senior Josephine Johnson, who is planning for a career in conservation. The base for the manikin was assembled by a team including senior Morgan Bakerman, who is writing her thesis about the dress.

A third team addresses the skirt support, which originally was accomplished with rigid paniers. Students started with a replica of the skirt made by Cara Jordan from cotton muslin. Next, they machine sewed 3-inch twill tape in two rows across the skirt and threaded flexible polypropylene tubing through the channel. The tubing provided the shape of the paniers, and additional pieces of twill tape tied across the underside created the correct, flat silhouette.
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Camille Breeze models the paniers after final touches were made by students.
During the final push on Saturday afternoon, the base was attached to the exhibit platform, the manikin bust was installed, the paniers were tied to the manikin, and finally the costume was dressed.
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The costume of the Duchesse de Choiseul, c 1780.
Working with an academic institution like Wheaton College is one our favorite jobs at Museum Textile Services. Many thanks go out to Leah Niederstadt, Museum Studies Professor and Curator of the Permanent Collection, and Zeph Stickney, Archivist and Special Collections Curator, for asking Camille to help in this intense and rewarding project.
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Leah Niederstadt and Zeph Stickney editing label copy written with the help of students.
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Mannequin Madness!

9/10/2012

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by Camille Myers Breeze

There are many times when conservators feel like we are doing the same thing over and over again. Fortunately, most of us like this repetition, or else we wouldn't be happy conservators. In 2012, the thing we have found ourselves doing again and again at Museum Textile Services is making mannequins.
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Although there are wonderful suppliers of archival mannequins for the museum world, our clients sometimes require a custom form. Other times, we can save a client money by constructing their mannequin ourselves.

The MTS website has lots of resources for those of you who are in the position of making a mannequin or retrofitting a dress form for museum use. The first of these is Customizing Mannequins. It walks you through some of the considerations when using an existing form to make a safe mount for historic costume.
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A more detailed set of instructions on using existing forms for safe costume display is Retrofitting Dress Forms. This handout also touches on the topic of which historic under-garments should never be used and what supplies you should have on hand when mounting a costume exhibit. In response to questions from clients who were using T-bars to display clothes, we created a handout about Building T-Bar Supports.  

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For the more experienced costume mounters, Museum Textile Services has a new handout available on our website entitled Making Ethafoam Disk Mannequins. This is meant to be used in conjunction with the Polly Willman mannequin-making system, which results in a series of measured disks that are stacked and fine tuned to form an archival dress form. Polly Willman's Ethafoam "Disk" Form instructions are also available, with her generous permission, for those who have not trained with her.

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Before you attempt any of the mounting solutions presented in these handouts, please make sure that the items you are mounting are good candidates for exhibition. Consult a textile conservator prior to beginning if you have any questions.
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Museum Textile Services, LLC

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978.474.9200
  • About MTS
    • Our Team
    • Client List
    • Press Room
  • Conservation
    • Architectural Interiors
    • Asian Art
    • Ethnographic Textiles
    • Flags & Banners
    • Historic Clothing
    • Quilts and Coverlets
    • Samplers & Embroideries
    • Sports Memorabilia
    • Tapestries
  • Collections Care
    • Vac & Pack
    • Surveys
    • Disaster Response
  • Fumigation
    • Fumigation FAQs
  • Education
    • LL
    • Porto
    • C3
    • HPRH
    • Becoming a Textile Conservator
  • Resources
    • MTS Magazine
    • Textile Conservation Basics
    • Textile Stabilization
    • Textile Storage
    • Displaying Historic Costume
    • Displaying Flat Textiles
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    • Resources in Spanish
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  • Andover Figures™
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