Szilágyi András (szerk.): Ars Decorativa 16. (Budapest, 1997)

FAJCSÁK Györgyi-Z. FIKÓ Katalin: Kínai szoknya a 19. század végéről - Restaurálás és dokumentáció

Fabric analysis of the broader bands embellishing the borders of the rectangularshaped fields of the skirt was as follows: Fabric structure: Warp: Material: silk Colours: beige, green, light blue, dark blue, red Twist: untwisted Density: 72/cm Weft: Material: silk Colour: beige Twist: untwisted Density: 36/cm Weaving technique: Base: canvas Pattern: flushing warp floats Size: 1.3 cm wide The condition of the skirt before restoration afforded a very depressing sight (Ills. 15-16). In addition to soiling on the surface of the skirt (dust, grease), areas smeared with glue and molecular soiling (water stains, products of breakdown) could also be found. In a number of places the artefact was torn and incomplete; the girdle-band of the skirt was entirely missing. The bottom of the silk damask lining was threadbare, torn and incomplete. The embroidery was disintegrating and threadbare; in a number of places larger or smaller pieces were missing. The embellishment of the skirt testified to the fact that it had at one time been altered: the woven bands framing the fields had been put onto the skirt later than the frame-embellishing strips. From behind it could easily be seen that they had been sewn through both the red atlas fabric and the blue lining. The skirt was probably updated in the first third of the 20th century, in line with the fashion at that time. After examination of the materials and determination of the techniques in making the skirt, a proposal for restoration was made. This set a two-fold objective. On the one hand the aim was the removal of the harmful soiling and the prevention of physical deterioration; on the other it was to create a unitary spectacle out of the skirt. For this reason, first of all the lining had to be taken off the embroidered base fabric, along with the bands framing the fields. When the garment was taken apart, it turned out that paper had been glued beneath the appliqué parts, and that the oblique, black bands, as well as the reverse side of the embroidery, had been smeared with glue, in order to ensure greater rigidity. After this, the lining and the bands that had been removed were cleaned with a damp cloth. In the case of the embroidered base fabric, the method of cleaning could only be chosen after the conducting of a colourfast test. After samples of all the coloured threads had been taken, it turned out that the colours of the red and black atlas on the skirt ran in the washing water, with the result that - in the case of embroidered base fabric - detergent solution had to be avoided. This was also warranted by the pieces of paper stuck on to support the paper-based metal threads and the appliqué embroidery, since these surfaces would have been seriously harmed by water. Before beginning the cleaning, the dust layer was removed using a paint brush and a small vacuum-cleaner. The skirt was then cleaned with a mixture of 50% ethanol and 50% distilled water, with the cleaning mixture being applied to the surfaces with a paint brush. Having been cleaned, the atlas fabric was pressed using marble weights. The cleaning of the lining and the bands was done using a 0.5g/l anion (Hostapon T) and lukewarm water cleaning solution beaten into a foam. The detergent was removed from the material by means of repeated damp wipings. After correction of the thread directions, the lining and the bands were pressed using panes of glass, and left to dry at room temperature. Afterwards there followed the partial reinforcement of the torn parts of the embroidered base fabric and of the black atlas using cotton fabric dyed to the appropriate colour, as well as the attachment of the