Historic Textile and Costume Collections in the Academic Setting

University of Rhode Island Masthead Logo Textiles, Fashion Merchandising and Design Faculty Publications DigitalCommons@URI Textiles, Fashion Merchandising and Design 2011 Historic Textile and Costume Collections in the Academic Setting Linda M Welters University of Rhode Island, lwelters@uri.edu Follow this and additional works at: https://digitalcommons.uri.edu/tmd_facpubs Terms of Use All rights reserved under copyright Citation/Publisher Attribution Welters, Linda and Ordoñez, Margaret Historic Textile and Costume Collection in the Academic Setting ITAA Monograph #11 International Textile and Apparel Association, 2011 Available at: http://itaaonline.org/associations/12469/files/Monograph11-TC_Collections_Academic_Setting.pdf This Article is brought to you for free and open access by the Textiles, Fashion Merchandising and Design at DigitalCommons@URI It has been accepted for inclusion in Textiles, Fashion Merchandising and Design Faculty Publications by an authorized administrator of DigitalCommons@URI For more information, please contact digitalcommons@etal.uri.edu 2011 Historic Textile and Costume Collections in the Academic Setting ITAA Monograph #10, 2011 LW URI 1/1/2011 Historic Textile and Costume Collections in the Academic Setting Linda Welters and Margaret Ordoñez, University of Rhode Island Many colleges and universities with textile and apparel programs support collections of historic textiles, costumes, and related artifacts The term “collection” can be defined as any group of objects stored in one location, whether that place is called a museum, gallery, study center, design lab, or, simply, a collection Academic collections range in scope from small assortments of artifacts used in teaching to multiple collections in world-renowned institutions such as the Museum at the Fashion Institute of Technology, which is part of the State University of New York system Unlike museums and historical societies, whose main purposes are to collect and preserve cultural heritage, the primary mission of academic historic textile and costume collections is to support teaching and research Teaching often supersedes research as the raison d’être These collections function as units of an academic institution, which pays their operating costs The purpose of this monograph is to provide an overview of academic historic textile and costume collections and to present guidelines for the management of such collections This monograph also documents the need for adequate space and staffing for presentation to administrators History of Academic Historic Textile and Costume Collections The typical college textile and costume collection started as the teaching collection of a single faculty member to support courses and provide inspiration for textile and design students Personal teaching collections began almost as soon as home economics departments offered courses in textiles At the beginning of the twentieth century, units on the history of textiles and the history of costume were part of a general course in textiles (Crooks, 1905; Marlatt, 1911) Jane Fales (1911) argued for inclusion of a separate course in historic costume in home economics programs to strengthen students’ design abilities At that time, no textbooks existed for costume history Fales recommended acquiring old engravings and fashion plates to illustrate past fashions for historic costume students The expansion of programs, combined with the growth of the Colonial Revival movement, spurred many instructors to acquire historic examples to support teaching Teachers typically passed these items around in class so that students could examine them Collections in most U.S land-grant institutions had their origins in the 20th century, from the 1930s through the 1970s Private educational institutions began their textile and costume collections earlier The Rhode Island School of Design Museum of Art, which houses a collection of over 15,000 textiles and costumes, was chartered in 1877 (Museum of Art, 2011) In land-grant universities, the collections operate as part of a specific department, usually a textiles and apparel unit Their mission statements echo the “three-legged stool” of the land-grant university: teaching, research, and service (Duffield, 1979) In private institutions, the collections are a separate unit, often within a museum with permanent display space, for example, the Rhode Island School of Design Museum of Art and the Yeshiva University Museum (Museum of Art, 2011; Yeshiva University Museum, 2011) Almost every major land-grant university historic textile and costume collection was begun by a faculty member who was passionate about collecting specimens These personal teaching collections eventually formed the nucleus of departmental collections Elizabeth Sage, the first clothing and textile professor at Indiana University, collected costumes and textiles while traveling to use as examples in her courses Upon her retirement in 1937, she donated the collection to the university (The Sage Collection, 2010) Helen Louise Allen, who taught at the University of Wisconsin-Madison from 1927 to 1968, amassed an outstanding collection to support teaching and research; she eventually donated it to the university (Helen Louise Allen Textile Collection, 2010) At the University of Rhode Island, Mary C Whitlock donated her collection of costumes and textiles as well as securing sizable donations of eighteenth- and nineteenth-century artifacts from several local families Many collections include objects acquired by faculty while traveling abroad, such as the Yugoslavian costumes and textiles purchased by Blanche Payne, author of the widely-used textbook History of Costume, while studying folk costumes in the Balkans (Ryesky, 1986) Payne wanted her students to develop an appreciation for craftsmanship by studying folk embroideries Some of this material is now in the University of Washington's Henry Art Gallery Given the resources for proper management and promotional activities, a textile and costume collection has the potential to contribute to a reputation for program excellence, become a target for financial donations, and offer numerous opportunities for community outreach The Goldstein Museum of Design provides a striking example of what collections can for universities Harriet and Vetta Goldstein were home economics instructors at the University of Minnesota from 1913 to 1949 They authored a best-selling book Art in Everyday Life, first published in 1925 by Macmillan, which went into four printings (Goldstein & Goldstein, 1954) Their collection of “illustrative materials for teaching” became the core of the museum’s collections of costumes, textiles, and decorative arts (Goldstein Gallery Collections, 1986, ix) Over the years the collections grew through gifts from individuals and groups, notably The Fashion Group’s donation of twentieth-century fashions in 1976 Renovations to McNeal Hall that same year made possible the creation of dedicated museum-quality storage facilities and a sizable gallery The appointment of a curator followed With the opening of the gallery, the Department of Design, Housing, and Apparel began an ambitious exhibition schedule that often included publication of exhibition catalogs Exhibitions focus on a wide range of themes, including student design work (Goldstein Museum of Design, 2010) A “Friends of the Collection” group helps with fundraising and other activities The current staff includes a fulltime director, a full-time registrar and materials library coordinator, an assistant curator (80%), a photographer (50%), a preparator (50%), a grants writer (35%), and two half-time graduate assistants (McElvain 2011) The mission of the Goldstein Museum of Design is to: “advance the understanding and appreciation of design through education, exhibition, research, and preservation” (Goldstein Museum of Design, 2010) Today the Goldstein Museum is recognized as an important cultural resource for the entire Twin Cities metropolitan area Like the Goldstein, few university collections had a curatorial staff prior to the 1970s The 1976 Bicentennial of the founding of the United States of America focused the nation’s awareness on preserving the past Bicentennial activities influenced apparel and textile program faculty and administrators, who began devoting resources to collections They converted classrooms to collection storage and study areas Faculty formally assumed responsibility for overseeing collections despite the fact that most had no training in museum management They struggled to adopt professional standards for accessioning, cataloging, storing, and using the collections under their care Little information was available in textiles and clothing literature; instead, faculty looked to publications by the organizations such as the American Association for State and Local History (Austin, 1978) The Bicentennial year inspired three articles in the Journal of Home Economics that focused on storing, cataloging, and retrieving collections (Dirks, 1976; Edgeworth, 1976; Skewes, Horridge, & Smathers, 1976) The challenges facing those in charge of these collections finally prompted a workshop at Michigan State University in 1978 (Historic Textile and Costume Workshop Proceedings, 1978) Few formal studies about university collections of textiles and costume have been undertaken Frances Duffield (Auburn University), supported by a National Endowment for the Humanities grant, surveyed 141 colleges and universities about their textile and costume collections (Duffield, 1979) She reported that 65 of the 111 (58%) schools responding to her survey had collections that included historic textiles and costumes plus ethnic textiles and costumes These collections provided objects for classroom use, student research, and exhibition Sally Queen and Vicki L Berger collected information on clothing and textile collections in the United States which included university collections (Queen & Berger, 2006) During the 1980s and 1990s, academicians recognized that college and university collections offered an excellent medium for addressing social history, gender, race, diversity, postmodernism, and popular culture Faculty at other universities began utilizing collection artifacts for upper-level courses in material culture theory (Littrell, 1987; Gunn, 1991; Carlson, Brandt, & Sanders, 1999) In keeping with findings of education specialists (McKeachie, Pintrich, Lin, & Smith, 1986), these faculty found that students retain information better with active learning experiences than by viewing images With technological advances in computers, digital imaging, and the Internet, opportunities to educate beyond the classroom have grown by leaps and bounds One of the early examples is the 1985 videodisc of the Helen Louise Allen Textile Collection at the University of Wisconsin-Madison The disc was purchased by libraries, universities, and collections throughout the United States, resulting in loans of collection objects to exhibitions at major museums Beverly Gordon published a curriculum guide for use with the videodisc (Gordon, 1991) Numerous schools have begun ambitious projects to make their collections accessible online At Drexel University, Kathi Martin (2005) has created an online searchable database that provides 3-D panoramas with multiple views Some schools are choosing to make resources available through a CD-ROM format At the University of Rhode Island, Joy Emery, Professor Emerita of Theatre and Project Director of the Commercial Pattern Archive (CoPA) has prepared four volumes of dressmaker paper patterns dating from 1868 to 1979 on compact discs (Emery, 2010) CoPA-Online is a subscription database currently with over 50,000 images of garments and pattern schematics Following the mandate of land-grant institutions, academic collections support the teaching, research, and service/outreach mission The broad uses of collections that support teaching include the following: To provide examples in historic textiles, historic costume, ethnic textiles and dress, theater costume, art, literature, language, women’s history, and anthropology classes To teach about material life of various cultures To teach material culture theory To provide inspiration for creative work in apparel and textile design To develop archival research skills To practice textile conservation To learn collection management skills (acquisition, cataloging, storage, exhibition) Research is another important purpose for historic textile and costume collections Respondents to Duffield’s survey reported that collections had been used in the research for over 135 theses and dissertations (1979) At Florida State University, the Carter Collection of Peruvian Textiles has been the subject of at least four dissertations (Pottberg, 1976; Raison, 1981; Voso Lab, 1981; Christiansen, 1999) Faculty members use collections for their own research as exemplified by a thorough study of an eighteenth-century man’s suit at the University of Manitoba (Condra & Clayton-Gouthro, 1997) Sometimes the research topic is the management and use of collections as shown by studies of cataloging and identification systems (Rowold & Schlick, 1983; Kondo, 1996) To inform scholars outside the university about the contents of collections, some universities have published catalogs (Goldstein Gallery Collections, 1986; Ordoñez, 1982; University of Hawaii, 1989) More recently, efforts are being made to digitize images of artifacts and upload them to web sites along with catalog information (Helen Louise Allen Textile Collection, 2010) For land-grant universities with a service mission, collections of historic costume and textiles offer numerous outreach opportunities Galleries with rotating exhibits allow the university community and visitors the chance to see artifacts on display Tours of the collection may be offered to potential students and their parents, high school students, and special interest groups (e.g., spinners, weavers, quilters, embroiderers, museum docents, historic re-enactors, Girl Scouts, vintage clothing enthusiasts) Faculty may show selected artifacts at primary and secondary schools and at local club meetings A volunteer program allows interested people, particularly retirees, a chance to become involved in the day-to-day operation of collections In these ways, the collections become valuable cultural resources for the community The publicity garnered from such outreach activities often pays off in unanticipated ways Some universities have found that historic costume and textile collections have the potential to attract significant donations from historically minded individuals In 1983, Kent State University acquired a world-class costume collection from Ohio natives Shannon Rodgers and Jerry Silverman (Kent State University Museum, 2010) The Ohio State University inaugurated an addition to Campbell Hall to house a gallery and storage area for the Historic Costume and Textile Collection, thanks to donations from the Schottenstein family and other donors In 1997, the University of Nebraska-Lincoln received the Ardis and Robert James collection of 1000 quilts that formed the nucleus of the International Quilt Study Center (International Quilt Study Center and Museum, 2011) The Jameses, originally from Nebraska, have continued to be actively involved in strengthening the International Quilt Study Center and providing a lead gift to fund the building of a quilt museum, which opened in 2008 Iowa State University’s Apparel, Educational Studies and Hospitality Management Department received a bequest from Bertha and Edward Waldee to build a state-of-the-art storage center (The Bertha & Edward Waldee Storage Facility, 2010) Colorado State University named its facility the Avenir Museum after receiving a large gift from the Avenir Foundation (“$1.25 million gift names Avenir Museum of Design & Merchandising,” 2008–2009) Another donation, this one from the Louise Arnold Trust, allowed the Gustafson Gallery, one of the Avenir Museum’s two galleries, to move to a new and upgraded location (“Colorado State University’s Gustafson Gallery,” 2011) Historic textile and costume collections have been a presence on many college and university campuses for decades Managing such collections is a challenge for many reasons, Pack books spine down in milk crates one layer deep Books or journals with coated paper damaged by water will stick together if not immediately frozen Store them in cold water until treated Freezing when wet and subsequent vacuum freeze-drying produce the best outcome Air drying and vacuum thermal drying are not recommended Photographs—paper-based If possible, interleave each photo with freezer paper or waxed paper Stack in milk crates, being cautious not to pack them tightly Albums Use polyester film (Mylar®) to isolate metal findings from surrounding materials Interleave pages with freezer paper or waxed paper Pack spine down in milk crates one layer deep Patterns Interleave with waxed paper or freezer paper between envelopes Pack in plastic milk crates (¾ full) Materials: Polyester film (Mylar®) Elastic wrap compression bandages (ACE®), cloth strips Waxed paper or freezer paper Milk crates Air Drying David Tremain, “Notes on Emergency Drying of Coated Papers Damaged by Water.” http://cool.conservation-us.org/byauth/tremain/coated.html (accessed January 23, 2010) Books Stand up to air dry, but not force book open The pages can be opened as the book dries Use bookends or any stable material to support the book If only a few items are affected, interleave the pages with blank newsprint or other absorbent material Interleave every ten pages to begin with Do not force absorbent material into the gutter of the book, or place newsprint after every page, as the extra bulk will strain the spine of the book Change blotting materials frequently Photographs—paper-based Hang with plastic clothespins taking care to keep clothespins within the borders of the photographs or lay flat, face up, on absorbent paper Keep photographs from contacting each other or other surfaces Cased Photographs Daguerrotypes, ambrotypes, and tintypes Do not freeze Leave case intact, open and air-dry Albums Use polyester film (Mylar®), or polyethylene sheeting to isolate metal findings Debra Hess Norris, “Disaster Recovery: Salvaging Photograph Collections,” Conservation Center for Art and Historic Artifacts Technical Bulletin, (1998) http://www.ccaha.org/uploads/media /0f9153102399e 9a1692bb 1132a234ea3.pdf (accessed October 9, 2009) Interleave pages with freezer or waxed paper Proceed to dry as if drying a book Use a hair dryer on warm temperature and low fan settings to dry metal parts Patterns Remove pattern pieces from envelope, unfold and lay flat on polyester film (Mylar®) or polyethylene sheeting Instruction sheets usually are acidic paper that tear easily when wet, so careful handling is essential Materials: Blotting materials (quilt pads, towels, disposable diapers, or paper) Polyethylene sheeting Fans Hair dryers Cotton sheeting Polyester film (Mylar®) Clothes line Plastic clothespins ENVIRONMENTAL CONTROL—MOLD Safety Procedures for a Widespread Outbreak All workers should be fitted with: a Shoe-covers (can be plastic bags or rubber boots) b Disposable coveralls c Latex-free gloves d Respirator (NIOSH approved toxic dust respirator rated N95 or better) e Safety goggles Seal duct in affected area Notify University Facilities Services Seal used materials in a plastic bag and dispose outside Label “contaminated cleaning materials” Restrict access to affected area Lower humidity with dehumidifiers and desiccants Use fans to exhaust air in room to outside building Fans blowing in the room potentially could spread spores Inhibit mold growth on hard surfaces by washing them with 70% ethyl or isopropyl alcohol or a 5% solution of household chlorine bleach Procedures for a Limited Outbreak Isolate affected artifacts by sealing them in transparent polyethylene bags Inspect artifacts that were near the affected object View under ultraviolet light to check for contamination Proceed with artifact analysis and treatment IMPLEMENTATION Meet with TMD department faculty to share HTCC plan and stress its importance; encourage them to join the Initial Response Team Distribute copies of the response and recovery plans and liability waiver to potential volunteer responders Arrange a conference call with volunteers providing the opportunity to ask questions or share concerns about the response and recovery plans or waiver Collect information from volunteer responder’s necessary to complete Template in Appendix E Distribute contact list to designated offices Start mitigating the identified risks Arrange for freezer space on and off campus Investigate grant opportunities to fund costs of mitigating identified risks and to purchase emergency supplies and equipment Begin purchasing and storing supplies and materials to support the HTCC Recovery Plan 10 Show the HTCC and Textile Gallery to supervisors of the fire and police departments and explain special needs of the Collection 11 Distribute digital and hard copies of the HTCC Emergency Response and Recovery Plan to the Department of Textiles, Fashion Merchandising and Design Department Office; Historic Textile and Costume Collection; Textile Conservation Lab, and office of the Collection Director Send copies to the URI Risk Management office, URI Office of Emergency Management, and initial response team member’s homes The TMD department chair may choose to upload a copy of the plan to the department’s website, allowing only proprietary access 12 Follow-up with Shad Ahmed to ensure that a campus-wide committee is formed and recommend that: a some equipment be purchased by the university as it is more cost effective to share resources b the Emergency Management Office identify suitable vendors and establish an account for the university c the Emergency Management Office identify alternate spaces on and off campus to move collections when necessary 13 Update Response and Recovery Plans and the responders list yearly ASSESSMENT Immediately following an incident for which the Response and Recovery Plans are activated, the Coordinators, key URI staff, responders, and service providers will be asked to evaluate the response and recovery by filling out a questionnaire The desire for honest feedback needs to be stressed, and assigning blame should be avoided Lessons learned should be the overriding theme of the evaluation See Template in Appendix E for a sample questionnaire The Response Coordinator and the Initial Response Team will review the results of the survey If any outside consultants or recovery services were used, they must be evaluated with respect to whether they should be utilized in the future The findings will identify specific changes that need to be made to the plans The information gleaned from the post-emergency evaluation should be included in a formal report with photographs and kept with other documentation of the event Letters of appreciation should be sent to those who participated in the recovery effort AFTERWORD Dorge and Jones, Building an Emergency Plan, 86 Texas State Library and Archives: State and Local Records Management Division, Disaster Planning, “Example Disaster Recovery Plan,” http://www tsl.state.tx.us/slrm/disaster/recovery_plan.pdf (accessed January 23, 2010) Betty Walsh, “Salvage Operations for Water Damaged Archival Collections: A Second Glance,” WAAC Newsletter 19, (May 1997) http://cool conservationus.org/waac/wn/wn19/wn19-2/wn19-206.html (accessed November 16, 2009) An emergency preparedness, response and recovery plan was developed for the URI Historic Textile and Costume Collection based on interviews and published response case studies, guidelines, policies, existing plans, and templates Alexandra Allardt, Claudia Iannuccilli, and Phillip Lessard who have experience in developing response plans for cultural heritage institutions generously shared their expertise Invited URI personnel with responsibility for insurance and emergency preparedness made site visits to the HTCC and made suggestions for mitigation Susan Jerome, Collection Manager, provided vital information about the HTCC collection The input from Dr Margaret Ordoñez, who has decades of textile conservation experience, was invaluable in developing a plan for this collection and especially formulating procedures for recovery Knowledge gained from published sources, institutional plans, and the aforementioned people was synthesized to develop the customized plan The staff and faculty of the Textiles, Fashion Merchandising and Design Department now have a mitigation, emergency preparedness, response, and recovery plan in case an emergency occurs that compromises the HTCC References “$1.25 million gift names Avenir Museum of Design & Merchandising,” (2008-2009) Inspirations Fort Collins, CO: Colorado State University, College of Applied Human Sciences Austin, J V (1978) A retrieval system for an historic costume collection Unpublished master's thesis, Kansas State University, Manhattan Becker, A., Richards, E., Ellis, S & Lemiski, S (2002) The University of Alberta Clothing and Textiles Collection Disaster Contingency Plan Edmonton, Alberta, Canada: Department of Human Ecology, University of Alberta Boersma, F., Brokerhof, A W., van den Berg, S., & Tegelaers, J (2007), Unravelling textiles: Guidebook for the preservation of textile collections London: Archetype Publications, Ltd Brunn, M., & White, J (Eds.) (2002) Museum mannequins: A guide for creating the perfect fit Edmonton: Alberta Regional Group of Conservators Buck, R A., & Gilmore, J A (Eds.) (2010) Museum registration methods, 5th edition Washington, D.C.: American Association of Museums Carlson, L., Brandt, B., & Sanders, E (1999) Exhibition as experiential learning and scholarly activity Costume Society of America Abstracts, 11 Christiansen, D L (1999) A comparative analysis of sociocultural and aesthetic characteristics in the John and Mary Carter Collection of Pre-Columbian Peruvian Textiles at the Florida State University Unpublished doctoral dissertation, Florida State University, Tallahassee Code of Ethics for Museums (2000) American Association of Museums Retrieved November 11, 2010, from http://www.aam-us.org/museumresources/ethics/coe.cfm “Colorado State University’s Gustafson Gallery reopens doors in new, upgraded location” (2011), News and Information, February Retrieved on February 18, 2011 from http://www.news.colostate.edu/Release/5571 Condra, C., & Clayton-Gouthro, C (1997) Lord Clive’s suit: A material history study of an eighteenth century suit Costume Society of America Abstracts, 10 Crews, P (1999, Fall) Textile study at the University of Nebraska-Lincoln Textile Society of America Newsletter, 11, 4, 14 Crooks, N (1905) The study of textiles Lake Placid Conference on Home Economics: Proceedings of Tenth Annual Conference, 114-121 Dirks, K (1976) Storing a collection, large or small Journal of Home Economics, 68, 8-10 Duffield, F J (1979) Resources in the form of collections of historic costumes, accessories, textiles and slides located in colleges and universities: A bibliography (Booklet) Auburn, AL: Author Edgeworth, G M (1976) Finding the age of a costume donation Journal of Home Economics, 68, 4-7 Emery, J (2010) CoPA© Commercial pattern archive Retrieved November 11, 2010 from http://www.uri.edu/library/special_collections/COPA/ Fales, J (1911) The value of a course in historic costume Journal of Home Economics, 3, 243245 Finch, K., & Putnam, G (1985) The care and preservation of textiles Berkeley, CA: Lacis Goldstein Gallery Collections (1986) St: Paul, MN: Department of Design, Housing and Apparel; University of Minnesota Goldstein, H., & Goldstein, V (1954) Art in everyday life (4th ed.) New York: Macmillan Goldstein Museum of Design (2010) Retrieved November 11, 2010 from http://goldstein.design.umn.edu/ Gordon, B (1991) Exploring the world of textiles: Study modules for the Helen Allen collection videodisc Madison, WI: University of Wisconsin-Madison Gunn, V (1991) A case for the historic method in clothing and textiles research In S B Kaiser & M L Damhorst (Eds.) Critical Linkages in Textiles and Clothing Subject Matter: Theory, Method and Practice (pp 139-149) Monument, Co: International Textile and Apparel Association Helen Louise Allen Textile Collection (2010) Retrieved, November 11, 2010, from http://textilecollection.wisc.edu/ Historic Costume and Textile Workshop Proceedings (1978) East Lansing, MI.: Michigan State University International Quilt Study Center and Museum (2011) Retrieved February 18, 2011 from http://www.quiltstudy.org/about_us/mission_history.html Kent State University Museum (2010) Retrieved, November 11, 2010, from http://www.kent.edu/museum/about/index.cfm Kondo, A (1996) Identification of oriental garments in small collections Costume Society of America Abstracts, 26 Landi, S (1992) The textile conservator's manual Oxford, Eng.: Butterworth-Heinemann Littrell, M (1987) Using a historic costume collection to assist students in developing a global perspective Costume Society of America Abstracts, 10-11 Lord B., & Lord, G D (2002) The manual of museum exhibitions Walnut Creek, CA: AltaMira Press Mailand, H F., & Alig, D S (1999) Preserving textiles: A guide for the non-specialist Indianapolis, IN: Indianapolis Museum of Art Marlatt, A L (1911) A study of the subject of textiles as it is presented in higher institutions Journal of Home Economics, 3, 217-221 Martin, K (2005) Standards in the visual and linguistic language of an online historic costume collection: The Drexel Digital Museum Project, Historic Costume Collection Costume Society of America Abstracts, 14 McElvain, J (2011) E-mail communication to Linda Welters, February 20 McKeachie, W J., Pintrich, P R., Lin, Y., & Smith, D A F (1986) Teaching and learning in the college classroom: A review of the research literature Ann Arbor, MI: University of Michigan Museum of Art, Rhode Island School of Design (2011) Retrieved February 18, 2011, from http://www.risdmuseum.org/ Museum mission statements: Building an identity (1998), 2nd edition, Washington D.C.: American Association of Museums Ordoñez, M (1982) The power of design: Chinese textiles from the college of home economics historic textile and costume collection Manhattan, KS: Kansas State University Ordoñez, M T (2001) Your Vintage Keepsake: A CSA Guide to Costume Storage and Display Lubbock: Textile Tech University Press Pinniger, D (2001) Pest management in museums, archives and historic houses London: Archetype Publications Pottberg, D A N (1976) Fabrication methods and yarn manipulation techniques represented in the Peruvian textiles at the Florida State University Unpublished doctoral dissertation, Florida State University, Tallahassee Queen, S & Berger, V L (2006) Clothing and textile collections in the United States Lubbock: Texas Tech University Press Raison, V L (1981) Textile motifs represented in the John and Mary Carter Collection of PreColumbian Peruvian Textiles at the Florida State University Unpublished doctoral dissertation, Florida State University, Tallahassee Rowold, K L., & Schlick, P J (1983) Systematic identification and classification of historic costume Dress, 9, 2-7 Ryesky, D (1986) Blanche Payne, scholar and teacher: Her career in costume history Pacific Northeast Quarterly, 77, 21-31 Serrell, B (1996) Exhibit labels: An interpretive approach Walnut Creek, CA: AltaMira Press Skewes, M R., Horridge, P., & Smathers, D (1976) Findings costumes once you have them Journal of Home Economics, 68, 11-12 Textile Specialty Group (2010), Conservation catalog Washington D.C.: American Institute for Conservation Retrieved November 23, 2010, from http://www.conservationwiki.com/index.php?title=Textiles The Sage Collection (2010) Indiana University Retrieved November 11, 2010, from http://www.indiana.edu/~sagecoll/?file=_page1.php University of Hawaii (1989) The art of Asian costume Honolulu, HI: Art Gallery Voso Lab, S (1981) Exploration of color represented in the John and Mary Carter Collection of Pre-Columbian Peruvian Textiles at the Florida State University Unpublished doctoral dissertation, Florida State University, Tallahassee Williams, M A (2010) Emergency Contingency Plan for the University of Rhode Island Historic Textile and Costume Collection MS thesis, University of Rhode Island Yeshiva University Museum (2011) Retrieved February 18, 2011, from http://www.yumuseum.org/ ...2011 Historic Textile and Costume Collections in the Academic Setting ITAA Monograph #10, 2011 LW URI 1/1/2011 Historic Textile and Costume Collections in the Academic Setting Linda Welters and. .. and administrators of such collections Guidelines for Management of Historic Textile and Costume Collections In this section, we present guidelines for managing historic textile and costume collections. .. use in class and exhibition in the Textile Gallery and other museums II Administration The Collection is located in Quinn Hall on the Kingston campus The Department of Textiles, Fashion Merchandising