The National Trust's Textile Conservation Studio is a centre of excellence committed to ensuring the Trust’s remarkable collection of historic textiles is protected for the future.

Purpose-built
The studio, opened in 2002, was purpose-built in converted 18th-century barns. The new facilities and state-of-the-art equipment are enabling Trust conservators to tackle larger and more complicated textile conservation projects, whilst reducing the risks involved in conservation procedures.

The new studio, with 330sqm of functional space, is almost double the size of the previous studio. As well as dedicated wet and dry rooms, there is a dye laboratory space and staff facilities including office and reception areas.

Essential facilities such as fume extraction systems and a hoist in the principal work area, enabling large textiles to be hung, have also been incorporated, as have bespoke IT systems and improved health and safety equipment.

The Pilgrim Trust, the East of England Development Agency, the Clothworkers’ Foundation and two private bequests generously supported the project.

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Objects treated include:

• The 1697 Lapierre canopy has been re-installed at Hardwick Hall after approximately 6,200 hours of work spread over three years. The draped fabrics have been wet-cleaned and supported on new-dyed silk. Loose metal braids have been re-attached, whilst the cloth-covered wood structure has been repaired. Missing pieces have been re-carved where appropriate and the whole carefully surface-cleaned, removing years of accumulated surface dust.

• Work has been completed on the second Gideon tapestry from Hardwick Hall. Conservation work on the first six of these 13 tapestries should be completed by 2006. Fund-raising continues for the remainder of the set.

• The studio team also responds to emergencies. A flood at Blickling Hall caused water damage to three tapestries. Fortunately, studio staff were able to help house staff remove the tapestries and administer controlled drying procedures to keep any damage to a minimum. This is now being followed by full wet-cleaning and repair before re-hanging.

• Another water leak at Plas Newydd damaged a pair of curtains and the carpet. The studio gave emergency instructions over the telephone and the curtains arrived at Blickling for treatment within days.

• Exhibition mounting can be complex and time-consuming as the work must ensure the safe, and visually appealing, display of objects. The annual costume exhibition at Springhill, in Northern Ireland, involves the preparation of mannequins to properly support the fragile costumes, and to ensure they have the right shape and appearance.

• A exhibition at Powis Castle gave the opportunity for the display of three sets of livery costume alongside the State Coach. In addition, two parliamentary robes worn by Disraeli have been re-mounted on to new mannequins at Hughenden Manor.

• The conservation and preparation of exhibition cases on site at Lyme Park meant that a headboard and passementerie (ornamental braid) from a state bed of c1680 could be put on display for the first time.