Stitches count in both textile conservation and mount making. As part of our C2C “Textiles Intensive” workshop during Preservation Week, Instructor Paige Myers led our group in learning four different stitches. Myers, the Textile Conservator at the North Carolina Museum of History, explained why the herringbone stitch is the one she uses most often.
If your job includes any mount-making responsibilities, it may be worthwhile for you to practice this stitch. [Click here for a tutorial on the herringbone stitch.] It is a good way to secure a fabric layer to a substrate—like quilt batting—without having to bring the stitch all the way through the substrate layer. The stitch is also very flat, while being fairly strong. The flatter the stitch, the less pressure the historic textile placed upon it encounters. Another way to keep stitching as flat as possible is to avoid knots. A back stitch or a perpendicular stitch can help keep the thread tail in place without introducing a knot on the mount surface. To see photos of padding layers stitched to a mannequin and learn more about the process, see the Fashion Institute of Design & Merchandising Museum’s discussion of preparing floating forms for a costume exhibition.
A great way to get an up-close view of herringbone stitches is to look closely at crazy quilts in your institution’s collection. Late-nineteenth-century quilters often used a variety of fancy stitches to join one scrap of fabric to another, while securing them to supportive layers. The herringbone stitch is one of the simpler stitches they used for crazy quilts and served as an important staple stitch. A detail from the Rebecca Wall quilt in the Orange County Historical Museum‘s collection shows herringbone stitches curving along the piece of red calico below the 1862 embroidery. Rebecca and her late fiance’s mother and sister made the quilt in 1883 to commemorate him and embroidered it with the year of his birth as well as many other symbols representing his life. Another example in the North Carolina Museum of History’s collection shows plenty of herringbone stitching throughout. Lina Gough of Lumberton made this quilt in 1890.
Do you have any techniques that work really well for making mounts? If so, please share them with our NC cultural heritage community. Also, consider joining C2C staff and Paige Myers at our upcoming Mount-Making Summer Camp in Yadkinville on July 9th. During the workshop we will share mount-making ideas, practice creating various mounts, and learn more about local sources for preservation-appropriate supports.