Rebecca Bissonnet ACR

16 Apr 2025

I provide a variety of services for the care of textile which may include one or all the following.

Condition checking and surveys - Condition checking of both individual textiles and collections to help determine treatment options, assist with funding applications and devising a roadmap for the future preservation of pieces.

Interventive conservation - Full range of textile conservation treatments including documentation; photography; cleaning; crease removal; conservation support and mounting. The needs of both the object and the client are considered.

Preventive Conservation - Advise on the preventive care of textiles including how to deal with the agents of decay such as pests, light, temperature and humidity as well as guidance on documentation, packing and handling.

Advice and lectures - Training provided for volunteers and staff on how to care for your collection using the resources to hand. Public speaking on conservation, taking a behind the scenes look at some of the objects I have had the privilege of working on.

Tapestry Conservation

Drawing on my experience as Tapestry supervisor at Historic Royal Palaces I have the space, facilities and knowledge to offer tapestry conservation in the studio Upon arrival in the studio, the tapestry will be assessed and a condition report and treatment proposal provided. The next steps will then be discussed and a treatment suitable for both the tapestry, its next stage in life and budget will be undertaken. This may include a full or patch support. conservation stitching, re weaving, re warping, lining and velcro hanging mechanisms if required.

Wet Cleaning

Some textiles may require wet cleaning to remove ingrained soiling, reducing staining, rehydrate fibres and minimise creasing and folds. This can be carried out in the studio where I have the facilities to carry out full wet cleaning.

Stitch Support

With a strong background in hand stitching, stich support is one of the treatments that I find most rewarding. This can be carried out on any size textile with appropriate thickness and colour of threads to provide support for weak and fragile areas or areas of splits and wear.

Adhesive Support

Depending on the textile, it may be more appropriate to use a conservation grade adhesive to support weak and fragile areas. Once adhesives and methods have been tested, these will be used to consolidate, re attach and/or support textiles and textile fibres. Adhesives work particularly well on banners, flat textiles and upholstery such as bed frames and stools, were adhesive may have been originally used in the making of an item.

Dying

The studio is fully equipped with dying facilities to colour match fabric for use in patch and full support. In filling areas of loss or colour matching new linings or backings.

Rolling HMS Victory sail during cleaning

November 2024. HMS Victory, Fore topsail. Admiral Nelson, Battle of Trafalgar. The sail was rolled on a roller to facilitate cleaning and documenting both sides. Weighing half a ton and measuring 24 by 16 meters, the complexities of the project were in the moving and handling. Treatment: Surface cleaning and documenting areas of loss and staining producing a map of damage and staining.

Lace collar on a red Irish dance dress - The Repair Shop

April 2024. Treatment: The lace was removed and wet cleaned, areas of loss and broken threads were re-established using fine cotton thread and button stitch, then stitched back into place. The stain on the dress was removed using gel.

Working in situ on curtains in the study at Mottisfont, National Trust

October 2024. 1930’s Glazed cotton chintz full length curtains with swagged pelmet. Treatment: Cleaned using low powered vacuum suction and dry sponges to lift the soiling. The splits were supported using dyed cotton support patches, conservation couching and a net overlay. All the work was done onsite providing visitor engagement.

Costume at the Fitzwilliam Museum - Embroidered swimmer on the hip of a knitted swimsuit

July 2024. Paris 1924 exhibition at the Fitzwilliam Museum. Padding up and shaping mannequins to fit and support two dresses and one knitted swimsuit.

Conservation and mounting of Georgian three piece suit on a padded mannequin ready for display.

October 2024. Circa. 1740-50 gentleman’s formal suit belonging to Lord William Seymour. Conservation of the three separate elements and preparation of a mannequin ready for display. Treatment: Surface and mechanically cleaned Loose threads secured. Weak areas netted. Holes patch supported and couched.

Danny-La-Rue dress after conservation ready for collection

June 2024. Dress originally belonged to Danny La Rue. Treatment: The many splits and frayed fabric were supported onto adhesive coated crepeline. The original seams were re stitched and the rips in the sleeves and bodice secured with patches and couching. The bust padding was replaced with moulded Foss-shape forms.

Conservation and installation of Regency costume. Chertsey Museum.

October 2024. Conservation of a variety of Regency costume and assistance with the installation ready for the exhibition at Chertsey Museum. The damage and conservation varied for each piece but included patch support, wet cleaning and making bespoke mounts and creative fastening to facilitate the display of the costume.

Ceremonial coat - The Repair Shop

September 2024. Green velvet coat decorated with embroidered gold braid and cord Splits in the lining and the velvet. Loose braid and detached collar. Treatment: Areas of loss were supported onto patch support and secured with conservation stitching and conservation net. The loose braid was reattached.

Willow Road, National Trust

May 2024 Preparing the flat for open season. The work involved condition checking and addressing conservation solutions to a variety of items including throws, bed covers and clothing. The work took place over three days, targeting items already flagged up in a previous survey.

Painted India cloth. Indian textile after conservation on a padded board.

February 2022. Beige cotton Indian textile with hand painted/printing. Treatment: The piece was weighted over an extended period of time to reduce the cockling. The edged humidified. The textile was stitched to the padded board using long and short stitch round the edges worked in a fine polyester thread.

Biography

Rebecca Bissonnet ACR

After completing an apprenticeship at the Royal School of Needlework, Rebecca studied a Master of Art in Textile Conservation, completing her MA in 2003. For 11 years Rebecca worked on short term contracts, both in the UK and abroad. In 2015 Rebecca secured a permanent position at Historic Royal Palaces, where she led a team of conservators, taking care of the state beds and throne canopies In 2021, Rebecca set up her own conservation practice working both in her studio and on site for a variety of institutions, private clients and is an expert on The Repair Shop BBC TV.

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