The Ethics of Textile Preservation
Restoring a 20th-century Sunbonnet Sue quilt
quilt from the Oakland Plantation
requires more than just a needle and thread. It demands a dialogue between the artifact and the conservator. When Ellie Fitzgerald
faced significant "losses"—voids in the fabric caused by light, pests, and inherent vice—she adhered to the core tenets of modern conservation. Every intervention must be reversible and identifiable, ensuring that future scholars can distinguish between the hand of the original maker and the hand of the protector. The goal is visual integration: repairing the object so the viewer sees the artistry of the little girls in bonnets rather than the trauma of the holes.
Preparing the Foundation through Gentle Cleansing
Before structural repairs begin, the textile must be stabilized through cleaning. This is not a mechanical process. Conservators use a specialized washing table
to support the quilt’s weight. They apply Orvis
soap, a surfactant designed for delicate fibers, using a dabbing motion. Rinsing involves sponging water through the three layers—the top, the cotton batting, and the backing—without ever wringing or agitation. This removes acidic deterioration products, often appearing as yellow runoff, which would otherwise continue to degrade the fibers over time.
The Paper Inlay Technique
Ellie Fitzgerald
bridged the gap between disciplines by applying paper conservation methods to this textile crisis. She utilized Japanese tissue
, a high-strength, low-weight material (roughly 5-6 grams per square meter). By photographing the original fabric patterns and using photo-editing software, she recreated the specific floral and geometric motifs of the Sunbonnet Sue quilt
. These patterns were then printed onto the tissue using a laser printer—a choice made because laser toner is stable and will not bleed or off-gas like liquid inks.
Final Stabilization and Future-Proofing
Once the paper fills are hand-stitched into place with microscopic precision, the entire surface is encased in silk crepeline
. This nearly invisible mesh provides a secondary layer of protection, holding the original fragments and the new paper inlays in a secure sandwich. To ensure future experts can identify the work, the new cotton batting used in the fills lacks the optical brighteners found in the original, making the repairs glow differently under ultraviolet light. This meticulous documentation and technique allow the quilt to remain a living piece of Cane River Creole National Historic Park
history.
