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Based in Alexandria, Virginia and serving the greater Washington, D.C. area. Get in touch to discuss your textile and how I can help.

Frequently Asked Questions

About Art Conservation

Working With Me

  • A profession that preserves cultural heritage for future generations. Conservators typically specialize in a particular type of artifact; for example, my specialty is in textiles.

  • Conservation focuses on stabilizing and preserving a textile in its current state, slowing deterioration and preventing further damage while respecting the object's history — including signs of age and use. Restoration goes further, attempting to return an object to a previous appearance, which may involve more interventive techniques. As a conservator, my approach prioritizes minimal intervention and reversibility, meaning any treatments I carry out can be undone in the future without causing additional harm to the object.

  • If you notice fraying, tears, staining, fading, brittleness, or active deterioration such as fiber loss or insect damage, your textile may benefit from conservation. Even textiles that appear stable can have underlying vulnerabilities that worsen over time without proper care. When in doubt, a consultation is the best first step — early intervention is almost always easier and less costly than treating advanced damage.

  • Proper storage can significantly extend the life of a historic textile. A few general guidelines:

    • Store textiles in a cool, dry, and dark environment away from direct light, humidity fluctuations, and pests

    • Avoid folding where possible — rolled or flat storage reduces stress on fibers. If folding is necessary, pad the folds with acid-free tissue

    • Use acid-free boxes, tissue, and storage materials

    • Handle textiles with clean hands or cotton gloves, supporting the full weight of the object rather than holding it by a single edge

    • Avoid storing in plastic bags or non-breathable containers, which can trap moisture

    Every textile is different, and what works for one object may not be appropriate for another. If you have questions about a specific piece, feel free to get in touch.

  • I work with a wide range of historic textiles including costumes, military uniforms, quilts, embroideries, upholstery, flags, and ceremonial objects. If you're unsure whether your piece falls within my area of expertise, please don't hesitate to get in touch — I'm happy to discuss your object and point you in the right direction if needed.

  • Every project begins with an initial consultation, during which I examine the textile, assess its condition, and discuss your goals and concerns. From there I prepare a treatment proposal outlining my recommended approach, the estimated timeline, and costs for your approval before any work begins.

    Treatment varies depending on the object and its needs, but may include cleaning, stabilization, structural repair, and storage recommendations. I document the condition of your textile before, during, and after treatment so you have a complete record of the work carried out.

    Nothing is done without your agreement at each stage — you are involved in the decision making process throughout.

  • Yes — a consultation is always the first step. It gives me the opportunity to examine your textile in person, assess its condition, and discuss the best course of action. It also gives you the chance to ask questions and understand what treatment might involve before making any commitments.

    To schedule a consultation or inquire about your textile, please get in touch via the contact form or email info@sewnwovenconservation.com.

  • I am based in Alexandria, Virginia and primarily serve the Washington, D.C. metropolitan area. I am also available for project-based work at institutions and collections further afield — please get in touch to discuss your needs.

  • I always enjoyed going to museums, studying history, and working with my hands. In high school I discovered a passion for chemistry, and art conservation brought all of those interests together naturally — combining art history, science, and fine motor skills in a way nothing else did. I love working with objects that carry history and meaning, and knowing that my work helps preserve them for future generations to enjoy.