Textile Specialty Group Award

Robin Hanson has managed the textile conservation lab at the Cleveland Museum of Art for the past 25 years. In 1997 she completed graduate training in conservation, with a specialization in textiles, at the Winterthur / University of Delaware Program in Art Conservation. She is a Fellow of AIC.

Patricia Ewer is a distinguished figure in the field of textile conservation with over 40 years of international experience. She has been a member of American Institute for Conservation of Historic and Artistic Work since 1989 and was a founding member of the North American Textile Conservation Conference and Southeast Regional Conservation Association.

Her expertise spans treating textiles, managing conservation projects, and staffing initiatives across various disciplines. Ewer has worked for a number of noteworthy institutions and projects. She is the founder of Textile Objects Conservation, LLC, of Minneapolis, MN. She has contributed her skills to several institutions including Historic Royal Palaces (UK), Midwest Art Conservation Center (Minneapolis), Biltmore House (Ashville, NC), Textile Conservation Laboratory at the Cathedral Church of St. John the Divine (New York, New York), The Textile Conservation Workshop (South Salem, New York, and Minneapolis Institute of Arts.

In addition to her work in the lab, Patricia co-edited two significant texts: Textile Conservation: Advances in Practice (2010) with Frances Lennard and Textile Conservation: Advances in Practice (2nd edition, 2024) with Frances Lennard and Laura Mina.

Catherine McLean worked as a textile conservator at the Los Angeles County Museum of Art (LACMA) from 1981 to 2023. She headed the Textile Conservation Section of LACMA’s Conservation Center from 1986 until her retirement in 2023.

Her 49-year career began with a conservation laboratory tour at the Detroit Institute of Arts (DIA) while a senior in high school. This led to a several volunteer internships at the DIA, working in the textile and paper conservation labs. While completing her BA in Art History at the University of Michigan (U of M), she continued to gain pre-program experience in treatment of archeological materials at U of M’s Kelsey Museum. In 1978, Catherine was accepted into the Winterthur/University of Delaware Program in Art Conservation (WUDPAC) where she specialized in textile conservation. Catherine completed her MS on Art Conservation with a third-year internship with Pat Reeves, LACMA’s founding Head of Textile Conservation (1968-1986).

Immediately following graduation in 1981, Catherine transitioned to LACMA employment with an Andrew W. Mellon Fellowship and then, in 1983, as an Assistant Conservator. Her time at LACMA has spanned the marked growth of the museum’s collection and programming, as well as the textile conservation profession. During her extensive career at LACMA, she showed commitment to the textile profession through her conservation expertise on a broad range of artifacts in an encyclopedic costume and textile collection which grew to over 35,000 accessions. Simultaneously, she engaged in continuous educational outreach through lecturing, publishing, and training conservation professionals. A few of her research and treatment highlights include a rare 17th-century mantua gown, the Ardabil Carpet, and early American upholstered furniture.

Catherine also values outreach and collaborative programs within our cultural heritage community. She has been a Fellow of AIC and of the IIC since 1988 and 1993, respectively. Additionally, she served on the steering committee of the NATCC from 1996-2000, as well as editing or co-editing volumes 1, 3 and 4 of the TSG Postprints. She has lectured and presented widely since 1980 on textile preservation, conservation and display at conferences and workshops, nationally and internationally. Catherine has contributed to a number of publications including: Textile Symposium in Honor of Pat Reeves (1986), Textile Conservation: Advances in Practice (2010, revised in 2023), and Fashion Prints in the Age of Louis XIV: Interpreting the Art of Elegance (2014).

More recently, from 2020-2022 she was a member of the teaching team for the Fisk Museum Leadership Program at LACMA, an HBCU-affiliated program to increase diversity in the field of conservation through programs at the undergraduate level. As the pandemic subsided and in-person meeting were safe again, she was instrumental in organizing LACMA’s Conservation Center to host one of the AIC conference workshops: “Textile Cleaning: Stain Reduction” as part of the 2022 AIC 50th Annual Meeting in Los Angeles. Just a few weeks after that, she organized and hosted a cross-cultural event bringing together LACMA textile conservators, curators and scientists with conservators from Seoul, Korea, for a weeklong study exchange focused on a Korean wedding robe (Hwarot) from LACMA’s collection.

Catherine’s love for our field is contagious and evident when one looks at her dedication towards emerging conservation professionals. After over 40 years at LACMA, she mentored and trained 47 preprogram, graduate, and post-graduate students in the textile conservation studio, many of whom when on to lead textile conservation laboratories in major museums in the US and abroad. Mentoring continues to be a significant passion. She gave generously of her time and expertise, from guiding pre- program interns to apply for graduate programs (with a high rate of success) to preparing post-graduate fellows for their first permanent full-time conservation positions.

Kathy Francis is currently a conservator in private practice and owner of Francis Textile Conservation LLC, founded in 2003. She began her training as an undergraduate at the University of Massachusetts Framingham, majoring in Clothing and Textiles and minoring in Sociology/Anthropology with special emphasis on textile techniques and the relationship between textiles and culture. She then held a working apprenticeship at the Textile Conservation Center in North Andover, Massachusetts, working her way up from that position to Chief Conservator. After fifteen years at the Center, she moved to the Isabella Stewart Gardner Museum in Boston, where she was the Associate and then Senior Conservator of textiles. Mid-career, she spent a year at the Metropolitan Museum of Art.

Kathy’s contributions to the field are extensive. She has presented and published on such topics as tapestry conservation and the drying behavior of textiles, and is the author of Disaster Prevention, Preparedness and Recovery: Special Concerns for Museum Textile Collections. In addition, she was a major contributor to the TSG catalog, now part of the AIC Wiki, as both writer and editor. She has taught in the conservation programs at the NYU Institute of Fine Arts and the Fashion Institute of Technology, and served as a guest lecturer at the Winterthur/University of Delaware program. Kathy has long been, and continues to be, a valued mentor to students and emerging professionals within our field. She is also an AIC Fellow and a long-time, dedicated member of the TSG community. She served as a member and Chair of the Scholarship Committee, as Treasurer, and twice as Vice Chair and then Chair. As Chair, she formalized the TSG archives and job descriptions and initiated the use of surplus funds for a TSG scholarship. After her second official tenure as Chair, she volunteered as the first Chair Emerita, guiding an incoming TSG board.

Christine Giuntini is a textile conservator at the Metropolitan Museum of Art (The Met) in New York City. She initially worked for Nobuko Kajitani, Head Conservator, in the Department of Textile Conservation in the early 1980s while still a graduate student at the Conservation Center of the Institute of Fine Art, New York University. In the late 1990s, Christine transitioned to working part-time within the Department of the Arts of Africa, Oceania, and the Americas (AAOA), serving as the department’s embedded textile and organic objects conservator. Her expertise and professional passion lie in developing engaging exhibition and mounting protocols for complex fabric and fiber objects and textiles. Her first Met assignment was the installation of such works within the Rockefeller Wing (opened 1982) and she was eventually responsible for 2-3 temporary exhibitions a year while working in AAOA. Christine has also worked as a private textile conservator, contracting with institutions such as The Brooklyn Museum, The Smithsonian National Museum of the American Indian, The Museum of Fine Arts Boston, The American Museum of Natural History, The Nelson Atkins Museum, The Virginia Museum of Fine Arts, The Smithsonian Freer Sackler Galleries, and Dumbarton Oaks, among other public institutions.

Before pursuing conservation, Christine took classes in textiles at the Tyler School of Arts and Temple University, both in Philadelphia, after double-majoring in Art History and Studio Arts at Indiana University in Bloomington, Indiana. Christine chose to attend The Conservation Center of the Institute of Fine Art, New York University specifically because she wanted to study with Nobuko Kajitani at the Metropolitan Museum of Art.

In addition to her many responsibilities at the Met and to her other clients, Christine has been an active member of the textile conservation community, presenting and publishing within the ICOM Textile Group, the Textile Specialty Group (TSG) and the North American Textile Conservation Conference (NATCC). She has also contributed essays to Met exhibition catalogs and textile conservation publications. She served as AIC TSG program chair (2002) and chair (2003). She has been on the board of the NATCC since 2007, holding posts as treasurer, secretary, and communications liaison. Her generous guidance as a mentor has inspired many conservation students and young professionals as they pursue their own careers in textile conservation.

Denyse Montegut is Full Professor in the Fashion and Textile Studies master’s degree program at the Fashion Institute of Technology (SUNY) where she has taught conservation science courses since 1991 and directed the academic evolution of the program as the Chair from 1996-2019. She has also taught specialty fiber identification workshops at NATCC and lectured for the past 15 years at the Conservation Center at the IFA, NYU. Her private conservation experiences are broad, with clients that range from personal collectors to her contract position at the Guggenheim Museum as their textile specialist. She was also the archivist at Calvin Klein, Inc. for 20 years from 1996-2017 helping to inaugurate the field of fashion archiving/collection management, in which many of her graduates hold leadership positions.

Denyse received her BA in Art History with a minor in Mathematics from Brooklyn College, and holds an MA in Art History and a Certificate in Conservation from the Institute of Fine Arts, New York University. She is ABD in art conservation research at the University of Delaware, where her work centered on the authentication of thirteenth-century printed textile fragments. Her publications range over a number of historical and technical subjects and include several on the technical examination of metal threads from medieval to Sumatran; dye chemistry; byssus fibers; the characterization and identification of faux suede materials, and the technical analysis of regenerated protein fibers. Her current research has taken her back to the examination of metal threads through a book project with the Smithsonian Institution.

Dr. Vicki Cassman was committed to studying and conserving textiles, as well as teaching and mentoring students, for most of her adult life. She inspired and fostered the growth of countless conservators, and was a valuable resource to her colleagues through her extensive expertise and research on the preservation of both textiles and human remains.

After graduating from the Winterthur/University of Delaware program in Art Conservation in 1985, Dr. Cassman worked as a textile conservator in private practice and at the Asian Art Museum in San Francisco. In 1997 she received a PhD in Archaeology from Arizona State University and began teaching in the Department of Anthropology at the University of Nevada, Las Vegas. In 2006 she returned to the University of Delaware as a professor and Director of Undergraduate Studies in the Department of Art Conservation.

Dr. Cassman was the main editor for the book Human Remains Guide for Museums and Academic Institutions (AltaMira Press, 2007). She was the recipient of the 2012 College of Arts and Sciences Outstanding Service Award, the 2012 University of Delaware Excellence in Advising and Mentoring Award, and the 2014 American Institute for Conservation Sheldon and Carolyn Keck Award.

AIC Fellow Margaret Anderson (formerly Margaret Fikioris) worked as a textile conservator from 1966 until 1990, and a conservation educator from 1974 to 1990. She had a special interest in preventive conservation throughout her career, and served as a mentor and advisor to many conservation students. Her decades of work within our field deserve to be recognized, especially her encouragement to those who wished to study textile conservation.

Margaret received an MA in Art History at Columbia University in the early 1960s; her research focus was on a set of 16th century tapestries. At the suggestion of Sheldon Keck, Margaret trained in textile conservation at The Textile Museum under Joseph Columbus, Colonel Rice, and Louisa Bellinger in the mid-1960s. Florence and Charles Montgomery of the Winterthur Museum recruited Margaret to become Winterthur’s textile conservator in 1967 where she set up the museum's first textile conservation lab in the Louise du Pont Crowninshield Research Building (opened 1969).

In 1974 when the Winterthur Museum and the University of Delaware accepted the first class into the Art Conservation Training Program (WUDPAC), Margaret became a conservation educator, serving on the admissions committee and training students in textile conservation. From 1978-1992 Margaret served in the 6-member Harper's Ferry Regional Textile Conservation Group with Kathleen Betts, Meg Loew Craft, Katherine Dirks, Jane Merritt, and Fonda Thompson, which grew from a small regional meeting to an international gathering. The HFRTG held 10 conferences with associated publications on various textile conservation topics.

After leaving Winterthur in 1990, she continued to work until 2007 as a consultant for collections assessment and storage planning for institutions and small historical societies with textile collections.

Later in life, Margaret became a peace activist and focused on the preservation of the human spirit and Mother Earth instead of the preservation of material culture.

Joy Gardiner is Head of Conservation at the Winterthur Museum, Garden, and Library, where she has worked full-time since 1991. Before being appointed to her current position she served as Assistant Director of Conservation and Head of Textile Conservation, and was an Affiliated Assistant Professor in Art Conservation for the Winterthur/University of Delaware Program in Conservation. She has lectured on a variety of topics relating to textile conservation, with a number of these being written up in pre- and post-prints. She has been treasurer (1993-1994), vice-chair (1998-1999) and chair (1999-2000) of the Textile Specialty Group of AIC and since 2000 has been on the Steering Committee/Board of the North American Textile Conservation Conference (NATCC).

Lucy Commoner was the Senior Textile Conservator at the Cooper-Hewitt, National Design Museum since 1977 and was appointed Head of Conservation in 2004, a position she held until 2016, when she became Conservator Emerita at the museum. Previously, she was an Assistant Restorer for the Textile Conservation and Egyptian Departments at the Metropolitan Museum of Art. Her areas of expertise include early Dynastic Egyptian textiles, folding fans (history and conservation), museum storage systems, fiber identification and microscopy, exhibition and mounting techniques for textiles, and the construction and maintenance of conservation environment.

Ms. Commoner has lectured and published widely including articles published by the Journal of the American Institute for the Conservation of Historic and Artistic Works (AIC), the Textile Conservation Group, and the Smithsonian Institution Press. She has taught textile conservation classes for the Fashion Institute of Technology Textile Conservation Program, the Parsons School of Design, and is an adjunct professor for the New York University Institute of Fine Arts Conservation Center.

She was also a founding member of the New York Textile Conservation Group and the New York Conservation Association and has served on their boards. She was elected a Fellow of AIC in 1987 and served as Chair of the Membership Committee. She has been an editor of the AIC Textile Conservation Catalogue since the project began. She also served on the Board of Advisors of the FIT Graduate Division for several years and has been a conservation grant reviewer for the NEH and the New York State Council on the Arts.

Ms. Commoner has served as a consulting conservator for numerous museums, including the Museum at FIT, the Queens Museum, the Museum of the City of New York, the New York Historical Society, the Morgan Library and the Museum of Modern Art.

Harold F. Mailand (pronounced My-land) had a unique journey into the field of textile and costume conservation. Commencing in 1977, he apprenticed with four leading conservators at institutions with major collections of textiles and clothing in the United States of America. They included The Metropolitan Museum of Art, The Costume Institute, New York; Museum of Fine Arts, Boston; Smithsonian Institution, National Museum of History and Technology, Washington, D.C.; and The Textile Museum, Washington, D.C.. National and state granting institutions funded this training, including the National Museum Act, National Endowment for the Arts, and the Indiana Arts Commission.

Prior to his apprenticeships he studied fine arts, art history, historic architecture, and art education as an undergraduate and graduate. After his training he served as the first textile conservator for the Indianapolis Museum of Art (IMA). As part of a training grant requirement he presented a workshop and published Considerations for the Care of Textiles and Costumes: A Handbook for the Non-Specialist in 1979. This was the first stand-alone publication to address issues for textiles and costume such as climate control, lighting, cleaning, mold, insects, storage, exhibition, and mannequins. This was compiled from his internships. The New York Times reviewed the title on April 9, 1981, citing that the booklet “has become the fabric Baedeker for historical societies, museum staffs, collectors and individuals who just want to hold onto the past." This publication was a commercial success with three revisions and ten printings.

While at the IMA he was instrumental in bringing visual and scientific documentation to the 168 objects selected for the 1983 centennial exhibition, "Fabrics in Celebration from the Collection." This seminal publication introduced to the field scientific analysis techniques such as ultraviolet, x-radiography, atomic emission spectrography, and scanning electron microscopy (SEM). He believed that looking closer at structures and surfaces was key to understanding textiles and costumes in addition to stylistic, historic, and aesthetic perspectives.

In 1986 Harold founded Textile Conservation Services (TCS), a private laboratory in Indianapolis. He and his associates specialize in the preservation of European tapestries, Civil War battle flags, and historic costumes for private and institutional collections from Connecticut to California. TCS has treated over 1,7800 objects. He has lectured on preservation issues in England, Italy, Germany, Canada, Switzerland, and throughout the United States.

Harold co-authored a 92-page text entitled Preserving Textiles: A Guide for the Nonspecialist. First published in 1999, it was reprinted and has sold over 2000 copies. He is a Fellow in the American Institute for Conservation (AIC), and in 2018 he was invested as Fellow of the Costume Society of America.

Mr. Mailand developed coursework in the care of textiles and costume at the Campbell Center/International Preservation Studies Center from 2002 to 2018. He provided a practicum for participants to identify materials, explore textile and costume construction, and present preservation protocols.

In 2022 he published Confessions of a Textile Conservator. This 72-page catalog presented 33 works he collected that date from 1780 to 1994. The pieces from India, Germany, England, Wales, and America were exhibited at the National Quilt Museum. The catalog sold out!

A Samuel H. Kress Conservation Publication Grant was awarded to pursue the research for the title Vulnerable and Persistent: Preserving the Beauty and Cultural Value of Textiles and Costumes.

His passions are architectural preservation, and the study and collecting of objects that support story lines of artistic and historic expression.

Patsy Orlofsky is the founder and director of the Textile Conservation Workshop in South Salem, NY. A scholar and lecturer on the history and care of Judaic objects, American textiles and modern and contemporary art textiles, she is also the author of Quilts in America published in 1974, 1992. She is a Professional Member of AIC and the FAIC Samuel H. Kress Conservation Publications Fellowship Coordinator.

Leslie Melville Smith was a pioneer in the field of textile conservation. She attended Radcliffe College with the goal of becoming a chemist but by the time she graduated she had a degree in archaeology and a desire to work with ancient and historic textiles. This interest led her to the Museum of Fine Arts, Boston, where she began as a volunteer and eventually became Head of the Textile Conservation Workroom. During this time she helped set up the conservation program at the Fashion Institute of Technology, where she lectured and taught a hands-on treatment workshop. In 1986, Leslie left the MFA to become the Head Textile Conservator at the de Young Museum in San Francisco. She retired in 1990.

R. Bruce Hutchison was one of the most well-known and respected textile conservators of his generation. He began his conservation career in San Francisco in 1973, under the tutelage of Ms. Pat Reeves (visiting from the Los Angeles County Museum of Art). Hutchison worked closely with Anna and Ralph Bennett to establish a textile conservation facility at San Francisco's M.H. de Young Museum. There, he helped develop innovative techniques for tapestry and costume conservation that became models for other textile conservation practices throughout the country.

In 1975 he was awarded a National Endowment for the Art Fellowship which enabled him to spend a year to work and study textile conservation at ateliers in Denmark, Sweden, England, and Switzerland. Upon his return to the U.S., Hutchison became Textile Conservator for the Fine Arts Museums of San Francisco. He was instrumental in preparing two major exhibitions -- "Five Centuries of Tapestry" and "A Century of Brides"--and contributed to the training of numerous textile department interns and volunteers. From 1979 to 1982, Hutchison established a freelance conservation practice in San Francisco.

From 1982 to 1992, Hutchison was Textile Conservator for the Textile Conservation Laboratory of the Cathedral Church of St. John the Divine, New York City, where he worked to develop a full service facility with an emphasis on large scale tapestries and textiles. In 1992, Bruce returned to San Francisco, to re-establish a freelance conservation practice.

Hutchison played an active part in the formation and development of several professional associations. From 1986 to 1988, he was President of the Textile Conservation Group, N.Y.C. He also helped to establish the Textile Specialty Group of A.I.C. He served as an officer for the BAACG and was a regular participant in WAAC activities. In 1987 he was asked to deliver a paper at "The Conservation of Tapestries and Embroideries" meeting at the IRPA, Brussels (his paper was Gluttony and Avarice: Two Different Approaches). Throughout his career, he was committed to the training of students, and was known for emphasizing meticulous care and craftsmanship in all aspects of studio work.

For more than 40 years, Mary Ballard has been a strong and active member of the textile conservation profession and of AIC and the Textile Specialty Group. After her studies at NYU’s Institute of Fine Arts Conservation Center (from which she received her MA and Certificate in Conservation in 1979), Mary was the textile conservator at the Detroit Institute of Arts from 1977-1984. Since 1984, she has been the textile conservator at the Museum Conservation Institute of the Smithsonian Institution, through all of its name changes.

Mary has written or co-written nearly 50 papers on archaeological textiles; the museum environment; textile treatment issues, materials, and techniques; dyes and pigments in conservation; and laboratory protocols. The range of fields in which she has published shows the range of her interests and knowledge.

Mary and Gail Ni’inima co-founded the "texcons" distlist in 1997. Mary has always been willing to share information in other less formal ways. Many conservators have benefited from her giving references and advice via telephone conversations, letters, and emails.

Mary has served as a mentor to many beginning textile conservators and hosted workshops and courses at Suitland for textile conservators for many years. Working within AIC/TSG, Mary served as TSG Vice Chair and then Chair both in the mid ‘80s and 2006-08. She was an active member and then chair of the AIC Health and Safety Committee in the early 2000s. She has been a Fellow of AIC for many, many years.

Mary is anything but provincial in her approach to conservation. She is a Fellow of IIC, a senior member of AAATC, a member of CIETA, and an active member of ICOM-CC, for which she served as Coordinator of the Textile Working Group.

Jane Merritt’s career in textile conservation spans more than 30 years, during which she worked for the Metropolitan Museum of Art’s Textile Conservation Department, the Textile Museum in Washington, DC, the Association pour l’Etude et la Documentation des Textiles d’Asie in Paris, France, and at the National Park Service’s Harpers Ferry Center, Harpers Ferry, WV. She has served as a consultant to many private and public institutions, published extensively in the area of textile conservation and history, and lectured widely.

Jane received a National Endowment for the Arts Fellowship for Museum Professionals to do field research in Indonesia, was a Brunschwig et Fils Scholar at the Attingham Summer School on the British Country house, and was a 2002 recipient of the Samuel H. Kress Conservation Publication Fellowship from the Foundation for the American Institute for Conservation. The book that resulted from that award, Preventive Conservation for Historic House Museums, (co-authored with Julie Reilly) was published in 2010 by Altamira Press.

In her positions at the Textile Museum and Harpers Ferry, Jane trained and supervised staff and interns. At least three now-professional textile conservators did graduate school internships or post-graduate fellowships with her at Harpers Ferry.

Jane was an active member of the HFRTG, a group that organized and presented textile conservation programs biennially between 1978 and 1992 in Washington, DC. After that group disbanded, Jane was the one to propose what has now become NATCC. NATCC has developed into a successful organization that, since its first conference in 1997, draws together textile conservators for biennial conferences and workshops to share expertise.

Working within AIC/TSG, Jane served as TSG Vice Chair and Chair in the mid-1990’s. She was a longtime editor of the Textile Conservation Catalogue (now on the AIC Wiki), responsible for co-editing five chapters and the Statement of Purpose and for reorganizing the outline of the entire Catalogue. She also co-edited Vols. 10-12 of the TSG Postprints.

Kathleen Kiefer is a textile conservator in private practice based in Houston, Texas. She also serves on the Board of TX-CERA, the Texas Collections Emergency Resource Alliance. Over the course of her career she has worked in a variety of conservation contexts and with a broad range of fiber-based materials. She was a textile conservator for the Art Institute of Chicago, the Indianapolis Museum of Art, Winterthur Museum, Gardens & Library, where I also taught with the Winterthur/University of Delaware graduate program in art conservation, and at the Textile Conservation Center, a regional conservation center at the former American Textile History Museum in Lowell, Massachusetts. A priority for her now is to advocate for the importance of textiles within the hierarchy of material cultural heritage and to highlight the significant knowledge and skills necessary for and possessed by textile conservation specialists. She is committed to supporting the continued growth and development of the field textiles conservation and the individual practitioners devoted to understanding and preserving these often complex materials imbued with so much evidence of human ingenuity and experience. Kathleen a Professional Member of the AIC and a graduate of the Winterthur/University of Delaware Program in Art Conservation.

Kaelyn Garcia, who joined The Costume Institute of The Metropolitan Museum of Art in 2024, manages the conservation of new acquisitions and contributes to departmental exhibitions. She received her BFA in fashion design with a minor in art history from Columbia College Chicago and her MA from the Fashion Institute of Technology in textile conservation. Kaelyn was previously the Polaire Weissman Fund Fellow in conservation at The Costume Institute and a post-graduate fellow in Costumes and Textile Conservation at the Philadelphia Museum of Art. She has held contract conservation positions at the Art Institute of Chicago, the Museum of Arts and Design, and the Museum of the City of New York, and was also an assistant professor of textile conservation in the graduate program at FIT.

bio forthcoming