Español
DonarMembresíaEntradas
Estamos trabajando para traducir esta página lo antes posible. Gracias por su comprensión.
View of the Costume Institute Conservation lab, showing various examination tables, shelves of instruments, and a Charles James couture ballgown in the corner

Costume Institute Conservation

The Costume Institute’s conservation department supports an active curatorial program of exhibitions, publications, and loans through its preservation, conservation, and technical research of the 33,000 objects in The Costume Institute’s collection, spanning from the fifteenth century to present.

The complex construction of garments and accessories, with diverse and sometimes incompatible materials joined into a single object, complicates their preservation. Consumable and ever-changing, fashionable clothing is seldom made with a primary concern for longevity. Cutting-edge designers often experiment with innovative materials that have unknown and unpredictable aging properties. Since most garments require the presence of a body to realize their intended appearance, conservation treatments and mounts must restore structural integrity and dimensionality to the garment as worn while not interfering with the natural drape of the fabric.

Conservators in The Costume Institute excel in the practices and theories of costume and textile conservation, with specific expertise in haute couture garment construction, the creation of custom mounts for storage and exhibition, digital documentation methods, and technical analyses. They are responsible for setting guidelines for the storage, handling, and display of the collection. They are also active in conservation education, providing lectures for specialized groups, students, and the public. The department was a forerunner in establishing a robust integrated pest management program and a key collaborator in the creation of the museum’s freezer facility for pest mitigation.

Our Facilities and Equipment

The renovated Conservation Laboratory opened in the Anna Wintour Costume Center in spring 2014 and is a flexible, state-of-the-art studio equipped for a full range of activities. Just over 1,500 square feet, the workspace includes custom-built movable work tables, suction table, and light table. An attached wet room provides space for wet and ventilated solvent treatments and dyeing facilities for the preparation of custom support materials. The lab is equipped with a selection of both optical and digital microscopes, including a Zeiss Axio polarized light microscope with digital image output. An X-rite Pantone Ci62 spectrophotometer provides for accurate color measurement. Supporting the aims of preventative conservation, the lab is equipped with a supply of Onset Hobo environmental monitors and has its own anoxic pest treatment apparatus including a Systech Illinois EC900 Oxygen Analyzer.


Closeup of finely pleated beige gown with a large area at the hip where the pleats have softened and are no longer crisp.
Learn how conservators re-pleated a damaged area on an iconic Fortuny gown.
Testing Alt Text
Peek inside two similar Bonnie Cashin evening skirts and compare the details of their construction.
Detail of dress made from fake human bones
This 3-D–printed nylon dress challenges the standard conservation approaches deployed by Costume Institute conservators in the preservation of fashion.


A bearded man wearing a sweater with stripes, glasses, and an orange beanie smiles while holding up a fabric with a multicolored diamond pattern.
Video
Meet Me at The Met
Join designer Todd Oldham behind the scenes at The Met’s Costume Institute.
November 21, 2024
Associate Conservator Melina Plottu works on the conservation of purple silk dress
Video
Conservation Stories
Follow the conservation treatment of Maria Monaci Gallenga’s “Theodosia” tea gown and learn about Gallenga’s unique vision as a textile artist and fashion designer.
Mellissa Huber and Melina Plottu
December 4, 2023
Hear from two Costume Institute conservators about what it takes to restore eighteen-century dress to a state of splendor fit for the Bourbon Court.
Sarah Scaturro and Cassandra Gero
July 23, 2018