Conservation Project: Costume Accessories

The Museum of Fine Arts, Boston, is improving the safety and accessibility of the Textile and Fashion Arts collection with the design and construction of custom storage mounts for costume accessories. Accessories are often fragile, three-dimensional forms with multimedia components. Because they are at higher risk of damage from handling, custom mounts are crucial for their protection. In addition to offering support, they reduce the need for handling because the accessories can be viewed in their proper orientation while in storage, greatly increasing the long-term preservation of these fragile materials.

In 2001, a grant from the Institute for Museum and Library Services funded the design and construction of mount prototypes for the accessories. The prototypes were created with three goals in mind:

  • Ensure appropriate support for each object
  • Supply a handling device that would reduce direct contact with the object
  • Provide enclosures to protect the object’s edges, catch loose parts, contain ties and tassels, etc.

The prototype mounts were later used as models for the systematic re-housing of the accessories collection, an initiative funded by the National Endowment for the Arts. Accessories included in the project:



Written by Karen Gausch and Joel Thompson.
Drawings by Karen Gausch.

Karen Gausch earned a BFA in fine art from Pratt Institute, Brooklyn, NY, in 1983 and has been working in the museum exhibition field for more than 20 years. She has worked with private and corporate collections, among them the Smithsonian's Cooper-Hewitt Museum and PepsiCo. Her experiences in fabricating mounting systems span an array of collections, from ancient to contemporary, fine and decorative arts. Gausch joined the Museum of Fine Arts, Boston, in 1995 where she became Exhibition Preparation Collections Care Manager, Objects. In 2006 she became Chief Preparator of Collections Management at the Harvard University Art Museums.

Joel Thompson received her Masters in Art Conservation from the Art Conservation Department of the State University College at Buffalo in 2000. She has worked as Exhibits Conservator at the Field Museum of Natural History and as Textile and Objects Conservator at the Chicago Historical Society. Thompson is currently Assistant Conservator in the Textile Conservation Lab at the Museum of Fine Arts, Boston, a position she has filled since 2003.


The authors would like to acknowledge the generous funding from the Institute for Museum and Library Services that made this project possible. Several individuals gave generously of their time and expertise in sharing their ideas including Chris Paulocik of the Costume Institute, Metropolitan Museum of Art, Nobuko Kajitani, Lucy Commoner of the Cooper Hewitt National Museum of Design, Glenn Peterson of the Fashion Institute of Technology, and Susan Heald of the National Museum of the American Indian. Many aspects of the prototype mount designs are not unique to the MFA, but built on the inventive work of others; the authors extend appreciation and recognition to these people. Thanks are due to Meredith Montague, Head of the Textile Conservation at the Museum of Fine Arts, Boston, for leading this project from inception to completion. The authors also thank Arthur Beale, former Chair of Conservation and Collections Management for his guidance, encouragement, and support of these efforts. Finally, tremendous thanks are due to the many staff members who not only brought these projects to successful completion, but also enriched the initial designs with their collective knowledge and experience. These staff members include Claudia Iannuccilli, Becky Fifield, Maryann Sadagopan, Elizabeth Hill, Allison Hewey, and Allison Sloan-Murphy.