mounting/framing a large silk scarf

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Randall C Colvin

CGF II, Certified Grumble Framer Level 2
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Feb 23, 2008
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338
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Grab,Ky that's in western Green County ,Greensburg
I'm looking at a project that intimidates me to the point that I will most likely decline doing it. It involves mounting and framing a large (55" square) silk scarf valued at around $1,500. It's not that I don't have some experience framing fabric items but this is so large, so delicate and so valuable that I can see it being the source of sleepless nights if I should take it on. Worse yet, I find it much easier to imagine catastrophic failure than success. Still, I'm curious as to how some of you would handle this. Thanks in advance for your thoughts.
 
Go with your gut. I would pass on it.
 
Probably technically a silk 'shawl' based on the size. We do these on a regular basis - we have two Hermes scarves and one shawl in-house right now. Learn to frame them and add to your repertoire, as this work can be highly lucrative and satisfying.

With silk scarves we do DCO nearly 100% of the time. This allows the display of the entire scarf without any attachments. Keep in mind that silk loses 1/2 its strength after 220 hours of sunlight.
 
cvm said:
Probably technically a silk 'shawl' based on the size. We do these on a regular basis - we have two Hermes scarves and one shawl in-house right now. Learn to frame them and add to your repertoire, as this work can be highly lucrative and satisfying.

With silk scarves we do DCO nearly 100% of the time. This allows the display of the entire scarf without any attachments. Keep in mind that silk loses 1/2 its strength after 220 hours of sunlight.
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Are you using acrylic glazing as the DCO material? What thickness would you recommend for this size? And what is your substrate? Am I wrong in thinking that getting this flat and wrinkle-free is quite a job? And does UV filtering glazing not help with the degradation of the silk? I'll probably have more questions in a few minutes. 🙂
 
I did a valuable Chanel scarf many years ago, it was a little over 40" square. I was super nervous, but it was beautiful by the time I was finished. I have have confidently done about 3 more since.
 
Thick UV-filtering acrylic and a backer of 3mm or 4mm ACM with plenty of polyester batting layers to maintain the DCO pressure probably would work.

UV-filtering eliminates nearly all UV radiation, but does nothing to stop the visible range of radiation (ROYGBIV), which is also harmful. There is no perfect protection against damage from light. Except dark.
 
We have done silk and other thin fabrics a few different ways - we always try to sew fabric work when possible using either thin clear filament, or matching a color in the textile for the thread. A scarf might have a hem that you can sew through without coming through the face of the textile as well. With something as light as silk I'd think you could sew just the top and let it hang (if the client is ok with that presentation), or strategically sew corners to pull taut. We have also had luck using BEVA directly between the silk and museum board backing. Small strips at areas you might similarly hinge (without the hinge) a work on paper.
 
Here’s an Hermes shawl that we did recently - 57x57, DCO.



IMG-0182.jpg
 
highfaloootin said:
We have done silk and other thin fabrics a few different ways - we always try to sew fabric work when possible using either thin clear filament, or matching a color in the textile for the thread. A scarf might have a hem that you can sew through without coming through the face of the textile as well. With something as light as silk I'd think you could sew just the top and let it hang (if the client is ok with that presentation), or strategically sew corners to pull taut. We have also had luck using BEVA directly between the silk and museum board backing. Small strips at areas you might similarly hinge (without the hinge) a work on paper.
Click to expand...
Great information…..welcome to the Grumble!
 
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