[CHAT] Repair and restoration project

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2025.02.02 07:00 jessinwriting [CHAT] Repair and restoration project

I've just finished working on a repair and restoration project - a cross stitch my great-grandmother had done. I thought this community would be interested in an account of what I did and how I approached it - especially since half the advice I searched for ended up being posts right here!
The pattern is Permin of Copenhagen's "Flowers ABC" - a kit which is still available today - stitched on 28ct linen. I estimate that my great-grandmother probably did this one about forty years ago, but I don't have an exact date. The important thing is that it is "old" but not so much so that it's "genuinely antique" - otherwise yes, I would have been straight off to a proper conservator, not attempting it myself as an amateur!
Please imagine this is one of those well-lit, ASMR-ish repair videos, with someone who has a perfectly set-up repair space, relaxing background music, and more expertise than I do 😅
State of the fabric
It was immediately obvious that several stitches had frayed. These were most visible in the border, but when I looked closer I could see a few more across the whole piece. It was also dusty (more than could be fixed with the usual advice to gently vacuum it), and had a few small stains. I understand that it spent the last decade or two in a storage room, and it wasn't framed with glass.
Original framing
Once we took the back off the frame, we found (to my loudly-proclaimed horror) that the original framer had chosen to use double-sided tape as an adhesive to attach the fabric to its board. We sought advice, and were told that the trick was to try to gently pull the fabric off the adhesive - that if the tape started to lift away with the fabric (and off the cardboard) we'd be in trouble. Luckily, the fabric did lift off. I could see that it would have pulled the edges to fraying but it had originally been overlocked, which protected the edges. There were also bits in the corners which were taped fabric-to-fabric. I'd hoped these would come off with washing, but in hindsight I should have applied a bit more removal products (e.g. rubbing alcohol) to the corners.
The piece was framed with a bit of foam between the fabric and its board. This was starting to disintegrate, which probably added to the yellow dust discolouring the fabric. It's an older choice to have a padded finish, but I have to admit after lacing that having *something* there probably would have helped with getting an even result.
Washing
This was a really disgusting but really satisfying process! I started by carefully snipping off longer ends of threads from the back, dipping them in hot water, and laying them on a white paper towel to check for colourfastness. I was 95% sure that the Permin kits were always supplied with DMC floss and therefore they should be safe to wash - but I wasn't 100% sure, especially after so many years! Luckily they seemed absolutely fine.
I washed in cool water, using a tiny bit of a mild detergent (made for delicates, didn't include any fabric softeners etc.) I soaked for about ten minutes, gently agitated with my hands, then drained the water and started again. After about four or five changes of water it was largely clear, so I laid the fabric in the sun so sunlight could work a little magic. I was relieved to see that the stains in the fabric came right out, and I didn't need to try any more complex stain removal.
Repair
It was interesting to note that great-grandma did the legs of her stitches in the opposite direction to me! She also didn't always have the neatest back - I could see places where a stitch had been missed then gone back to fill it in, or where she'd travelled further with thread than I would do.
Now, I know there's a debate about how important a neat back is, and people who say it doesn't matter. I will just say that after washing, there were places on the front where I saw the stitches were sitting a bit oddly, and when I turned it over I could see those were places where the back was a bit messy and threads were pulling at the fabric oddly. Take from that what you will!
I used a bright crafting light to go row-by-row and letter-by-letter over the whole piece and used small safety pins to mark everywhere I saw a frayed stitch. As I went I saw a few places where great-grandma had missed a stitch (e.g. cross only half done), or stitched into the wrong hole in the linen, but I chose not to 'fix' those, as it wasn't really in the spirit of my restoration!
I was really interested to note that all the frayed stitches but one were green. Yes, the pattern has a lot of green, but I would have thought there was still a lot of e.g. dark gold or the reds etc. I wonder if there's something in the dye process for green which left it slightly weaker?
Matching the colours was tricky. In the end, under bright light *I* can see slight shade variations, but I don't think anyone else would. I'm pretty sure I used the right colours, and any difference is due to fading. I tried to minimise pulling out any existing stitches, preferring to go over them (even if it left a single stitch with an extra leg), and only doing as many stitches as needed to fill the gap and hold any fraying ends in place.
In the end, this part of the process was actually a lot faster than I thought it would be!
Last wash
After I'd done all the repair work I did one last long (4 hours) soak in Vanish Napisan - a product which primarily uses sodium percarbonate as its active ingredient. This was a great last step - I really noticed an improvement in the brightness of the fabric and colours after the last soak.
I lightly blocked the fabric when it dried this last time. After rolling it in a towel to squeeze out water, I pinned it evenly, using my kids' foam play mats to hold the pins.
After it was dry, I ironed it (face down between two cotton tea towels).
The frame
I'd happily thought I'd just wipe the dust of the frame and it would be fine. It didn't take long to realise the grey dust that wasn't wiping off was actually old varnish which was in the grain of the wood. So, I stepped out of my fabric comfort zone to tackle some woodwork!
I sanded off the old varnish as best I could. I found a bit of sandpaper folded around a business card was great at getting into the grooves in the frame. I used 120 and 240 grit for the bulk of the sanding, and 600 before each layer of clear polyurethane varnish, four coats in total.
Framing
Pinning and then lacing the back of this was the most time-consuming part. I got a new piece of 3mm acid-free foamcore board. (After framing, I realise a 5mm bit would have worked slightly better.)
I tacked some thread to mark the mid-points of each side, aligned them to the middle of the board, and started pinning. And pinning. And pinning. I used black sewing thread tied to pins to make straight lines to aim for with the borders. Damn those borders - they showed the slightest wavering! I spent quite a while working out what I was aiming for (as I pinned and tension changed, it would affect the borders) then just went around the sides again and again and again adding more pins and pulling it ever so slightly more into place. I think the original framers must have had the fabric pulled tighter, plus I realised later they had a deeper border on the bottom edge. Oh well!
The lacing took ages too. Since I had a small margin at the top and bottom, wanted to keep it even, and didn't want too much stress on any one bit of old fabric, I kept the lacing close together (every ten threads). I used cotton perle for the lacing. Going in the other direction, with a deeper margin, I went for every fifteen threads.
Actually putting it back into the frame was fairly quick. I used the original backing board, and put in new hardware.
Results
I'm really happy I tackled this project! It was a fascinating learning experience, and I loved the sense of connection I had with my great-grandmother, who passed when I was about six or seven. I was amazed at how well the cleaning and repairs turned out - the colour change is SO stark! I think the borders aren't as perfect as a professional could achieve - I can see a little dip in the top border and a slight puckering of the fabric at top and bottom - but it doesn't bother me so much that I'm going to redo a single BIT of that lacing 😅
My plan is to type up a note of what I did and what colours I used, and tape it to the back of the frame so any future restorers know what they're dealing with.
I hope that my exhaustive account (look, it was a LOT of work and I want to talk about all of it!) is useful to anyone else needing to bring life back to an older piece, as well as giving hope to those of us wondering if anyone is going to appreciate what they spend so much time doing. Even though I only have dim memories of great-grandma, I loved the sense of connection I had in repairing her work and comparing how she stitched to the way I do. Having this piece on my wall - for, I hope, another forty years - is really meaningful.
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