A conservation method
Textile stabilization is a conservation method for fiber and yarn-based cloth intended to mitigate damage, prevent degradation and preserve structural integrity. Stabilization is part of a broad set of techniques in the field of conservation and restoration of textiles typically undertaken by a specialist or textile conservator. Appropriate treatment is determined through risk assessment and close examination of a textile's characteristics and the nature of the damage. Organic and synthetic fibers become weak due to age, handling, and environmental exposure and display physical deterioration such as fraying, planar distortion, loss, and change in surface character. Treatment involves reinforcing tensile strength and reintegration of parts for aesthetic, functional, and historic preservation. Methods can include stitching, darning, reweaving, and the attachment of supports through overlays and underlays. Hand-sewing follows the mantra of “gently does it” using fine needles, supple yarns, and a light touch. Heavily damaged and fragile fabrics often require stabilization through adhesive consolidation, though this is less common. It is essential that conservators consider physical and chemical compatibility along with future treatability in choosing a stabilization technique. 
Deterioration of textiles.
Types of fibers.
The fibers that make up textiles impact the types and rate of deterioration. There are four fiber types.
Decisions about appropriate textile stabilization are most effective when the fibers are identified. The primary method of determining a fiber type is through polarized light microscopy. Simple compound microscopes, solubility, and chemical tests can also be employed. The Museum of Fine Arts Boston created a Conservation &amp; Art Materials Encyclopedia Online that includes a fiber reference image library that can aid in fiber identification.
Agents of deterioration.
Textiles deteriorate naturally as the fibers age. Managing the rate of deterioration is the goal when caring for textiles. External forces can increase the amount of deterioration in fabrics. In addition to aging, the following agents contribute to decay.
Methods.
Localized and overall support.
Fabric may be used to provide support for the garment by stabilizing weak sections or by creating a backing or lining for the piece. Darning may be utilized on coarsely-woven fabrics with localized areas of damage.
Overlay.
Translucent or sheer fabrics are used to stabilize the textile without altering its appearance. This is typically done using nylon netting, silk crepeline, or polyester Tetex. Overlay is generally applied to textiles too fragile to withstand localized stitching methods. Overlay materials may be stitched to a more stable backing fabric. 
Materials and technique.
Many variables impact decisions about thread weight, stitching method, and stitch length. Some of these variables include "the size of the loss, desired aesthetic and type of stitching thread." The conservator must weigh the impact of the stitching on the textile. Another consideration is the spacing of the stitches. Higher density stitching is more robust but less elastic and creates more holes in the fabric. Low-density stitching is weaker, is more flexible, and produces fewer holes. Conservation stitching must balance the needs of the textile in question with the impact the process of stitching will have on the object. A best practice is to plan out the intended stitches and utilize any existing stitching holes in the textile. It is essential that all methods of stabilizing the textile be appropriately documented.
Damage analysis.
Conservation science plays a large role in damage analysis of textiles offering the opportunity to investigate the properties of textile materials less invasively.
Stabilization techniques.
The choice of physical intervention has become less popular in the past few decades as preventative conservation techniques have gained popularity. These shifts have made storage techniques including removal from display popular alternatives to conservation stitching and removal of damaged parts of the textile. Stabilization treatments aim to prevent additional deterioration of objects to assure that they are useful for future study and analysis. Stabilization treatments for archaeological textiles have been laid out in field guides and reports with general guidelines but they seldom specify fiber type when discussing stabilization treatments. Tarleton &amp; Ordoñez state “Some of these treatments utilize materials such as surfactants, lubricants, or consolidants.”
Removal of an object from the display may be necessary due to the fragile and complex nature of textiles. Continued exposure to light, humidity fluctuations, and pollutants. Because many textiles are hung when they are displayed removal from the exhibition can mitigate wear and tear caused by gravity and hanging methods. This approach may be temporary in the case of the need for physical intervention but may also be a long-term decision for purpose of future study and preservation.
The correct "choice of appropriate fabric color/texture is critical if the textile ground is translucent or if the fabric is expected to compensate for future losses.” 
Overview:
Stabilization that provides partial support or protection.
Structural weakness and damage must be supported in textiles, especially areas such as the top of tapestries and the shoulders of garments
Backing fabrics.
In these cases, a backing fabric can be used. Backing fabrics must be durable and able to withstand tensioned in order to offer support, but not so heavy that it causes strain on the original textile. The fabric should extend beyond the damaged areas in combination with appropriate stitching in weak areas when used in combination with local repairs and visual compensation techniques.
Overlays.
Significant structural weaknesses or damaged areas that do not support the textile such as bottom borders of tapestries or hems have different requirements. Borders or edges that are smaller can be wrapped to the back with a sheer overlay fabric to create a binding or facing. Partial or full backing secured with stitching is appropriate in other areas. Protection of exposed floats of the stabilization stitching, may require full-sized secondary linings.
Full backing.
Single-layer flat textiles with overall damage often require A full backing:
Backing fabrics must be strong and capable of holding tension for proper support. They must be placed carefully to provide appropriate attachment as well. A full backing can be combined with patch or darning and/or with localized visual compensation techniques. Severely weakened textiles may need support from an archival-quality panel or board or fabric-covered stretcher or strainer may also be implemented.
Multilayer approaches.
In the case of Multi-layer flat textiles where one or more layer(s) remains sturdy an overlay fabric can be used to secure the damaged layer(s) to an undamaged layer when the weakened layer(s) are separated from the sturdy layer(s), a full backing sewn or adhesive should be used to reattach it. Disassembly is avoided as it requires the removal of original stitching.
Cleaning.
• surface (suction cleaning by vacuum)
• wet (cleaning with water or water plus detergent)
• dry (cleaning with organic solvents)
• spotting (treating of localized stains with wet or dry-cleaning solvents)
Wet, dry, and spotting treatments should always be conducted by professionals.
Vacuum maintenance of materials in open exhibit, textiles being returned to storage, and newly accessioned textiles before they are displayed or stored is best practice.
Aqueous cleaning of archaeological textiles achieves "relaxation of folds and removal of surface dirt without causing further weakening of the object.”
Drying.
Drying a textile involves evaporating the free water, resulting in a dry fabric to which no additional chemicals have been introduced 
The removal of the moisture from textiles has can be accomplished by either air-drying or freeze-drying the objects. The rate of evaporation during the air-drying process varies but can be controlled by altering the level of humidity, temperature, and air movement textile while during the treatment.
Three dimensional artifacts.
Three-dimensional artifacts that have been damaged often require Full backings, but are difficult to apply to three-dimensional textiles. Tailoring techniques such as darts, gathering, similar to original construction techniques can be employed to create shaped backings or supports Occasionally, disassembly is permitted for three-dimensional materials. Shaped forms are also sometimes used as supports. 
When textiles are used in three-dimensional structures such as covered boxes and upholstered furniture are damaged an overlay can be stitched into lower layers. A less invasive treatment option is passive support.
Conditions for use of passive supports:
- no major structural damages (tears or holes)
- The ground fabric must be intact.
- Ideally the textile on its original strainer.
- Requires protection against puncture.
- Supplementary supports help in limit damages as a result of vibration, shock, and flexing.
- The fabric requires additional protection because it is sagging on the strainer.
- In the event that the textile has never been removed from its original strainer.
The below techniques must be modified to accommodate original lacing:
A padded insert provides passive protection. A padded, fabric-covered insert should be created specifically for the object to fill the strainer. Polyester felt or batting can be utilized for a precise fit.
A rigid backing (archival-quality rag board of appropriate thickness/rigidity), should be affixed to the insert by thread ties, sewing, or adhesives is used to keep the padded insert secure.
A secondary strainer stretched with sheer fabric is another option for passive protection, which fits inside the original strainer. Materials such as Tetex® (Stabiltex®), permits viewing of the back. The secondary strainer must be flush and fixed with the textile and must not move inside the original strainer. Secondary strainers require awareness of the properties of the textiles and original mounting materials.
Challenges:
“Textile conservators are often required to treat complex feathered objects found in textile collections. Traditional cleaning methods are not always suitable for every situation and alternative methods may therefore be necessary, particularly for localized soil removal.”
Storage.
In the event that an object is removed from an exhibition, for treatment, or transportation careful examination of the state of the textile is required for best practice conservation records, accession records, and curatorial notes. The various materials and techniques discussed above should be employed, as well as careful consideration of humidity, light, and pollution that may be a threat during transport and handling.
Ethics.
When considering any of these methods of treatment ethical concerns should also be factored into the assessment. Textiles may have historical and cultural significance that conflict with their status as a museum object. In these cases, it is important to connect with the appropriate experts to create a plan that respects any cultural heritage boundaries while honoring a commitment to preserve and display objects in alignment with an institution's mission statement.
Fabric supports.
Choosing a support.
Compatibility of support fabrics is crucial when selecting a support material. Because textiles vary so greatly careful research is necessary when making these choices. There are alternative options to fabric supports that are also important to consider. Composition, processing, structure, rigidity, and weight are all factors to consider when determining the appropriateness of a paper-based or non-textile material as a support for stabilization. The physical and chemical compatibility of textiles and long-term stability should also be evaluated for materials that will be stored in close proximity to textile artifacts. 
Fabric types.
Nylon netting.
The open structure of nylon net makes it the most commonly used sheer overlay fabric. One of its most notable attributes is that it does not unravel or fray. Nylon is susceptible to light-catalyzed degradation, thus the lifespan of the nylon may contradict its purpose if the artifact is being exhibited.
Textile Conservators may use either heat set or bobbinet netting, both of which do not fray but are susceptible to degradation and reactions from light. Netting may be used together with a backing fabric.
Heat set.
Heat-set nylon net has a stiff and abrasive hand feel, and is offered in a wide variety of colors. Heat setting is a term used in the textile industry to describe a thermal process usually taking place in either a steam atmosphere or a dry heat environment.
Bobbinet.
Bobbinet-constructed nylon net has a better hand and drape than heat-set nylon net or polyester Tetex® (Stabiltex®), but, is only offered in white, off-white, and black. However, it is often and easily dyed. Bobbinet tulle fabrics have long been used for high-quality exclusive curtains, bridalwear, haute couture fashion, lingerie, embroidery, where it is used as a base cloth for the actual embroidery, and as base nets for high-quality wigs. Use has also extended into technical applications where the material's properties are more important than its appearance.
Silk crepeline.
Silk crepeline is less sheer than nylon netting and is also susceptible to reactions to light, but may be used as an overlay technique as well as for patching specific areas and can be easily dyed. Because it can fray, the edges need to be hemmed, which can create less sheer areas.
Polyester Tetex (Stabiltex).
The least sheer overlay material, Tetex also has a sheen and is available in a selected range of colors which are not easily dyed. The material does not require hemming but is the most difficult