Photo by Sarah Goolishian
Born and raised in Southeast Asia, she has returned to this beloved region to support the preservation of heritage, at both grassroots and institutional levels.
From 2000 to 2008, she led the first textile training workshops in the Kingdom of Bhutan and helped establish the National Textile Museum. A major focus of her outreach is preventive conservation and hands-on practicum workshops, conducted over the years in Madagascar, Algeria, Laos, Indonesia, and Taiwan. Since 2008, she trained a new generation of textile conservators in Thailand, establishing the Conservation Department at the Queen Sirikit Museum of Textiles in Bangkok, and leading research in traditional and indigenous methods of textile preservation in Southeast Asia.
Expertise in the area of negative heritage has taken her to Rwanda and Cambodia to lead textile conservation projects at genocide memorial sites. Unlike any other textile protocols, she has developed site-specific, innovative, and sensitive protocols for triage, inventory, and long-range care of extremely degraded materials, deeply infused with emotion and memories.
Early training included an apprenticeship with a master conservator in Philadelphia, followed by projects at the Philadelphia College of Textile’s Paley Design Center, and the Philadelphia Museum of Art. In 1989 she began a tenure at the Textile Museum in Washington DC, with a Getty Research Grant on the analysis of dyes in historic Tai textiles, oriental carpet repair, and then as Assistant Conservator for Exhibitions. She prepared over 30 exhibits and was the guest curator of a show on Faith Ringgold.
Ms. Brennan is a Professional Associate of the American Institute for Conservation and Historic and Artistic Works (AIC), and a Fellow of the International Institute for Conservation (IIC).
Kaitlyn Seymour joined Caring for Textiles in 2014. After earning her BAA in Fashion Design and Museum Studies Minor from Central Michigan University, she received an MFA in Costume Design and Technology from the University of Cincinnati CCM. In the summers, she is a costume maker for the Santa Fe Opera. Kaitlyn specializes in historic clothing conservation. In her spare time, she enjoys researching and sewing period costumes and accessories using historical hand-sewing techniques, especially 18th-century ones.
Image credit: © 2021. This project is a collaboration of Getty Images and Origins: Current Events in Historical Perspective. 230 Annie and John Glenn Avenue, Columbus, OH 43210
Katherine Hill McIntyre has worked in the museum field since 1999, with collections positions at Dumbarton Oaks, Condé Nast, the Brooklyn Museum, Atlanta History Center, and the American Revolution Institute of the Society of the Cincinnati at Anderson House. She has managed photograph and paper archives, garment collections from the 18th–21st centuries, decorative arts, and Revolutionary and Civil War firearms and armaments. Katherine is a coprincipal of Blubox Consultants, a D.C.-based museum and private collections consultancy. She is a social media administrator for the Costume Society of America and co-founder of the 12K+ member, professional networking Facebook page “Fashion Historians Unite!”. She has an MA in Fashion and Textile Studies from the Fashion Institute of Technology, focusing on costume and textile history and theory, curatorial services, exhibition planning and mounting, and conservation.
Photo by Sarah Goolishian
Annabel Dobbyn earned her BA in Anthropology and Creative Writing at Oberlin College. She previously studied book and paper conservation at San Gemini Preservation Studies in Italy. From growing up around her grandfather’s Persian rug collection to stitching her first quilt at nine years old, textiles have remained a constant in her life. In her spare time, Annabel enjoys writing short stories and cooking Persian food. Download Annabel’s resume.
Isabella (Bella) Moritz (she/her, @mozzebella) MA candidate in FIT’s Fashion and Textile Studies: History, Theory, and Museum Practice program, specializing in conservation. She received her BA in Art History, with minors in French and Anthropology from Roanoke College. She spent the last year working as exhibition designer on the FTS graduate student exhibition at MFIT, Untying the Bow, and interning at the DAR Museum working on the Sewn in America exhibition. Bella is an interdisciplinary artist with particular love for fiber arts, and in her graduate thesis examines how the reconstruction of historical garments can serve both as a conservation technique and provide tactile understanding of their construction and use.
