A textile focused studio offering interventive and preventive treatments of a museum standard, operating out of London, servicing clients internationally.
The team of conservation experts collectively has experience working on some of the world’s most important and finest textiles for both the public and private sector.
We pride ourselves on delivering an exemplary service to our clients; built on a foundation of many years of study, honing skills and broadening our knowledge of textiles from all over the world, whether made 2000 years ago or only yesterday. We are solution orientated, focused on enabling access, whilst safeguarding for the future; each object receiving the same level of care and attention, no matter the size or scale.
We have experience in dealing with ancient and contemporary objects:
Recent projects have involved working with the Henry Moore Foundation, Palace of Westminster, Hayward Gallery, Royal Ballet & Opera, William Morris Gallery and Paisley Museum.
Preparing a 4th Century scroll for documentation and photography prior to conservation treatment.
Our facilities are fully equipped to undertake complex and large cleaning treatments of delicate textiles. Depicted here is a 19th Century Uzbekistani suzani undergoing controlled aqueous cleaning process.
Carefully removing the card backing previously adhered to the reverse of a fine 18th Century Kossu. This is a delicate process, ensuring the silk is not compromised. The removal is important due to the acidic nature of the card, which can cause yellowing and accelerated degradation.
Given the age of the silk and the previous use the garment, the upper sleeve was severely splitting. This was supported using a colour-matched fabric, emulating the weave of the original. This was secured in place with conservation stitching using fine colour-matched thread.
Eduardo Terrazas uses wax and yarn to depict geometric designs, shown here is a detail of damage to the artwork caused by a cat before treatment.
Detail of the damaged area following cleaning, careful alignment and re-attachment of the yarn.
The artwork had become stained when fabric softener splashed across the work.
The artwork was removed from the stretcher. Stain removal was carried out and the work was remounted.
Jessica founded Soteria Conservation in 2020. She holds a BA in Organics Conservation from the University of the Arts, London and became accredited in 2020. She worked at a number of studios, honing her practical skills, while gaining managerial experience. Projects have taken her as far as India, the Middle East and the USA.
Jessica has lectured widely, covering topics such as mounting, conservation practices for makers, and caring for textiles within archive collections. Jessica is driven by the complex challenges of conservation, whether coordinating projects aboard, developing the team or researching forefront practices. She is particularly interested in interdisciplinary learning and the evolving relationship between heritage, craft and innovation.
Jessica Burgess collaborates regularly with the costume archive of the Royal Ballet and Opera Collections, providing conservation advice and condition reports, mounting displays at the Royal Opera House since 2018. Her attention to detail whilst handling our collection and knowledge of transportation logistics are exceptional - I have tremendous confidence in Jessica's expertise and the support she delivers to produce exhibitions enjoyed by 750,000+ visitors each year.
Robin Footitt
Exhibitions Curator - Royal Ballet and Opera
Jessica Burgess (Soteria Conservation) is an outstanding and dynamic textile and costume conservator who finds a solution for almost any problem. She is highly professional and goes out of her way to accommodate her clients’ requirements. She is basically a joy to work with.
Francesca Galloway
Francesca Galloway, Founder
We’ve worked with Jessica / Soteria Conservation on many conservation and exhibition projects over a number of years and have always been impressed by her diligence, attention to detail, careful explanations of what is required, and beautifully presented work.
Roisin Inglesby
Curator, William Morris Gallery