Ahead of her course on feather conservation we sat down with tutor Lydia Messerschmitt . In this discussion Lydia shares her journey into conservation, her passion for working with organic materials, especially feathers, and the challenges and rewards of preserving delicate historical objects.

Could you start by introducing yourself and what you do?

I'm Lydia Messerschmitt. I studied conservation in Germany at the University of Applied Arts and Sciences, graduating in 2012. During my studies, I specialized in ethnographic and organic materials, primarily focusing on object conservation. This is a broad field, covering everything from ceramics to plastics, but I have always enjoyed working with organic materials.

I first encountered feathers during a practical semester in 2008 at the National Museum of Scotland. I worked on a Kingfisher headdress, a Chinese wedding crown, which was an amazing experience. I loved that object and was thrilled to have the opportunity to conserve it. That was my first significant project involving feathers, and since then, I have continued working with them, as well as with skeletal materials and leather.

In addition to conservation work, I have also taught at the University of Gothenburg as a visiting lecturer. I really enjoy working with students, observing how they apply their knowledge and adapt to new challenges. It’s incredibly rewarding to be part of their learning process and to see them develop their skills in handling various materials.

What drew you to conservation in the first place?

When I was in school and thinking about my future, I knew I wanted to do something related to art, but I didn’t want to create it. I had strong artistic skills and patience, but I wasn’t drawn to becoming an artist. Then, I saw a documentary about a conservator working on a wall painting, and I thought, “That’s it! That’s what I want to do.” I pursued an internship with a freelance conservator in Germany, and from the very first day, I knew this was my calling. Conservation is more than just a job for me it’s a passion.

That passion is clear what is it that you love about the work?

One of the things I love about this work is its diversity, not just in terms of the objects and materials I work with, but also in terms of cultural heritage. I’m fortunate to work with materials from various cultures and to apply my artistic skills in a way that extends the life of these objects. Conservation is about caring for history and ensuring that future generations can continue to learn from and study these artifacts. Each object presents a new challenge, which I find exciting. I thrive on complexity and enjoy taking on projects that seem impossible to restore.

Feathers, in particular, are very rewarding to work with. Organic materials react to conservation efforts in a way that inorganic materials, like metal or ceramics, do not. While metal and ceramics are static, organic materials are often deformed, and working with them is like having a conversation, you assess what the object needs and gently guide it back toward its original form. Feathers are especially fascinating because they can be reshaped and revived with minimal intervention, often just with water. It feels almost magical.

What happens to materials such as feathers if they are no properly conserved?

If feathers are not properly conserved, they degrade due to environmental factors like light exposure, dust, and dirt, which settle in their structure and make them brittle. Feathers consist of a shaft, barbs, and tiny interlocking barbules. If these deteriorate, the feather loses its integrity. Pest infestations, particularly moths, pose a significant threat, as they chew through the barbs. However, even seemingly ruined feathers can often be restored. They can be cleaned to regain their original luster, and broken shafts can be repaired. In my work with the Fan Circle International Society, I’ve helped restore feathered folding fans that collectors initially thought were beyond saving. It’s incredible how much can be done to preserve even the most delicate objects.

You mentioned earlier that conservation is about saving important objects for future generations, why do you think this is important?

Conservation is vital because it preserves cultural and historical artifacts for future generations. Objects hold stories about past societies, traditions, and craftsmanship. The further we move away from the time an object was created, the more curiosity there is about how it was made. Fans, for example, are particularly interesting because of the wide range of materials and techniques used in their construction. Understanding and conserving these objects allows us to continue learning from them and appreciating their artistry.

Can you talk about your course at West Dean and what students can expect to learn?

At West Dean I will be teaching a course on feather conservation. Students will learn about the resilience and fragility of feathers, beginning with a hands-on exercise where they try to break a feather only to realize how strong they actually are. We will explore the chemical composition of feathers, how their colours are formed, and how different pigments respond to solvents. For example, structural colours, like the blue in some feathers, result from light reflection rather than pigmentation. This means improper handling such as pinching with tweezers can permanently alter their appearance.

Microscopic analysis will help students understand feather structure, which is crucial when determining the best cleaning methods. They will also learn reshaping techniques using moisture and water baths, practice cleaning feathers, and even mend broken shafts. In cases where a section of a feather is missing, whether due to damage or moth activity, we will explore how to create structural fills using paper to restore the feather’s integrity. This can be both an aesthetic and a structural necessity to prevent further deterioration.

Who is this course for?

These courses are primarily designed for conservation students, particularly those focusing on object or textile conservation, as feathers often appear in both disciplines. However, collectors of feathered artifacts would also benefit from learning how to properly care for their items. Feather conservation is certainly a niche field, but it is incredibly valuable for preserving historical and artistic heritage!