Metal Mesh Evening Handbag

A collage of three images showing the condition of the bag before treatment began. These images highlight the losses and disconnected jump rings on the metal mesh.
Metal Mesh Evening Handbag Before Treatment

Cultural History

A bold and contemporary fashion accessory in the ‘Roaring Twenties’ as well as an iconic style of the Flapper era in the 1920s. The dresses were made with limited pockets during that era. Hence, ladies often needed to have a day and evening handbag to carry their personal belongings. The object represents the evolving role of women after the first world war when young women gained more freedom, equality and independence. The dainty metal mesh bag was impractical in design. It was usually worn as a statement piece. Its unconventional design embodied the radical change in mentality and physical appearance of women as they challenged social norms in those turbulent times.

A black and white photo featuring two flappers. The flapper on the right appears to be carrying a metal mesh bag which is of a similar style as the object.
A photo taken on 16 September 1923, showing a flapper carrying a metal mesh bag of similar style. Image credit: Seeberger Freres / Stringer

Condition Before Treatment

Mesh

  • Presence of past restoration using metal wires to secure loose and detached rings
  • Detached and missing jump rings
  • Unstable and poor structural integrity with active loss of material
  • Some openings of individual rings had widened
  • Presence of tarnish and some corrosion
  • Accumulation of dust and dirt

Frame

  • Multiple surface scratches
  • Slightly warped
  • Accumulation of dust and dirt
  • Presence of tarnish and corrosion with areas of pitted surface
Detail of the mesh bag showing evidence of past restoration using twisted metal wire
Detail of past haphazard restoration using twisted metal wires to loosely secure disconnected jump rings. This restoration impeded the opening of the bag and resulted in an entanglement of jump rings. It was removed in the first instance after documentation of object.
A microscopic view of the jump rings under 20x magnification. It showed a subtle iridescent of rainbow colours (interference colours). This is a characteristic of thin tarnish layers on silver which gradually change from yellow to red to blue before turning black.

Treatment

Cleaning the Metal Mesh

Through microscopy observation and scientific analysis (X-ray fluorescence), the original jump rings were likely silver-plated nickel silver. The inherent unstable construction of the mesh bag had limited the cleaning options. It was decided that the bag would be minimally cleaned to preserve its aged appearance while restoring its poor structural integrity which was the main issue.

The mesh was lightly cleaned with a soft brush dipped in a mild detergent (Synperonic A7 in deionised water 1:20 dilution). Small pieces of blotting papers were inserted between the mesh papers to absorb the dirt and soiled solution which came off during the cleaning process. The process was repeated using another soft brush dipped in deionised water to rinse the detergent. Dry and clean blotting papers were then inserted between the meshes to allow the object to air dry thoroughly in a well ventilated space.

Detail of the bag showing small pieces of blotting papers were inserted between the mesh layers to absorb the dirt during the cleaning process.
The mesh was cleaned in small sections using mild detergent and blotting papers. This method was chosen as it felt more controlled and the conservator could observe what substances were removed during the irreversible cleaning process.
Detail of 6 small rectangular blotting papers soiled with patches of grime from the mesh.
Soiled blotting papers which showed that unwanted dust and dirt deposits had been dislodged from the mesh.
Reconstructing the losses – Highlights of Treatment Procedure
A collage of nine images showing the processes involved in reconstructing the losses on the mesh bag.

  1. Using analytical technique X-ray to examine the structural damage of the object.
  2. Before treatment began, the mesh bag was padded with customised polyester wadding wrapped and sewn with a non-woven fabric.
  3. Latest stage of the treatment – losses were progressively repaired with reproduction jump rings.
  4. The image shows a ‘silvering’ technique to coat copper wire with silver via a chemical process of rubbing silver nitrate and baking soda (sodium bicarbonate) to imitate the original material.
  5. Conservator at work – reattaching and realigning the original jump rings using pliers and tweezers.
  6. Twirling the silvered copper wire with a drill and 2mm drill bit.
  7. Cutting the coils to create individual reproduction jump rings using a pen knife instead of a wire cutter or a piercing saw as this method seemed to produce the straightest cut which was closer to the appearance of the original jump rings.
  8. Retouching the silvered reproduction jump rings with acrylic paints to recreate the aged effect.
  9. Applying glossy glaze on the toned reproduction jump rings to seal the colours and prevent them from tarnishing.
An untreated metal mesh bag placed in a blue tray with a label attached to its strap.

Before treatment – Condition of the object before proper documentation began and without padded cushion.
The final appearance of the metal mesh bag after treatment was completed. Detached jump rings were reconnected and losses were reconstructed with reproduction jump rings.
After treatment – Conserved object with enhanced structural integrity and a bespoke padded cushion.

Behind the Scenes

In this video, the conservator familiarised herself and practised the ‘4-in-1’ chain mail weave pattern of the mesh bag with custom-made reproduction jump rings (approximately 2.8 mm in diameter) made from copper wire. This initial attempt was to gauge the difficulty of the task, estimate time needed to complete the project as well as to determine foreseeable issues.

Reflection By The Conservator

The painstaking process of realigning and reconnecting the detached tiny jump rings using pliers and tweezers had increased my level of patience for a self-proclaimed patient person.

Copper wire was chosen to create the reproduction jump rings as this material was the closest to nickel silver which contained approximately 60% copper. The idea was to work with available resources since I did not require that many reproductions. While I did learn new processes and techniques through my chosen method, it was rather time-consuming. An attempt to source for ready-made silver-plated nickel silver jump rings of similar dimension might be worth the time and effort spent to create the replicas.

Headshot of Pei Pei. She is a Southeast Asian Chinese female, wearing a grey turtleneck long-sleeved top. She has mid-length dark brown hair. She is smiling.

This object was treated by Pei Pei, click on her photo to learn more about her.