The conservation and restoration of textiles refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation, heritage conservation as well as library preservation, depending on the type of collection. The concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which "contain" textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator.

Historic textile collections fall into three general categories: museums, historic societies/locations, and private collections. The needs of each of these locations will vary. A private collection, for instance, is unlikely to have as high a traffic flow as a museum, and may thus be able to take preservation steps that a public museum cannot, such as minimizing light exposure over long periods of time. Venue-specific issues may also arise. For instance, many historic homes do not have climate control and rely on natural light to display their furnishings, both factors that may contribute to textile decay.

The chief cause for decay in textiles is almost always the environment in which they are stored. Light, temperature, and humidity can all contribute to a textile's health or deterioration, depending on their intensity. Additionally, pests, chemicals, and pollutants may also cause damage to an antique fabric. Airborne chemicals, such as smog or cigarette smoke are also harmful to the textiles, and should be avoided if at all possible. In museum or otherwise specialist collections, high-efficiency air filters are typically installed throughout the building to reduce the presence of airborne chemicals that may stain, discolor, or weaken fabrics.

Light can have a variety of effects on textiles over time. In some cases, it may contribute to fading or discoloration, but the primary damage caused to textiles by light is fiber weakness caused by prolonged exposure to ultraviolet and infrared lighting. Ideally, textiles should be stored or displayed in as little light as possible, and preferably in total darkness. However, as this is impractical for display and care of the piece, knowledge of UV exposure limits and how a textile can be handled under safe amounts of lighting are also necessary for conservation.

Natural light is the most common source of ultraviolet light, and as such, care should be taken to avoid exposure to direct sunlight at all costs, and indirect sunlight whenever possible. This may mean storing or displaying textiles in an area without windows, or with blackout curtains, which can be drawn whenever the room is not in use. If a room relies on natural light, UV screens or coatings can be applied to the windows to block harmful rays while still allowing light to pass through. These filters should be checked periodically, however, as they have a limited lifespan and may need to be replaced every few years.

Fluorescent and halogen-produced light can also produce large amounts of UV radiation, though filters which fit over the bulbs are available to limit the damaging light. These filters are typically replaced when the bulbs are changed.

One advantage of fluorescent lights is that they produce little heat, which may also be harmful to textiles. Incandescent lights produce a large amount of heat in addition to large quantities of infrared radiation, which is likewise damaging to the fibers in antique textiles. If incandescent lights must be used, they should be placed far enough away from display cases that their heat does not affect the contents.

In the case of particularly delicate textiles, display organizers might consider motion-activated or timed lighting, or lighting controlled though a visitor-activated switch, which would allow the textiles to remain in darkness when not under view. All textiles should be displayed on a rotating schedule, allowing them a few months of display, then the rest of the year in dark storage, to prolong their life.