The C37 Coordinate System: A Collector’s Method for Preserving Vintage Hair Accessories

I lost a 1950s celluloid barrette because I stored it in an old hatbox, layered in tissue paper, telling myself gentle handling was enough. That barrette never recovered its shape. The problem wasn't a lack of care—it was a lack of system. For years, I kept my growing collection of vintage hair accessories in that same hatbox, believing good intentions would preserve history. They didn't. What preserves it is a repeatable, logical method that accounts for material, shape, and the specific vulnerabilities of each piece. That method, for me, became the C37 coordinate system.

The name comes from the way I catalogue my storage units: a grid of shelves, drawers, and boxes, each assigned a coordinate like a library call number. C37 happens to be the shelf where I keep my most structurally delicate pieces—combs and barrettes made from early plastics, pressed horn, and stamped metal. Over time, the term "Store C37 coordinates" has become shorthand among a small circle of collectors for a broader philosophy of preservation: know your piece, know its weaknesses, and assign it a home that mitigates both.

Why Coordinates Matter More Than Containers

A beautiful box with a velvet lining is not a storage system; it is a trap if you cannot remember which box holds your 1920s bandeau and which holds your 1970s metal slides. The C37 approach treats storage as a map. Each coordinate corresponds to a physical location—shelf A, row 3, bin 7—and that location is reserved for a specific category of accessory. The categories are not arbitrary; they follow the materials and construction techniques that determine how a piece ages.

For example, pieces made from cellulose nitrate (early plastic, often called French ivory or tortoiseshell) require breathable storage away from heat and light, because they can outgas and become brittle. Metal hair slides from the 1930s, especially those with silver or nickel plating, benefit from anti-tarnish paper and low humidity. Silk ribbons and grosgrain bows need to lie flat, never folded, and should be separated from anything with sharp edges. When you assign each of these categories its own coordinate, you never have to guess where something goes—and you never accidentally store a silk bow on top of a metal clip.

Setting Up Your Own C37 Grid

You do not need a dedicated room or expensive cabinetry. A modest set of shallow drawers (the kind sold for hardware or sewing supplies) works beautifully. The key is consistency. Label each drawer with a coordinate—C1, C2, C3—and keep a small notebook or a simple digital file that tells you what each coordinate holds. Here is a starting framework used by several collectors I correspond with in the UK:

• C1 – C5: Flat barrettes and snap clips (store lying flat, padded with acid-free tissue)
• C6 – C10: Combs and hair forks (store upright in divided boxes, prongs protected)
• C11 – C15: Fabric bows and ribbon accessories (store flat, never stacked more than two deep)
• C16 – C20: Metal slides and heavy clips (store individually in soft pouches to prevent scratching)
• C21 – C25: Headbands and flexible bands (store coiled loosely, not stretched)

The C37 coordinate specifically sits at the end of this grid—a shelf reserved for pieces that require extra vigilance: early plastics, pressed horn, and anything with glued-in stones or enamel. These are the accessories that cannot be replaced, and they deserve a home that treats them as such.

Material-Specific Care Within the Coordinates

Once you have your grid, the real work begins: understanding what each material needs to stay stable. Let us walk through three common categories you might assign to your own C37-equivalent shelf.

Celluloid and Early Plastics

Celluloid (cellulose nitrate) was widely used for hair combs and barrettes from the 1890s through the 1930s. It can mimic tortoiseshell, ivory, and jet, and its warmth and translucency make it highly collectable. But it is chemically unstable. It degrades in heat, light, and poor air circulation, releasing nitric acid fumes that can damage not only the piece itself but nearby accessories. Store celluloid pieces in a cool, dark drawer with a small sachet of activated charcoal (available at any good art supply shop) to absorb any off-gassing. Never store them in sealed plastic bags; they need to breathe. If you notice a vinegary smell, that is the cellulose nitrate breaking down—isolate the piece immediately.

Pressed Horn

Genuine horn (from cattle or buffalo) was widely used for Victorian and Edwardian hair ornaments. It is remarkably durable but prone to warping and splitting if the humidity fluctuates. The ideal relative humidity for horn is between 45% and 55%. In the UK, this is usually achievable indoors without special equipment, but avoid storing horn near radiators or exterior walls. A light application of pure jojoba oil (a few drops on a soft cloth, buffed gently) once a year can keep the surface supple. Do not use petroleum-based oils, which can darken the material.

Enamel and Paste Stones

Many 1920s and 1930s hair slides feature enamel work or paste stones (glass-backed rhinestones). These are fragile: the enamel can chip, and the foil backing on paste stones can tarnish or flake. Store these pieces in individual compartments lined with unbuffered acid-free tissue. Never wrap them in cotton wool, which can snag on settings. If a stone becomes loose, do not attempt a repair with superglue; consult a conservator who specialises in jewellery. A well-maintained paste slide can last another hundred years; a poorly repaired one may not last the year.

Combining Coordinates with Rotation

A coordinate system is only as good as your willingness to use it. I recommend a simple rotation: every six months, open each drawer, inspect every piece, and record any changes in condition. This is not busywork; it is how you catch problems early. A comb that is beginning to warp, a ribbon that is fraying at the fold—these are easier to address when you see them within weeks rather than years. Use your inspection time to also reconsider the coordinate assignment. As your collection grows, you may find that a category you thought was stable (say, 1970s metal slides) needs its own dedicated drawer because the pieces are rubbing against each other.

I also keep a small "quarantine" coordinate—C38 in my system—for any piece I have recently acquired. New additions spend at least two weeks in isolation before joining the main collection. This prevents any pests or mould spores from hitchhiking into the main storage. It sounds paranoid, but I have seen a single infested antique ribbon bow spread to an entire drawer of silk accessories. A two-week quarantine is cheap insurance.

Practical Notes for British Collectors

British weather presents specific challenges. Our damp winters and variable indoor heating can create microclimates inside drawers and cabinets. If you store your collection in a loft or a garden room, invest in a small digital hygrometer (about £10 from a hardware store) and check the humidity monthly. If it consistently exceeds 60%, consider a silica gel desiccant in each drawer, replaced every three months. If it drops below 40% in winter (common in centrally heated rooms), a small humidifier or even a shallow dish of water placed nearby (not inside the drawer) can help stabilise the environment.

Light is another enemy. Ultraviolet rays fade dyes and accelerate the degradation of plastics. Store your coordinates away from windows, and if you display pieces, rotate them out of the light every few weeks. A UV-filtering acrylic box can be a good compromise for pieces you want to enjoy daily, but the safest long-term home is a dark drawer.

For those who enjoy the quieter side of collecting, the rectangular barrette is a shape that rewards careful storage. Its flat, clean lines make it easy to nest without damage, and a well-organised drawer of these pieces is a small pleasure in itself. I have written elsewhere about the particular appeal of this classic form, and how a thoughtful storage approach can keep its edges sharp and its surface unmarked. The same principle applies to wavy trim pieces and braided headbands—each shape has an ideal resting position, and your coordinate system should reflect that.

The goal is not perfection. It is simply to know where everything is and to know that it is safe. The C37 coordinates are a tool, not a dogma. Adapt them to your space, your collection size, and your own habits. What matters is that you have a plan—one that frees you from worry and lets you enjoy the pieces for what they are: small, beautiful survivors of another era, still holding their shape, still waiting to be worn.