Stephen Sprouse, the designer who melded graffiti, punk, and psychedelia in the 1980s, left a mark on fashion history with garments that seemed to emit their own light. His use of DayGlo and phosphorescent pigments created pieces that glowed both in daylight and in the dark—a signature that made his work instantly recognizable. Now, decades later, those same pigments are fading, threatening the visual impact of the pieces held in museum collections.

At the Indianapolis Museum of Art at Newfields, a team of conservators and chemists is investigating the molecular changes at play. During a presentation at the American Chemical Society’s fall meeting in Chicago, they described their ongoing research into the photochemistry of the emissive pigments Sprouse favored. The goal is to develop conservation strategies that can slow or reverse the dulling of these colors without damaging the original fabric.

The science behind glow-in-the-dark materials dates back centuries. Substances known as phosphors store energy from absorbed light and release it slowly, producing a visible afterglow. Fluorescent materials, like DayGlo paints, work differently: they convert ultraviolet light into visible light, making colors appear extraordinarily bright even in low-light conditions. The same principles that make these materials visually exciting also make them chemically vulnerable. Over time, exposure to light, humidity, and air can break down the pigment molecules, causing them to lose their emissive properties.

The museum’s research is still in early stages, but the team is using spectroscopic techniques to identify which specific pigments Sprouse used and how they degrade. By understanding the chemical pathways, conservators hope to design better storage conditions—such as controlling wavelength of light exposure—or develop retouching methods using modern stable analogs.

“This is more than just a curiosity. These pieces are culturally significant, and their appearance is integral to their artistic message,” said a conservator involved in the study. The work also has broader implications for preserving other neon and glow-in-the-dark artworks from the same era.

The findings could eventually inform museums worldwide on how to handle similar materials, ensuring that the vibrant glow of a Sprouse original doesn’t become a footnote in fashion history.