Sprout by camillelemoine

BERNAT

SPROUT

Looking through the eyes of Bernat Klein

Sprout

Welcome Sprout is the space that exists beyond the roots of Bernat Klein. The following pages document the journey involved in exploring the renowned designerâ&#x20AC;&#x2122;s past, reinterpreting his life and values in a modern-day context. Recognising his unique relationship with nature, Sprout illustrates the importance of honouring our surroundings today through contemporary image making and conceptualisation. Our environment continues to be challenged by increasingly complex issues, and we must learn to emphasise and respect the outside worldâ&#x20AC;&#x2122;s innate beauty.

We hope that upon closing this book you will have gained a more emotional understanding of the problems humankind have caused, and that we continue to be faced with. Carry the spirit of Klein with you and hold onto your unique connection with nature a little tighter. Get lost in Sprout. Enter the depths of the wilderness and uncover the forgotten wonders only found outside.

Research

8 The Museum Archive

44 Eye for Colour

26 The University Archive

50 Textile Designs

34 Kleinâ&#x20AC;&#x2122;s House

60 Paintings

40 Bernat Klein Studio

Inspiration

66 About Colour

82 The Aesthetic

76 Regarding Nature

February 2020, photography by Pauline Lischke

‘I wanted reds that were redder and blues that were bluer than anything I had seen before.’ BERNAT KLEIN, ‘EYE FOR COLOUR’

Development

Features Photography

92 The Narrative

106 The Laser Cut Detail

94 Initial Ideas

108 Cover Details

96 Redesigning

110 The Editing

102 Developing Kinfolk

112 Assembling and Adjusting

104 The Colour Scheme

114 Printing and Binding

118 Waste Not Want Not

130 Space Dyed

124 Jeans and Green

138 A Soft Pairing

144 Inspiration: Photography

170 Farm Land

152 The Styling

176 Higher Peaks

158 Narrative

184 Scottish Sand

160 Dirty Track

192 Final Work

164 Golden

Research 8 The Museum Archive 26 The University Archive 34 Kleinâ&#x20AC;&#x2122;s House 40 Bernat Klein Studio 44 Eye for Colour 50 Textile Designs 60 Paintings

THE MUSEUM ARCHIVE 8

February 2020, photography by Pauline Lischke

The National Museum of Scotland Archive collects illustrative evidence of Bernat Kleinâ&#x20AC;&#x2122;s work.

February 2020, photography by Pauline Lischke

Visiting the Archive at the National Museum of Scotland was extremely useful for the development of our project. We were able to see Bernat Kleinâ&#x20AC;&#x2122;s textiles up close and were given access to his paintings, old photographs and even garments from his past collections. Being able to observe the small details in his work such as the thick coatings of paint and the textures within his textiles was an amazing experience. Reviewing these pieces using images online does not truly reflect the craftsmanship involved in the making of these creations. Seeing the vast body of work made us realise how innovative and talented Klein was. What we found most helpful, was having the educated staff on hand to explain and talk in depth about the different objects in the archive. They were obviously fascinated by the renowned artist and spoke passionately about his life and career. They explained that nature was an integral part of how the designer lived and created, and that the majority of his inspiration came from outside.

February 2020, photography by Pauline Lischke

THE UNIVERSITY ARCHIVE

The Textile Collection at the Scottish Borders Campus is an internationally recognised research resource on Scottish textile heritage.

Visiting the archive at Heriot Watt University in Galashiels was extremely exciting as the university’s High Mill building used to be the designer’s studio. Being able to work in the same building that Klein did whilst studying at university is very inspiring. Similarly to the museum, Heriot Watt’s archive had a wide selection of textile samples, images and garments. Again, being able to analyse the structures and vibrant hues within the designer’s work was fundamental to our project. The textile catalogues were beautiful, and the way that his colours illustrated the Scottish seasons was also something we took specific note of. A particular part of the archive that we found useful was the range of editorial images. It was interesting to see how Klein’s garments and textiles had been styled in fashion magazines and adverts during his career. Having access to these images allowed us to develop our own interpretations of several editorials. Reflecting on both trips, we have learnt that visiting archives and exhibitions is an essential method of research. We would not have gained the same understanding or raw admiration for Klein’s work without these experiences. February 2020, photography by Pauline Lischke

February 2020, photography by Pauline Lischke

Bernat Kleinâ&#x20AC;&#x2122;s house, High Sutherland, was designed by British architect Peter Womersley and is surrounded by forests and open fields in Selkirk.

KLEINâ&#x20AC;&#x2122;S HOUSE

Photography by unkonw, found on www.themodernhouse.com

Bernat Klein’s house was designed by architect Peter Womersley and is located in the Scottish Borders in Selkirk (Chronicles of Modernism, 2020). The single storey house is the shape of a rectangle, which Womersley adapted to create courtyards and a carport within the same structure (Klein House, n.d.). A diverse range of building materials have been used to create the house, including hardwoods such as idigbo and obeche, as well as vibrant tiling added by Klein both inside and outside the house. The main living room area is the most impactful room in the building due to its tasteful interior design of travertine floor tiles, polished obeche wood ceiling, custom-made furniture and a lowered seating area. What sets this space apart are the additions of Klein’s textiles and paintings. The light flooding in from the ceiling complements the vibrant hues and tones of his creations. Although not designed by Wormsley himself, a studio wing was also added in 1982 with the architect’s approval, as adaptability was a big part of how Klein’s house was originally designed (Klein House, n.d.). The house is rural, located on a plot of approximately 3 ¼ acres (Abrahams, 2018). The land falls onto a clearing surrounded by forests, which also looks onto nearby open fields. Completely surrounded by nature, it‘s easy to see why the designer was so inspired by his surrounding environments.

Photography by unkonw, found on www.themodernhouse.com

Celebrated British architect Peter Womersley (1923-93) also lived in the Scottish Borders and was best known for working in a modernist style (Klein House, n.d.). Womersley has been described by the prominent architecture critic Rowan Moore as ‘quite simply, one of the best British architects of the 20th century, and until recently one of the most overlooked’. Moore (2017) adds in the same article published by The

Guardian that ‘His buildings are adventurous but poised; lucid, brave in conception and considered in their detail’. He was able to cleverly play with structure and use alternative building materials to create some of the most notable buildings in Scotland during the Mid-Century period (Welch, 2019).

Photography by unkonw, found on www.themodernhouse.com

Photography by unkonw, found on www.iconichouses.org

Kleinâ&#x20AC;&#x2122;s design studio was built alongside High Sutherland, connected via an upper level woodland path.

BERNAT KLEIN STUDIO

Photography by unkonw, found on www.iconichouses.org

Bernat Klein commissioned Peter Womersley to design him a studio in additon to his house. He wanted a workspace for creating textiles as well as somewhere he could professionally exhibit his work during meetings. This building was a sculptural late Modernist building and lies next to his home, High Sutherland, in Selkirk. It was intentionally designed to connect to his home through a woodland area. The studio marries his two distinct architectural styles, winning him the RIBA award in 1973 for its design and unusual combination of materials (concrete, brick, steel and glass). It was also awarded the Edinburgh Architectural Association Centenary Medal (High Sunderland, n.d.). Today, the studio is abandoned and vacant, listed as a building at risk. The roof is in poor condition and rainwater has penetrated into the building (Bernat Klein Studio, n.d.). By researching further online, we

were able to watch YouTube videos of locals and passionate explorers revisiting the building on their own. Through these videos it was obvious that the building was still in moderate condition and should be protected by the government before it is too late. Surrounded by trees and fields, this would have been a prime spot for the designer to gather inspiration.

The warp and weft of Bernat Kleinâ&#x20AC;&#x2122;s early life and career.

EYE FOR

Perspectives, 1956, painting by Jean-Paul Riopelle

COLOUR

Une Baignade, AsniĂ¨res, 1884, painting by Georges-Pierre Seurat

Battle scene from the comic fantastic opera ‚The Seafarer‘, 1923, painting by Paul Klee

The Liberation of Colour ‘Seurat has...influenced my outlook on colour to a large extent’ -Bernat Klein, ‘Eye for Colour’ In Klein’s well known semiautobiographical book ‘Eye for Colour’ he tells the story of what he called ‘the warp and weft’ of his early life and career. The book details the designer’s ambitious goals as a textile designer and illustrates his thoughts on colour and design. The section of the book titled ‘The Liberation of Colour’ is inspired by the work of Klein’s favourite artists, many of whom, like Paul Klee and Georges Seurat, were influential colour theorists. It also includes text on his initial success and the impact that he grew to have on the fashion industry, including the creation of couture tweeds for the Paris and London Fashion Houses (Eye for Colour, n.d.). Especially influenced by the pointillist technique of the

painter Seurat, he attempted to create an impressionist effect in fabric by dip-dyeing wool to give dots of colour. A key influence was a visit to an Impressionist art exhibition at the Tate Gallery in the midfifties. He dreamt of producing cloth that, by combining many different colours, would shine and move with light (Shaw, 2014). However, Seurat himself (predominantly a pioneer of the Neo-impressionist movement) was most excited by varying scientific ideas about colour, form and expression. He believed that creating lines in different directions with specific colours combinations, would create very distinct and expressive effects (The Art Story Contributor, n.d.).

lein quotes artist and thinker Klee in ‘Eye for Colour’, whom he believes is able to highlight the sense of direction in nature and life by comparing it with the root of a tree: ‘From the roots the sap rises up into the artist, flows through him, flows to his eye. He is the trunk of the tree. Overwhelmed and activated by the forces of the current, he conveys his vision into his work. In full view of the world, the crown of the tree unfolds. Nobody will expect a tree to form its crown in exactly the same way as its roots. Above and below cannot be exact mirror images of each other. It is obvious that different functional operations in different elements must produce vital divergences.’

Water Lily Pond, 1899, painting by Claude Monet

Textile Designs

A qualified industrial textile designer should have inborn talent for colour, design, proportion and texture. -Bernat Klein, â&#x20AC;&#x2DC;Eye for Colourâ&#x20AC;&#x2122;

Photography by unkonw, found on www.bernatkleinfoundation.org

February 2020, photography by Pauline Lischke

Textile Career ‘Good design in textiles as in everything else is to be the result of hard work’ -Bernat Klein, ‘Eye for Colour’ Klein studied textile technology at the University of Leeds in England from 1945. He was employed by various textile companies in England and Scotland including Munrospun, until 1952 when he chose to start his own company Colourcraft Ltd where he made scarves for retailers such as Marks & Spencer with £500 borrowed from a friend, used to rent a rat-infested weaving shed. His business wasn’t significantly successful however, until he began using a professional agent in London who secured large orders for lambswool scarves from Littlewoods, Woolworth and British Home Stores. He was then appointed design consultant for Bond Worth Carpets, opened a showroom in London and created a popular velvet ribbon tweed. He also invented a colour chart based on a woman’s eye colour, so that females could wear colours best suited to their natural colourings (Shaw, 2014). He lived and worked in the Scottish Borders from 1951 until 2014. The lifeless greens and browns of tartan that occupied the Scottish textile landscape failed to inspire him, driving him to push the boundaries of colour. His breakthrough came in 1962 when his tweeds were recognised and used by the Paris fashion houses; first Chanel, then Balenciaga, Pierre Cardin and Yves Saint Laurent. Klein’s company expanded rapidly after this, and by 1965 he was employing 600 people. However, in 1966, a business manager was appointed to work alongside Klein. The designer did not want to negotiate when it came to his artistic vison and decided to leave the company. He set up a new enterprise, Bernat Klein Design Consultants Ltd, which he ran from his home at High Sunderland (Shaw, 2014).

Photography by unkonw, found on www.nms.ac.uk

His signature fabrics include colourful tweeds, that featured mohair and ribbons, in addition to velvet and jersey fabrics. Not only did he have an impact on the fashion world, but his distinctive style also made a mark on upholstery (Smith, 2020). His textiles were always very vibrant and had an interesting texture. His oil paintings would often be a starting point when creating his textiles, as they are very textural; the thick layers of paint resulting in a three-dimensional aesthetic. Some of his lesser known pieces of art also incorporated layering of pressed flowers and pieces of paper (Bernat Klein at National Museums Scotland, n.d.) Klein would look to nature for inspiration when it comes to texture. The frantically assembled look of leaves on a tree is often mirrored within his work, alongside the autumnal colour palette of the forest. When creating contemporary photography, we are keen to reflect these influences in similar ways.

February 2020, photography by Pauline Lischke

P T

A I

My painting started and continues purely as a means of expressing my excitement and pleasure in visual experiences. -Bernat Klein, â&#x20AC;&#x2DC;Eye for Colourâ&#x20AC;&#x2122;

I N G

N S

Photography by unkonw, found on www.heraldscotland.com

Words cannot do what colour will. -Bernat Klein, ‘Eye for Colour’

Bernat Klein began painting for fun in the 1960s and went on to produce an impressive collection of artworks that explored colour. He took inspiration from the nature around him, which was always the starting point when creating his fabric (Bernat Klein, n.d.). His artwork was used as a way to collect and experiment with colour whilst designing, and he even built in woven and polyester fabrics into some of his paintings. For example, Provencal Scarlet (left) is a striking combination of thick

red and pink paint, combined with velvet ribbon (Villarreal, n.d.). Other noteworthy pieces include the work shown at ‘The Colour Circle’ exhibition at Studio Pavilion, which featured a series of forty-three paintings made between 2011 and 2012 by the artist. These paintings show his skill and ability to create unique and exciting colour combinations (The Colour Circle, n.d.).

Painting by Bernat Klein, found on www. ovecotstudios.com

2011, painting by Bernat Klein, found on www. studiopavilion.co.uk

Inspiration 66 About Colour 76 Regarding Nature 82 The Aesthetic

R O

T Venture to the hidden corners of the Scottish Borders.

O S

About Colour

Bernat Klein was celebrated for his innovative use of colour.

Photography by unkonw, found on www.scotsman.com

Bernat Klein’s forte was colour. Although initially apprehensive about his move to Scotland, he soon fell under the spell of the Border’s countryside and its changing seasons. He became truly obsessed with colour and was quoted saying ‘I think that colour is so important to our lives, more so than words’ (McGlone, 2011). Bringing vibrant colours to tweeds and incorporating different materials into his designs, he revived traditional textiles. His palette would often include a lot of warmer tones, potentially inspired by his background growing up in Jerusalem and Serbia. On the whole however, his colour guides, textiles and paintings all derived from his raw admiration for the colours he found outside. He believed that the majority of people where following outdated ‘colour codes’ such as in Egyptian times, Roman times and even in fairy tales where the witch is black, and the angel is white. He felt sorry for people who condemned to

these codes, and believed they were stunting their ability to grow and say what they think or feel with colour. He admired Turner, a painter who was one of the first impressionists to use colour as emotion rather than just conveying true form. He believed others should utilise colour in this way (Klein, 1965). Within the world of fashion, Klein believed that too many people wore colours that didn’t suit them. This drove him to publish his first Personal Colour Guide in 1965. It was based on women’s eye colour, and helped you select specific shades to suit your colouring. These guides were an immediate success, and the British Government even found them inspirational. In 1969 the Department of the Environment commissioned Klein to create fabrics for their various buildings, including administration offices and army accommodation (Ruiz, 2015).

The concept behind Roots was heavily inspired by the way Klein’s paintings portray Scottish wildlife. He conjures up a vibrant and exciting energy in these creations, which are also used as inspiration for his textiles. On the following pages we have pulled images from his book ‘Eye for Colour’ that display the relationship between his paintings and his textiles.

Photography by unkonw, found in the book ‘Eye for Colour’ by Bernat Klein

TULIPS 4

‘All I wanted to put down was my original excitement seeing these glowing colours in their full extravagance.’ Words by Bernat Klein from ‘Eye of Colour’

Tulips 4, painting by Bernat Klein

February, painting by Bernat Klein

FEBURARY

‘In the Borders no season is without interest for the effect of the change on the countryside is quick and often breathtaking.’ Words by Bernat Klein from ‘Eye of Colour’

Photography by unkonw, found in the book ‘Eye for Colour’ by Bernat Klein

ROSES

‘The roses were wilting and I had to paint fast. Perhaps because of this struggle many of our cloths came to look like Roses.’ Words by Bernat Klein from ‘Eye of Colour’

Roses, painting by Bernat Klein

Lichen, painting by Bernat Klein

LICHEN

‘On one of our walks we came upon a fallen tree...this is how we found a most unusual fungus growing on one side of it which was frozen hard and which, with the sun shining on it, looked quite beautiful.’ Words by Bernat Klein from ‘Eye of Colour’

This cloth and its structure was inspired by the painting ‘Lichen.’

Photography by unkonw, found in the book ‘Eye for Colour’ by Bernat Klein

Orkney, July 2020, photography by Camille Lemoine

Regarding Nature

Whether it was in Bernat Kleinâ&#x20AC;&#x2122;s textiles, paintings or colour choices, the environment that surrounded him can be seen in all his creations.

Galashiels, March 2017, photography by Pauline Lischke

When generating ideas for this project, inspiration was drawn from our own images of Scotland. After studying the work of Bernat Klein, looking again at these images made us realise the variety of structure, shape and colour that exists in nature. The wildlife that we have documented is from various

places in Scotland; from the Highlands, to the landscapes in Orkney. Observing the different elements within these images helped us fully develop our concept, similar to how Klein would work himself.

The other place where similar, pleasant experiences accumulated was on the riverside during the long summer days of swimming, diving and boating or fishing.-Bernat Klein, â&#x20AC;&#x2DC;Eye for Colourâ&#x20AC;&#x2122;

of the Rights of Nature, 2019). Although this may sound strange, it may be the key to saving the natural world as human interests in exploiting nature change to protecting nature for future generations. These new laws emphasise the importance of respecting our environment, and forces others to appreciate the wonders of planet earth.

Island of Mull, October 2019, photography by Pauline Lischke

The increase in environmental personhood that we have seen on a global scale in recent years is a driver behind the message this publication aims to project. Environmental personhood is a legal concept which gives specific environmental entities the status of a legal person. This means that rivers, lakes and forests around the world are being recognised as if they were a person. The Whanganui river in New Zealand as well as Lake Erie in the United States where assigned these rights in 2019, amongst many others (The Rise

Island of Mull, October 2019, photography by Pauline Lischke

The Aesthetic

Why we wanted white space.

Kinfolk Magazine, issue 28, styling by Kingsley Tao, photography by Annie Lai

Kinfolk Magazine, issue 27, photography by Kira Bunse

Kinfolk Magazine, issue 28, styling by Kingsley Tao, photography by Annie Lai

Kinfolk magazine became our main source of inspiration once we decided to change our aesthetic to have a more minimalistic feel. Kinfolk is an independent slow lifestyle magazine, published by Ouur and is based in Copenhagen, Denmark. The magazine covers home, work, fashion and culture, and connects groups of creatives living across the globe. The Kinfolk look has become so sought after that every minimalistic filtered photo on Instagram has become associated with its name (Howarth, 2016). We wanted our publications to have this contemporary

feel and found that pairing something as vibrant as the work of Bernat Klein with this calming aesthetic would be visually interesting. Although Kinfolk appears simple, it is very cleverly done, and the magazine is home to beautiful graphics and writing. Every part of this magazine is carefully designed. We were determined to bring this level of perfectionism to our publications. Although Klein was widley recognised for his use of bright colours, he still integrated black and white into his textiles. We discovered this during the museum archive visit, where the staff explained to us that he

did in fact use these shades. We also saw this in various large textile swatch books that were on display. The main motivation for having an aesthetic that comes with a lot of white space is to guide the readerâ&#x20AC;&#x2122;s attention to the content on our pages (often vibrant graphics and images). Having too much going on can often confuse the reader and divert their attention to the less important parts of our book. For our publication Roots, it was essential to have a lot of white space as the wildlife items themselves were very colourful and unique.

Kinfolk Magazine, issue 28, styling by Kingsley Tao, photography by Annie Lai

Development 92 The Narrative 94 Initial Ideas 96 Redesigning 102 Developing Kinfolk 104 The Colour Scheme 106 The Laser Cut Detail 108 Cover Details 110 The Editing 112 Assembling and Adjusting 114 Printing and Binding

R O

T Venture to the hidden corners of the Scottish Borders.

O S

The Narrative

February 2020, photography by Pauline Lischke

The concept and thought process behind Roots.

The angle we have taken for this project revolves around Klein’s relationship with the Scottish Borders. As Heriot Watt students who study in Galashiels we feel very close to his biggest inspiration; Scottish nature. Instead of focusing on the cold weather, muddy trails and cloudy days that the country is often known for, his designs highlight the beautiful wildlife and landscapes that Scotland most importantly offers. We wanted to recognise this in our own work and imagery and reimagine our surroundings as if we were looking through his eyes. As well as being an established textile designer, Klein was also celebrated for his innovative use of colour. We wanted to illustrate this in our publication Roots, by keeping it refined and focusing on three main things; wildlife, colour and painterly texture. We did this by taking images of Scottish nature and recolouring each item using a colour scheme created using the specific hues found in his textiles and paintings. We then manipulated them to look similar to the way he painted wildlife himself. The colours we chose were also carefully selected in order to mirror Scotland’s seasons. The publication will encourage viewers to look at the natural environments that surround them in new ways, creating a deeper respect and admiration for the beauty that already exists on the planet, especially within the Borders. The name ‘Roots’ derived from the idea that nature was where most of Klein’s designs started. Similarly, this was the starting point for any contemporary photography and concepts that are displayed within this twin publication Sprout.

NOTES This concept is very relevant, as our arrival into the Anthropocene marks a time where human activity is the largest cause of destruction to the earth. As a result, it is vital for us to start taking a closer look at nature and protecting the beauty that exists.

BO RD ER S

RO LL IN G

Initial Ideas

HI LL S

AND

I G N C H A

Our original graphic design inspiration.

Our initial inspiration for a graphic design aesthetic was taken from the interest that Klein had in Bauhaus. This was information that we gained from our visit to the Heriot Watt University archive where staff explained the link between this style and his house, High Sutherland, built by architect Peter Womersley. This information was not available online, so our trip to the archive was especially useful. Womersley trained in the Bauhaus-influenced Architectural Association in London just after the war, and this has had a big influence on his work- seen in his use of bold shapes and refined detail. Examples of his work that obtain these elements include Kleinâ&#x20AC;&#x2122;s house, the design studio, the grandstand in Galashiels and the boiler house in Melrose. Although a direct link between Bauhaus and the designer may not seem obvious, the

Heriot Watt staff explained that he was greatly interested in the movement. This influence can be seen within many of his paintings, especially within his exhibition â&#x20AC;&#x2DC;The Colour Circleâ&#x20AC;&#x2122; where simple geometric shapes are used to display colours on a series of small canvases (The Colour Circle, n.d.). These paintings are what inspired our original front cover design (below).

E I

K L

B E R N

The rest of our graphic design experimentation surrounding this aesthetic revolved around simple shapes and bold colours. We were keen to use unusual colour pairings like Klein did, as well as keeping it contemporary and obviously influenced by Bauhaus. We also played with letter placement and font size, which is something we carried into our new aesthetic later on.

Redesigning Changing our graphic design aesthetic. During the process of creating pages we found that as a team it was easy to work in different ways and develop contrasting designs. Reflecting on the pages we had already done, one style was obviously bolder than the other, and the publication was inconsistent. We felt that consistency was extremely important to maintain within these publications and as individual creatives, this is something we had to tackle and consider early on in the process. In this instance, we solved it by considering other aesthetics for our publications, settling on the idea of taking a more contemporary and minimalistic approach. Although this was not the obvious choice due to Kleinâ&#x20AC;&#x2122;s love for vibrant colour and texture, we made the decision based on the desire for a cleaner aesthetic. We felt that his designs and our photography work would be enhanced by a simpler look, rather than getting lost in a whirlwind of colour. We came to the conclusion of using magazines with a more minimalistic aesthetic such as Kinfolk, The Gentlewoman and Cereal. These publications pay huge attention to detail, and everything has been designed with a purpose. They also have a very distinct aesthetic, making it a good style to work under as a team. We spent the next few days reading these various magazines and observed their different layouts before making the decision to focus on Kinfolk. This was due to their experimental graphic design and contemporary feel. Adopting a similar aesthetic would enable us to work consistently under a certain style whilst still being able to experiment with the design.

NOTES 1.Using Bauhaus as our main source of graphic design inspiration provided too many opportunities for inconsistency. We needed an aesthetic that both teammates could relate to and build upon.

2.Kinfolk magazine was chosen as our main source of inspiration as they felt more contemporary than other minimalistic magazines. Unique design choices are made throughout to enhance the appearance of content.

BERNAT KLEIN RETROSPECTIVE 1923 >2014 Bernat Klein had a visionary career spanning five decades, from the 1950s until his retirement in 1992. Based in the Scottish Borders, his radical use of colour blending and texture transformed haute couture and home-made

NATURE TEXTILES

>PAINTINGS

>COLOUR

O H I SC S TT BO RES DR

BERNAT KLEIN RETROSPECTIVE

>1923 >1949

In the Summer of 1940, he moved to Jerusalem to study at the Bezalel School of Art, and from there attended the Leeds University Textile Technology course in 1945. In 1948 he was employed by Tootals Mill in Bolton as a Designer. He then worked with Munroe Spun for two years. Based initially in Edinburgh, he was then moved to Galashiels.

>1949

Klein was born in 1923 in Senta, north of Belgrade in what was then Yugoslavia. His father ran a textile wholesale business and looking at the ranges of bright colours in the warehouse was an early inspiration for Bernatâ&#x20AC;&#x2DC;s brilliance with colour.

U R O L O

colour and the borders colour and the borders colour and the borders colour and the borders colour and the borders colour and the borders

Klein started his own company Colourcraft (Gala) limited in the sheds between Netherdale Mill and Schofields of Galashiels, now destroyed, in 1952, weaving rugs, head squares and ties in a small shed with 4 looms. This involved the employment of local workers and the management of his shop, the Boutiqueâ&#x20AC;&#x2DC; in Edinburgh. In 1956 he moved to the High Mill which is now part of the Scottish Borders Campus of Heriot-Watt University. Trial lengths were produced at the High Mill by Klein and his designers, full-scale production was carried out at Gibson and Lumgair. The group of technical designers included Jeremy Hooker, Grant Gilligen and CarolineBowyear

>1949

>1962

RETROSPECTIVE BERNAT KLEIN

GOL D Embrace the yellow hues of golden hour

E N

Developing Kinfolk How we made the Kinfolk aesthetic our own.

embling and Adjusting

g letters using Scottish wildlife.

PROCESS Stage 1- 4 This process broke down into several stages using Photoshop. 1) Select from the individual images of wildlife that we had already edited. 2) Assemble them together to the shape of the letter 'C‘.

For our publication ‘Roots’ we wanted to keep the inside pages minimal, focusing on the images of nature. Little to no writing would occupy the pages other than the introduction. Ensuring that even the smallest of details are considered is essential for this kind of publication, and is something we learnt from studying Kinfolk magazine. This is why we came up with the idea of making letters from the subject matters, in order to keep the book minimal but still visually interesting. Klein’s artwork itself is also very experimental and abstract, driving us to think outside of the box and play with our concept. The initials were placed on the back cover, as a representation of our names. We also considered using this idea for the front cover of our books, constructing the letters ‘B’ and ‘K’ for Bernat Klein

out of wildlife imagery. However, after further experimentation we decided to use a laser cutting effect for the front cover as it was more interactive. Constructing these letters was tricky at times, as we wanted to keep the nature items in their natural form (this meant no scaling or transforming them on Photoshop to become an unusual shape). This involved a lot of trial and error, where different pieces were tried together until the right combination was found. However, we are happy with the final designs and believe that they add a creative edge to the details in our publication.

PROCESS Stage 1- 4 Similarly, this process also broke down into several stages using Photoshop, but this time involved three items. 1) Select from the individual images of wildlife that we had already edited. 2) Assemble them together to the shape of the letter 'P‘.

KEY INFLUNCES by Kinfolk The use of large letters and their placement is something that we have definitely carried into the design of our own publications. Within our photography pages we have had fun with this approach by creating unique title pages with theme names.

Our aesthetic is inspired by Kinfolk magazine and their attention to detail. We learnt and developed from their clean, minimalist approach by experimenting with letter spacing, fonts, and considering our use of text. Specifically, we have built on their aesthetic by taking a unique approach to small details; such as building letters using imagery of wildlife and laser cutting certain pages. We have split our research book into different sections, and each section explores a different approach to the magazine’s design. We also experimented with the use of black and white; colours that are not typically associated with Klein. However, the designer used these shades to balance out many of his paintings and designs, which is something we were told by staff at the museum archive. In his book ‘Eye for Colour’ he says: ‘I had reached my main colour and felt it worthwhile to take it as a foundation and enlarge upon it by mixing it with various quantities of the basic colours and also with black or with white.’ Using these shades in this publication was a way of reminding readers that the designer viewed these shades as important.

The Colour Scheme How we selected our colour scheme and its reflection of the Scottish seasons.

In order to illustrate the variety of wildlife available in Scotland we felt it was important to mirror every season via the colour scheme. Klein was very inspired by the vibrancy of hues that the Borders received during its various seasons, and many of his designs reflect this. Renowned for his innovation within colour, the decision of

what colours to choose was one that we had to think about very carefully. In order to make an informed decision we studied our favourite paintings and textiles of his, as well as looked at the colour guides he created based on women’s eye colour.

COLOUR FLOW by Bernat Klein The colour scheme we created flows in the way that his colour guides and textile collection books do. Photographed above is a book showcasing his textiles in this way from the museum archive. We also learnt from this visit that each textile design had been named after nature, the weather or a place in Scotland. Some of these textile names include ‘Galashiels’, ‘Tangerine’ and ‘Sunset’.

February 2020, photography by Pauline Lischke

When selecting our colour palettes, we researched images of Scotland and Scottish wildlife during spring, summer, autumn and winter. With this visual information we used different paintings of nature that Klein had created to select appropriate colours that would match these seasons. We made sure to keep them exactly as the designer had made them, using the colour selector tool on Adobe Photoshop. We were conscious that colours can often be manipulated

online to look different, so most of our samples were taken from scans of his book â&#x20AC;&#x2DC;Eye for Colourâ&#x20AC;&#x2122; and specifically selected from the paintings and textile images that he published in this particular book. This meant that we were able to keep as exact to the original colours he used as possible.

One of our weekly tasks included creating a mini ‘Bernat Klein’ book, using only the letters within the designer’s name. For this book, we decided to make it as interactive as possible. Focusing on two main things; his use of vibrant colour, and the letters in his name. Each page was coloured individually, using our colour scheme (all based on the colours Klein created himself when painting), and a letter occupied the centre of every second page. Each letter was then cut out, becoming a rough mock-up of what it would look like if it had been laser cut. Each cut-out exposed the page underneath with various colours showing as a result. The different shapes of the letters also created a complex cut-out shape made up of various layers.

The Laser

NOTES 1. Due to the time scale and purpose

Experimenting with laser cutting.

of this experiment this book was made using university printing facilities. All cut-outs were made using a pen knife and scissors. Professional laser cutting facilities were not accessible at this stage in the project.

2. Other factors that were considered

when making this book included using his abstract paintings of nature as backdrops for the letters. However, we kept it more refined and minimalistic by using strong block colours.

Cut Detail

Using colour and cut-outs together.

This experiment was extremely successful and made us determined to incorporate laser cutting into our final publications. After getting feedback from the rest of the class, we knew that this added detail made people more inclined to pick it up. As these publications were originally meant for an exhibition this was an extremely important factor to consider. Luckily, we have laser cutting facilities available at the university, and we planned on using this to create interesting hard back covers. We also had to make sure that our choice of binding was able to have a laser cut cover. Unfortunately, this publication remains in the Heriot Watt University building, and due to COVID-19 we were unable to gain access to it. This meant that we were unable to document the final mock-up. However, using our Adobe InDesign template we have made a visual mock-up of what this publication looks likes in real life.

Cover Details The concept behind our front covers.

The use of laser cutting on our front covers stemmed from the creation of our mini laser cut-out book (previous page). However, we made this decision not only because of how it looks (it is more interactive and invites people to touch and read the

book), but because it falls in line with our overall concept. Our angle for Roots explores what wildlife in the Scottish Borders would look like through the eyes and imagination of Bernat Klein. The laser cut-out of the letters ‘B’ and ‘K’ symbolically

illustrates the action of ‘looking through’ the eyes of Bernat Klein, as we look onto a vibrant assortment of nature displayed on the first page.

The Editing Adapting Scottish wildlife using Bernat Klein as inspiration.

Photography by unknown, found on www.wikipedia.org

When studying Klein’s textiles and paintings, we found that he had a very abstract style. He was able to reimagine traditional Scottish landscapes and bring vibrancy and life to the most mundane pieces of wildlife. This is what made us want to create our publication, Roots, where we have manipulated pieces of nature to look obscure

and uniquely beautiful, in the same way that Klein did. In order to achieve this, we had to adopt his painterly style using contemporary methods such as online editing software in the Adobe Suite. These images are transformed to appear as if they belong in the designer’s vivid imagination.

PROCESS Stage 1- 4 This process broke down into 4 stages using Photoshop. 1) Finding high quality images of wildlife online or using our own images. 2) Cutting out the singular piece of nature using the pen and mask tools. 3) Adding two layers and colouring them using our colour scheme. 4) Experimenting with the layers and effect tools to create a painterly style similar to Klein’s, without losing all realistic qualities of the original image.

February 2020, photography by Camille Lemoine

Assembling and Adjusting

PROCESS Stage 1- 4

Creating letters using Scottish wildlife.

This process broke down into several stages using Adobe Photoshop. 1) Select from the individual images of wildlife that we had already edited. 2) Assemble them together to the shape of the letter â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122;.

For our publication, Roots, we wanted to keep the inside pages minimal, focusing on the images of nature. Little to no writing occupies the pages other than the introduction. Ensuring that even the smallest of details are considered is essential for this kind of publication and is something we learnt from studying Kinfolk magazine. This is why we came up with the idea of making letters from the subject matters, in order to keep the book minimal but still visually interesting. Klein’s artwork itself is also very experimental and abstract, driving us to think outside of the box and play with our concept. The initials have been placed on the back cover, as a representation of our names.

We also considered using this idea for the front cover of our books, constructing the letters ‘B’ and ‘K’ for ‘Bernat Klein’ out of wildlife imagery. However, after further experimentation we decided to use a laser cutting effect for the front cover as it was more interactive. Constructing these letters was tricky at times as we wanted to keep the nature items in their natural form (this meant no scaling or transforming them on Adobe Photoshop to become an unusual shape). This involved a lot of trial and error, where different pieces were tried together until the right combination was found. However, we are happy with the final designs and believe that they add a creative edge to the details in our publication.

PROCESS Stage 1- 4 Similarly, this process also broke down into several stages using Adobe Photoshop, but this time it involved three items. 1) Select from the individual images of wildlife that we had already edited. 2) Assemble them together to the shape of the letter ‘P’.

Printing and Binding

Photography by unknown, found on www.johnrwalker.com

How we planned to print and bind our final publications.

Due to COVID-19, our publications will be produced to fit an online format. However, prior to these circumstances we had planned on getting both publications bound by Juju Books in Glasgow. Trusted printers work alongside this company and is where we would have got our pages printed. Roots was designed to be a hard-back concertina book, that can lie flat or be displayed upright. The paper weight would need to be quite thin for this book (at around 100gsm) due to the number of pages we have. We made this choice as the content of this publication isn’t text heavy and is best enjoyed when displayed in an interesting manner. Our second publication, Sprout, was going to be hard-back and Coptic bound, as this was the longest lasting option. We were planning on selecting a slightly thicker paper weight for this book, and it would be printed in six sections in order to be bound correctly. Photography by unknown, found on www.blend4.com

NOTES 1.The publication ‘Sprout’ was planned to be a hard-back Coptic bound book. The publication ‘Roots’ was planned to be a hard-back concertina book.

2. Unfortunately due to COVID-19, our publications have been adapted to suit an online format, to be printed at a later date.

Features 118 Waste Not Want Not 124 Jeans and Green 130 Space Dyed 138 A Soft Pairing

March 2020, photography by Pauline Lischke

WASTE NOT Reimagining Bernat Kleinâ&#x20AC;&#x2122;s original fashion editorial images using a modern approach and aesthetic.

WANT NOT

Photography by unkown, found in the book ‘Eye for Colour’ by Bernat Klein

We have chosen an original fashion editorial image (above) featuring Bernat Klein’s designs that we saw during our visit to Heriot Watt University’s archive. We selected this image to analyse and replicate due to its monochromatic style and use of fruit as props. This shoot’s concept explores the environmental issues we are currently facing as a global population; this includes how humanity is fed and why we should avoid food waste. This image allowed us to play with this idea, by getting the models to eat the apples and structure their poses by using them as an extension of their body. Ultimately, this enforces the idea that we must eat the food we buy and view food as something valuable that we cannot take for granted. Observing the original fashion image the models appear to be very prim and proper. The subjects themselves are very aware that they are being photographed. In our shoot we wanted to convey the modern-day woman, who is allowed to touch others, and look ‘ugly’ and improper as she hungrily bites into an apple. The styling choices are illustrated in our mash up

and mood boards (next page). A modern layering aesthetic is juxtaposed with frilly and old-fashioned garments, with added oversized structured pieces. This is a direct contrast to the simple, fitted pieces used in the original photograph. Simple gold jewellery was added in the form of hoop earrings, giving the outfits a hint of elegance and formality. Elements of the original image that we decided to keep include the use of the colour green and natural light. The use of subtle make-up on brunette models has also been replicated. After reflecting on our mood board, we decided that using brunette models with comparable features was important to maintain some similarities between the two sets of images. However, instead of having immaculate hairstyles we asked our models to loosen off their hair. This reinforces the idea of women not having to look a certain way or play a certain role.

March 2020, photography by Pauline Lischke

March 2020, photography by Camille Lemoine

â&#x20AC;&#x2DC;Jeans and Greenâ&#x20AC;&#x2122; is a modern take on an original Bernat Klein fashion editorial exploring monochromatic styling.

J G

March 2020, photography by Pauline Lischke

This original Bernat Klein editorial (below) was taken near where Heriot Watt University halls currently are, just outside of the Kingsknowes Hotel. We found the location interesting as it is in such close proximity to our university, motivating us to create a modern take on this image. The models in the original image are white females, both

perfectly groomed. Klein’s editorials were not inclusive, with only a particular type of race and gender portrayed in his images. We wanted to change this by using Asian models. Including a range of races within his images would already give them a more modern feel. Having a male model also pushes the boundaries of inclusivity.

‘Klein’s editorials were not inclusive, with only a particular type of race and gender portrayed in his images.’

Photography by unknwon, found on www.theskinny.co.uk

March 2020, photography by Pauline Lischke

Our mash up collage is pictured on the cover page of this shoot (p.124), and the mood board (right) illustrates our styling choices. The styling was kept monochromatic with one entirely green outfit, whilst the other in blue. However, they were made up of contemporary pieces. The female was dressed head to toe in dark blue denim, with a raw edged bucket hat. The male wore a knitted jumper and denim jeans underneath a faux leather green dress. A silk scarf was also tied around the dress as an accessory not normally associated with men. No make-up was added and their hair was regularly brushed

with a comb throughout the shoot. When directing the models for this shoot, we wanted to perfectly replicate the poses of the original image. Overall, the final images are successful replicates of Kleinâ&#x20AC;&#x2122;s fashion editorial image, with a modern twist of contemporary models and styling. Looking back, we would have preferred the male model to have worn nothing underneath the dress. However, he was uncomfortable with this request. We would also have preferred to use a fanny pack instead of the silk scarf as the accessory to give it an athletic edge.

SPACE Reimagining Bernat Kleinâ&#x20AC;&#x2122;s editorials featuring his space-dyed mohair fabric.

DYED

March 2020, photography by Camille Lemoine

1970, photography by unknown, found in the catalog ‘Bernat Klein‘s Couture Tweeds’

‘The space-dyed mohair effect reminded us of the current trend for tie-dye.’

The original fashion editorial image (p.133) is from a Bernat Klein catalogue in the early 1970s. The garments are colour coordinated and the coat is made from space-dyed mohair and wool tweed. The beret is also made from space-dyed mohair and an abstract print design features on polyester knit trousers and a shirt. We chose this image to replicate as the spacedyed effect of the fabric reminded us of the current trend for tie-dye. Similar to other editorials featuring Bernat Klein’s designs, the model in this picture portrays the image of a typical white ‘housewife’ woman. This is why we decided to use a male model, to normalise the image of male models in female clothes. Gender fluidity and gender-neutral clothing is on the rise, and more fashion editorials should acknowledge this. Our model however still has delicate, female features. His strong jaw line and light blonde hair is similar to those of the model in the original image. No make-up was added and his hair was combed forward. The mood board (left) illustrates the styling choices for this shoot. As we had no access to Klein’s original printed pieces, we opted for a modern print of today; tie dye. Contemporary pieces included handmade tie-dyed trousers, and a tie-dyed top. A pastel green blazer was layered on top, alongside a blue silk headscarf and framed sunglasses. We decided to use a silk scarf instead of a denim bucket hat as it is more unusual and not a common accessory for a male. The location was harder to select, as the original image has a blurred background. We decided to choose a typical countryside landscape of fields (in the Borders), with a wall that the model could rest on. When directing the model, we got him to replicate the pose of the original image. After this, we asked him to move around and interact with his clothing and environment. Overall, these images were fairly successful in replicating the original image. However, a more interesting location such as a lake would have made the image look more similar.

March 2020, photography by Camille Lemoine

A Reimagining Bernat Kleinâ&#x20AC;&#x2122;s fashion editorial

SOFT using a studio space and contemporary models.

PAIRING

â&#x20AC;&#x2DC;Their edgy aesthetic combined with the delicate soft feel of the garments would give the images a contemporary feel.â&#x20AC;&#x2122;

Due to COVID-19 this shoot was unable to take place. However, the mood board (previous page) illustrates our styling choices and general mood. This shoot was planned to take place in the studio, using a white backdrop and studio light. Soft knitwear in cream and pastel blue shades were going to be used. We also considered bringing in bluebell flowers to give both models something to interact with, as well as adding a contemporary feel. Knitted trousers would also have been worn in matching shades. For this series we had a unique looking male model

similar to in the mood board (p.139), with pierced ears and brown hair. The female model we had secured also had brown hair as well as a micro fringe. These two models both have a similar edgy aesthetic and together look visually enticing. Both models would have had combed straightened hair and natural looking make-up. They would also have worn several small silver hoop earrings in both their ears. Their unusual, edgy aesthetic combined with the delicate soft feel of the garments would have created an interesting juxtaposition. We would have directed them to pose similarly to the

original image. After these shots we would have directed them to relax and interact with one another more, as well as with the flower props. The models within Kleinâ&#x20AC;&#x2122;s shoots often looked seemingly stiff and uncomfortable near one another. We wanted to illustrate the opposite of this by encouraging the models to get closer and feel at ease with each other.

Photography by unknown, found on www. angelelegancevintage.com

Photography 144 Inspiration: Photography 152 The Styling 158 Narrative 160 Dirty Track 164 Golden 170 Farm Land 176 Higher Peaks 184 Scottish Sand 192 Final Work

Inspiration: Photography

Chronicles Book - Volume One, styling by Jimi Urquiaga, photography by James Perolls

Lula Magazine, June 2018, styling by Tamao Lida, photography by James Perolls

Metal Magazine, styling by Marejke Schmidt, photography James Perolls

Of Mud and Lotus, 2017, photography by Vivienne Sassen

When planning our shoot aesthetic and concepts we were inspired by three photographers in particular; James Perolls, Viviane Sassen and Tom Johnson. James Perolls' styling choices and unusual editing style (made up of pastel hues and soft tones) give his work a modern aesthetic, transporting the viewer into his own imaginary world. We were also drawn to the use of the countryside within his images, and how he gets models to interact with their environments. The use of nature is also a predominant factor in British photographer Tom Johnson’s work. His series ‘Too Good’ uses vibrant colours within clothing to enhance the golden field of hay used as a backdrop. This strong use of colour alongside his unusual poses is something we brought into our own work. Another significant shoot to note from Johnson is ‘Loch Veil’ that portrays a

very stereotypically Scottish environment; a loch surrounded by mountains and thistles, paired with tartan styling. We particularly liked the way he referenced Scotland within his images. He also manages to utilise plants and props such as bagpipes within his images. This creates more unique poses and illustrates the story of the series very successfully. Dutch photographer Viviane Sassen adds to our inspiration as she transforms seemingly mundane pieces of nature with collage, filters and streaks of pigment to the point of being unrecognisable. We wanted to adapt this idea by rediscovering the Scottish Borders‘ hidden beauty within our imagery. In Sassen’s series ‘Of Mud and Lotus’ she references mud as a necessity in the process of growing lotus. Compact groups of fungi are reinvented using a variation of organic materials (Of Mud and Lotus, 2017).

Dazed & Confused Magazine, 2017, styling by Elizabeth Fraser Bell, photography by Tom Johnson

M Le magazine du Monde, October 2016, styling by Sarr Jamois, photography by Oliver Hadlee Pearch

The Styling

Merging old and new aesthetics.

Our styling aesthetic is derived from two main areas; the work of James Perolls and the work of Bernat Klein. Fusing these two inspirations together ensured contemporaneity. The models in Perolls’ work wear oldfashioned, often granny-like clothes alongside a selection of impactful modern pieces. We wanted to replicate this approach by mixing garments associated with Klein and Scotland —such as tartan, knitwear, crochet and bright patterns— with contemporary pieces of today. From looking at magazines like Dazed and Hunger, we found many stylists combining athletic clothing with traditional knitwear and

oversized jumpers. Although we did not want to reference a specific era within our styling, we have taken some elements from the sixties, when Klein was thriving in his textile career. This includes layering clothing, mixing prints and tonal dressing. From looking at Klein’s existing editorials, we made the decision to make all styling monochromatic, and to match the colour of the outfit to the colour of the environment. From creating re-enactment photoshoots, we already knew that this was a visually impacting approach.

Our final looks were hand-picked from Scottish charity and vintages shops.

i-D, December 2016, styling by Jacob Kjeldgaard, photography by Lea Colombo

August 2018, Indie Magazine, photography by James Perolls

Photography by James Perolls

ur imagery will uncover Bernat Kleinâ&#x20AC;&#x2122;s visual world by exploring the Scottish Borders through the extraordinary lens of his imagination. The rich use of colour reflects what nature meant to the artist, highlighting his fondness for the changing seasons. Amidst the climate crisis we face today, each image will urge viewers to consider the intense beauty of our planet whilst simultaneously uncovering the places where Klein himself felt most inspired.

Photography by Vivienne Sassen

NARRATIVE by Pauline & Camille Each shoot will explore a different location in the Borders, similar to the environments that Klein has spoken fondly of in his book â&#x20AC;&#x2DC;Eye for Colourâ&#x20AC;&#x2122;. The imagery will obtain a contemporary edge through model and styling choices.

Brave the gusts of wind and melodious rain.

DIRTY

TRACK

Tread the trodden tracks of the Borders.

Dirty Track. Dirty Track.

Unfortunately, due to COVID-19 this shoot was unable to take place. However, the mood board (left) illustrates our styling and location choices. We planned to represent a typical borders environment; a rainy and muddy forest. This location represents the beauty of nature in a less classical way, illustrating that every part of the countryside is enticing in its own way. The shoot was going to take place in a forest in Galashiels after it had rained, to ensure that the ground was still visibly moist. Trees would surround the model and sunlight would peer in through the cracks. The female model we secured had sharp facial features and a bleach blonde mullet. Having a strikingly modern looking model in such an ordinary environment would be unusual and visually impacting. The styling for this shoot included black leather trousers and a black leather dress with balloon sleeves, with a black brightly patterned cardigan layered on top (as illustrated in the mood board). Platform Doc

Martens were used to add a modern edge and match the leathery feel of the outfit. Leather gloves were also part of this look. Her make-up would be kept natural and her hair slicked back into a wet look using gel and water. The overall feel to this shoot was going to be dark and sexy, unlike anything a viewer has previosuly felt from an original Bernat Klein fashion editorial. We felt that this was important to touch upon in order to normalise the fact that women should be allowed to openly embrace their sexual desires. This contrasts with Kleinâ&#x20AC;&#x2122;s original images which tend to portray women as rigid or seemingly unwilling to touch one another. The poses in this shoot would have expanded on this idea, and the model would have been encouraged to touch and feel her body in a sexual and expressive way.

GO April 2020, photography by Camille Lemoine

L D Embrace the yellow hues of golden hour.

E N

April 2020, photography by Camille Lemoine

This series illustrates a field of hay located near a farm in Torrance at golden hour. The discussion over whether farmland should be used for crops or cattle is very prominent today, and links to our theme surrounding the growing environmental crisis. However, it was the rich golden hues that the location offered that was most important. Our styling was selected to match this set-up, layering yellow pattered skirts and dresses with the addition of a contemporary sport-like jacket and a vintage Burberry scarf. Platform Doc Martens were used to add modernity and to give a heavy boot like silhouette on the feet (mirroring traditional farmerâ&#x20AC;&#x2122;s footwear). Make-up and hair were kept natural, as this best suited the surrounding environ-

Golden. Golden. Golden.

ment and styling choices. Our mood board (below) illustrates our vision and styling details. Originally we were planning to use a female model of colour, as Klein only used white women when photographing his designs. However, due to COVID-19, we were left only with family members to model. We chose a forty-eightyear-old women who also has childlike qualities, such as frizzy untameable hair. This meant we were still diversifying our model choice by using someone over twenty-five. The final images successfully convey our vision. Due to the time of year the location had no hay bales, as originally planned. Nevertheless, a warm atmosphere was captured using the golden hues from the natural light.

F A R M Roam the meadows surrounding the Scottish Borders.

April 2020, photography by Camille Lemoine

A D

L N

Farm Land. Farm Land.

This concept illustrates a classic borders environment; a green meadow with sheep. Again, due to COVID-19 our original location was no longer accessible. This environment was chosen as Kleinâ&#x20AC;&#x2122;s house was surrounded by identical green fields which contributed to his creative vision. Shooting in field of sheep, where the journey from wool to garment begins, is also relevant as Klein was known for his textile designs. COVID-19 also forced us to change our initial model choice. Prior to the pandemic we had a female with blonde fluffy hair and a dreamy feel. This was changed to an older male with dark features. Using an older male model for this shoot was interesting as it is a huge contrast to the house-wife persona of models that featured in Kleinâ&#x20AC;&#x2122;s original fashion editorials. Our male model was dressed in a long green tartan

kilt from a Borders charity shop with a patterned wool jumper layered over a velvet long-sleeve top. Gloves and classic dark green wellington boots were added. The fusion of traditional pieces such as the boots and kilt with the contemporaneity of the velvet green top created a unique look. Dressing a male model in a skirt considering the narrative of Kleinâ&#x20AC;&#x2122;s previous fashion images is also a statement in itself. When directing the model, he was encouraged to act playfully and interact with his environment. This was intentional as our concept is about seeing nature in a different light and becoming at one with your surrounding environment.

April 2020, photography by Camille Lemoine

H I G

H E R

Climb the Borderâ&#x20AC;&#x2DC;s highest peaks.

From deserted quarries to mountainous moorlands.

K A

April 2020, photography by Camille Lemoine

Higher Peaks. Higher Peaks.

Our final shoot took place at the top of a hill in the Scottish countryside. The diversity of landscapes; from scrubby fields to snowy mountains represents the wide range of nature which Scotland offers. Due to COVID-19, our choice of model changed. Instead of using someone with dyed red and black hair like in our mood board (p 177), we have chosen a female with short brown hair. She still has strong features such as large lips and a prominent jaw line. The previous shoot confirmed that the styling was successful, and that the juxtaposition of contemporary and dated pieces worked well together. The choice of red styling was chosen to match the dark maroon coloured plants growing amongst the fields in our new location. A bright patterned jumper was layered underneath a vest, paired with tartan trousers and an oldfashioned hat. A red bucket bag and Velcro platform sandals were added to provide a modern edge. Instead of imitating the conventional poses used in Kleinâ&#x20AC;&#x2122;s original fashion editorials, we encouraged the model to interact with her surroundings.

April 2020, photography by Camille Lemoine

Savour the feeling of solitude by walking on Scottish Sand.

February 2020, photography by Pauline Lischke

Scottish Sand. Scottish Sand.

This concept explores another Scottish landscape, this time taking place on a beach in Eyemouth. We chose this location as it is near the Borders and Klein has spoken about the inspiration he found in shells in his book ‘Eye or Colour’. We planned on shooting during sunset, in order to capture a pink sky (we wanted to deepen and enhance the colours in post-production). This will create a mirage-like setting, which symbolises the abnormal rising sea levels caused by global warming. This illustrates beautiful parts of the Borders as well as highlighting the importance of looking after and respecting our surroundings. We chose a ginger, fair-skinned male model who looks stereotypically Scottish. We did this as Klein never used male models in his editorials, instead using white ‘socially acceptable’ females. Interestingly, he never used any fiery red heads with freckles which would reflect his design’s Scottish roots. The styling was picked to match the pink sky and warmer tones of the image (pictured above). A mix of knitwear, bright patterns and contemporary layering pieces. This includes a pastel blue tie-dye shirt and a lilac single strap belt. Silver trainers also added an

February 2020, photography by Camille Lemoine

These images show our original editing style, experimenting with enhancing the warm colours of the pink sunset.

athletic feel. No make-up was added, and his hair was combed downwards onto his face. When directing the model, we made him feel relaxed by asking him to stroll along the beach as if he was alone. He played with the environment by picking up and carrying plants from the beach on his back. As the sunset moved fairly quickly, there was only a small window of time for us to capture the pink sky. This shoot was very successful as we managed to capture the environment in a beautiful light and the model felt at ease. The styling also worked perfectly with the landscape as the warmer tones created the exact atmosphere we wanted. However, after reflecting on our other shoots, we felt that the editing style in this series was too extreme. Although the pink skies illustrate our original concept, they felt too supernatural and loud in comparison to our other softer images. For the final images, we chose a more delicate editing style showing the beach in its true form with colder tones. This is fitting as Scotland is known for its colder weather, something not typically associated with beaches. These new images (next page) reflect the crisp, salty air of an empty Scottish beach and the calming feeling of solitude.

February 2020, photography by Pauline Lischke

WORK

The final six images uncovering the corners of the Scottish Borders.

FINAL

April 2020, photography by Camille Lemoine

February 2020, photography by Pauline Lischke

April 2020, photography by Camille Lemoine

February 2020, photography by Pauline Lischke

Reference List

Abrahams, T (2018). ‘Icons: Peter Womersley‘s Bernat Klein Studio in Selkirk’, Icon Magazine. Retrieved at: https:// www.iconeye.com/opinion/ icon-of-the-month/item/13040icons-peter-womersley-sbernat-klein-studio-in-selkirk [Accessed 16th of May 2020]. Bernat Klein at National Museums Scotland (n.d.). National Museums Scotland. Retrieved at: https://www.nms. ac.uk/explore-our-collections/ stories/art-and-design/bernatklein-collection/ [Accessed 17th of May 2020]. Bernat Klein (n.d.). Heriot Watt University, The Textile Collection. Retrieved at: https:// www.hw.ac.uk/uk/services/ is/heritage/textile-collection/ bernat-klein.htm [Accessed 17th of May 2020]. Bernat Klein Studio, High Sunderland (n.d.). Buildings at Risk. Retrieved at: https:// www.buildingsatrisk.org.uk/ details/902875 [Accessed 16th of May 2020]. Chronicles of Modernism: the history of Klein House, Peter Womersley and Bernat Klein’s paragon of mid-century design (2020). The Modern House. Retrieved at: https://www. themodernhouse.com/journal/ history-of-klein-house/ [Accessed 16th of May 2020].

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