H ME LAND
The presence of a horse is similar to the presence of a garden.
An entanglement of wild and domesticated.
Helping us heal and reconnect with the wilderness.
Helping us return to our natural state.
We l c o m i n g u s b a c k t o
HOME LAND
REWILDING Horses have survived on this planet for more than 50 million years. Their highly complex social systems and extreme sensitivity to their environment has allowed them to live in harmony with their own species and the world around them for a profound period of time. The development of humans, however, has been the cause of wars, violence and suffering, whilst ruthlessly driving the collapse of our own biosphere. Now more than ever, we must realise the important role that horses play in modern society. Horses teach us how interconnected we are with the natural world. Being an entanglement of wild and domesticated, they offer us the chance to engage with non-human beings that are infinitely tuned with the land. Our primal instincts draw us to the horse and our consciousness is restored in their healing presence. From galloping bareback across open land to pulling ragwort out of a paddock, horses are the powerful force we need to reconnect us to the earth.
WITH HORSES
Photography from Stella McCartney.
RESEARCH Why the horse & human relationship is relevant today.
Photography by Camille Lemoine.
HUMANS
For centuries now, people have been drawn to horses due to the way they reflect our own emotions. Horses can not only read human facial expressions, but they can also remember a person’s previous emotional state and react accordingly. Being with horses offers us the opportunity to see ourselves differently, we heal our disconnection to ourselves and to the earth; we become more whole. Contemporary fashion photography will often use the horse to project an image of wealth, luxury and power. I propose a new image, where these ethereal creatures are celebrated for their important role in modern society; helping us rebuild our bond with ourselves and our natural surroundings.
HORSES
The history of horses and humans dates back for centuries and it is still unclear as to when their paths first crossed. The earliest domestication of horses is thought to have occurred six thousand years ago, in the regions of Kazakhstan as a means of transportation (University of Exeter, 2008). The horse quickly became irreplaceable to man due to their anatomy, physiology, and sociability. As a herd animal with a pecking order in the wild, they also allowed humans to become their boss or teacher. Since their domestication, horses have played a variety of vital roles in societies over the millennia, including ones related to diet, transportation, work, religion, property and commodities, military service, status, and sports. Not to mention the transfer of language, culture, and technology that resulted with the increased mobility the horse offered to man. Nowadays, horses are most frequently used in sport and as companion animals, connecting humans to the outside world.
The horse was the first thing that allowed man to travel faster than his own two legs. The horse was a catalyst for integrating cultures and languages. The horse has had an incredible impact on the world. The society we live in today owes a lot to these humble creatures.
Photography by Camille Lemoine.
We have come to understand the importance of the horse in ancient history through early cave art in France and other parts of the world. Stone Age artists were mesmerised by horses. Georges Sauvet, an expert in prehistoric art, has collected more than 4,700 examples of Palaeolithic drawings, paintings and engravings and found that almost one in every three animals they depicted on cave walls was a horse (Barras, 2019).. April Nowell at the University of Victoria in Canada told New Scientist that archaeologists have noticed the horse’s prominence before. They are found to be larger than any other animal, placing above lions, rhinos, mammoths, bison, and bears. It is important to note that horses were not yet domesticated at this point and were not being used for transport or as a main food source. The primacy of the horse makes it obvious that it was an animal of great significance to the people of Stone Age Europe (Cassella, 2019). However, the reasons for this are yet to be explained. Sauvet and other experts in this field have concluded that there is something about the horse and its nature that drew our ancestors to these animals. Their ability to read and reflect human emotions is still being researched today. Humans and horses are instinctively drawn to one another, the horse having the ability to read and reflect human emotions unlike any other animal. This is thought to have been recognised as early as the Stone Ages, where the bond between horse and human had already developed.
Photography from ScienceAlert/
HORSES IN THE STONE AGE Early history of the human and horse relationship.
WE ARE WILDLIFE
We have come to think of ourselves as separate from the wilderness—ignoring our 12,000-year legacy as wildlife to live in man-made cities intentionally separated from nature (Jones, 2020). In truth, even the word wilderness is of recent human creation. Indigenous peoples around the world have had no use for words like “wild” or “wilderness” that serve only to create false divisions between humans and the Earth. Although we have left the natural world, the natural world has not left us. Human psyches and senses were born in nature and seek healing through reunion. During the pandemic, over-civilized people have found refuge in nature, finding that going to the mountains is like going home and hiking in the forest a form of therapy. When we recognise ourselves as wildlife, we understand the necessity of living in harmony with the land, not just as a means of survival, but as a natural community thriving on reciprocal relations between all species. This understanding is at the core of a real human-horse relationship.
Humans are not seperate from the rest of nature
Mash up by Camille Lemoine.
INFLUENCES Current practioners inspired by horses.
RICHARD BUSH
Fi ne
a rt
&
f a s hi on
p hotogra p her
Photography by Richard Bush.
Richard Bush is a self-taught photographer who
When used within fashion campaigns, the animal
grew up in London. His iconic fashion portraiture
is never glamourised or used in a stereotypical
is a blur between fine art and documentary
way. Instead, the horse always looks natural and
photography. Other than the human face, his
beautifully poised. His work is exceptionally
work often features flowers and horses. His
‘underworked’ in a sense, meaning that is medium
work is different to other fashion photographers
-using 10×8 as his primary format- adds a feeling
who feature the horse, as he plays with their
of spontaneity and presence.
silhouette in a simplified but powerful manner.
LINDA MCCARTNEY
P hotogra p her
&
a ni m a l
a ct i v i s t
Photography by Linda McCartney.
Linda McCartney was a photographer, animal life campaigner, cookbook author, musician and vegetarian pioneer. Her photography documented a range of subjects, from iconic musicians to family life, landscapes and the natural world. To me, the way that she captures the role of horses within her family life in Scotland is extremely impacting and resonates strongly with my own childhood memories. A big rider herself,
McCartney’s favourite appaloosa horse was even present during her funeral ceremony. Famous designer and daughter Stella McCartney has often spoken about how her upbringing of riding bareback in the woods formed the foundation of her bond with the natural world. Her mother’s photography portrays these feelings of freedom and the interconnectedness with the land, through the horse-human relationship.
‘ i
woul d
travel
onl y
by
hors e
i f
I
cou l d ’
TIM WALKER
Photography by Tim Walker.
Fashi on
p hotogra p her
&
a rti st
British
photographer
think it is important to mention
environment within a studio.
Walker is one of the most creative
Walker’s
work
as
animals
The horse becomes an essential
photographers working today.
(ranging
from
long
haired
part of his images, rather than
The highly produced sets in his
cats to highland cows) will
an added untouched asset. I
shoots
always feature in an unusual
plan to take this forward into
highly
context, inviting the viewer to
my own photography, ensuring
allegorical. Often playing with
reimagine the meaning of these
that the styling of the horse is
proportion, he will cast his
creatures. Horses within his
taken into consideration.
models as giants in a shrunken
imagery go from being painted
world,
a
lilac and standing in a field,
fashion image should look like. I
to being part of a fantastical
become
environments,
Tim
otherworldly often
recreating
what
DEVELOPMENT Forming narratives and styling concepts.
TENDING
NARRAT I V E DE V E LOPM E N T 1 / 6
GRASS
F E E DI NG RI T UAL S E x p l o r i n g t h e r e l a t i o n s h i p b e t w e e n a h u m a n a n d a h o r s e ’s d i e t .
My publication manifesto focuses on the radical
these animals can help us stay grounded and in
act of gardening and our relationship to food. This
tune with ourselves. This narrative explores the
has made me consider the horses diet and the how
human routine behind a horse’s diet. The styling
humans have become heavily involved in horses’
will derive from the textures and materials
food. Horses diets are a mix between foraging and
involved in these daily tasks e.g., tarpaulin from
prepared food, which is what I believe the human
hay bales, rope hay nets, salt rock hangers and
diet could become more like. Gardening for our
grass cuttings. I will also take elements from the
own produce requires both physical strength and
similarities between the human and horse diet,
mental resilience - often becoming a therapeutic
featuring food such as carrots and apples that
part of ones’ lifestyle. There are strong similarities
horses are commonly fed - which can also be grown
between gardening and taking care of a horse.
in our gardens. I have memories of the local shop
Simple tasks to ensure that horses are fed and
giving my friends and I the ‘wonky’ carrots that
looked after properly are often tiresome and hard
wouldn’t sell in store to feed to the horses. Horses
work. For example, lifting heavy buckets of water,
haven’t become accustomed to overly processed
filling hay-nets in winter, mixing feed and pulling
food, linking back to my previous research on
poisonous plants out of grazing fields are all
‘ugly’ fruit and vegetables. Overall, this story will
necessary jobs that contribute to a horse’s healthy
take an abstract approach, exploring the different
diet. For most people who choose to be around
textures, shapes and elements of a horse’s diet
horses however, these jobs become a ritual and
in relation to the human silhouette and form.
part of a slower, more holistic lifestyle. Similar
I will not be using horses within this shoot and
to how looking after a plant can teach us about
will instead focus on the relationship between
our own growth, the commitment of looking after
humans and the food itself.
EQUINE
NARRAT I V E DE V E LOPM E N T 2 / 6
KINSHIP
B L U R R I N G D O C U M E N TA RY & S T O RY T E L L I N G Documenting equestrian communities.
Rural living can take on many forms; from living on remote Scottish islands, to a run-down farm on the outskirts of a major city. Although living in the countryside often comes with the luxury of fewer people and noises, there is no shortage of community. If anything, community is strongest amongst small populations in rural areas. Riding stables in both urban and remote locations are places where people of all backgrounds can come together and engage with the natural world. Riding stables are very similar to community gardens in this way and offer an escape from city life as well as new social opportunities. My local riding stables was a huge part of my life as a child and teenager growing up. I became obsessed with the equestrian lifestyle and quickly developed a life where horses took centre stage and my local riding stables became my second home. I learned that amongst various stables and yards, there was a strong sense of community. Whilst
researching
community
gardens
for
my publication, I continued to identify strong
This narrative will document
similarities between my own experiences at
the feeling of community spirit
riding stables with others of community gardens.
that exists within riding stables.
Similar to gardens, horse riding teaches growth,
The previous pages show initial
responsibility and brings unlikely people from
development
diverse backgrounds together. As a teenager,
images from my own childhood
my best friends where ranging from the ages of
with
8 years old to about 60 years old. You are also
photography
more exposed to the outdoors and the natural
convey a feeling of kinship.
elements of nature, which can be both healing
I hope to capture the same
and restorative. Once again horses are mirroring
feelings of freedom, cohesion
the powerful effects that plants and gardening
and humbleness within my
itself can have on the human race.
own images.
by
merging
contemporary that
I
fashion believe
This shoot will take place in my old riding stables in. Milndavie, Scotland. I want to take a documentary approach and capture the raw essence of community that exists within these places. However, I would also like the blur the lines between
documentary
and
storytelling by engaging with my subjects for various shots, rather than solely becoming a viewer. The images displayed (right) by
are
some
examples
photographer
Richard
Bush of how this could look. For example, I could ask my subjects to play or dress up using the equipment in the tack room to reinvent some of my old childhood memories. However, my main goal within this concept is to document the feeling of kinship that played a huge role in my own upbringing. Richard Bush is a good photographer to look to during this shoot, as his work often blurs the lines between documentary
and
fashion
photography - often setting up a scene but capturing real moments and exchanges.
Photography by Richard Bush.
Whilst experimenting with styling concepts
This concept merges documentary photography
through mash ups, I have developed the idea
with narrative photography in an unusual and
of using my own memories of horse-riding
contemporary way. This will also give me the
in a community as the core of my garments.
opportunity to communicate my narrative of
This concept differs from the previous page,
community without gathering a team of models
taking more of an abstract and narrative driven
together (potentially important if restrictions are
approach. This could be done by printing original
implemented again). I also believe that it creates
imagery onto fabric or large pieces of paper that
strong imagery that hasn’t been seen before and
will then be moulded into silhouettes. Photoshop
that it is cohesive with the home-made approach
could alternatively be used in post-production.
of my publication.
M E M O RY G A R M E N T S Fusing photography into the styling.
H O R T I C U LT U R E
NARRAT I V E DE V E LOPM E N T 3 / 6
AND HORSES
E Q U I N E H O R T I C U LT U R E Exploring the relationship between plants, humans and horses.
Growing up, I was surrounded by horses and spent my entire childhood at a riding stables in the countryside, and then later on at a local yard with a horse of my own. Although I come from a family who have always encouraged me to spend time outside, it was my time spent around horses that derived my knowledge of plants. Between lengthy days ridding fields of poisonous ragwort
to
witnessing
the
blossoming
of
wildflower meadows on hacks; the natural cycle of the outside world is an intrinsic part of horses. Similar to gardening, where one is completely immersed in the earth’s natural rhythm, horses offer humans an opportunity to reconnect with their primal selves. Both horses and gardens are origins of utmost sensory experiences. When you are gardening you are physically engaged -touching soil and pulling at weeds- you can smell the earth and notice the vivid colours of greens, yellows and reds as vegetables begin to grow. When riding a horse, you can feel and hear the wind against your face, you can ride amongst rugged landscapes and feel truly connected to the wild, whilst learning to notice the most subtle of changes in your natural surroundings. Festina Lente, a non-profit organisation in the Republic of Ireland, is an equestrian therapy centre that combines the act of horseback riding with the joyful experience of flowers. Their twoand-a-half-acre historic walled garden offers visitors the sensory experience of a garden whilst on a ride. Their centre is open to everyone, but particularly focus on supporting children with socially disadvantaged backgrounds that contributed to their learning and behavioural difficulties. This is proof of how gardening and horse riding harmonise in a multitude of ways.
O
L
P
W
Finding inspiration from the use of flowers in contemporary fashion styling and traditional costume.
Photography by Tim Walker.
STYLING
F LOW E R S W I T H I N
I N N O VA T I V E U S E O F
Photography by Tom Johnson.
In order to communicate this narrative exploring the relationship between horses and horticulture, I have researched various ways in which flowers are used in equestrian festival costume and within fashion styling. I do not want these images to be a literal representation of my theme (e.g., model holding flowers next to a horse). Instead, I want to play with the human and horse form using flowers to obscure the silhouette or to create wearable sculptors. As part of my research, I have looked into various ways that flowers could be used within fashion styling on horses and humans. Castleton Garland day is a tradition in the Derbyshire Peak District where ‘The Garland King’, appears on horseback, covered to the waist in a heavy, bell-shaped floral garland, and leads a procession through the town. The origins of this day are not yet fully understood, but it is currently believed to be an ancient fertility rite with Celtic connections. Although this tradition doesn’t have any obvious contextual links to my narrative, the rider covered in flowers is influential in terms of fashion styling. This garland attire is similar to an image by famous fashion photographer Tim Walker (left).
Similar to gardening, working with horses involves a lot of manual labour and working with your hands. Patching up rugs or equestrian gear such as lead-ropes, numnahs and buckets are part of day-today life when looking after horses.
This has driven me to adopt a contemporary DIY aesthetic when creating mashups for this shoot. Although this narrative focuses on horticulture, the styling doesn’t have to condemn to the stereotypical ways in which flowers are often used. Here I have juxtaposed the use of cold metal chains and rugged rope with the delicacy of flowers and plants. I will consider using sculptors alongside real horses and models for this shoot.
This sculptor is not intended to show human dominance over the horse through its harness like shape- instead, it symbolises a complicated yet beautiful fusion of the natural world with the man-made. Horses are unique in this way, a blur between the wild and domesticated.
FORMING
NARRAT I V E DE V E LOPM E N T 4 / 6
FA M I L I E S
K E Y RE F E RE NC E I MAG E S Exploring how horses can become fundamental to family life.
This shoot narrative is particularly inspired my
and a generating JOY. From recent research into
own childhood memories, of playing with the
futurist Li Edelkoort’s ideas, she mentioned joy
girls living on the farm opposite my house whilst
as the biggest form of activism in times to come,
my parents were at work. Part of a family of
and as the most powerful act of resilience. Similar
eight, spending time with these girls gave me the
to gardening, the nature of farm life and being
opportunity to be part of their large farm family.
around horses enables humans to adopt a more
This involved dressing up in all their siblings’
fulfilled and self-reliant lifestyle.
clothes and parading around the fields, grooming
It is also interesting to note the how the
their horses, feeding the lambs and riding in the
role of the horse within farms has drastically
tractor. It is only years later that I realise how
changed. Historically, they enabled farmers to
fortunate I was to see this as normal family life.
carry out heavy labour and provided an essential
When researching different practitioners
means of transport. Nowadays, horses are more
who are inspired by horses, the polaroids that
commonly seen as pets and as animals to enjoy
Linda McCartney took of her family in their home
riding and living alongside. Instead of being seen
in Scotland reminded me of my own childhood
as an essential piece of machinery, they are more
memories. Horses are a clear part of the McCartney
comparable to the soul or personality of a farm.
family life and appear in their day-to-day routinese.g. eating breakfast or walking the dog. If you are lucky enough to have horses as part of your own lifestyle, you will know that they become an anchor for spending time in nature, re-grounding
This narrative will focus on the everyday happenings and humble nature of farm life. The presence of horses and their involvement in this lifestyle will also be present. I plan on shooting this in the farm opposite my family home with the family who own it as models. I think this is important in order to keep authentic as it was memories of this particular farm that inspired this narrative. When styling these images, I will pull form various places, including memories of dressing up in various costumes on this farm. There should be a feeling of joy and lightheartedness present within the styling. I also want to carry my ‘homemade’ approach to styling within my publication into these images. This means pulling from the environment itself, using things such as haynets, daisy chains, sheep wool and old tack. Considering my photography style, I will also be taking inspiration from the humorous tone of Tom Johnson’s own photography - often capturing
moments
between
families, sisters and twins.
animals
and
INSIDE
NARRAT I V E DE V E LOPM E N T 5 / 6
EDEN
The primacy of the horse in the paradise of Adam and Eve.
THE GARDEN OF EDEN
The Garden of Eden, in the Old Testament Book of
portrayal of this paradise feels spiritual and other
Genesis, is a biblical earthly paradise inhabited
worldly. Just like gardens, horses are able to offer
by the first created man and woman, Adam
escapes from reality and engage the imagination.
and Eve. It is said that Adam and Eve ate an
The horse is one of the animals within the
apple from the ‘tree of knowledge’ against God’s
Garden of Eden as well as the unicorn. When God
commandment, which led to their expulsion of
commanded that Adam and Eve should name all
the garden (Britannica, 2007). When researching,
of the animals of the Earth, the first one given a
I was struck by the abundance of nature and
name was the unicorn. Because of that, it is said
exotic animals present within paintings of the
that God gave that creature a special blessing and
garden. Although I am not religious myself, the
touched it on the tip of its horn. When Adam and
Photography from Searchoflife.
Eve disobeyed God’s command and were banished
also been seen as a symbol of Christ. The myth of
from the Garden of Eden, the unicorn was given
the unicorn can relate to almost everyone.
the choice to follow Adam and Eve into the world
Within this narrative, I want to focus on
or remaining in paradise. The unicorn chose to
the otherworldly and mythical elements of the
follow them into the world of and was blessed
Garden of Eden. Within the styling I will pull
forever after for his compassion. In this story,
from multiple animal prints and textures - from
the unicorn chose the difficult human path out
snakeskin to bird feathers. This narrative will
of love. The unicorn has symbolised many things
convey the exotic and mythical aspect of horses
throughout history, representing various aspects
and gardens in a contemporary aesthetic, inspired
of romance, magic, and providence, and it has
by the Garden of Eden itself.
AB ST RAC T I MAG E MAK I NG L o o k i n g t o V i v i a n e S a s s e n ’s c o n t e m p o r a r y a p p r o a c h t o p h o t o g r a p h y .
body of work by Viviane Sassen
for
the
New
York
Times Style Magazine saw the Dutch photographer mash up various images together. These contemporary collages are an interesting approach to image making and portray a supernatural paradise. When creating my own images, I would like to experiment with layering to
bring
different
location
and elements together within one image. This will allow me to create an otherworldly atmosphere with the resources I have access to. In terms of styling, I am also planning on bring together multiple animal prints
(e.g.
pictured
right)
and textures. A combination between clothing and other elements (e.g. peacock feathers, goose feathers, sheep’s wool and horns) will create unusual yet striking combinations whilst also giving me the opportunity to adopt a DIY approach.
Photography by Viviane Sassen.
E MOT IONAL
NARRAT I V E DE V E LOPM E N T 6 / 6
REINS
This narrative explores the
they are highly effective at
this narrative, and how these
sensibility of a horse, and
interacting and working with
animals can teach us about our
how the horse and human
others in a patient and non-
own psyches and behaviour
relationship can be extremely
judgemental manner. Horses
through their body language.
therapeutic.
are able to read human facial
They are also able to offer solace
expressions
remember
and support during hard times.
mainstream and there is a
our moods. They are also able
These mashups (previous and
heightened
the
to mimic or create similar
current page) shows my initial
horse and what they can teach
expressions to the human face.
development,
us about ourselves. Many of
Similar to gardening therapy
relationship between the horse
the benefits of equine therapy
programmes, horses are used
and human body. They are also
derive from the nature of the
to help victims of addition or
abstract representations of how
horses
Horses
disabled groups in society as
our thoughts and subconscious
are naturally gentle and calm
they offer communication on
intertwine
creatures
to
a subconscious level. I want to
mind.
mirror and respond to human
focus on the emotional healing
behaviour,
element
has
Equine
recently
therapy
become
interest
in
themselves. and
are
more
able
meaning
that
of
and
horses
within
exploring
with
the
the
horse’s
T H E H O R S E B OY Reflecting on influential literature driving this narrative forward.
Photography by Rubert Isaacson.
with horses. Frustrated with traditional treatment methods that their son isn’t responding to, Rowan’s parents take him on a journey from their home in Texas to a shaman’s hillside abode in Mongolia. This book and accompanying documentary depict how Rowan responds to the shaman’s unusual combination of healing ceremonies and horseback riding. This combination of alternative treatments dramatically helped Rowan’s manage his symptoms. Since going on this journey, the Isaacson’s have set up a ‘Horse Boy’ camp to help other families living with autism every day. The idea of the camp is to recreate the journey the Isaacson’s made in Mongolia. ‘One of the most important things, apart from the riding and the shamans, was being close to nature,’ says Rupert in article by The Guardian. ‘And that’s hugely important because man-made environments are much harder places to be for autistic people.’ This book not only talks about the emotional connections and non-vocal relationships that
‘The Horse Boy’ by Rubert Isaacson is a book I read
humans and horses can have, but it also puts an
as a child and is highly influential to this narrative.
emphasis on the importance of re-wilding aspects
The book is an account of a real story, where an
of our life - in this case, specifically for people
autistic pre-adolescent prone to tearful outbursts
living with autism.
rarely talks to his family yet has a special bond
Photography from I-D Vice.
W E ARE ALL PRODU C T S OF OU R E N V I RON M E N T Influential organisations using horses to heal.
After watching a video by the
for
platform and magazine I-D,
working-class people that are
I
being dominated or shaped by
discovered
Glastonbury-
based charity Key4Life.
young,
predominantly
The
their cities. For organiser Eva
organisation works with young
Hamilton, using equine therapy
men who have spent time in
proved to be the most effective
prison, or are at risk of going to
form of rehab, as working with
prison, and create opportunities
the horses provided emotional
for fresh starts using horse
and
therapy. They aim to create a
which some Key4Life members
stable,
literally owe their life.
positive
environment
spiritual
benefits,
to
M I RRORE D S E N S I B I LI T Y Portraying how human emotions are reflected through the horse.
Whilst
this
Although none of these images
are
paired
were taken at the same time, it
Portraits and images of humans
horses
is evident that harmony exists
have often been paired with
with portraits and the human
between them. I think this is a
and compared to images of
body. I have specifically paired
contemporary way of showing
plants
particular images together to
the emotional links that exist
Models with strong unusual
show how the way in which we
between
features
communicate is often similar
I also think it is interesting
their wild hair, strong jawline
to horses. Each pair of images
to draw similarities between
or wonky eyebrow) that I can
have similar atmospheres or a
the human and horse body
emphasise with horses will be
particular emotional presence.
- as our skeletal structures
chosen. ities.
narrative, different
developing I
have
images
of
horse
and
human.
extremely
for
comparable.
similar
(whether
reasons. that
be
BIBLIOGRAPHY RE S E ARC H C ON T E N T RE F E RE NC E S
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