Kyle Mcauley and Sophie Corbett - PAD Document - FC3 - E19IC

WEFT

B v is u a l

diary

The Bernat Klein Foundation

1922-2014

The Loom: Symbolic of Life

“I have divided the autobiographical part of the book into two sections, the Warp and the Weft because to me, as a designer of woven cloth, these words carry many meanings. The warp is part of the cloth which, when still in the form of thread, lies longitudinally in the loom; the weft is that which is inserted laterally between the warp threads.

Without the warp there can be no weft, for woven cloth is built on the warp; until the weft interweaves with the warp there can be no cloth.

Everything in cloth depends on the warp and on the weft; knowing them one feels that one really understands the cloth and its qualities.

But we can also talk symbolically of the warp and the weft of life when we consider the interplay of planning, chance and circumstances in our lives. This book describes part of my own life in these terms since in my professional capacity I have divided my life, thus far, into two parts: the period of training, study and preparation and the period of realisation and action based on my training affected by it at all points.�

Bernat Klein, Eye for Colour (Published in 1965)

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BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT BERNAT KLEIN BERNAT KLEIN BERNAT KLEIN BERNAT

ER A N T 1922

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TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB TANREB NIELK TANREB NIELK TANREB NIELK TANREB

E i N 2014

contents contents

10

THE ARCHIVE

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COLOUR EXPLORATION

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AESTHETIC INSPIRATION

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PRINTING METHOD

64

RE-ENACTMENTS

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IMAGE CREATION FINAL IMAGES

Klein was determined to bring more colour into his new home: Galashiels, where he had his own mill, in which he designed and created his renowned patterned textiles.

Bernat Klein

background

Klein had an itinerant childhood and was well travelled. He grew up in Senat, Serbia, with Jewish parents who also worked in the textile industry. He had a rich education in both Jerusalem and Leeds, when he moved to the UK after the war.

He dreaded living in Scotland, describing it as “very, very cold”.

However, it was here that Klein gained inspiration from the lush countryside of the borders; which was vast in colour.

This is translated into his art and textiles.

These books are a study and tribute to his work. We have separated the books into the Warp and the Weft , just as his book “Eye for Colour “ was divided.

A T R C H H I V E E

BERNAT KLEIN

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National Museums Collection Centre 242 West Granton Road Edinburgh EH5 1JA

FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR

COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR

EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE

FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR FOR

COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR COLOUR

of colour

myriad

myriad

of colour

EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE EYE

BERNAT

KLEIN

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

BERNAT

KLEIN

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

COLOUR PALETTE COLOUR PALETTE COLOUR PALETTE

“Many people may consider clothes and colour unimportant and trivial; in isolation and taken out of context, they are. But as part of a full life, which to me means a life composed of many simple small pleasures, clothes and colour are at least as important as food and drink but perhaps nearer, in their source and in the sense that they satisfy, to music, poetry and painting.”

Following the hardships of the war, Klein noticed that the women wore very dull clothing on his arrival in the UK. This made him determined to incorporate colour into fashion once again to revive a sense of joy through the expression of fashion.

Bernat Klein’s eye and passion for colour was inheritted from his family, particullarly his mother: “My mother always selected and laid out my father’s clothes. She packed for him before he left on his business trips so in addition to his extreme tidiness and neatness he was also dresses with an obvious eye to pattern and colour.”

Klein may not have been distinguishable for the aesthetic we recognise today if it were not for the influence of his parents. This is why we chose to incorporate this importance of relationships and inheritance through our photography and graphics in order to reflect on Klein’s roots and for the readers of this document to relate to his work on a personal level.

COLOUR

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COLOUR

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It was important to us that our colour scheme encapsulated the vibrancy of Bernat Klein’s aesthetic yet ensuring that we portrayed a contemporary image. We selected two pieces of cloth designed

by Bernat Klein to inspire our colour palette for the documents we would produce. By selecting the two pieces which spoke to us the most from the archive, this enabled us to stay true to our own tastes too.

His palette was bold and vibrant, utilising most colours of the spectrum in order to effectively convey his inspiration of nature throughout the seasons. Therefore, to summarise this myriad of colour, we sampled colours from every tone - warm to cool - to fully engage with his vibrancy and ethos.

As minimalism and neutral tones are at the forefront of modern graphics and fashion, it was a challenge for us to adapt our styles and experiment with colours we may have never considered before.

When selecting our favourite pieces of cloth, it was evident that we preferred the safer designs with a muted palette. However, upon studying the cloths, we discovered a multitude of varying colours within.

To engage further with his colour choices and designs, we created graphic re-creations of the cloths in order to understand the complexity of the weave or print through our own major. Klein did so through painting and expressive art, for us we can do this through modern technology and graphic design.

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A A E S T H E T iI C C

inspiration Our inspiration in regards to aesthetic and layout was taken from Wonderland and PAER magazine due to their combination of colour and bold yet simple typography. The layouts used throughout these magazines are clean with linear details, comparable with the documents seen at the archive which were produced for Klein’s business .

Due to Klein’s interest in Bauhaus style, we were keen to explore this through our graphics and typography. This style relies heavily on bold graphic design, featuring geometric shape and retro typography. We have put a modern spin on this by using a combination of classic and contemporary fonts to combine Bauhaus and current aesthetics. The colours used within Bauhaus graphic design are vibrant, which is suitable considering Klein’s colour palette.

Inspiration was also gathered from the Bernat Klein Foundation’s website. They use a Bauhaus style font and use a variety of contrasting colours on their home page, which emphasises the importance of colour.

It was important to us to also express our own styles through graphic design and typography while also expressing the various themes and styles we were inspired by.

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menu binding

After meeting with Andy Crawford and Steven Findlay at Crawford Print and Design, Edinburgh, we decided that menu style binding would be the best option for us for both documents.

This binding technique uses a hard-back casing which comes in a multitude of colours and can be personalised with embossing, creating a polished and professional look. This would be ideal for display at the exhibiton as the leather casing would protect the contents inside from any damage.

Pages can be inserted after printing using the elasticated string (available in different colours) around the spine of the book. This would be ideal for us as it would allow us to easily insert papers from GF Smith, which we plan to laser cut, which will add tactility and texture, this would otherwise be difficult as thicker papers are hard to bind.

Both books would be printed and bound A4, which we feel would be the ideal size for easy reading.

This is a good size as they will be large enough to stand out at the exhibition without over-scaling or appearing too large. Any smaller and the books may become lost within the exhibit or easily misplaced by visitors. We wanted both books to be the same size to ensure uniformity and structure, to echo our inspiration of the loom and its symmetical qualities.

Andy advised that we keep to 80gsm, this is something selecting papers from GF creating our documents

our paper weight to consider when Smith and when and pagination.

RE-ENACTMENT TNEMTCANE-ER RE-ENACTING BERNAT KLEIN’S FASHION SHOOTS TO EFFECTIVELY ANALYSE THE USE OF LOCATION, LIGHTING AND POSE TO CREATE A VISUAL IMAGE SHOWCASING HIS WORK.

THE RE-ENACTMENTS HAVE BEEN MODERNISED THROUGH THE USE OF CONTEMPORARY AND DIVERSE MODELS TO MAKE THE IMAGERY MORE SUITABLE FOR TODAY’S INDUSTRY.

turquoise turquoise turquoise turquoise

turquoise turquoise turquoise turquoise turquoise turquoise

turquoise turquoise turquoise turquoise

turquoise turquoise turquoise turquoise turquoise turquoise

modern

mash - ups

green green green green green green

green green green green green green

green green green green green green green green green green

green green green green green green green green green green

MODERN

M ASH - UPS

ANALYSIS OF THE ORIGINAL IMAGE L

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ANALYSIS OF OUR IMAGE L

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It is unclear where the exact location of the image is, however, it is evident that the shot was taken outside due to the lighting. The models’ skin appears sun-kissed and warm. Shooting outdoors was appropriate for Klein’s fashion garments as his textiles were always inspired by nature and the landscape of Galashiels.

We chose to do the re-enactment shoot by the Gala Water with the shrubbery as a backdrop. It may have been more accurate to have a glimpse of the water in the background of the image.

As the shoot was taken in Winter, the lighting was very different to the original. This could be altered through Lightroom.

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As mentioned, the warm lighting reflecting on the model’s face suggests that this shoot took place outside, pressumably in the Spring or Summer. The saturarion is high within the image, suggesting it may have been taken later in the evening at sunset rather than the morning. This look could be created in the winter by utilising photo editing software and adjusting saturation and highlights.

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As the shoot was taken outdoors in Winter, on a rather dull and grey day, we did not have access to natural sunlight. This resulted in a cooler toned image compared to the bright and warm toned appearance of the original image. This could be altered through editing, but may result in an unnatural and heavily edited image, therefore, it would be more appropriate to re-shoot on a sunnier day.

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It is interesting that the models appear so disconnected and that they don’t seem to interact. This was typical of the time period for fashion imagery as womenswear was presented on women in a robotic manner. It is also unusual that this shot was selected as a final image as the model on the right has her head turned away from the camera. I would consider changing this in my own imagery but they may have felt this made the photo appear more casual and natural.

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Individually, the posing was effective and resulted in contemporary portraits. However together, the image just looked disonnected and cold as there was no interaction between the models.

Contemporary imagery is very fluid and does not tend to be stiff - unless intentional. To make the image more diverse and modern, we used male models as Bernat Klein rarely - if ever - shot males in his clothing. This bring a modern quality to the shoot.

GREEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE G REEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE

GREEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE GREEN BLUE G REEN BLUE

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EXPLORING RELATIONSHIPS THROUGH SYMBOLISM: INSPIRED BY KLEIN’S PHILOSOPHY REGARDING THE WARP AND WEFT.

RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS RELATIONSHIPS

our our brief brief our our brief brief our our brief brief our our brief brief

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Taking inspiration from Bernat Klein’s autobiography, “Eye for Colour”, we will highligh t the importance of relationships through contemporary styling and photography. These features will be symbolic of Klein’s colour palette and the styles of the time periods he discusses within the book.

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Klein discusses the relationship between the Warp and the Weft and emphasises its symbolic nature in relation to life and our own relationships. This was something that touched us and inspired our personal brief.

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We will explore various relationships, while referencing back to the concept of the warp and weft through graphics and visualisation. This will include the bond between family members, partners and friends.

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Our colour palette has been influenced by samples of Klein’s textile designs and expressive art. We wanted the colours to be modern yet echo his aesthetic.

SURVEY RESULTS WHAT CAN’T YOU LIVE WITHOUT?

WHAT CAN’T YOU LIVE WITHOUT?

WHAT CAN’T YOU LIVE WITHOUT?

27% MUM

23% 13% OBJECTS

10% SIBLINGS

4% PETS

2% MYSELF

WHAT CAN’T YOU LIVE WITHOUT?

FRIENDS

10% FAMILY

6% father

3% CELEBRITIES

2% TWIN

“My father and my mother and indeed our family as a whole were concerned with three things in life: their family, their religion and their business.�

B E R N A T B E R N A T F AM I L Y

Eye for Colour (pg 20).

F A M I L Y K L E i n . .

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the WARP SHOOT CONCEPT ONE I

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The ideaology of this shoot is to visualise the relartionship between the Warp and the Weft by relating this to siblings.

The bold colours suggest fun and happiness, while the sporadic overlapping and placement of the threads portrays chaotic energy and the crossover of their DNA. The colours used relate to Bernat Klein as well as our colour palette.

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The models selected are contemporary and similar in appearance to portray the family relationship. As Klein rarely used male models in his fashion imagery, it is important to us to use both sexes.

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Both models will be dressed in nude garments to create a “blank canvas� to interpret the beginning of the weave prior to adding colour and pattern.

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The shoot will be held in the photography studio using a black backdrop to allow the bold colours to stand out within the image. This adds to the contemporary aesthetic of the shoot.

THE WEFT

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SHOOT CONCEPT TWO I

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Taking inspiration from Klein’s childhood, this shoot will focus on styling and garments as he expressed that fashion was important to his mother.

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This shoot will take into account that Klein’s shoots usually consist of pairings of two models.

Therefore, we are using “twins” to show this concept.

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The models will be dressed in identical outfits in alternate colours, showing the twin sibling connection yet expressing that they have varying identities regardless of their identical look. The outfits will consist of suit jackets and shirts with ties as Klein’s mother always ensured they were smartly dressed.

The makeup will be inspired by drag to also include the bold colours in the face, this will add a contemporary feel.

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The shoot will be held in the photography studio using a white backdrop as the sole focus should be on the models and their lavish outfits and makeup looks. Their poses will mimic the typical family photo.

S E E I N G D O U B L E

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SHOOT CONCEPT THREE I

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Klein speaks fondly of his parents and how they worked together as a couple, much like the concept of the warp and the weft. Therefore, this shoot is inspired by them and will encapsulate that relationship. The shoot will also reflect on colour coordination- something that was important to Klein.

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To have a diverse range of models, we will use a married couple in their seventies. This will reflect lasting and loving marriage.

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The colour coordinated outfits will be symbolic of their compatability as well as Klein’s concept of colour coordinated fashion. The fashion will reflect the time period of his parent’s marriage as described in the book.

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The shoot will be held outside to make use of natural lighting and to also allow for a green background; incorporating nature.

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SHOOT CONCEPT FOUR I

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The importance of colour and texture within Klein’s work is undeniable, therefore this shoot will heavily rely on bold colour blocking and interesting fabric choices.

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Klein loved to share his work with friends and sophisticated individuals whom he befriended and created professional relationships with, therefore, the models will be styled to mimic the appearances of the women seen in the photographic images that were sampled at the archive.

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Garments and physical appearances will be directly inspired by the women within the photographs, styling should be reflective of the time period and trends of that time.

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Ideally, this shoot would be conducted in the weave shed as this is where Klein’s guests would have gathered to see his work and mingle while discussing his business ventures. This will make the overall image more authetic.

texture texture noun 1. The feel, appearance or consistency of a surface or substance. verb 2. to give something a rough or uneven texture.

texture

SHOOT CONCEPT FIVE I

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Inspired by Klein’s mother’s routine of setting out her husband’s clothing, we will carefully drape a suit over a chair to create the illusion of it being worn. This shoot will portray an expression of love, as Klein’s mother expressed her love language through the careful dressing of her family.

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A brown or beige suiting will be used as in the book “Eye for Colour”, Klein describes his father’s weekend outfits as ranging from beige to brown with the occasional green accessory.

A selection of flowers will also be used to add a feminine touch and nod to Klein’s mother’s influence on their fashion.

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This still life will also be taken outside to utilise natural lighting for the best possible outcome. A white backdrop will also be used to create a minimalistic and contemporary image.

“my mother always selected and laid our my father’s clothes. she packed his clothes for him before he left on his business trips so that in addition to his extreme tidiness and neatness he was also dressed with an obvious eye to pattern and colour. on saturdays and religious occasions he wore the uniform morning jacket with a black-and-white striped trousers and a black anthony eden hat, but during the week he liked cheviot tweeds in beige and brown with pronounced silk stripes, imported from scotland; with these went roughly textured strongly striped ties, more mildly striped shirts, green or brown

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still-life photography

SHOOT CONCEPT SIX I

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Under difficult circumstances, fashion photography became difficult to achieve. However, this inspired us to explore still life and how we could portray relationships and the life of Bernat Klein through the use of objects. We selected objects that marry together through colour and symbollism of Bernat Klein.

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To visualise Klein’s fashion and textile work, an old sewing machine will be at the forefront of this shoot. Other items will include a blue dress, which he recalled as something his mother would often wear, as well as flowers and other various objects relating to his Serbian roots and lifestyle.

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The shoot will be conducted outdoors to make use of natural lighting due to the lack of accessible lighting equipment.

A white backdrop will be set up to allow the focus to be on the objects alone and to create a contemporary aesthetic.

still-life photography

FRUITS OF

SERBIA

SHOOT CONCEPT SEVEN I

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This shoot will focus solely colour and Scotland through textiles. The Scottish Borders and inspired his artwork and was important to also convey M

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on Klein’s relationship with the strategic selection of were close to Klein’s heart fabrics, therefore, we felt it his connection to Scotland.

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Klein grew up with textile influences from around the world, including Scotland, as his parents collected the best textiles from Itlay to Scotland. Therefore, to allude to this, we will be using a young male model to embody his childhood.

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The model will be colour coordinated in regards to clothing and makeup while wearing traditional Scottish patterns (such as tartan) to express the inspiration of this shoot.

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A studio setting will be arranged in the home to create ambient lighting, however, the background, like many of Klein’s, shoots will echo the colour palette of the garments.

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final

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i m a g e THEME: EXPLORATION OF KLEIN’S STYLE THROUGH RE-ENACTMENT AND INFLUENCED STYLING. CONNECTION TO KLEIN: THIS SHOOT WAS ENTIRELY BASED ON THE FASHION PHOTOGRAPHY CREATED TO PRESENT KLEIN’S WORK. WE WERE FULLY INFLUENCED

BY HIS COLOUR METHODOLOGY AND STYLING CHOICES. REASON FOR SELECTION: THE IMAGE EFFECTIVELY RESEMBLES PART OF THE ORIGINAL IMAGE PRESENTED, WHILE DEMONSTRATING OUR OWN AESTHETIC AND CONTEMPORARY STYLE. THE STYLING WORKED WELL AND WE WERE ABLE TO SOURCE ITEMS WHICH WERE SIMILAR TO THAT OF THE ORIGINAL IMAGE, ALTHOUGH NOT EXACTLY THE SAME DUE TO THE UNIQUENESS OF KLEIN’S DESIGNS AND ACCESSORIES. A CONTEMPORARY IMAGE WAS PRODUCED REGARDLESS OF THE STYLING BEING INFLUENCED BY 70S TRENDS. IMPROVEMENTS: THIS SHOOT COULD BE EVEN MORE COMPARABLE TO THE ORIGINAL IMAGE IF TAKEN DURING THE WARMER SEASONS TO CREATER A MORE SATURATED TONE.

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THEME: RELATIONSHIP BETWEEN THE WARP AND WEFT IN RELATION TO SIBLINGS. CONNECTION TO KLEIN: IN HIS BOOK “EYE FOR COLOUR”, KLEIN SPOKE FONDLY OF HIS FAMILY AND SIBLINGS WITHIN THE WARP SECTION OF THE AUTOBIOGRAPHY. THEREFORE, WE FELT IT WAS IMPORTANT TO REFLECT ON THIS ASPECT OF HIS LIFE WHILE INCORPORATING THE THEME OF TEXTILES THROUGH THE USE OF YARNS. THESE YARNS WERE SELECTED IN ORDER TO PORTRAY THE KLEIN COLOUR PALETTE. REASON FOR SELECTION: THIS IMAGE EFFECTIVELY ENCAPSULATES OUR CHOSEN ANGLE WITH CLEAR INDICATIONS OF HOW WE HAVE BEEN INFLUENCED BY BERNAT KLEIN. THE IMAGE IS CONTEMPORARY IN APPEARANCE DUE TO THE NATURE OF THE SHOOT AND ITS MODEL SELECTION. IMPROVEMENTS: TO IMPROVE THIS SHOOT IN FUTURE, WE WOULD CONSIDER DRESSING THE MODELS IN WHITE UNDER-GARMENTS TO CREATE A MORE COHESIVE LOOK.

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THEME: CONCEPTUALISING THE RELATIONSHIP BETWEEN TWIN SIBLINGS WITH INSPIRATION FROM KLEIN’S “SUNDAY BEST” IN REGARD TO STYLING. CONNECTION TO KLEIN: THE COLOURS WITHIN THE GARMENTS REFLECT THE KLEIN COLOUR PALETTE AND INTENTIONALLY CONTRAST TO SHOW A VARIETY OF SHADES HE PLAYED WITH, WHILE PORTRAYING THE DIFFERENCES BETWEEN IDENTICAL TWINS. THE GARMENTS SELECTED WERE INSPIRED BY HIS SUNDAY OUTFITS, WHICH WERE ASSEMBLED BY HIS FASHIONABLE MOTHER.

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REASON FOR SELECTION: THE IMAGE IS CONTEMPORARY AND EFFECTIVELY EXPLORES KLEIN’S PALETTE, ALLOWING US TO BE MORE EXPERIMENTAL WITH COLOUR AND PATTERN. IMPROVEMENTS: THIS IMAGE HAD TO BE PHOTOSHOPPED TO CREATE THE ILLUSION THAT WE PHOTOGRAPHED TWINS. UNDER DIFFERENT CIRCUMSTANCES, WE WOULD SOURCE IDENTICAL TWIN MODELS AND SHOOT IN THE STUDIO.

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THEME: EXPLORING THE RELATIONSHIP BETWEEN A HUSBAND AND WIFE, AND MOTHER AND FATHER, WHILE USING KLEIN’S METHOD OF COLOUR MATCHING THROUGH THE USE OF SHADES OF GREEN- ONE OF HIS MOST HEAVILY USED COLOURS. CONNECTION TO KLEIN: THE COAT USED TO DRESS THE FEMALE MODEL IN THIS IMAGE IS OF VERY SIMILAR CUT AND SHAPE TO THAT OF THE COAT HE DESIGNED FOR HIS WIFE, USING HIS VELVET TWEED. WE TOOK INSPIRATION FROM HOW HE DESCRIBED HIS PARENTS AND THE FASHION IMAGE THEY UPHELD. REASON FOR SELECTION: THE COMPOSITION OF THIS IMAGE IS EFFECTIVE AS THE FEMALE IS AT THE FOREFRONT, EXPRESSING KLEIN’S ADMIRATION FOR HIS MOTHER IN PARTICULAR. THE COLOURS ALL WORK WELL TOGETHER AND THE STYLING IS RETRO YET ALLOWED FOR A CONTEMPORARY AESTHETIC.

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IMRPOVEMENTS: SLIGHT ALTERATIONS TO THE BACKDROP COULD BE MADE TO ENHANCE THE COMPOSITION OF THE FINAL IMAGE.

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THEME: CONVEYING THE LOVE LANGUAGE OF KLEIN’S PARENTS THROUGH THE USE OF INANIMATE OBJECTS. CONNECTION TO KLEIN: WHILE THE SHOOT FOCUSSES ON THE RELATIONSHIP BETWEEN KLEIN’S PARENTS, THE USE OF THE FLORAL ACCESSORIES ALLUDES TO HIS LOVE OF NATURE AND CREATIVE MIND. REASON FOR SELECTION: THE IMAGE HAS THE ABILITY TO CONVEY TWO DEEPER MEANINGS IN REGARDS TO KLEIN’S LIFE WHILE UPHOLDING A CONTEMPORARY AESTHETIC. IMRPOVEMENTS: IT WOULD HAVE BEEN DESIRABLE TO CONDUCT THE SHOOT ON A DAY WITH MORE NATURAL SUNLIGHT, HOWEVER THE WEATHER WAS NOT IN OUR FAVOUR. HOWEVER, WITH EDITING, THIS WAS ABLE TO BE ADJUSTED.

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THEME: PORTRAYING KLEIN’S FAMILY HISTORY AND HERITAGE THROUGH THE CAREFUL SELECTION OF INANIMATE OBJECTS AND COLOURS. CONNECTION TO KLEIN: WE RESEARCHED NATIVE FRUITS OF SERBIA AND FOUND THAT THEY WERE RICH IN AGRICULTURE, HENCE THE USE OF THE CHOSEN FRUITS. TO ACKNOWLEDGE HIS FAMILY’S BACKGOUND IN TEXTILES, WE USED A VINTAGE SEWING MACHINE AS THE MAIN SUBJECT, ACCOMPANIED BY COLOUR COORDINATED POTTERY AND TULIPS- WHICH HE PAINTED AS INSPIRATION FOR SOME OF HIS YARNS AND WEAVES.

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REASON FOR SELECTION: UNDER THE CIRCUMSTANCES, WE HAD NOT PLANNED TO INCLUDE STILL-LIFE PHOTOGRAPHY, HOWEVER, THE OUTCOME WAS EFFECTIVE AND ALLOWED US TO EXPLORE OTHER METHODS OF CREATIVE EXPRESSION. THE OBJECTS PERFECTLY SUMMARISE THE LIFE AND HERITAGE OF KLEIN. IMPROVEMENTS:WE COULD ADJUST THE PLACEMENT OF THE OBJECTS TO EXPERIMENT WITH COMPOSITION.

Sophie Corbett

kyle mcauley