1. Mary Schoeser Keynote Lecture: The Individual Approach: Bernat Klein’s Creative Impact Set within the context of a focus on the series of Personal Colour Guides launched by Bernat Klein in 1965, this keynote lecture looks more broadly at the individualism of Klein’s own approach to the development of innovative cloths. Based in the Borders from 1950 until his death in 2014, the Serbian-born designer placed colour at the centre of his artistic oeuvre, whether tweeds, knitwear or paintings in oil. From the break- through moment, when in 1962 his tweeds were utilised by Coco Channel, Klein was a transformative influ- ence, bringing international recognition to his adopted Scottish region.

As a predominantly freelance historian since 1991, Mary Schoeser MA FRSA has written diverse publica- tions (26 books, over 50 essays in books and over 120 shorter pieces), which include Textiles: A concise his- tory (T&H: 2003), Silk (Yale University Press, 2007), and Textiles: The art of mankind (Thames & Hudson, 2012 and 2013). For nine years in the 1980s the Archivist for Warner & Sons and thereafter a consultant archivist to numerous firms, her knowledge of British manufacturers extends to a sound understanding of textile and wallpaper production itself. This has facilitated restoration work with English Heritage, the Na- tional Trust and other historic property owners and also informed 36 curatorial projects, most recently an Orla Kiely exhibition for the Fashion & Textile Museum (25 May – 23 September 2018). Extensive academic experience included a part-time research position at Central Saint Martins (2000-2011) and receipt in 2016 of an Honorary Senior Research Fellowship from the V&A Museum. President of the Textile Society, she is also Patron of the School of Textiles, Coggeshall.

2. Gráinne Rice Abstract: Klein’s Colours – a personal collection From the perspective of a collector, Bernat Klein’s vintage textiles, garments and interior schemes come in a seductive array of colours. Today, de-contextualised, they embody a moment in mid-twentieth century style and taste; the colourways simultaneously signify a kind of retro nostalgia as well as communicating what was unique about Klein’s design vision. The ‘Personal Colour Guides’ were an attempt to define systematic principals by which the Kleins lived and worked; applied to both mass-produced and bespoke objects (like the tapestries and his paintings) produced under the Klein brand. With reference to pieces in my own collection I’ll look at the application of Klein’s colour principals in the design and marketing of the Diolen jersey silk printed textile range and consider what has guided my own collecting decisions.

Gráinne Rice studied History of Art at the University of Glasgow graduating in 1997 followed by an MA in Exhibition Interpretation from Napier University in 2000. I have taught on architecture, art and design history and context programmes at Strathclyde University, Edinburgh College of Art and Glasgow School of Art. I have worked as an organiser of exhibitions for Glasgow School of Art, V&A and Dovecot Tapestry Studio as well as managing arts projects for other organisations. I currently work as the Adult Programme Coordinator at National Galleries Scotland. I have been collecting Bernat Klein garments and fabrics since 2003.

3. Fiona Anderson Abstract: Bernat Klein: Design, Colour and the Interior In the post-war era, Bernat Klein became internationally renowned as a designer of textiles for both fashion and interiors, primarily for his accomplished use of colour. Klein’s innovative approach to colour was in- spired principally by modern art and his work contributed to the greater embrace of the symbolic and ex- Page 1 of 8 pressive power of colour in British design of the 1960s and 1970s. This paper will extend previous research on Klein’s practice as a consultant designer of furnishing textiles and carpets. It will also explore the visual and technical relationships between his textiles for fashion and those for interiors. The presentation will include an investigation of the key characteristics of Klein’s design consultancy work in Britain and Scandi- navia, which mainly related to furnishing textiles and carpets between 1966 and 1980. An extensive com- mission to design a colour-co-ordinated textile range for the Department of the Environment, which Klein worked on between 1969 and 1971, will also be examined. In addition, the paper explores the fact that Klein’s career centred around the exchange of ideas, goods and cultural influences between the specific locale of in the region and a range of other British and international places.

Fiona Anderson lectures at the University of Glasgow and works as an independent curator. She was for- merly Senior Curator of Fashion and Textiles at National Museums Scotland, where she curated several ex- hibitions including Jean Muir: A Fashion Icon. Key acquisitions at NMS included the Bernat Klein and Jean Muir Collections. Fiona has worked as Curator of the Conran Foundation Collection and in curatorial posi- tions at the Design Museum and the V&A Museum. She has previously held lecturing posts in the history and theory of fashion, textiles and design at a range of institutions, including Edinburgh College of Art, Cen- tral Saint Martins and the Royal College of Art. Her recently published research includes the book, Tweed for Bloomsbury Academic (2016), which includes sections on Bernat Klein. Fiona’s publications also include the essay ‘Bernat Klein: Colouring the Interior’ in British Design: Tradition and Modernity after 1948, ed. by Christopher Breward, Fiona Fisher and Ghislaine Wood (2015).

4. Helen Taylor Abstract: Bernat Klein: Colouring the Archive Bernat Klein’s use of colour and texture revolutionised Scotland’s rather conservative woollen weaving industry in the 1960s with an approach reflecting his artistic background. This talk will explore the Bernat Klein archive at Heriot-Watt University’s Scottish Borders Campus, the curatorial work on storing this significant collection and his impact on the existing tweed industry.

Helen Taylor holds an MA (Hons) in History from Edinburgh University and a Masters in History, Archives and Records Management from Western Washington University, Washington State, USA. I have previously worked as Archivist at Tameside Local Studies Library in Greater Manchester, National Records of Scotland, West Lothian Council. Currently I am University Archivist for Heriot-Watt University and responsible for services at both the Edinburgh and Scottish Borders Campuses.

5. Regina Lee Blaszczyk Abstract: Visibly Invisible: The History of Color Forecasting The fashion business has collected and analyzed information about colors, fabrics, silhouettes, and styles since the 18th century but these activities have long been shrouded in mystery. This PowerPoint talk exam- ines the history of color prediction for the fashion and textile industries by drawing on the author’s original archives-based research in North America and Europe.

The paper discusses the evolution of color forecasting in four phases: 1) origins (1870-1914); 2) rationaliza- tion (1914-1965); maturation (1965-2000); and 4) digitalization (2000-present). In the first era, French dye houses created shade cards for their customers, the textile mills, to show how they could dye fabrics in the latest Parisian hues. These cards were exported around the world, where mills, designers, and retailers treated them as the first color forecasts. In the second period, the locus of innovation shifted to the United Page 2 of 8

States, where the style industries drew on modern theories of scientific management, segmented markets, and the fashion cycle to rationalize the palette and to create the tripartite system of basic, fashion, and fad colors that is still used today. In the third phase, a new generation of French and British entrepreneurs re- sponded to the demands of American retailers for up-to-date European style and color information by cre- ating some of the first trend companies, including Promostyl, Nigel French Enterprises, and IM Internation- al. In the fourth period, forecasters in the US and the UK adapted 20th-century color forecasting methods to the computer age, as exemplified by the digital services of Pantone, WGSN, and the Doneger Group.

Regina Lee Blaszczyk is Professor of Business History and Leadership Chair in the History of Business and Society at the University of Leeds. Reggie has published on the history of consumer society, the history of design and innovation in the creative industries, and the history of color in consumer products, from auto- mobiles and appliances to fabrics and fashion. From 2013 to 2016, she was Project Leader and Lead Princi- pal Investigator for The Enterprise of Culture, a HERA II project that focused on the history of the European fashion business since 1945. Her 12 books include several award-winning titles: Imagining Consumers: De- sign and Innovation from Wedgwood to Corning (2000); Producing Fashion: Commerce, Culture, and Con- sumers (2008); and The Color Revolution (2012). The Color Revolution was widely reviewed in media out- lets around the world including the New York Times, The Atlantic, Women’s Wear Daily, the Wall Street Journal, the International Herald Tribune, BBC4 Radio, and ABC Radio Australia. Her newest books are Fashionability: Abraham Moon and the Creation of British Cloth for the Global Market (2017); Bright Mo- dernity: Color, Commerce, and Consumer Culture (2017); European Fashion: The Creation of a Global Indus- try (2018); and The Fashion Forecasters: A Hidden History of Color and Trend Prediction (2018). She has been recently interviewed on the history of color invention and color forecasting for CNNStyle.com, the New York Times Magazine, and The Guardian.

5. Tracy Cassidy Abstract: Colour Forecasting Colour forecasting is a fundamental part of a collective process known as fashion forecasting or trend pre- diction, where attempts are made to accurately forecast the colours, fabrics and styles of fashionable gar- ments and accessories that consumers will purchase in the near future. The colour forecasting process is dependent upon the anticipation of consumer colour acceptance for continued fashion apparel sales, though with little knowledge of consumer preferences, in particular preferences of the nuances of colour. In addition, through the planned obsolescence and marketing of trends, forecasting systems support exces- sive consumer consumption. The colour forecasting process and associated systems therefore lack sustain- able practice and contribute to the textile waste problem. As the colour forecasting process is firmly em- bedded into the fashion system, the industry is unlikely to change its practice unless change is significantly driven by consumers. In order for this to happen, consumers need to be more conversant with colour and with their own apparel consumption practice, as well as with the consequences of their choices. In addi- tion, more effective communications methods are required to inform and encourage consumers to change their apparel consumption practice. This paper introduces the need of a different approach to colour fore- casting for the twenty-first century and the priorities of a newly forming research network to debate, con- ceptualise and critically evaluate the potential use of colour as a catalyst for behaviour change towards a more sustainable colour forecasting practice model. Tracy Diane Cassidy is a trained knitwear designer experienced in knitwear and bespoke bridal-wear de- sign, manufacture and retail. She holds a BSc (Hons) in Knitwear Design and Production and an MA in De- sign & Manufacture (Fashion & Textiles). She obtained her PhD through the investigation of colour fore- casting and is the first author of the book Colour Forecasting (Blackwell). Tracy is a Reader in Fashion & Tex- tiles, at the University of Huddersfield; Department Lead in Research & Innovation; Centre Director of Tex-

Page 3 of 8 tiles Thinking Research Centre and Centre Director of Fashion & Costume Thinking Research Centre. Tracy’s research takes a design thinking approach focusing predominately on areas of interest where design and business practice meet, for example colour forecasting. More recent research leans towards sustainable practice that considers the environment and socio-economic factors in the design business practice. The triangulation of design, business and people for sustainable practice is of particular interest where change is needed in order to both preserve and innovative, as appropriate, products, practice and skills for a more sustainable existence. Trends and in particular colour forecasting have remained particular areas of re- search interest in both design and marketing applications. She is an established author with international presence, a reviewer for many reputable journals, and editorial board member.

7. Karen Finlayston Abstract: Colour in Men’s Fashion Bernat Klein recognised the transformational effects of worn-colour decades before ‘having your colours done’ became a cultural phenomenon. He also advocated the identification of specific groups of colours for men as well as for women. His selection of Personal Colour Guides was published in 1965 yet the practice of forecasting which colours should be available to be worn by the masses continues in the 21st century.

In this paper I will consider personal colour choice and its intersection with cultural and commercial deter- mination through examining the availability and personal choice of colour within men’s fashion.

Initially the historical choice of colours of clothes worn by men in Europe and Northern America over the past three centuries will be considered. Reflection on the role of gender and race within the colours of clothes produced and worn in the 20th century will then be examined. Consideration of the colours worn by men in a specific location and historical period will be used to clarify whether the choice of colour in clothing has previously been a personal decision or restricted by cultural norms and industrial decisions. Finally we will consider how the design and production of colours of clothes can be developed for the 21st century male customer.

Karen Finlayson began her working life as healthcare professional before attending the University of Edin- burgh to study social anthropology. Upon graduation Karen attended the Image Resource Center of New York and trained within personal colour before returning to practice in the UK, primarily in Scotland and London. Since training in 2006 Karen has witnessed the transformational effect of colour on the features of thousands of people but she became frustrated with the poor colour resolution of products available for customers. In 2012 Karen created the Colour Elements colour classification system for use within personal colour analysis and produced card products to be used with customers. This system was transformed into a digital tool in 2015 when the Colour Elements app was launched on iPhone and iPad. An updated version of the app was released in 2017 and has been used globally by users on every continent.

Karen’s focus has always been to inspire individuals to feel confident in themselves through the colour of clothes that they choose to wear. She believes that when individuals gain knowledge in how to use colour within their appearance they can use this non-verbal means of communication in a powerful way.

8. Jenny Balfour-Paul Abstract: INDIGO – Reflection of our Blue Planet Indigo, the most widely used of all dyestuffs, and only natural blue dye, manifests in cloth the colour of our planet. Among the oldest dyes known, it was discovered by different civilisations of Antiquity, including Peruvian more than six millennia ago. 'Blue-collar workers', 'navy blue', 'royal blue', 'blue stockings', 'blue

Page 4 of 8 jeans' – all these refer to specific and widespread uses of indigo's unique colours and qualities.

Varied perceptions of indigo as a colour and dye in different cultures reflect its fascinating history and chemistry, its wide range, subtlety and unique colour-fastness, and intriguing cultural beliefs. In some parts of the world considered a substance, in others indigo is noted for its affinity for such textile techniques as shibori and batik. Blue denim has an extraordinary place in the world, not least in the way the fashion in- dustry reinvents it annually.

Indigo has been known as the ‘King of Dyes’ for millennia. Current interest in worldwide revivals of sustain- able natural indigo demonstrate its important role in the ‘slow fashion’ movement which aims to reduce the environmental damage being done to the blue planet by throw-away ‘fast fashion’.

Jenny Balfour-Paul (United Kingdom) writer, artist, traveller and international lecturer, has researched and worked with indigo for over three decades. An Honorary Research Fellow at Exeter University; Fellow of the Royal Geographical Society, the Royal Asiatic Society and the Explorers’ Club; and President of the UK’s As- sociation of Guilds of Weavers, Spinners and Dyers. Author of Indigo in the Arab World (1997), Indi- go:Egyptian Mummies to Blue Jeans (1998), and Deeper than Indigo (2015), she was consultant curator for the Whitworth Art Gallery’s 2007 touring exhibition Indigo, a Blue to Dye For, consultant for documentary films and for 'Indigo Sutra' held in Kolkata in 2017.

9. Susan Kay-Williams Abstract: The complexity of Green In 2017 Pantone’s colour of the year was Greenery, a light fresh spring-leaf green, yet even they had to then introduce a second green shade, kale, a darker, less playful, more serious green, to work within fash- ion palettes. This paper will argue that green, the most prevalent colour in nature, with a myriad of shades is, possibly because of this fact, the most difficult colour to use in fashion, and that this is not new but something which goes back to the 19th century. When the first edition of Harper’s Bazaar in 1867 highlight- ed Bismarck Brown as the colour of the season, perhaps one of the reasons it was so successful was that the alternatives were greens named pistachio, cabbage and frog.

Possibly the 1930s saw the height of green fashion, with the Green Balls but it is remembered more for a range of shades that saw it veering towards khaki: the required colour by the end of the decade. In the ear- ly 21st century green has many layers of meaning, especially in the areas of ecology, but again, because it is the poster colour for the environmental lobby perhaps it fares less well in the manufactured and ephemer- al world of fashion.

This paper will look at how green has fared as a fashion colour over the last 160 years and why there is so much complexity around this naturally prevalent colour.

Dr Susan Kay-Williams is the Chief Executive of the Royal School of Needlework based at Hampton Court Palace. Her own area of research is the history of dyes for textiles. She is the author of The Story of Colour in Textiles, Bloomsbury 2013, and is currently focusing her research on the textile dyeing and colour devel- opments in the 19th century including the discovery of and research on the synthetics, the naming of col- ours, new and fashionable colours.

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10. Maija Nygren Abstract: Kidswear Needs No Electric Blue?A Practical Study of Alternative Means to Add Emotional Val- ue In Children's Knitted Textiles This presentation outlines the thoughts of a knitted textile practitioner during a period of academic studies. A project which included the hand dyeing of yarns with both synthetic and natural dyes, sparked a set of dilemmic questions around the practitioners personal adoration of working with colour and the safety of adding colour onto textiles, particularly in children's clothing. What is the effect of artificially added colour on textiles for a. the environment and b. the wearer. Are bright colours needed in children's clothing? Would a child choose an unpainted wooden toy over a brightly painted electric blue one? Would he/she prefer a fire engine red pullover with lime green polkadots over an undyed natural white and dark brown polkadots? Colour can stimulate senses and add emotional value to a product. However, it is oftentimes applied through synthetic means by using chemicals which can pose a threat to the health of the wearer as well as the environment. If it is toxic, is it worth it? What other means could be used to stimulate the sens- es? This presentation reveals the practical solutions discovered in response to a brief; Playful and curiosity provoking knitted childrenswear, using purely an un-dyed, naturally derived colour palette. It questions whether instead of artificial colour application, Montessori inspired interactive, sensorial and tactile ele- ments could be used to capture the attention of a child. To gain an understanding of the success of the pro- ject, the swatches, echoing the aforementioned educational activities, were trialled within a focus group of 5 children aged 3-6 years, in a Montessori nursery setting. The response of the children was overwhelming- ly positive, yet as the project came to a completion, the practitioner was left with a desperate need to see, feel and use bright colours again.

Maija Nygren is a designer and early career practicioner/researcher with a background in children's theatre. Maija graduated with a BA(Hons) and an MA in Knitwear from Heriot-Watt University School of Textiles and Design. Education, environment and ethical manufacturing of knitted childrenswear are a continuous thread running through her research and design projects. Maija lives in Edinburgh and works as a freelance knitwear designer and textile educator.

11. Yona Lesger

Abstract: Colour, Fashion and Sustainability in Fashioned from Nature

The creation of a more sustainable and ethical fashion industry has gained momentum in the past months, with a particular focus on efforts to reduce waste during the manufacturing process and after wear. How- ever, some of the even more destructive practices are in the pursuit of colour, particularly through the dye- ing of fabrics. Many of these practices have taken place throughout history and continue to be prevalent today. This talk will explore the presence of colour and sustainability in the Victoria & Albert Museum’s temporary exhibition Fashioned from Nature (21 April 2018 to 27 January 2019), which was the first exhibi- tion to discuss fashion’s impact on nature from 1600 to today. Using the impact of fashion’s colours on the natural world as a starting point, the presentation will analyse the effects of the raw materials of embel- lishments and dyes, as well as dyeing processes on species and the environment from the early 19th century to today. It will problematise the understanding of sustainability in relation to ethical fashion for both his- torical and contemporary designs. Case studies from Fashioned from Nature will include beetle wings as an iridescent colour, the dying process of aniline and turkey red dyes, and contemporary sustainable dyes de- veloped by Colorifix and Pulp-It by the Centre for Circular Design. It will conclude with an assessment of the

Page 6 of 8 colour palette of contemporary sustainable fashion and the potential of utilising Bernat Klein's Personal Colour Guides to expand interest in these pivotal developments.

Yona Lesger is currently working on the Blythe House Decant project to prepare the Victoria & Albert Mu- seum’s collection for its move to V&A East. Previously, she worked as the Exhibitions Research Assistant of the fashion exhibition Fashioned from Nature and as a curatorial assistant in Theatre & Performance, both at the V&A. She studied fashion history as her MA at the Courtauld Institute of Art and her undergraduate degree was in costume design at the Edinburgh College of Art.

12. Lynn Wilson Abstract: Working in Colour. A Case Study of the Naro San People of the Kalahari Desert. From 1996-1999 I managed a unit in Botswana. From 1999-2000 I was commissioned by a Dutch NGO to work with a tribe of Naro San bush people, teaching design and colour theory to help them create products that they could sell to the tourist market. I lived with them on a settlement camp in the north west of the Kalahari Desert periodically over the course of a year. The San had been moved to transi- tional settlement camps whilst the Botswana Government deconstructed their lives from being egalitarian hunter gatherers to a consumer based society that needed to generate an income from tourism to survive. I began by teaching Itten, Element of Colour (1961). This was a controversial programme. The Director of the NGO thought teaching western colour theory would ruin the San colour sense. However, the challenge was that before I arrived they had been given synthetic textile paints and didn’t know how to use them. I taught the course and the san women were liberated by a joy of colour which led to an outpouring of ex- pression and interpretation of their daily lives in colour on cloth using a textile resist technique called sadza, from Zimbabwe. This presentation discusses the process of teaching colour theory to people who have a limited concept of western product. It presents a critique of the products produced in terms of the colour and pattern development and concludes by discussing the role of colour in our personal narratives and product choices.

Lynn Wilson is a designer, researcher and circular economy expert specialising in apparel and textiles con- sultancy and training. From 2013 to 2017 she was part of the pioneering Circular Economy team at Zero Waste Scotland as the Sector Manager, Textiles (2013-16) where she implemented a national circular economy textiles strategy. Lynn was awarded a Winston Churchill Memorial Trust fellowship in 2015 and visited Japan meeting textiles businesses implementing circular economy strategies. She is a fellow of the RSA and an RSA Student Design Awards judge. Lynn is currently studying for a PhD at the Adam Smith Busi- ness School, Glasgow University in consumer research and circular economy. Committed to civic duty, Lynn is a non-executive director of Architecture and Design Scotland and a trustee of the Bothy Project charita- ble trust (www.bothyproject.org). Lynn graduated in Constructed Textiles from Duncan of Jordanstone Col- lege of Art in 1992 and in Fashion and Textiles from Nottingham Trent University in 1994. She has been art- ist in residence with South Ayrshire Council and the National Trust for Scotland and delivered an extensive portfolio of projects and training workshops for NGOs and universities.

13. Suchitra Choudhury Abstract: Travelling Tints: The Fashion for Indian Shawls in Nineteenth-Century Britain In the last few decades, social anthropologists have recognised the way in which commodities can change their meanings through travel and mobility. Igor Kopytoff, for example, has noted that the movement of objects through the differing organisations of local, national, and transnational markets result in their al-

Page 7 of 8 tered meanings and valuation. Theorists have also argued how objects themselves do not change, but only the ‘contexts’ do as they pass through various ‘regimes of value.’

Despite the prevalence of such theorisation and study, the way in which colours travel across different con- tinents and cultures remains a largely unexplored area. This paper examines the nineteenth-century fash- ion for Indian shawls with a special focus on colour. It presents a discussion of ‘white’ and ‘red’ textiles in the differing contexts of the subcontinent and Britain, and analyses their specific modes of representation. In the traditionally structured Indian society, for example, these colours were tied to associations of grief, and marital fertility respectively. However, once the shawls arrived in Britain, they became productive of very different narratives. Popular texts of the period, for instance, offer ample stereotypes about the colour of shawls, which linked them to misogynist sexual typecasts such as the ‘angel’ and the ‘whore’. By tracing the mode of the ‘commodification’ of colour in the Victorian period, the paper aims to follow the shifting behaviour of colour in fashion and textiles in a globalised era. (231)

Suchitra Choudhury is a Textile Historian and Literary Critic who works as an independent scholar. Follow- ing her PhD in English literature at the University of Glasgow, she is now writing a book on the cultural his- tory of Cashmere and Paisley shawls. Her articles have appeared in academic journals.

14. Collette Paterson Abstract: Shanghai Style and Substance Shanghai is the fashion capital of China. It is the biggest city in China with a population of more than 24 mil- lion people and a fast-changing urban environment. Almost every store in Shanghai is a pop-up store. Lon- gevity is based on weeks and months, rather than years. As a result, Shanghai has a generally vibrant, opti- mistic and completely accepting approach to change, fast development and fashion. This creates a buoyant and often surprising visual identity, where old and new clash and where the fresh and the faded are found within a single view.

Collated and analysed during a recent 2018 visit to Shanghai, this research intends to present a review of the material and colour presence within Shanghai that form its current visual culture and identity. Visual stories are unearthed to present the colour and materials palettes, contrasts, juxtapositions and harmonies present in the everyday lives of Shanghainese. Traditional Chinese and ultra-contemporary elements fight for space and attention from the many millions of residents and visitors. At the same time, local, young, neon-highlighted trends sit alongside the endearing blandness of big international fashion brands.

Stories and themes are presented to attempt to unearth connections to the past and the present; giving a current, but short-lived snapshot of a major city with a global outlook and a local sensibility.

Collette Paterson is a Lecturer in Design (Textiles) at Edinburgh College of Art and a PhD candidate at Heriot-Watt University. She is also currently a Visiting Tutor at DJCAD, University of Dundee inputting across Critical Making and Textiles areas. She is a Tutor, Course Author and Course Leader at the Open College of the Arts, which is the distance learning arm of University for the Creative Arts, and also a Visiting Professor at Donghua University, Shanghai.

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