The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
The long-neglected studio of pioneering textile designer Bernat Klein (1922-2014) has been sold at auction for £279,000 - fifteen times its guide price of £18,000. The brutalist-style structure, situated near Selkirk in the Scottish Borders, was bought by a coalition of national heritage and design organisations, who now plan to restore it for public exhibitions, research, and design education.
Designed by modernist architect Peter Womersley in 1972, the building originally served as Klein’s workspace for textile development, weaving, and showcasing his designs. Adjacent to Klein’s iconic home, High Sunderland - another Womersley build - the studio stands as one of Scotland’s most significant examples of post-war architectural design, reflected in its presence in exhibitions such as Grey Gardens: Art and Architecture Inspired by Modernity and Nature at Dundee Contemporary Arts (DCA) in 2016.
In The See-Through House: My Father in Full Colour (2021), Shelley Klein relays her experiences growing up in the building and returning to care for Klein in his late years. She left in 2017, due to the cost of maintaining the building, which, despite being granted Category A listed status in 2002, has been left derelict since.
The purchase was secured by a coalition made up of the Bernat Klein Foundation (BKF), the National Trust for Scotland (NTS), and the Scottish Historic Buildings Trust (SHBT). Their joint effort aims not only to restore the building’s physical structure, but also to reignite its purpose as a vibrant, public-facing creative venue in the Borders. In the interim, the BKF has remained active across Scotland, and further afield. In February 2025, the first Bernat Klein Fellowships and residencies were awarded to contemporary textile designers and artists, in partnership with the Konstfack University of the Arts, Craft, and Design in Stockholm, Sweden, and Cove Park, which overlooks Loch Long in Argyll.
According to the BKF, the studio will eventually serve as a permanent base for its programming, including exhibitions, workshops, talks, and educational events. These will focus on textile design, colour theory, modernism, and Klein’s continued influence on both Scottish and international design. Born in Senta, in northern Yugoslavia (now Serbia), Klein came from a line of textile traders, whose practices crossed the borders of political geographies and times, back into the Austro-Hungarian Empire and, through, Klein, forward, to his pursuit of education at the University of Leeds, and participation in the Festival of Britain (1951).
While Klein achieved acclaim working with fashion houses like Dior, Balenciaga, and Chanel, his cultural legacy is rooted in Scotland. A number of solo exhibitions have celebrated his contribution to design and colour in recent years, including A Life in Colour at Dovecot Studios (2015) and Design in Colour at the National Museum of Scotland (2022–2023), which resulted in the acquisition and permanent display of Klein’s work in the city of Edinburgh. Pop-up displays and archival showcases have also taken place in Galashiels - where Klein’s Colourcraft textile company was based - and Selkirk, as part of ongoing efforts to reintroduce his work to local communities.
With the studio now secured, future exhibitions and residencies may take place on site, connecting Klein’s original workspace with contemporary Scottish makers and designers. Though the auction sale is a milestone, the path forward involves significant investment. The estimated cost of full restoration is over £3 million and will require specialist conservation expertise. SHBT Director Dr Samuel Gallacher described the purchase as a first step. ‘Restoring the building will take months of work and the dedication of skilled craftspeople, ’ Gallacher adds, ‘but it’s a vital piece of Scotland’s creative heritage. NTS Chief Executive Philip Long added: ‘Now through our partnership, we can be confident that this significant building - and the story of both its architect and its celebrated occupant - will be preserved for future generations.’
Once fully restored, the studio could serve as a centre for Scottish modernist design, celebrating Bernat Klein’s pioneering work. Practitioners and publics will be able to engage with his creative legacy in his place, to which, as Shelley Klein remarks, fashion designers from London and continental European cities were once regularly flown in and chauffeured - amid the natural landscapes that defined his visual language.
This project represents more than the rescue of a building - it is a revival of Klein’s vision of Scotland as a centre of innovation, experimentation, and colour.
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