Concept campaign, self-initiated. Not a client · Lifestyle

TEKLA

A self-initiated campaign built around Scandinavian summer, family memory and the quiet rituals of home.

I chose TEKLA because I was drawn to its Scandinavian sensibility and wanted to build a story around the kind of core memory a summer house can hold. The campaign follows a mother and adult daughter, using sleepwear and linens not just as products but as part of shared domestic rituals, slow living and intergenerational connection. Natural light, tactile textures and a simple red summer house helped keep the world aligned with TEKLA's brand language. The main challenge was maintaining consistency across the characters, pyjamas and towels while keeping the imagery warm, lived-in and believable.

Services

Creative direction
Campaign storytelling
AI image production

What I made

Narrative campaign
Character-led lifestyle imagery
Textile-focused frames
Consistent visual world

TEKLA: two women in linen at a garden table with bread rolls, eggs and tomatoes, a striped towel beside them, AI concept work

TEKLA: a young woman in striped pyjamas sitting in long grass against the red cabin, AI concept work

TEKLA: one woman tucking wildflowers into the other's hair outside the red house, AI concept work

TEKLA: a woman in a white vest and pale blue linen trousers picks tomatoes from the vine, a red cabin behind, AI concept work

TEKLA: two women laughing as one sprays a garden hose outside the cabin, AI concept work

TEKLA: hands holding a bowl of vine tomatoes over pale blue linen trousers, AI concept work

TEKLA: two women, one in striped pyjamas, lean out of the window of a red wooden cabin, AI concept work

TEKLA: two women lying side by side in long grass, one in blue linen trousers, one bare-legged, AI concept work

Next project: Steamline

The brief

The question behind TEKLA was whether lifestyle product photography could hold two people who come back in every frame. I called the campaign Summer, Remembered.

TEKLA is a real Scandinavian textile brand, and the campaign is my own concept. TEKLA did not commission it. The products are TEKLA's sleepwear and towels. The mother wears a white sleeveless top and loose pale blue cotton trousers, her daughter a cream and blue striped pyjama shirt and shorts, and the towels carry TEKLA's woven tab. I wanted both women to stay recognisable through everything a lifestyle campaign asks of them, from close portraits to wide garden scenes, through movement and the moments where they touch. If they held, the pyjamas and towels could simply be part of the memory, worn and used through a summer's day. Everything in it, the two women and the house included, was made with AI.

The direction

I wanted it to look like a family photograph taken on 35mm colour film, with nobody posing for the camera. The grain is visible, and the strong summer sun is allowed to overexpose a little on pale skin and white cotton.

The house is deep red timber with white window frames, and the garden around it has long grass, wildflowers and tomato plants. The palette comes from the place, red, pale blue, cream and summer green. The mother is in her late fifties, with shoulder-length blonde hair turning silver. Her daughter is in her early thirties, ash blonde and freckled. They have breakfast at a weathered table laid with eggs, bread, strawberries and tomatoes. The mother tucks daisies into her daughter's hair, picks tomatoes and turns the garden hose on her, and the two of them lean out of the same open window. The towels open the set on their own, hung over the sill with the TEKLA tab showing.

What was hard

Holding two faces was the main job. In AI product photography with models, every new angle is a chance for a face to drift, and here there were two faces to watch, often in the same frame.

I built a reference sheet for each woman, front, back and profile, dressed in her TEKLA pieces, and made the scenes against those sheets. The products needed the same care. The pyjama stripes had to keep their width and colours from frame to frame, and the towels needed their woven tab in the right place. Close moments add their own risk, the mother's hands in her daughter's hair and the two faces side by side at the window. In the hose frame I asked for a little blur on the water and on her hair, because frozen droplets would have looked staged. The challenge ran across the paired frames: keeping both women recognisable as their angles, expressions and positions changed. I reused the same character references throughout, then selectively retouched facial details, hairlines and overlaps between the figures while preserving natural skin texture.