Portfolio as PDF

Atelier E.B.
www.ateliereb.com
Atelier E.B. is the company name under which the artist Lucy McKenzie and the designer Beca Lipscombe sign their
collaborative projects. The group was formed in 2007 by Lipscombe and the illustrator Bernie Reid, who are based in
Edinburgh, and McKenzie, who is originally from Glasgow and lives in Brussels. The intention from the beginning has
been to explore the commercial realities of production and distribution, and, by extension, to incorporate the expertise
and pragmatism of the applied arts to fine art. Underpinning their ethos is a desire to form new associations, where both
research-led and self-generated material combine to create a vision which is both personal and critical of contemporary
mores. Of utmost importance is their desire to work with the best in local industry and independent producers and thinkers.
Works to date include commissioned display and interiors for public and private spaces, fashion, textiles, furniture,
events and publishing. In Glasgow, Atelier E.B. presented The Inventors of Tradition (2011), an exhibition, catalogue and
fashion collection that examined the legacy of Scotland’s textile industry. This and subsequent collection Ost End Girls
(2013) was sold directly to the public through a series of showrooms and is now worn all over the world. The Inventors
of Tradition II, their next project will be presented in spring 2015. It will encompass retail, performance and installation.
Their new fashion collection will be released simultaneously. Atelier E.B. continue to work closely with the independent
curatorial practice Panel (Catriona Duffy and Lucy McEachan), and graphic designers HIT Studio.
2015
The Inventors of Tradition II fashion collection and exhibition with Panel, The Palace of Art, Glasgow (cat), Galerie Micheline Szwacjer, Brussels
2014
Scotland Can Make It!, Commonwealth Games, Glasgow
A Machinery For The Living curated by Walead Beshty, Petzel Gallery, New York
2013
Hello goodbye thank you, again, and again, and again, Group show at Castillo / Corrales curated by Anthony Huberman Ost End Girls, collection showrooms / temporary shops, Magazijn, Amsterdam, World Lantern, Brussels, Cabinet, London, Inverleith House, Edinburgh, Volcano Extravaganza, Stromboli, The Artist’s Institute, New York
2012
Critical Alliances, group exhibition, HDLU, Zagreb
Work in Progress, Paris, solo exhibition, Au 8 Rue Saint-Bon, Paris
Scotland Can Make It!, in collaboration with Marc Camille Chaimowicz, exhibition curated by Panel, People’s Palace,
Glasgow (cat)
Studio 58: Women Artists in Glasgow since World War II, group exhibition, Mackintosh Museum, GSA, Glasgow (cat)
Te Kust en Te Keur, group exhibition, Mu-ZEE, Oostende
2011
The Inventors of Tradition exhibition with Panel, Glasgow (cat)
The Inventors of Tradition, collection showrooms, Talbot Rice Gallery, Edinburgh, GSA, Glasgow, TWAAS, New York,
Cabinet, London, Etablissement d’en Face Brussels, Mehringdamm 72, Berlin (cat)
Town Gown Conflict, group exhibition, Kunsthalle Zürich, Zürich (cat)
Cologne Kunstverein Annual Editions Exhibition, Cologne (cat)
2009
Limited edition screenprint for Schweizerische Graphische Gesellschaft, Zürich
2008
Atelier solo exhibition, The Lighthouse, Glasgow
...In the Cherished Company of Others..., group exhibition curated by Marc Camille
Chaimowicz, Mu-Zee, Oostende
Projects 88, Lucy McKenzie & Atelier E.B. solo exhibition, MoMA, New York
2007
Atelier, showroom / interior design, Galerie Daniel Buchholz, Cologne
The Flying Duck, interior design, Flying Duck Club, Glasgow
Atelier E.B.
Left to right: artist Lucy McKenzie and designer Beca Lipscombe
Quodlibet XXXV, Lucy McKenzie, Oil on Canvas, 2014
Courtesy British Council Collection
The Inventors of Tradition II, poster design, HIT, 2015
Brennan, blanket design, in collaboration with Alex Begg and Co. Part of The Inventors of Tradition II collection, 2015
The Inventors of Tradition II, The Palace of Art, Glasgow 2015
The Inventors of Tradition II, The Palace of Art, Glasgow 2015
Look 5#, Charles Jourdan L’Insolent eau de parfum top, Chanel 108 Determinee lipstick bottom
Photography Eileen Quinlan and Jack Miskell, Styling by Beca Lipscombe and Nate Heiges
Photographic Digital C-Print 2015, Courtesy of Eileen Quinlan
Haute Sunderland, Photography by Kim O’Neill (underlay photograph), Composition by Kim O’Neill,
Styling by Beca Lipscombe, 2015, Courtesy of The National Museums of Scotland and Shelley Klein
Scotland Can Make It! Evening Swim with Atelier, Gourock, 2014
A Machinery For The Living curated by Walead Beshty, Petzel Gallery, New York
A Machinery For The Living curated by Walead Beshty, Petzel Gallery, New York
Fade to Grés
How D’You Know Me
Emma...
Scotland Can Make It! Glasgow, 2014
Cashmere/lambswool woven travel blankets by Atelier E.B and Marc Camille Chaimowicz
137cm by 183cm
Produced in collaboration with Begg Scotland
Atelier E.B. are proud to sponsor Leith Athletic Ladies Club
Beach side boutique as part of ‘Volcano Extravaganza: Evil Under the Sun’ on Stromboli, Volcano Extravaganza 2013
© 2013 - Mural by Alison Yip
Ost End Girls showroom, Inverleith House, Edinburgh
Ost End Girls showroom, Cabinet II, London
Ost End Girls showroom, World Lantern, Bruxelles
Letter to The Scotsman newspaper, April 2013
To Whom It May Concern
I am compelled to write this letter knowing that it will not change the fate of Caelee Mills (formerly Ballantyne Cashmere), which
very sadly went into administration last week, shuting down production 225 years after it first opened. However, I publically wish
to voice my great concern and dismay at the way in which another valuable asset to Scotland’s historical and cultural fabric has
been allowed to disappear without a trace – leaving a gaping hole in our ever-vanishing textile industry and impacting negatively
on yet another Scottish community. This is a community I have had the honour of knowing in my capacity as a director of a smallscale fashion label that produces in Scotland and sells internationally.
This is happening at a time when Scots and the world in general are scrutinising our ability to survive independently. In this
debate, the Scottish textiles industry can be seen as symbolic of the Scottish economy as a whole. In the extile industry I see a
deleterious lack of government support.
Scotland was and is a nation famed for its production of high-end knitted and woven textiles. We have produced, and continue to
this day to produce, for all the major luxury fashion houses in the world, although this is often done anonymously. These high-end
companies come to Scotland because our textiles embody a skill, an understanding and a quality that they wish to see in the fibre
from which their products are made. We are not a fashion nation – we leave that to London, Paris and Milan. However, Scotland
does have a role in the continued production of quality textiles; this is what we understand and what we do best.
China is in the middle of an industrial revolution. Our industrial revolution happened so long ago that the Scottish textile
industry finds itself housed in buildings that are not appropriate for business today; they are too costly to heat and run, and have
no apprenticeships schemes to offer and so lack programmes of modernisation or long-term investment.
I appreciate that we as consumers are at fault for wanting to buy clothing cheap. But if we saw the skilled process that a jumper
goes through to be created we would not think its premium cost unjustified. The quality of our textiles transcends fashion. Fashion
comes and goes, but a beautifully crafted jumper will always be needed and ours are renowned.
Caerlee Mills was the last mill in Europe predominately to employ the specialist knitwear process of hand intarsia*. Some of the
staff had worked there for over 40 years; we cannot buy, replace or pass on their knowledge once it has gone. I understand that
the closure of Caerlee Mills has come about because of many factors. It should be emphasised, however, that they had substantial
orders on their books. Tragically, they were unable to produce these orders as they could not afford to buy the yarn up front. That,
coupled with an antiquated building that was too costly to run, equals redundancies and devastation in Scottish communities.
A very different – and much more positive – story is the case of Chanel buying Barrie knitwear. Chanel have been taking over
their French ateliers, famed for creating shoes, braiding and so on, because of their fear that once these businesses have gone there
will be no-one skilled and experienced enough to do the job. Chanel understands the importance of investment in a skilled artisan
workforce.
As a Scot, I realise that we do not always appreciate and value our strengths until they have gone, to be appreciated elsewhere, if
at all. So I salute the last standing textile companies – you know who you are! As world commerce and consumer patterns change
one thing is for sure: unless government invests in and supports our struggling textile industries, very few will remain standing.
China may have might, but we have history, skill and legacy.
This is a sad time! There is no one person to blame here but a succession of unfortunate events: Beeching taking out the rail
networks that serviced Dumfries and Galloway, the rise in yarn prices, antiquated buildings, a cash flow crisis, pension schemes
not paying out, consumer patterns, competing industries worldwide, aviation… the list goes on.
I don’t claim to have the answers, I only observe from the outside. My company, Atelier E.B., has done extensive research into
the post-1930s Scottish textiles industry, and we have seen for ourselves the tragic scale of what has been lost – Singer, Pringle,
Ballantyne to name a only few of the great companies that went to the wall – and in the short time we have been collaborating
with Scottish textiles companies we have witnessed much negative change. It all hangs on such a fine thread.
Yours faithfully
Beca Lipscombe
Atelier E.B
* Intarsia is the Italian word to describe inlaid patterns in wood. It was Ballantyne that developed this same idea but in knitting, at first using simple
Argyll diamonds then growing more bold, depicting everything from the blossom of a cottage garden to the pattern on a Persian carpet. One inlaid
panel of an intarsia sweater takes a highly skilled craftsman up to eight hours as each thread must be laid over the needles by hand to form the intricate
pattern. The design is built up following the directions on a chart, constantly changing from colour to colour, laying the yarn into the needles with great
care and precision.
Atelier (Edinburgh-Bruxelles), Work in Progress, Paris
Installation view
Le 8, Rue Saint Bon and Westreich Wagner, Paris 2012
Atelier (Edinburgh-Bruxelles), Work in Progress, Paris
Installation view
Le 8, Rue Saint Bon and Westreich Wagner, Paris 2012
Studio 58: Women Artists since World War II
Installation view, mannequin with outfit from Inventors of Tradition collection, 2011
Group exhibition, MacKintosh Museum, Glasgow 2012
Te kust en Te Keur
Installation view
Group exhibition, Mu-ZEE, Oostende, 2012
Curated by Lucy McKenzie
Te kust en Te Keur
Installation views of work by Beca Lipscombe
above: The department of modern art store magazine (macro), 2012, digital print on forex on wood
Below: The department of modern art store mannequin, 2012, digital print on forex on wood, The department of modern
art store magazine (mini), 2012, digital print on paper on wood
Group exhibition, Mu-ZEE, Oostende, 2012
Beca Lipscombe
Photoshoot with vintage garments and various Atelier E.B. designs used in
The department of modern art store magazine, 2012
Beca Lipscombe
Photoshoot with vintage garments and various Atelier E.B. designs used in
The department of modern art store magazine, 2012
Beca Lipscombe
Photoshoot with vintage garments and various Atelier E.B. designs used in
The department of modern art store magazine, 2012
Beca Lipscombe
Photoshoot with vintage garments and various Atelier E.B. designs used in
The department of modern art store magazine, 2012
Beca Lipscombe
Photoshoot with vintage garments and various Atelier E.B. designs used in
The department of modern art store magazine, 2012
Lapidary Stylist
Cologne Kunstverein Annual Exhibition, Cologne, 2011
Edition of 10 +2 AP
Shantung silk Clovis workcoat made in collaboration with Steven Purvis, Glasgow
Liquid to Kohl screenprint on calico fabric poster, 140 x 44 cm
Link to the edition for sale through the Cologne Kunstverein
Link to the catalogue through Amazon
Town-Gown Conflict
Installation view of work by Beca Lipscombe, cashmere coat in collaboration with Steven Purvis, cashmere scarf in
collaboration with Begg Scotland, and silver broach in collaboration with Ruth Swan displayed on child’s cello
Group exhibition, Kunsthalle Zürich, Zürich, 2011
Town-Gown Conflict
Installation views of work by Beca Lipscombe, silkscreened cashmere jumpers
in collaboration with Begg Scotland
Group exhibition, Kunsthalle Zürich, Zürich, 2011
Town-Gown Conflict
Installation views of work by Beca Lipscombe, silkscreened cashmere jumpers
in collaboration with Begg Scotland and silver pendant in collaboration with Ruth Swan
Group exhibition, Kunsthalle Zürich, Zürich, 2011
For links to the publication produced by Panel and published by Koenig books:
Panel
Buchhandlung Walther König
The Inventors of Tradition
Installation view, 21 Stockwell Street, Glasgow, 2011
Organised and curated by Atelier E.B. and Panel
The Inventors of Tradition
Installation view, 21 Stockwell Street, Glasgow, 2011
Organised and curated by Atelier E.B. and Panel
The Inventors of Tradition
Installation view, 21 Stockwell Street, Glasgow, 2011
Organised and curated by Atelier E.B. and Panel
The Inventors of Tradition
Installation view, 21 Stockwell Street, Glasgow, 2011
Organised and curated by Atelier E.B. and Panel
The Inventors of Tradition
Illustration from collection lookbook
Lucy McKenzie, coloured pencil on paper, 2011
The Inventors of Tradition
Illustration from collection lookbook
Lucy McKenzie, coloured pencil on paper, 2011
Clydebank Room Divider
Digital print on jute, oil and gold leaf pegboard
180 x 305 cm (fully extended)
Collection Anastasia Barbieri
Clydebank Room Divider
Digital print on jute, oil and gold leaf pegboard
180 x 305 cm (fully extended)
Collection Anastasia Barbieri
The Inventors of Tradition
Collection showroom, Mackintosh Gallery, Glasgow, 2011
(painting on wall by Alasdair Gray)
The Inventors of Tradition
Collection showroom, Thea Westreich Art Advisory Service, New York, 2011
(with various artworks by Lucy McKenzie)
The Inventors of Tradition
Collection showroom, Establissement d’en Face Projects, Brussels, 2011
(with various artworks by Lucy McKenzie including hand painted gallery sign oil on board, 2008)
The Inventors of Tradition
Collection showroom, Cabinet Gallery, London, 2011
The Inventors of Tradition
Collection showroom, Mehringdamm 72, Berlin, 2011
(with various artworks by Lucy McKenzie)
Sample Book
Invitation card
Limited edition screenprint for Schweizerische Graphische Gesellschaft, Zurich
Atelier
Invitation card
Solo exhibition, The Lighthouse, Glasgow, 2009
Atelier
Installation view, The Lighthouse, Glasgow, 2009
Atelier
Installation view, The Lighthouse, Glasgow, 2009
Atelier
Installation view, The Lighthouse, Glasgow, 2009
Atelier
Installation view, The Lighthouse, Glasgow, 2009
Beca Lipscombe
Hand Printed, 2008, silkscreen on paper
Made for ...In the Cherished Company of Others..., group exhibition
curated by Marc Camille Chaimowicz, Mu-Zee, Oostende, 2008
Bernie Reid
Hand Stenciled, 2008, stencil print on paper
Made for ...In the Cherished Company of Others..., group exhibition
curated by Marc Camille Chaimowicz, Mu-Zee, Oostende, 2008
Lucy McKenzie
Hand Painted, 2008, oil on paper
Made for ...In the Cherished Company of Others..., group exhibition
curated by Marc Camille Chaimowicz, Mu-Zee, Oostende, 2008
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Projects 88
Installation view, Museum of Modern Art, New York, 2008
Paintings and prints by Lucy McKenzie with installation décor by Atelier E.B.
Atelier
Promotional poster and card
Galerie daniel Buchholz, 2007
Atelier
Installation view, stenciled sprayed carpets, customized 2nd hand furniture, wall paintings, clothes
Galerie daniel Buchholz, 2007
Atelier
Installation view, stenciled sprayed carpets, customized 2nd hand furniture, wall paintings
Galerie daniel Buchholz, 2007
Atelier
Installation view, wall paintings, clothes
Galerie daniel Buchholz, 2007
Atelier
Installation view, stenciled sprayed carpet, window painting, clothes
Galerie daniel Buchholz, 2007
Atelier
Installation view, window painting, customized 2nd hand furniture, silkscreened fabric
Galerie daniel Buchholz, 2007
Atelier
Installation view, silkscreened fabric, printed calendar edition published by Arnolfini, Bristol
Galerie daniel Buchholz, 2007
The Flying Duck
Club interior. installation view, stenciled wall paintings
Glasgow, 2007
The Flying Duck
Club interior. installation view, fake brick wall paper, hand rollered wallpaper, stenciled carpets, tromp l’oeil wall painting
Glasgow, 2007
The Flying Duck
Club interior. installation view, stenciled carpets, tromp l’oeil wall painting
Glasgow, 2007