At the intersection between art, design and social history, The Inventors of Tradition is a subjective study of the history of the Scottish textiles industry since the 1930s. It brings together samples of world-class design, the archive material of individuals and companies, and documentation in the form of ﬁlm and interviews.
In response to this material the artist Lucy McKenzie and designer Beca Lipscombe, from Atelier, have produced a series of new works including clothing, furniture and accessories in collaborative partnership with Caerlee Mills, Begg Scotland, Hawick Cashmere, Laura Lees, Jannette Murray, Mackintosh, Muehlbauer and Steven Purvis.
With The Inventors of Tradition II, McKenzie and Lipscombe expand their exploration to encompass Scotland’s recent cultural past, making new connections that bring together art, architecture, design and sub-cultural identities.
Edited by Panel (Catriona Duffy and Lucy McEachan) – a collective of freelance curators that promotes design and craft through exhibitions and projects.
Atelier is a collaboration between artist Lucy McKenzie and designer Beca Lipscombe. Atelierʼs design work includes commissions for public and private spaces, temporary and permanent display and design objects.
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Ost End Girls
Atelier E.B is the company name under which the designer Beca Lipscombe and the artist Lucy McKenzie 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. Since 2011 the pair have operated as a fashion label, and this June at Galerie Micheline Szwajcer they present their third collection, The Inventors of Tradition II, for sale direct to the public from a custom-built boutique installation.
Art’s fascination with fashion rarely penetrates beneath its glamorous surface, seemingly content to perpetuate its contradictions without critical analysis. Atelier E.B, by placing both practices on an equal footing, combine art and fashion to explore many complex themes, including alternative forms of commercial production and distribution. Their designs are produced, sold and promoted ethically, yet are too idiosyncratic to be easily marketed as an ‘eco brand’. Ateler E.B recognise that clothes are sophisticated tools for empowerment and pleasure.
Sportswear has been acting as a modernizing influence on fashion since the nineteenth century, and continues to be at the forefront of how people express their cultural allegiances. In 2014, with the referendum to leave the United Kingdom, Scotland was asked to reflect on its identity, and Atelier E.B is the only label explicitly to address this through fashion. For IOT II they combine exquisitely woven or knitted cashmeres and silk lingerie with neo-classical nylon ‘cosplay’ tracksuits. Hand intarsia Scottish football tops in cashmere have nationalist logos appropriated then pixilated. Silk and lace football shorts, oversized polo shirts, a football hooligan paisley shawl, fake Charles Rennie Mackintosh jewellery, counterfeit Bennetton, a trompe-l’œil zip brooch, and fictitious sponsorship from the Clydesdale Bank. Other highlights include a wool mix school-skirt, an Ivan Lendl picnic blanket, the perfect artschool-girl coat, cashmere leisure suits in Black, Derby grey, Blackcurrant and Rum and Eastern European gym shoes.
This publication was produced by Atelier E.B. around their “Ost End Girls” collection, featuring garments, texts by Lucy McKenzie, photoshoots and graphic details/textiles/showroom interiors/shop-fronts/ads from the work of Atelier E.B. (and also Marc Camille Chaimowicz), Designed by H I T studio, London.
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TEXTE ZUR KUNST #102
JUNE 2016 “FASHION”
Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. But as Texte zur Kunst No. 102 proposes, it is fashion’s protagonists, recently, that have been markedly drawing on art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) as they push back against the pressures of a hyper-accelerated fashion market. In this issue, TzK examines, also, how the industry’s current volume is a product of its late-’00s promise of online democratization; the changing function of such long-held value designations as “luxury,” “discount,” and “underground,” and the role of “real”-er bodies in a climate wherein models are preferably “nodels” or “othered” bodies, hyper-individualised to stand out in the stream.
TABLE OF CONTENTS
ROBERT KULISEK & DAVID LIESKE
FASHION PROFILES OF:
69 WORLDWIDE / NASIR MAZHAR / KYLE LUU / BERNADETTE VAN-HUY / LIAM HODGES / TELFAR / NIK KOSMAS & JEANNE-SALOMÉ ROCHAT / MARTINE ROSE / JULIANA HUXTABLE / ECKHAUS LATTA / DIS / NHU DUONG /
with texts by Harry Burke, Tess Edmonson, Jack Gross, and Bianca Heuser
INGEBORG HARMS “CRYSTAL MESH / Existential imagery in current fashion”
COLLECTIVE SOUL / Jessica Gysel in conversation with Lotta Volkova Adam and Atelier E.B. (Beca Lipscombe & Lucy McKenzie)
CAROLINE BUSTA “NEO-BODIES”
NATASHA STAGG “ACCESS CODING”
PHILIPP EKARDT “DRESSING AFTER THE GREAT DIVIDE / The emancipation of Jonathan Anderson”
CALLA HENKEL & MAX PITEGOFF “LAST NIGHT”
IN DER FRÜHE / Peter Geimer über Friedrich Kittlers „Baggersee“
RETURNS OF THE STONE AGE / Sven Lütticken on the exhibition publications for “Kunst der Vorzeit” and “Allegory of the Cave Painting”
ZUR KULTURPOLITISCHEN BEKÄMPFUNG DER MODERNEN KUNST / Otto Karl Werckmeister über die neue Ausgabe von Hitlers „Mein Kampf“
LIEBE ARBEIT KINO
DURATIONAL FASHION / Sara Marcus on K8 Hardy’s “Outfitumentary”
HAVE YOU EVER BEEN TO ELECTRIC LADYLAND / Barbara Vinken über Michaela Melián im Lenbachhaus, München
EINE KULTURGESCHICHTE DER ENTGRENZUNGEN / Daniel Martin Feige über „I Got Rhythm. Kunst und Jazz seit 1920“ im Kunstmuseum Stuttgart
Jens Hoffmann on “Unfinished: Thoughts Left Visible” at the Met Breuer, New York / Magdalena Nieslony über Agnes Martin im K20, Düsseldorf / Dena Yago on Ei Arakawa, Gela Patashuri, and Sergei Tcherepnin at Midway Contemporary, Minneapolis / Eva Wilson on Das Institut at the Serpentine Sackler Gallery, London / Julia Moritz on Tobias Madison at Kestnergesellschaft, Hannover
MARIUS UND DIE INFORMATION / Hans-Christian Dany über „Nervöse Systeme. Quantifiziertes Leben und die soziale Frage“ im Haus der Kulturen der Welt, Berlin
DIE KUNST VERACHTEN, DEN REST DER WELT ANKLAGEN /Susanne von Falkenhausen über Boris Lurie im Jüdischen Museum Berlin
DEUTSCHES VITRINENGLAS / Steffen Zillig über Dierk Schmidt bei KOW, Berlin
NOTHING BUT KINDNESS / Verena Dengler über Lili Reynaud-Dewar in der Galerie Emanuel Layr, Wien
EARLY SYSTEMS ESTHETICS / Craig Buckley on Les Levine at Buell Hall, GSAPP, Columbia University, New York
WHAT A BODY CAN’T DO / Sophie Goltz über Regina José Galindo im Frankfurter Kunstverein und Maria José Arjona in der Kunsthalle Osnabrück
NACHRUFE / OBITUARIES
PIERRE BOULEZ (1925–2016)
by Björn Gottstein
ZAHA HADID (1950–2016) by Than Hussein Clark
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The Inventors of Tradition
Beca Lipscombe and Lucy McKenzie
Situated at the intersection between art, design and social history, The Inventors of Tradition is a fascinating and original visual study of the history of the Scottish textiles industry since the 1930s. For decades, textiles were Scotland’s primary industry and export, and Scottish wool, cashmere, tweed, leather, lace and of course tartan has been celebrated and sought across the world for centuries. Conceived as a sort of dossier or scrapbook, this volume brings together design swatches, product shots, film stills, interviews and the archival materials of individuals and companies in the Scottish textiles trade. In response to this wealth of material, the artist Lucy McKenzie and designer Beca Lipscombe (of Atelier) have produced a series of new works including clothing, furniture and accessories in collaborative partnership with Caerlee Mills, Begg Scotland, Hawick Cashmere, Laura Lees, Jannette Murray, Mackintosh, Muehlbauer and Steven Purvis.
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