NEW YORK, NY.- Julien Lombrail and Loïc Le Gaillard, founders of the influential Carpenters Workshop Gallery, have made a significant impact in the world of high design since establishing the gallery 18 years ago. Known for representing prominent artists and designers such as Zaha Hadid, Charlotte Perriand, and Virgil Abloh, Carpenters Workshop Gallery has become a powerhouse in the design industry. However, beneath their polished exterior, allegations of mistreatment, art-market abuses, and inappropriate behavior have surfaced, casting a shadow over their success.
The gallery's influence and reach are undeniable. Employing around 120 people across locations in Paris, London, New York, and Los Angeles, Carpenters attracts high-profile collectors, including Brad Pitt and Tom Ford. Their most recent venture, Ladbroke Hall in London, a $37.5 million arts-and-social club, has turned North Kensington into a vibrant hotspot.
Despite their outward success, interviews with former employees and represented artists reveal troubling issues within the gallery. Allegations include mistreatment of artists, art-market abuses, and inappropriate sexual behavior. Former employees describe a high-pressure culture where morale has deteriorated, especially following the opening of their 83,000-square-foot production facility, Roissy, near Paris.
Artists have expressed dissatisfaction with how Carpenters handles their work and finances. The gallery's practice of selling limited quantities of design art as "functional sculpture" has been profitable, but several artists feel they are not getting their fair share. Some artists claim they receive little accountability for marketing costs and damages deducted from their commissions, while others allege they are not reimbursed for substantial expenses. One artist reported earning only $329 after three years for a piece that cost $7,000 to produce and ship, which sold for $10,000.
Transparency issues have also plagued the gallery. Artists report difficulties accessing sales invoices, making it impossible to verify the accuracy of their commissions. Several artists allege the gallery manipulates figures to reduce their payouts. A lawsuit filed against the gallery in the U.K. by one artist claims exploitation, breach of contractual obligations, and withholding of sales figures.
The gallery's handling of employee relations has also come under scrutiny. Reports of inappropriate behavior by Le Gaillard and Lombrail include allegations of affairs with employees and interns, with some former employees describing a toxic work environment. One former employee recounted an incident where she was told her makeup looked like "war paint" and instructed to remove it. Another described the gallery's internship program as unorthodox, with hiring practices allegedly based on personal preferences.
The gallery's production facility, Roissy, has also faced criticism. While it was hailed as a revolutionary space integrating artisans into the gallery's business, some artists felt the pieces produced there did not meet their standards. Additionally, concerns have been raised about the living conditions of workers at the facility, particularly following the death of a 59-year-old bricklayer in 2015. Workers allegedly lived on air mattresses in substandard conditions, which would likely violate French labor laws.
Despite these controversies, Carpenters Workshop Gallery has continued to thrive in the design world. However, the allegations have raised questions about their business practices and treatment of artists and employees. As one former employee noted, "If you don’t have the trust of your artists, you don’t have anything."
The story of Carpenters Workshop Gallery is a testament to the complexities and challenges of navigating the art market. While their innovative approach to design and art has garnered acclaim, the allegations of misconduct highlight the importance of transparency, accountability, and ethical practices in maintaining trust and integrity in the industry.
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