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September 24, 2007 11:52 am
Julie Verhoeven’s signature drawings of doe-eyed sex kittens have decorated Louis Vuitton accessories, several seasons’ worth of collections that she designed for the Italian brand Gibo, and spreads in numerous magazines. Now her dreamy, Biba-like doodles are being silk-screened onto voluminous silk smock dresses and quilted chain bags for Mulberry. This capsule collection has already captivated the coolest girls in London—we saw this firsthand during the city’s recent fashion week—who are hooked on both Verhoeven’s femme fatale figures and the sweetly feminine shape of her clothes. As the shows in the British capital drew to a close, the designer sat down to answer a few questions about her latest project.
Who was the ideal wearer you were envisioning when designing the Mulberry collection?
To be honest, I tried to banish all thoughts of a customer, because that hinders the process for me. I become too self-conscious and self-aware.
Why do you identify yourself as an illustrator instead of an artist?
I’m trying to label myself as an artist foremost now. It’s clear for me, but may appear confusing.
How is this Mulberry collection different from your previous collaborations?
I think the main difference is that when Stuart Vevers and I began the collaboration, we were unsure about what products we wanted to do together. We began with the scarf, treating it like a canvas, and things developed from there. With Vuitton, it was very much about the bag from the beginning.
Your work seems so inspired by the sixties. Why do you find that era so captivating?
It’s an era I love, but one of many. I am less obsessed by it at present and looking toward more visceral mark-making!
—Ana Finel Honigman
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