2008, "Interview with Julie Verhoeven," Gravure

Rachel K. Ward: Do you consider yourself an artist, illustrator, designer…? How would you describe yourself?

Julie Verhoeven: For the moment I am doing artist/designer, but eventually I hope to I will be able to drop the designer bit because I would like to be regarded as an artist eventually. I have now realized that it was the way forward for me. I began as a designer, then I got frustrated with that and wanted to do fashion illustration and then from fashion illustration I wanted to go back to designing and I kept flipping, but now it feels quite clear where I want to go.

RKW: You are a second generation creator since both of your parents were illustrators. Can you recall an early encounter with art at an impressionable age?

JV: There were a couple of things really. We used to have this board game called “Masterpiece.” I actually checked it on the internet because I remember it really well, It had a real impact on me. It actually came out in 1970 and I was born in ‘69 so it must have been quite a new game. It basically had masters’ paintings on 24 cards and I remember that made a real impression. But then my dad would take me to the National Gallery. There were two paintings that had a big impact. There was Seurat’s Bathers at Asnieres (1883-4), which captivated me with the dots and the scale. And then I really remember Renoir and The Umbrellas (1881-86), you know cliché stuff but it really made an impression.

RKW: “Masterpiece” sounds like an interesting game. Do they still produce it?

JV: I’m not sure. I don’t think so. I remember even the box was sort of badly art directed, showing an auction house on it.

RKW: In terms of early experiences, most people know that you started at Galliano at 18. Could you describe the creative environment there?

JV: When I began it was based in Covent Garden. It was really small, basically two rooms at the top of a building above a theater which was really nice. Then he got a new backer… But when it was in the smaller place it was very intense. We were literally surrounded by the clothes, hanging from every corner; it was very romantic. Then basically it was all driven by John and his obsession with research, and really he did treat every collection as a story. Because that was my first ever experience in fashion I assumed the the research and fashion team work was normal but I realize now it was quite exceptional the way he created these stories, scenarios, and everyone followed the stories and the characters in the collection. It is unique to go to that extent. And the stylist at the time Amanda Harlech, she was really a real inspiration; she would just add fuel to the fire really in creating these worlds.

RKW: And what was your role there in the creative production?

JV: I literally began work as a student placement and I was doing rubbishy stuff for about a year and a half, and then basically any sort of art work that was needed. It was really nice he let me play really. I did t-shirt designs, prints, invites a couple of times and then on the research side finding what he wanted which was sort of great.

RKW: So from when you first started, how do you think the fashion industry has changed?

JV: I don’t think it has changed much other than at the moment it does feel really sort of over populated. I don’t know if that’s because I have become more aware but it seems like now there are buckets and buckets of designers, it’s a bit overwhelming really.

RKW: What about the larger idea of beauty, has this changed?

JV: I am not sure. I think it’s always remained the same really. There is a specific look that is attractive …that I play with….the symmetry of the face…perfect framed proportionally…I don’t think that has changed. I think of the Kate Moss scenario……

RKW: I want to turn to your work. I find it incredibly beautiful. It is seductive and sexy but also playful and childlike. I am wondering where you find inspiration?

JV: The driving force to drawing attractive, seductive females is really how I wish to appear and in reality am far from this ideal. Marilyn Monroe was an early aspirational icon. At a basic level I use tools, books looking for faces to inspire me. I look through graphic books; it can get obsessive looking for new faces that I have not seen before that I really like. And then I do a lot of people watching which sounds a bit dodgy but it is just what I see in people in passing, things like that. Recently, I have got into film and that’s become a whole new world for me, which is quite enjoyable.

RKW: Are there films in particular, or a genre or director that you prefer?

JV: Yes, Fassbinder is my current favorite. I just can’t believe I had never seen him before, that I can remember.

RKW: When you are drawing a human form do you think about a particular personality, or like you mentioned with Galliano, specific stories?

JV: Well literally I let the face dictate what happens. I try to create beautiful faces or un-conventionally, curious faces but if that is not working I don’t try to make them look different and I just let it happen.

RKW: I am wondering about the dream world and psychedelic aspects of your work. Do your own dreams or altered states influence you?

JV: I have got a real sort of aversion to those sort things. I rarely remember dreams and I am not into all that spiritual boloney and I am not interested in drugs.

RKW: So is the art work itself your dream world, your escape?

JV: Yes, maybe that is it. I always find it a bit weird that it goes that direction. When I started the fairy tale thing used to drive me nuts because I didn’t see it like that at all. When I started in terms of my work standing out that was how it was seen but I found it annoying actually and I am happy that I moved through that.

RKW: How does your artistic aesthetic relate to your own style in clothing and your home?

JV: At the moment my work is more expressive in a way that I am working loosely with paint and things then I have done before and actually I am finding the way the I am dressing has been more slapdash, more attitude ….When I am more confident with my drawing my dressing becomes flamboyant and silly. I also think I am dressing more and more ridiculously as I am getting older and I think it is because I am happier with my work. I can also see a relationship to the designers I am working with.

RKW: Who do you think have been the most influential artists and illustrators past and present?

JV: Well as far as art I would have always loved Pop art from a real early age, and the surrealists, and then Modigliani I really love. Then there are 2 illustrators I like Ronald Searle and Tomi Ungerer.

RKW: When were you first exposed to their work?

JV: For Ronald Searl I was about 8. It was nice that it was coming from my parents. And now I really like Jonathan Messe and I also like Marnie Weber and Lucy Stein.

RKW: And what about collaborating, is there anyone in particular with whom you would like to work?

JV: The film director Ken Russell, he is a recent one I am working up to. I really like Tommy and Women in Love. And Nina Hargen would be nice. And then I really like the other director/writer John Cameron Mitchell. Lastly on the collaboration front I would love to work with the band, Louis XIV .The list grows!

RKW: Do you think there is a particular creative scene at the moment, a location or place or a designer and creative team?

JV: I wish I did know. I think music is really strong at the moment, in general. I think as far as things changing, but other than that I cannot say.

RKW: What about your own work; can you share a new project with us?

JV: I literally just completed a project. It was a presentation at Art Rotterdam by the Amsterdam gallery, ZNGERpresents. It’s basically a backdrop to a band that is playing in front of it.

RKW: What band is it?

JV: A young UK indie\punk band ,The Gingerbread Men performed a gig on a stage set by Graham Hudson ,incorporating television sets which ran my 15minute looped film, “Knee Deep in your Eyes.” It was a new way of having a gallery presense at an Art Fair without having a conventional booth.

RKW: With these mixed media collaborative projects, I am wondering what you think of the rather spent phrase avant-garde? The phrase obviously has particular historical connections but what do you think of the concept?

JV: When I think of avant garde I think of great movements like Bauhaus and Dada ...nowadays its used so carelessly for anything slightly difficult to classify .Feels a bit pompous in its use and over used, loosing its clout.

RKW: Finally, I noticed you have been interviewed quite a bit. What do think of the fashion press?

JV: I am grateful for the interest. I love it but one minute you are interesting and the next minute you are not.