A Wonderful World
British artist and illustrator Julie Verhoeven is a unique voice in the intersecting worlds of fashion and visual arts. Her creative career includes collaborations with brands like Louis Vuitton and Versace, as well as art organisations such as Frieze and the Victoria and Albert Museum. Besides working with designers like John Galliano and Martine Sitbon, she headed the Italian brand Gibo. Julie’s distinctive vision blends a punk ethos with a quest for beauty, leading you into a kaleidoscopic world where kindness, humour and the unexpected reign supreme.
Interview Brenda Otero Photography JC VeronaOn a bright Spring morning, we had the pleasure of sitting down for a chat with Julie. She took a break from her work with designer Peter Jensen, had a coffee from Greggs, and shared her views on the importance of good manners, reality TV or the magic of women’s breasts, all punctuated with her warm and infectious laugh.
Imagine that you started working right now, do you think that you would´ve had the same career?
I honestly don’t know. I studied fashion and initially I didn’t know what I would do professionally because I couldn’t sow, I still can’t. I did a fashion diploma at college, and then, because I like to draw, and I like to dress up, I found a way, but it was all quite random. Afterwards I fell into this workplace with John Galliano. He and I both liked to draw, that’s how we bonded. He paid for loads of my courses, he supported my drawings, he’s a very generous man. Now I feel a bit fraudulent talking about it, as it’s so long ago.
Fashion can be a hard industry.
It’s savage at times, absolutely. It's quite brutal, but such is life. The workload always felt a bit extreme, I was very fortunate because I was dropping in and out as a freelancer. It’s generally good training, gives you work ethic and stamina. At the same time, the model needs to change. I’m pleased that people see this now, because it’s perceived as such a glamorous job.
From your point of view, which aspects of the industry need to change?
It’s the whole calendar system, and the way collections get delivered. I do find fashion week scenarios a bit nonsense. I’m surprised it hasn’t changed. I thought it would post-Covid, but it has reverted, sadly. Young generations are less interested in that system, so it will change eventually, although it will take a bit longer. Not wanting to be negative,I still think it's outmoded and doesn’t work as a stance.
“I love all things female. Rounds shapes, boobs and bums, they’re just magical things, but comical as well.”
Has fashion informed your practice as an artist?
Always, there’s no separation. But for me it’s not so much about fashion, it’s about clothes: the character and the theatrics of it.
What can you say about society looking at current young fashion?
I teach an MA in Fashion at Central Saint Martins, it’s evident that everyone is so cautious, I don’t know why I’m laughing! For young people in fashion college it's less about clothes and more about feelings. Probably more like an artist would work, conceptually. Which is good and bad, because I like talking about clothes, I get excited about it! This generation is going through a lot, and is more self-aware and vulnerable.
Do your students listen to what you have to say?
Hmmm not really. You can only hope to connect with a couple of them every year. I feel that they’d rather not have a dialogue. Sometimes you don’t want to discuss what you’re doing, as you’re a bit unsure of it. I’ve taught that course for about thirty years. When I started I was in my twenties and the relationship I had with them it’s different. I didn't want to talk to anyone over thirty. I understand how I am perceived. I know better the ones who are a bit more curious.
Some people want to be happy in their own bubbles.
Or they’re just self-centered!
What interests you culturally or aesthetically?
I’m a big fan of trash TV, my favourite is Married at First Sight, it’s gold. There’s a new British one called Love Triangle. I´m into those. I like telly. Is that OK? I’m just nosey about humanity. It’s so insightful. I love people watching, so these programs are great for that. In terms of clothes I love this collective called Fantastic Toiles run by Nazir Mazhar. It’s exciting and DIY, so honest and energetic.
“I’m a big fan of trash TV, (…) Is that OK? I’m just nosey about humanity. It’s so insightful.”
“If you’re represented by a gallery, you’re automatically accepted in a group. They decide that you’re okay”
Talking about collectives, are you part of any group of women artists?
No, it makes me sort of shudder (laughs). It's hard work being part of a group, isn’t it? I’m happy to float solo and watch from the side-lines. But I know It would make more sense career wise to make more of an effort, it’s self-sabotage.
You live more at peace probably.
If you’re represented by a gallery, you’re automatically accepted in a group. They decide that you’re okay, it’s easier as an artist. When you’re not represented and a floater, people are weary of you, maybe it’s my own perception. It doesn’t really matter. I feel I only have enough time to just make work and I can’t do more than that, I think. I feel like I'm on countdown. Without being melodramatic. I feel I need to be realistic, both of my parents died in their sixties, so I am working from that scenario. I’m not being maudlin, I always had that kind of thing that I’m going to go any minute, so the time I’ve got left and the work needs to change and progress. With the other stuff, if it comes it comes, if it doesn’t, it doesn’t matter.
I totally get it
This is like therapy. Free therapy!
Does the experience of being a woman inform your artwork?
I’ve always drawn girls. It all started off with pretty girls, through my own frustrations of how I look. It annoys me and it's so unfair, I can always blame my parents! I draw seductive women in the hope that I might attract some sort of interest. My problem, you see, is that I wanted to look conventionally pretty, it’s pathetic, isn’t it. At the same time, I love all things female. Rounds shapes, boobs and bums, they’re just magical things, but comical as well. I wish I could package it up to be more intellectual, but it’s purely based on looks and visuals, on this sense of allure. I am basically fascinated with what some women have, and I don’t.
You also have partnered with musicians
Music is the best. It is key to my work and my life: I must have noise constantly. I get anxious when it gets quiet. I have to start thinking and I don’t want to think.
You’ve talked in your work about how important manners are for you.
You feel the more the world goes on, the more everyone is so preoccupied with self. It's all about me, me, me. Even those people who say the right thing, a lot of it it’s just vacuous. I’m really into small acts of kindness, it costs nothing just to be nice, to smile, be pleasant, make eye contact, it’s simple.
With your performance art piece about being a toilet attendant in the Frieze Art Fair, you probably learned a lot about contemporary manners.
It was fabulous watching people in the toilets. It was just really fascinating. On the VIP day, I glued a pound coin into the carpet seat and that got stolen, as well as one of the toilet seats! Well, whatever. Most of the time I wasn't acknowledged, even though I was in a ridiculous costume, with a PVC bonnet and apron. I also had one of those trolleys with soft toy poos, with an honesty system where you give any much you want to take one. That was obviously for charity. In this humongous, overblown art fair, full of super rich people, most of them gave small change for the poos. Fair enough, but wow. It was fascinating to watch at so many levels.
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