Julie Kegels

It was amazing! It was my first time ever doing something like that, and I was nervous at first, but it turned out to be a really great experience.

Honestly, I don’t even remember the exact moment — I’ve wanted to be a fashion designer for as long as I can remember. Since I was really young, I’ve been drawn to it. My family always encouraged my interest in culture and creativity, taking me to churches and museums and giving me space to draw. I remember doing class presentations at the age of nine on designers like Madeleine Vionnet, Chanel, and Paul Poiret. Obviously, no one else in class found that interesting (laughs), but I was completely obsessed.

Yes, I did! It had nothing to do with what I do now, and it definitely wasn’t my strength — but that period taught me discipline and how to work hard. I still loved drawing, though, and every Saturday I’d visit a local seamstress just to watch her work. Eventually, she even let me help her from time to time, which was really special.

It had always been my dream to study there, so I applied and thankfully got in. Looking back, I realise how young I was! Two of my teachers were Dick Van Saene and Walter Van Beirendonck, members of the legendary Antwerp Six. It truly felt like a dream. They each had such strong visions but also knew how to help each student develop their own creative voice. It was incredibly enriching, and I learnt so much.After graduating, I freelanced for various brands and then moved to Paris for a year, where I interned at Alaïa. That was another major learning moment — seeing firsthand how a team functions and how many steps are involved in building a collection, from development to production to the showroom. It’s a lot!

It had always been my dream to have my own label. It wasn’t so much that I suddenly decided to “stop working for others”, but rather that I was given the chance to start something of my own — and for me, it felt like a “now or never” moment. I knew that if I waited, I might never do it, because fear starts to creep in. And I’m still very young, full of energy, and without major responsibilities outside of my work. So that was the reason: I had the opportunity, and I decided to go for it.When a chance appears, you need to take it, definitely! 

I really enjoyed the process of starting with just an idea for a collection and then seeing how, eventually — and almost magically — everything comes together. Since we were working with a small team, everyone was able to bring their own unique touch to the presentation, and in that moment, it truly felt like we were becoming one unified whole.It’s always very emotional at the end when you realise how collaborative the entire journey has been. For example, my sister has produced the shows, and friends I met on the very first day at the academy have been deeply involved, from location scouting and scenography to helping in the collection. It always feels like an ongoing conversation between us.

For me, it’s both. I believe it’s really important to understand that you can’t do or think about everything on your own because you’ll make mistakes or won’t be at your best. It’s better to focus on your unique strengths rather than trying to tackle everything and ending up with everything only half done.

It always starts with a conversation among friends — just a lot of talking about random themes. It could be a social issue or a specific situation happening in the world, but it could also be about how we’re feeling, what we need, where we want to be, or even what silhouette we’re currently obsessed with. So basically, it’s a lot of talking (laughs).
After that, we gather images that relate to our conversation to help make those ideas more visible.Then we begin creating collages and drawings, working on the doll, and doing many fittings with vintage and cut-up pieces. Eventually, we create something new from all of that, develop it into a pattern, and then use that pattern to make the final piece. So, yes, it’s a really long process, but a super fun one!

I think it’s someone elegant — a classy woman with a great sense of humour who doesn’t take herself too seriously. She can laugh at herself but is also very proud of who she is. In short, I’d say that’s my style.What does elegance look like to you?For me, elegance is more about what’s internal than what’s external. I believe it’s shaped first and foremost by behaviour — that’s the starting point. Then, garments and clothing can enhance and empower that behaviour, highlighting elegance through movement and how the clothes frame the body to make that elegance more visible.

I know it can be challenging for designers to find their own voice.I try not to overthink it too much (laughs). But honestly, I believe it all comes down to the team around you and thorough research. Digging deep into what you want to express in a collection — like capturing the emotion of a woman — is really important to me. Every collection I’ve worked on highlights contrasts because I think contrasts, or opposites, are at the core of creating something new. That’s really the baseline of my work and style.

For example, my first collection was called 50/50, and it told the story of a woman who is literally 50/50: 50% very ambitious, business-minded, and serious, and the other 50% a free-spirited, loose woman, almost like a party animal. We worked with this idea very literally — the front and back of each piece were always different. In the presentation, the space had lots of mirrors, so the audience could immediately see the surprise on the back of each garment. For instance, the front might look like a classic tailored suit, but the back revealed something unexpected, like shorts instead of pants. So when the models stood in front of the mirrors, people could catch both sides at once. It was always like a playful, ironic twist on something familiar and recognisable.
The second collection was about a love story between a bourgeois Parisian woman — very classy and preppy, who has everything under control — and someone who is literally her opposite: an LA surfer with absolutely nothing under control.
The latest collection explored the illusion of success, inspired by a book by Judith Price. She argues that if you have the right interior design in your home, you are successful. I took that quite literally: in the collection, the models became one with the space and the furniture, symbolising how they could easily embody success.
That’s what I mean by contrast — it’s about something very recognisable and realistic, but with a playful twist and a reminder not to take it too seriously.

I think my favourite collection so far is the most recent one — perhaps because it’s still very fresh and close to me, close to my heart. I felt I was really able to explore the topic in depth this time. Also, I worked with a small, close team that I’ve learnt to trust and rely on, which made a big difference. In the beginning, with the first collection, I tried to handle almost everything myself, from admin tasks to sales. It was all on me. But over time, as trust grows, you can start delegating more, which really helps. It allows you to focus more deeply on the creative process and the research behind the collection. So yes, for now, I’d say the latest collection is my favourite — but that might change again in the future! It’s just how I feel at this moment. As for my favourite piece, it’s a cushion.

We worked with wood prints in the collection because we were exploring the idea of blending into an interior — almost as if you could disappear into a space. Wood became the starting point, inspired by the book Trade Price, which featured a lot of wooden elements. We used wood on different levels: fluid fabrics with wooden prints, stiff leathers with wooden textures, and accessories like shoes, earrings, and belts. One of the highlights was a real wooden mirror dress, which came a bit later in the process. That idea emerged once we knew the venue for the show.
It was a space designed by Auguste Perret in 1926, the Salle Cortot. His vision for this concert hall was that the audience would feel as though they were inside the instrument itself — immersed in the music and part of the entire experience. That concept really resonated with us. So, creating the real wooden dress felt like the perfect finishing touch — the ‘cherry on top’ of all the wood elements we had used. It made the model feel like an extension of the space, as if she too were part of the instrument. And ultimately, it helped the audience feel more immersed, as though they were part of the show rather than just watching it.

Yes, I really love Chalayan’s work! But I find it quite difficult to name another designer I truly look up to. Don’t get me wrong — I admire and appreciate many designers, but they each create their own world. And while I respect that, I want to build my own world, too. That’s why I try not to draw too much inspiration from others in the field. Instead, my inspiration tends to come from people who are closer to me — like family and friends — or from personal experiences, such as travelling and the people I meet along the way. I guess the sources of inspiration change as you change and grow. Your feelings evolve, so your aesthetic can shift as well. But I believe the core always stays the same.

At the core of my work is playing with contrasts and the desire to genuinely say something through a collection. I want each project to communicate a deeper message, not just revolve around a flat or superficial theme.

I think the answer to your question is: an emotion. And that emotion doesn’t have to be something sad or nostalgic; it can be anything. It can be nostalgic, it can be happy, and it can even be funny. What matters to me is creating something that evokes a feeling. I also think it’s important to make something joyful but with a deeper story behind it. So ultimately, what I want to bring to the industry is emotion — something that resonates beyond just the surface.

I hope we’ll grow steadily, even if slowly, and that we’ll eventually experience commercial success. In the beginning, it’s a lot about investing time and energy, often without much left over. But that’s part of the process. It’s also important to clearly communicate an identity, not only through the concept shown on the runway but also by translating that idea into more accessible versions for the showroom and sales.

I think it can be both. Fashion is definitely political because the way we dress — what we choose to reveal or hide, what we make visible — always says something about the world we live in and how we feel in it. So yes, I believe fashion is, without a doubt, something political.

When designing, we think about different types of women — it can be typical, but also very unexpected or unique characters that we connect the pieces to. For each piece, we ask ourselves, “Who would wear this dress?” Not a specific person, but rather a mix of different women — characters, I would say. For example, it could be someone historical who loves football or a vegan secretary; characters with distinct traits that we combine and imagine wearing the piece. We use these profiles to see if the piece makes sense and feels authentic. If we can’t picture anyone fitting the piece, then it probably doesn’t work. Having a clear character in mind helps give the collection meaning and purpose.

I think the most important lesson I’ve learnt is admitting to myself that I can’t do everything alone. Teamwork is essential. That doesn’t mean I have a big team — because I don’t — but I work with a small group of passionate young people who are genuinely excited about what we’re creating together. It’s not about money; it’s about doing something meaningful and enjoyable as a team. So for me, learning to really listen to others and accept help has been incredibly valuable.

Sports, and spending time with my family and friends!

So much more to come! I’m really excited about what’s ahead. I have a lot on my plate at the moment — which can feel a bit overwhelming at times — but everything is incredibly exciting.
Right now, I’m organising a pop-up and installation at Renaissance in Antwerp, which I’m really happy about. It will feature a curated selection from the summer collection, and the installation will be part of the Antwerp Fashion Walks. It will take place from June 5th to June 7th, between 10:30 and 18:30. Come!