At the age of 19, Véronique Leroy left her home country Belgium to study at the Studio Berçot in Paris. After graduating, she assisted Azzedine Alaïa where she learnt to develop her architectural sense of garment construction, as well as her own style.
Véronique Leroy plays on the contrast between delicate and strong shapes and fabrics, simplicity and an ultimate level of sophistication. A constant clash, always at the very edge of chic and eccentric but with the exact control to stay incredibly modern. Her hard work paid off; she obtained the ADAM prize twice under the aegis of Pierre Bergé, and the ‘Futur Grand’ prize awarded by the Venus of fashion three times.
I use them as belts, with more texture and depth.
Then it becomes a versatile sharp: scarf tubular cord, belt tubular cord, cuff tubular cord, neck tubular cord, tubular cord seam.
It’s not solely an ornement. It has a purpose. That’s what I always try to do.
I’ve always loved brown, this unloved color. All browns, like those used in Constant Permeke’s portraits of farmers. It reminds me of Belgium and its worker houses.
One of my obsessions is gathers. They give the garment a shape, some thickness and weight. They give structure. I wanted to do draping, but gathers are my version of draping, it’s more graphic. Sometimes I put a drawstring inside of them. It then becomes an adjustable gather, and the garment can be transformed: you create volume or you remove it.