Johnny Coca honours Mulberry’s British roots with a sophomore outing that references another quintessential symbol of “Britishness”—uniforms. In this interview, the Spaniard speaks to Harper’s BAZAAR about steering Mulberry into a brand new era
Johnny Coca honours Mulberry’s British roots with a sophomore outing that references another quintessential symbol of “Britishness”—uniforms. In this interview, the Spaniard speaks to Harper’s BAZAAR about steering Mulberry into a brand new era
In the two years since Johnny Coca has been installed as Creative Director at Mulberry, he’s managed to regain momentum for the brand with two runway collections, plus a timely renewal of the brand’s famous bags. The hit Bayswater bag, for example, has been refreshed with present-day updates such as sleek handles and a more structured shape—all careful reconfigurations that demonstrate Coca’s knack for reinventing house classics. Meanwhile, fresh introductions such as the boxy Clifton shoulder bag and Selwood satchel reveal a gifted eye honed from tenures at Louis Vuitton, Michael Kors and Céline.
Nonetheless, Coca took on the role at Mulberry with a resume primarily focused on accessory design. Naturally, comparisons with other accessories designers-turned-creative directors, such as Gucci’s Alessandro Michele, will pop up every now and then. “I’m extremely interested in the work of other creative directors,” Coca explains of the similarities in circumstances, “but I don’t compare myself with them.”
Not that he needs to. If anything, the metamorphosis of Mulberry under Coca’s guidance is noted for the steady redevelopment of a prêt-à-porter line that’s not only going from strength to strength, but also manages to insert the brand’s multitude of accessories into a fashionable and progressive context. “It was a real challenge to draw the Mulberry DNA into inspiration for a strong ready-to-wear collection,” Coca admits. But clothes offer a bigger opportunity for storytelling, and Coca has dutifully tackled Mulberry’s codes of “Britishness” with the notion of uniforms for his spring/summer 2017 collection. These aren’t your usual, stuffy boarding-school archetypes. Instead, collegiate stripes ran across Cambridge-worthy blazers and skirts, while pinafore dresses are spruced up with ruffles or delicate florals for that extra dash of Carnaby cool.
Why do you think uniforms continue to be such a strong talking point in fashion?
Uniforms tend to be bold in their design since they were used in part to identify groups of people. This distinctiveness appeals to designers. It’s also a fun challenge to make something old feel new.
What is it like as a Spaniard, designing for a house that is so English? Is it easier for yourself as an outsider looking in?
As an expatriate, you definitely see things differently as compared to the locals—key British symbols, for example, are more relevant and inspirational because you have not been overexposed. I wouldn’t say that this makes the challenge of designing any easier, but the experience of growing up in another culture can bring a fresh interpretation.
What were some of the challenges you faced?
The greatest challenge sat with Mulberry’s craftsmen and women in Somerset. We ran eight new bags on the fall/winter 2016 catwalk and they had to learn the construction for all of them and more. The factory became a school for a while; I trained in France so my methods weren’t always familiar and had to be taught. We were under pressure but it was fun!
How has the status of the It Bag changed in the last decade?
It Bags have been a real life source to some brands. However, in the last few years a strong customer group has emerged who isn’t interested in carrying what everyone else has. At Mulberry, we have many different types of customer and don’t expect one bag to suit all. Each season I think: “What’s missing?” Or, “do we have enough choices?”
You were trained in architecture and interior design. How different is that from fashion?
The process of designing is for me the same in all fields. You form a silhouette in your head, you draw it, you find the right materials to construct it, you define the attitude with colour, texture or decoration. The great difference for me lies in the pace of the industries. Fashion is fast. The demand for regular novelty never goes away. Our challenge in this business is how much to concede to this.
How do you ensure that you always speak the language of the brand you’re with, yet never lose sight of your own voice as a designer?
As a designer you are always learning, whether it’s about a new shape, form or fabric. When I started as Creative Director for Mulberry, I made sure I researched the brand’s history and heritage. I looked through all the archives and spent a lot of time at the factory in Somerset making sure I understood the heritage of the brand. It was later when I reworked the iconic Bayswater Bag—by changing the shape slightly, taking off a lot of the hardware to give it a more malleable and lighter feel—that I knew I was making my own mark on the brand but staying true to its roots.
