In Conversation with Michaël Verheyden

In Conversation with
Michaël Verheyden

With a deep respect for craftsmanship and honest materials, Belgian designer Michaël Verheyden creates furniture and objects that carry both physical and emotional presence. Together with his wife and creative partner Saartje Vereecke, he runs a studio in Genk, Belgium, dedicated to timeless pieces that celebrate the imperfect beauty of natural materials like marble, bronze, and leather.

Michaël’s pieces are available exclusively at Simon James; we recently visited his installation at Salone del Mobile in Milan, experiencing the integrity of his larger works firsthand. In our conversation with Michaël on the Journal, he reflects on slowness, collaboration, and how inspiration comes from sketchbooks, punk rock, and balancing drama with simplicity.

Explore Michaël Verheyden

Your work combines refined craftsmanship with a deep respect for materials. How do you choose the materials you work with, and what draws you to them?

My preference goes to lively, natural materials. Marble with dramatic veins, the natural structure of un-corrected aniline leather (mass dyed, no painting on top of the skin, no artificial patterns). Bronze, from roughly casted to polished, and all steps in between. I think it’s also important to use plenty of material in one object, so you can feel the heaviness of the object. Gravitas in Latin. I also choose materials that age in a good way, so they can be passed on to the next generation.

How has your background in industrial design and fashion influenced your approach to furniture and objects?

My skills as an industrial designer help me to communicate with all the craftspeople that are involved in making our pieces. It is important to know a bit of everything to start the conversation. Our fashion background makes us think in seasons and colours. We try to develop timeless pieces, but contemporary as well. I must admit that I’m less attracted to fashion nowadays. It is more exciting when you’re young.

You collaborate closely with your wife, Saartje Vereecke. Can you describe how your creative process works as a duo?

We both pitch ideas to each other all the time. Some get developed, some don’t. I design, Saartje gives feedback. Our rule is that we both have to be enthusiastic, otherwise it’s not getting into the collection. Some of our clients inspire us as well, or give us assignments.

Your studio is based in Genk, Belgium, how has this location influenced your aesthetic or approach to work?

Genk is a beautiful place for everyday living. The quality of life is high with nature, cheap housing and good food, but from a creative point it is not that inspiring. I need my dose of city kicks now and then to feed my brain. Antwerp and Brussels are close, London, Milan and Paris as well, so I guess we are lucky.

Tell us about your studio space, how does it function and influence your practice?

Our studio has moved a lot throughout the years. Eight years ago we bought a house across the street where we live, and transformed it into our studio. We have a lot of space, but it still feels like you’re working from home, which we love. Saartje is very good at giving structure to things; so I guess I can say we are very well organised. It is important because we are always working on many orders simultaneously, which all have to be well finished and delivered on time, worldwide.

Can you walk us through your creative process - from initial idea to final piece? Do you start with sketches,materials, or concepts?

Everything starts in my sketchbook. Depending on the type of work the next step can be a computer drawing, a life size drawing or a mock-up, which is discussed further with the craftspeople we work with. The whole process can take from a few weeks up to two years. Nothing can beat the feeling when a new prototype arrives, and an idea has come to life.

In a time when fast design is so prevalent, how do you maintain integrity and slowness in your work?

As a youngster I was into punk rock and 90’s hardcore. In those scenes integrity is key, so I guess it feels natural to stay true to my background. I still play in a band, and hope to do so, for as long as possible.
I realise we are working in the luxury industry, but I do it on my terms. We have a lot of respect for nature, on which we have an impact every day. It is important to make things that last, and to use the materials that nature gives us.

What role does functionality play in your pieces, and how do you balance it with form and emotion?

In my work I try to combine restraint and drama. That might sound contradictory, but it works for me.
I hope the things we make give people pleasure by using them, so yes functionality has its place.