Exploring the Art of Visual Storytelling with Ibe Van Bouchaute

From music videos to stage design, Ibe Van Bouchaute—who goes by Mimi—has made a name for herself as a multidisciplinary creative shaping the visual identities of some of today’s most compelling artists. With a background in Clinical Psychology and a deep-rooted love for fan culture, Mimi approaches each project with a blend of emotional intuition and artistic precision. Her journey from Belgium to Los Angeles has not only influenced her creative sensibilities but also shaped the way she interprets and translates music into immersive visual experiences.

In this interview, Our Era’s Editor-in-Chief, Lucy Ivey, speaks with Mimi about her evolution as a creative director, her collaborative process with artists like Bruno Major, Eloise, and EDEN, and her passion for fostering emerging talent. She shares insights into her approach to music videos, stage design, and balancing multiple artistic disciplines—all while keeping the purity of being a fan at the core of her work.

How did your cultural background and move to LA influence your artistic perspective and creative process?

Mimi: Such a great question. English is my third language, and I remember watching music videos as a kid without understanding what the lyrics meant. The visuals gave me another language through which to understand the music. Growing up in Belgium, I got to experience such a genuine version of fan culture and how that interacted with language for me. I taught myself English by staying up all night reading fan fiction; a part of fan culture I so desperately wanted to be a part of. The feeling of being a fan was so pure—music was not yet an industry for me. I was able to connect to an artist through the little bits I was able to learn about them. I come back to this feeling very often in my creative process.

When you collaborate with an artist, how do you begin the process of translating their music into a cohesive visual narrative?

Mimi: If I’m unfamiliar with an artist, I usually listen to their music in the car and observe what feelings come up for me without studying every note and word. A theory of mine is that most people consume music this way for the first time, so I’m diligent about capturing my first impression in a similar way. During my first interactions with an artist, I tend to listen more than I speak. I like to create space for them to show me who they are without giving too many pointers on how to show up ‘correctly.’ I’m ready to take the conversation anywhere—any lore only adds to their world. My background in Clinical Psychology really shows here. It’s all about creative chemistry. In an ideal world, I work in a space where both of us can pitch ideas without fear of them being rejected or dismissed too soon. It’s important to sit with the discomfort of disliking something and keep exploring further.

You blend design, photography, videography, and live production. How do you balance these different mediums in a single project?

Mimi: For a campaign or bigger project, I like working with a red thread, and my favorite way to do that is through color. These days, I’m most often in the role of creative director. A big part of having a multidisciplinary approach in creative direction is realizing that I’m probably not the right person for every job, even if I have the technical skills. For some projects, the vision and chemistry with the artist are so strong that I’m heavily involved in the creation process. For o thers, I love connecting my favorite musical artists with my favorite visual artists.

You’ve worked across the US, Europe, Asia, and Australia. How does the cultural context of each region shape the visual elements you create?

Mimi: Touring is such a joy! Every time you step off the plane, you’re met with a beautiful new climate, insane flavors, and incredibly kind people. The sky has a slightly different hue everywhere you go. My first time in the US was on tour with Bruno Major, where I shot his music video for Trajectories, inspired by the mesmerizing landscapes.

What have been the biggest lessons learned from working with Bruno Major, Eloise, and EDEN, and how have these experiences influenced your own creative evolution?

Mimi: Collaborating with these artists has pushed my creative boundaries and allowed me to explore mediums I never thought I was capable of exploring. I’m so grateful for their trust and the opportunity to create art alongside their art.

Your music video for “Trajectories” garnered millions of views. What is your approach to capturing the emotional essence of a track and bringing it to life on screen?

Mimi: I specifically remember being seventeen and sitting on my couch in the middle of the night watching Bruno’s music video for Places We Won’t Walk, which features birds in murmuration, shot by Dutch artist Jan Van Ijken. I was feeling so much grief at the time, and that video soothed me in ways I didn’t know I needed.

The first time I heard Trajectories, it brought up similar feelings. Visually, I was inspired by the loneliness of being on the road, along with soundscape projects I filmed in the past. I sat up front next to the bus driver, Randy, filming the road as we drove across the country. I cried when I finished the edit, and again when I read the comments on the video. To this day, it is one of my favorite pieces of work.

How do you adapt your process when working with newer artists like Paige Fish, ensuring their visual identity feels both polished and authentic to their brand?

Mimi: I get so excited when I have the chance to work with emerging talent—especially artists like Paige. We began talking about her visual identity very early on; I believe she was still writing her EP. As a kid, I was really drawn to the character Pippi Longstocking—I loved the way she emulates such a playful yet confident energy, and I saw a similar energy in Paige. We had so many conversations about the places she grew up in, including a lake where she spent summers camping. We shot the cover art there (styled by Isabella Adina), and it came together beautifully. I can’t wait for you to hear this project.

What are the key elements you focus on when building an immersive, multi-camera production for live shows?

Mimi: I’ve been working with the artist Slimdan for nearly a full year now. We’re always up to something. I conceptualized and shot his Second Dinner album cover (which heavily references Where’s Wally?), then did the creative for his genius concept of a one-take live performance from his mom’s gynecology office. When he booked the opening slot on the Remi Wolf tour, he asked for a simple stage design. I hand-cut 130 letters and provided him with a clothesline so he could put together a custom message for each show. My personal favorite: “Hi, My Name Is Slimdan / This Will Be Over Soon.” For his headline tour, we set up four webcams in all the worst angles and projected their feeds onto different monitors behind the stage. Jacob Harelick programmed the lights. I have yet to see the show outside of rehearsals, but my favorite moment is when he picks up the camera and just messes around with it. I can’t wait to see it in front of an audience when he headlines The Troubadour at the end of this month.

What guidance would you offer to young designers and directors hoping to carve out a unique space in the music industry?

Mimi: It’s a classic, but just completely go for it. Let only Plan A exist. Another big one for me is to find reassurance in imposter syndrome—I still find myself paralyzed by it at times! It’s a sign you’re evolving in your taste and artistry. I made a promise to myself that when I ‘make it,’ I’ll buy tickets to a certain musical I really want to see. I have yet to buy those tickets. The bootleg version will keep me going until then.

With so much still ahead, it’s clear that Mimi’s journey is only just beginning—and we can’t wait to see where her creativity takes her next.