Exploring boundaries of creativity with Daria Strokous

hube: To those outside it, the world of fashion seems an enchanted space, one of fairy tales and magic. Many people are drawn to work in fashion because of such an impression. How did you feel when you first got into the industry?

Daria Strokous: I always viewed fashion as art. When I started modelling, I dove into the world of photography books and started collecting magazines and images that inspired me. Getting to enter the world behind the scenes at photoshoots and fashion shows was certainly a revelation. As it turned out, the fairy tale was carefully constructed. Or, sometimes, the best images were the result of a lucky mistake. But I have always made sure to seek art and magic in fashion. I noticed that the most beautiful designs and creative decisions always come from an imperceptible moment of inspiration that visits everyone in the room, sort of like the “aha” moment, when everyone suddenly gets very excited and, most importantly, agrees on one thing. 

h: Is there a lesson from your early days in fashion that has helped you throughout your career? 

DS: I learned that, perhaps, the most important thing to do early on was to find my centre. The fashion industry is a huge machine, things move fast and decisions are made every moment. Everyone involved is from a creative field, so things can get very emotional. If you accept your worth, you won’t be derailed by rejection. If you set a particular goal in your career, [having a] hectic schedule, other people’s demeanor, and inconveniences won’t bother you. I also think that as soon as you discover your boundaries and goals, it is much easier to see that others around you have their own things they are battling with. From that comes respect and understanding. So, instead of spending the day on set waiting to go home, you can join others in a common pursuit of creativity, even if that means you end up freezing in a little dress out in some field in November, or waiting for the team to change the set for hours. This industry is not for those that don’t know what they want. 

h: Fashion shows have always been performances. Today, a new level has been reached with designers using new technologies, robotics, and numerous digital tools in their shows. How do you feel about this? Do you find such innovations inspiring?

DS: I think we all get excited about new technology, so it is inevitable that the fashion industry tries new creative solutions. When it comes to fashion shows, however, I believe that a model instils a certain energy “into” an outfit, and that the best way to experience fashion is in person. Humans get so much subconscious information from one another and the best models know what emotion or state of mind to project outward while walking in a show. Digital distortion of the image has also gotten us to a point where self-image is being heavily discussed in the field of mental health. I think the human tendency to anthropomorphise everything hints at our innate need to relate images to our own selves, so we ultimately relate best to a real person. That is, until we cross the uncanny valley. I wonder what will happen after that. 

h: Our world is filled with beauty that may be seen from different, and sometimes entirely opposing, perspectives. What is beauty to you?

DS: To me beauty is all in the feeling. The fashion industry is kind of like the art industry, sometimes people say something is beautiful mostly just to appear cool or knowledgeable or because they know it will be beneficial to them. That is not an actual perception of beauty. Only if you listen to your body and mind will you really find what beauty is to you. I find it easiest to find in nature. I frequently go for hikes, listening to music in my headphones, admiring the patterns in the flowers, the depth of colour in the tree leaves, the shapes of the rocks by the trail. When it comes to people, I similarly find beauty in elements. It could be the skin tone, the way their hair shines in the light, the hand gestures. Sometimes it’s beautiful sadness in the stranger’s eyes. I love when I spot a Roman nose. It’s a rare sighting these days, a lot of people rush to get rid of it. That’s a shame. 

h: Having walked for some of the world’s most prestigious fashion houses—amongst them, Prada, Balmain, and Ralph Lauren—can you name a runway show or experience that left a lasting impression on you?

DS: I would say the most creative and mind-blowing experiences I had were with Marc Jacobs at Louis Vuitton. He really let his imagination run free and created the most elaborate sets. Whether it was models arriving in ornate elevators to a hotel lobby, riding a huge carousel, or arriving to the runway in an actual train car, it was always a real spectacle. All of that was somehow built inside the courtyard of the Louvre, but what made it more special was how excited Marc always was for the show. I remember arriving at a fitting once, he grabbed me and pulled me to the wall with the images of the carousel. He was beaming with joy. It was such a pleasure to watch him bring his ideas to life, and I think dressing up models in his creations also was one of his favourite things, so he would always play around and the room felt full of inspiration and energy. 

h: You have a degree in cinema studies, could you tell us a little more about your passion for film? What does it mean to you? And which contemporary film directors would you recommend we watch? If you could name several movies that have influenced you, we would greatly appreciate that too.

DS: I’ve always watched a lot of movies and loved getting completely submerged into the imaginary worlds they presented. I think truly the moment when I fell in love with a film set was when I played a small role in Steven Soderbergh’s Contagion. His set was so organised and so harmonious, I thought “If this is how making a film can be, then that’s what I would like to do every day of my life.” I think movies are most influential when it comes to shaping ideas and changing people. As a filmmaker, you can share your views and also offer space for the audience to ponder big questions. That’s why my favourite movies are the ones that cause a chain reaction of thoughts in youm days or even months after you have watched them. I would highly recommend Maggie Gyllenhaal’s feature debut The Lost Daughter. I am looking forward to more of her films. She was so gentle with the hard topic of motherhood, I was confronted with my own thoughts on being a child and being a parent for weeks. Cooper Raiff’s Cha Cha Real Smooth brought such a meditative joyous experience. Ruben Östlund‘s Triangle of Sadness was one of the most accurate human nature studies I have ever seen in a film. My favourite director of all time is probably Agnes Varda. The ease with which she seemed to create whatever she felt like makes me feel more confident as a filmmaker. Her shots are frequently perfectly imperfect, her ideas are elaborate, yet, she is never intellectually condescending to the audience. And she was always introspective in her projects, which I hope to be in mine, too. 

h: Looking ahead, what goals and projects are you most excited about pursuing, both professionally and personally?

DS: I have been carrying around a couple of ideas for creative videos, short films, and one feature documentary for a while. It is hard to let these ideas out into the world, but I think now I’m ready, finally the discomfort of holding all this creativity inside is big enough that I’d rather do it than not, no matter what the result is. Other than that, I have been eager to travel more. After a few years of limited travel I feel like I’ve gathered enough energy to really explore new places. At the moment I feel like I could even move to some other state or country for a while to experience the newness of everything and to reset my interest in the world and people around me.