As one of the first models to get into blogging (and the social media and Silicon Valley–worthy tech collaborations that followed), Coco Rocha is something of a trailblazer. The Canadian model known for her grace in front of the camera has always been just one step ahead of the curve with her side projects during her 14-year-long modeling career, but her latest foray presents her biggest challenge to date: making the move from posing to designing. Rocha’s inaugural collection, called Co + Co, is a sporty contemporary line that aims to bridge the gap between luxury and affordability while fitting right in with the current fixation on the athleisure market. We caught up with Rocha to talk about her latest endeavor, and learned that though these trends are of-the-minute, her move from model to mogul has been more than a decade in the making.
What was the impetus for starting a fashion label?
I realized that I had a point of view. I was always excited by the idea of having my own company, but models are rarely serious when they venture off into something else, be it acting, singing, or starting their own business. I’ve spent 14 years modeling, watching all the designers and getting a feel for the industry. In a way, [modeling] was the perfect schooling—it allowed me to see how so many talented designers come up with a collection and learn from what they do while developing my sense of style. My husband, James [Conran], and I have always talked about what a collection could look like, or what we would do regarding design. I wanted to create something for that woman who loves fashion, [who] follows all the shows online but, when it’s time to shop, has trouble finding fashion-forward, sleek pieces.
Athleisure is exceptionally popular at the moment, but what does the term mean for Co + Co? In athletics the materials are just so advanced—there are whole laboratories dedicated to just fabricating new materials. Ready-to-wear tends to utilize the traditional materials that have been used for the past 50 to 100 years. We wanted to merge those two ideals. If you know me, you know I’ve always been obsessed with tech—I love tech—so to go from a fashion side, it was about how can we incorporate that into what we do. That meant using scuba, using heat-sealed seams—you can understand where it comes from on the athletic scene, but you’re not going to work out in it. If you do, you’re very cool.
Who is your ideal customer?
She loves clean lines, appreciates minimalism, and is confident. When you wear something different, you have to be confident that not everyone may get it at first. Walk through the streets of New York in one of these looks and you’re going to get noticed!
Is there a piece within the collection that stands out to you?
The skirt with the perforated, transparent overlay—it was one of the first pictures I drew, and I got all giddy when everyone else said, “That is a great idea.” I’ll always love that skirt—years from now I’ll have it on my wall as one of the things I’m proudest of because it marks the moment when I knew we had something. When you have an opinion, when you have a point of view, you put it down and you worry about whether or not people are going to like it. I think it goes back to that modeling idea of, Do people like what they see? Am I doing okay? I felt like I turned into my 14-year-old self for a minute there, but creating the skirt made me want to continue.
How has the 14 years you’ve spent in the fashion business impacted your personal style?
When I started, I knew nothing about fashion. I remember my first day going to my agency, I was wearing these huge bell-bottoms—they were patchwork corduroy and denim, which at the time I thought were amazing. My agent told me, “You have a casting with Prada—you have to burn those jeans.” At the time I didn’t even know what Prada meant. So, yes, my style has evolved and I’m glad of it! I love that [the collection] explores new materials, new shapes, things I wouldn’t have worn maybe five years ago—back then I was super-romantic, lots of ruffles, very Austin Powers! I was all about vintage shopping—which I still love—but I would do a full look. These days, buying a blouse from the 1800s isn’t really my thing.
What’s the most important thing you’ve learned while making this collection?
I’m still learning—from how selling to department stores works to getting to know the delivery schedules. The designers I’m close to will talk about fabrication and how the dress is put together, so to go more on the business side of things has been fascinating. I look back at all those designers and I think, Why didn’t you talk about that stuff?! But that is why you have incredible teams around you, to help with all that. In a way, it feels like I’m back in school.
