English Version | A role (super)model

Leaning against a car in a supermarket parking lot, Coco Rocha answers her phone. Juggling the task of shuttling her two children to friends' houses, it's almost hard to believe I’m speaking to one of the most successful models of the 21st century. But it doesn’t take long to realize who she is—Rocha’s bare, makeup-free face still radiates through our blurry transatlantic connection. Yet, the version of Coco I see isn’t the one familiar to fashion fanatics. This is the suburban Coco, as far removed from the supermodel persona as the distance that separates us. For Rocha, the "super" in supermodel is a performance. The ability to embody different versions of herself is key to her enduring success. “I’ve always been a nerd doing Irish dancing—I had to find a way to put on a show,” she says, recalling one of her most iconic moments: dancing down the runway for Jean Paul Gaultier's Fall/Winter 2007 show.

The supermodel speaks about her success with casual ease, forged through the intense work ethic she developed as a teenager. The former dancer always felt the need to perform in front of the camera, and after months of relentless work, the then-innocent model caught the eye of the legendary Steven Meisel. Among the many things she credits him for, she highlights the greatest gift he gave her: a voice.

Rocha’s unique place in the fashion industry didn’t come solely from her dramatic poses—she’s always refused to be a mannequin. Whether through her social media presence or advocating for model rights through legislation, Rocha has consistently fought for the well-being of models worldwide. That’s why today, between haute couture runways and school drop-offs, she runs her Model Camp, where she teaches aspiring models not only how to pose but how to navigate the business of the glamorous industry they're entering. For Rocha, it’s all part of the job. Advocating for others is second nature—it’s just another day at the job.

Hey! How are you?
I'm good. I've just dropped off kids for all their play groups and play with their friends. So I'm in the car in the midst of being a mom right now. 

Summer is great for the kids, but maybe not so great for you…
Not at all, honestly my favorite thing is being a mom. When they’re like, “Can we go play with other people?” It’s like “Fine, leave me then.” [Laughs] I’m in New York right now because one of my kids is in Connecticut, and the other one’s in New Jersey, so I’m in between trying to carpool everyone. 

Speaking of responsibility, I read that you feel that it’s the model’s responsibility to bring other creative visions to life. Have you ever always had that awareness or is that something you’ve developed over your career?
I had no idea of what the industry was when I started. That sounds silly in the age of the internet when we’re saturated with information but that was pre-Google. I entered it as a dancer with the expectation to do this for the summer and then go back to my normal life. There was no understanding of who were the top models, and who were the top designers. I had no idea of what the job entailed except that when I started to do these shoots and runways, it felt like a performance. Very early on, people recognized that my technique was to perform. I wouldn’t say that I ever thought of it more than just another job. Over the years, as people tell you you’re different, you start to recognize that this isn’t just taking pictures, there’s a lot to this - this is a business. This is also about creating art and inspiring other people. There are so many other facets. I don’t want to be thought of as this Zoolander character. I started to declare that modeling wasn’t just a girl taking pretty pictures, you have to be smart behind the scenes and in front of the cameras too. 

You just touched on the beginning stages of your career. What was it like to be a child in such an adult industry? I read that your first few gigs were in Asia…
Yeah, I started in Taipei, then I went back to Canada and then Singapore. When I was in Taiwan I was 15. To be honest, my mom just dropped me off there. She flew there with me, checked it out for a bit, and then left. She was a flight attendant, and she traveled the world, I understand her mindset but it did make me grow up very fast at the beginning. Taipei is where I learned how to work. I was doing double jobs a day, meaning you work early morning, be done by mid-afternoon, start another job, and be done very late in the evening. I made a ton of money for a 15-year-old. That’s also where I developed my way of posing. It was very catalog, fast-paced movement… we were shooting 20 to 75 looks a shoot. I learned you could make money off of it but it would be hard work. When I went to Singapore it was much more about creating beautiful work, not so much about money. Because of those two experiences, Steven Meisel saw some pictures and said, “If this model comes to New York, send her my way.” Not knowing who he was I just said, “Oh yeah, maybe one day I’ll go and meet this individual.” And, sure enough, I did. Because he recognized me for my style of posing, once I got to New York, he let me continue on this journey. He did help me tweak it in a better way. Because I had this exclusivity with him for six months, people in the industry thought he trained me to pose this way. I’ve always been told to express myself and to pose how I wanted to because people thought Steven was responsible for it. People can like it or hate it but I’ve never been told to stop. It’s always been “Show us the thing you do.” That’s the power of Steven. He’s super creative and he takes care of his team. I always say, that if you have a career that is long-lasting, years upon years, you must be good at what you do, and he is. 

Do you think it would’ve been different if he wasn’t involved?
Well, first of all, I wouldn’t have the career I have today. I’d probably still be living in Asia, continuing the model. There’s plenty of models that do that, there’s a great industry for models there. And no, I don’t think I would have felt like I had permission to do what I wanted to do. At that age, you look at people to ask “Am I allowed?” He, Pat (McGrath), and even Edward (Enniful) who used to style a lot of those shoots told me “Go ahead, do it, Coco, do you.” That was all I needed. I’ve had a lot of these powerful people saying it was ok for me to express myself. They’ve helped me fine-tune it too. But I’m a dork, I’ve always been that Irish-dancing little nerd, so maybe I would’ve found a way to continue being dramatic. 

That's so interesting, especially considering the tension between fitting in and standing out. You mentioned working with Stephen, and I read that when you started with him, he made a list of people you could and couldn't work with...
Honestly, it still happens every day. Agents work that way, depending on what—and I don't say all agents. There's an old-school world in fashion and a new-school one. The old school believes in the way things were and continues that path. Some formulas work, and some don't. Some agents curate a model's career based on their love of fashion, deciding who they should or shouldn't work with based on personal relationships. Stephen worked that way because those were the people he worked with. He'd tell me, "You're going to do these shows because you'll do the campaigns afterward, and I'll be shooting them." It made sense because I was exclusive to him for six months, so I could only work with him and his clients. It was kind of fantastic—he'd tell all the designers, "You're putting this girl in your show because she'll be in your campaign." But by the time I got to Paris, the story of the list got out of hand, and Stephen had to open it up a bit. My agent still laughs about it, pretending his hand was on the list, saying, "Sorry, you're not on the list." It was ridiculous, but it speaks to Stephen's power and aura—people just wanted to be in his camp. It’s because he did it his way. I grew up in the industry with people like him or Pat (McGrath). People who had a voice. That’s why I always felt like I should have a voice… All the best people did.

You just mentioned wanting to have a say in your career and what you do, which contrasts with the control Stephen had over your early career. Do you think your desire for control came from those early days of not having any?
The first few seasons with Stephen's guidance were an excellent beginning. It was when he said, "Okay, now you can work with other people," that I started to recognize that not everyone would treat me as kindly as Stephen did. Some people didn't even think of me as a human being, just a clothes hanger. It was so different from my beginnings with Stephen, who always asked how I felt and respected my opinions. I wanted to continue that, to feel good on every shoot. But in those early days, I had no voice. I remember wanting to speak out, but where could I go? It wasn't like every interviewer was ready to talk to me, and this was before social media. So, I went to a blog post written by a fan to express my discomfort with the industry. It was published, and people started to notice. Even Anna Wintour suggested I speak to the CFDA about how it feels to be a model backstage. That was a powerful moment for me, having someone like Anna say, "You have permission to speak." Over time, I continued that path of speaking out, not always pointing out the bad, but also showing the creative side. Then social media came along, and that was a game-changer. Suddenly, I could say whatever I wanted. Some saw me as a whistleblower, but I learned to balance the criticism with the creative and beautiful aspects of the industry.

You mentioned social media as a turning point. Was there a particular moment that stands out for you?
Yes, there was a moment when a famous newspaper published a photo of me, claiming I was "too fat for the runway." They wrote the story to be super negative. At the time, no model had used social media to counter a story like that, but I did. I wrote an essay saying what that individual wrote was inappropriate. It went viral, and I ended up on morning talk shows, explaining how it felt to be a model who could finally speak up. That was a powerful moment. I knew not everyone was pro-Coco, but I had supporters who encouraged me to keep going, even when it got tough. In 2013, I helped change a law in New York for underage models. That was a big risk—if it worked, it would be great, but if it didn't, maybe I wouldn't be here today. Looking back, it was a defining moment. It all goes back to your narrative, your story, your opinions, and what matters to you. Too many models want to follow what works for others, even if it doesn't feel right for them. That's dangerous for anyone in any business. Chasing fame at all costs can lead to losing yourself, and unfortunately, some models have lost their lives for it.

That’s fascinating. You seem to have been one of the first models, if not the first, to truly harness the power of social media—not just to share your work but to reshape the industry itself. How do you think social media has changed the modeling industry?
It’s been a huge shift. In the past, models often didn’t have a voice; we were sometimes pushed into roles or decisions we didn’t choose. But social media has given us a platform to connect with others, share our experiences, and get feedback. Sometimes, all you need is to hear, “Keep going, you’re doing great,” especially when you’re being told by traditional voices to stop or stay quiet. There’s an old-school mentality that kept many models, especially from the early 2000s, on a metaphorical shelf, only brought out when someone decided it was “their time” again.
But with social media, we’ve been able to break that mold. It’s not just about being a visual anymore; it’s about building a brand and connecting with people who see the value in what we’re doing, even if it doesn’t fit into the traditional high fashion world. Social media has become a place where we can find out what people want, and it’s not always what the industry expects. This platform allows us to understand and respond to our audience, sometimes better than the industry does. And yes, some might say it “waters down” our careers, but I see it as a way to expand them.
The modeling world used to be all about maintaining a certain image, but now it’s about being authentic and finding ways to turn that authenticity into a business. Social media has allowed us to have a voice, to speak out when we need to, and to explore new avenues that were previously closed off to us.

That’s amazing. Social media has provided a new form of financial freedom, which can be especially challenging to achieve when you’re managed by an agency that might limit your opportunities. You started so young—how has your motivation evolved from when you began to now, given all that you’ve accomplished?
Early on, it was about achieving specific goals—getting that cover, and working with that designer. But once I accomplished those things repeatedly, I realized that they weren’t fulfilling anymore. That’s when I started thinking about how to turn modeling into a sustainable business. When my husband and I first started working with social media, we wondered if we’d ever make money from it. Now, it’s about figuring out how to expand beyond modeling and build something lasting.
Staying relevant is another challenge, especially as the industry and audience evolve. But for me, it’s about staying relevant enough to grow my businesses. Modeling was a starting point, but I always looked up to models who expanded their careers into other areas. For example, Iman created a makeup brand that changed the industry, and Cindy Crawford branded herself before branding was even a thing. These women didn’t just stick to modeling; they built empires, and that’s the mindset I try to maintain.

It’s inspiring to see how you’ve taken control of your career. Your model camp seems like a great example of this—educating models not just on the art of modeling but also on the business side. When did you realize this was the direction you wanted to take?
It clicked when I met my husband. He’s an artist, and he understands that you can’t just sit around and wait for success—you have to go out and create it. That entrepreneurial mindset influenced me to think beyond modeling. I remember when I was first asked to give a speech for the CFDA, and many people told me it would be career suicide to speak out against the industry. But my husband encouraged me to do it anyway. His support helped me see that I could make a difference, and that’s when I started thinking about how to use my platform for more than just modeling.

It’s so interesting to hear you talk about change because you’ve been such a catalyst for it in the industry. How do you feel about the changes you’ve seen?
I didn’t realize the impact at first, but looking back, I see how much has changed. The industry is better in many ways—we’re more aware of what’s right and wrong, and there’s a stronger focus on fairness. But there’s still room for improvement, especially in creativity. Social media has given everyone a voice, which is great, but it also means that people are often just following trends rather than creating something new. We need more leaders in the industry who are willing to take risks and push boundaries.

You've been such an agent of change. Could you share more about that?
Yeah, I mean, I don't think I realized it at the time. It always sounds so cliché, like I'm full of myself, but sometimes we do need to look back and recognize those proud moments. Back then, it was a change, but we didn’t think it would have a lasting impact. Now, years later, we can see that things have changed. You just have to stick around long enough to notice it. People will usually choose the easy route—working with younger kids is easier because they can be manipulated, underpaid, or not fed. But now, with rules in place, it’s harder to exploit them, so some shift to working with 19-year-olds, who don’t have as many protections. It’s all about laziness.

Change isn’t a one way street…
Exactly. On one hand, we’re better at recognizing good and bad behavior. But on the other hand, if we don’t talk about these issues enough, we allow them to continue. Another positive change is that now anyone can have their voice and create their brand. That’s great. However, the downside is that everyone is just following what others post on social media. There’s a lack of original opinion, which stifles creativity. We’re too focused on what people think—whether they like the cover, the last cover, or the other cover. Listening to too much feedback results in everything looking the same, with no personal touch. Designers have too many people to answer to—buyers, editors, part owners—and that makes the designs very boring. I miss the early 2000s for their creative ideas. Whether you liked them or not, you knew they were super creative. We’ve gone backward in that regard, but I hope we’ll improve. Fashion is a pendulum, always swinging back and forth. We’ve made progress in diversity of skin color, body size, and age, but if we’re not careful, we could swing back to a time when these aren’t prioritized anymore. I spoke to Ashley Graham, and she mentioned that tokenism is still an issue. Sometimes a model is brought in just to check a box, but it doesn’t mean the industry is truly improving.

That’s so interesting. I’ve noticed that in shows, it’s often just one plus-size model—if that.
Exactly. If you’re lucky, there’s one. It’s never more than that, which is telling. A few years ago, that was such a big conversation, but now it seems to matter less to people. I always tell writers and models who want to put their name behind a designer to look at what that designer did before something became trendy. For example, Gautier always featured street kids and cool people in his shows before it became trendy. Christian Siriano is another example—he always had curve models and a range of skin tones before it was trendy, and he still does, even though it's not trendy anymore. But then some designers only embraced diversity when they were called out, and when the trend passed, they moved on. You have to ask yourself, is it really in their DNA to want change? We’re consumers, too. We have wallets, and we can choose to support companies that are genuinely trying to do better.

You’ve had such a successful career, and now you’re very selective about who you work with. I recently saw you at the Stephane Rolland show in Paris, and I was mesmerized. Even though I wasn’t in the front row and couldn’t see your face, I immediately knew it was you by the way you moved. How do you decide who to lend your image to and bring your performance to?
I had never worked with Stephane Rolland before, so that was a lovely new beginning. Hopefully, we’ll continue to collaborate. Recently, I’ve started to recognize the importance of working with new designers. When I went to the Cannes Film Festival, I wore gowns from designers who were new to me, from places like Eastern Europe and China. These designers weren’t bound by traditional expectations—they were just doing their thing. The press went nuts because the outfits were so different. When I returned the dresses, the gratitude from these designers was overwhelming. Not that I seek gratitude, but they genuinely felt that we had created art together. It was a goosebump moment for me, realizing that working with new designers can be so fulfilling. It reminded me that I can still be excited about this industry, instead of working with the older, more corporate houses where it’s just about hitting quotas. You’ll probably see me working with designers you’ve never heard of, just because their creativity isn’t stifled, and they’re allowed to express whatever they want. At Cannes, we were at the top of the best-dressed lists because we chose to ignore the rules and wear what looked beautiful. It was a smart choice. I trust my team, my agents, and my husband. If they say a designer is going to make some noise in fashion this year, I’m open to working with them. It doesn’t have to be a historic design house. That’s fun too, but it’s not the only option. Some old-school agents or casting directors might disagree, saying you should stick to tradition, but that doesn’t work for me. Sometimes I need to step outside the box.

Just one final question, out of personal curiosity. You mentioned being outside the box and having seen you on the runway, it’s clear you approach it as a performance. What are some of your immediate references when you perform in that way?
It’s funny because when I do shows, it’s an honor to be known as this entity that makes a big impact when she steps out. But sometimes I’m like, "Who are they? What are they drinking?" Because I just come out, pose, and walk back, yet when I return to the stage, everyone’s clapping and applauding. It makes me laugh because sometimes I’ve tripped or made a mistake, but people still think I’m amazing, which is cool. But I wonder, what's wrong with the other models if I’m supposedly doing it so well? I compete with myself. I’ll watch a show and think, "That wasn’t that good. I could’ve done better." So, I always try to improve by challenging my last performance. If the expectation is for me to go out there and be “Coco,” then I need to kill it better than the last show. I never want to get lazy or satisfied, thinking they’ll applaud no matter what. As for channeling something, it’s funny because I’m a suburban mom, goofy and silly, but then I’ll put on this Cruella de Vil character for a runway show and just play her. That’s what I tell the models—we get to channel people we don’t live as in our day-to-day lives, and that’s so cool. Once you’re on that runway or in that photo shoot, you have to commit to the bit. There’s no turning back. If you’re going to perform as that character, you have to fully own it. I want people to have goosebumps and say, "There she is." I always ask for some background before a shoot—what we're creating, the inspiration board, and if there's a specific character I'm supposed to embody. I curate playlists based on what you tell me. Our shoot was more about building a character through dramatic music and imagery—prints, animals, black and white, shadows, and sharp contrasts. That kind of intensity requires a dramatic playlist.

That’s fascinating! How does music play into your preparation?
Music is crucial for me. As a dancer, it brings out the performance element. I love when a show has dramatic music, like the one with Stéphane Rolland. You just know people are going to feel something when they watch it. It's like going to Broadway to be entertained.

Wow, that's insightful. I didn’t expect that answer.
[Laughs] I know, I went off on a tangent there, but I wanted to touch on AI and its impact on our industry. Models, like me, who are performers, will still be in demand. AI might be cheap, but there's something irreplaceable about watching a live show. That's why it's so important for models to stand out and not just follow the crowd.

I get that. Writers face similar challenges with AI programs that can generate content quickly. But, like you said, it's about bringing the human element that AI can't replicate.
Exactly. I remember Jean-Paul Gaultier once telling me about a show where he replaced all the models with mannequins on moving walkways. It was poorly received because it lacked that human touch. People want to see clothing come to life, and that's where we might be safe in fashion.

By the way, you mentioned you had a playlist for our shoot. Can you share one of the songs you used?
Oh, it was a mix of everything! The rule for a playlist when there's no character assigned is to keep the room's mood balanced. For example, if I played Adele all day, it would make the room too sad, even if I was supposed to be a sad model. So, I alternate between intense violin pieces where I'm throwing the gown everywhere and lighter songs. I even played a Britney Spears and Elvis Presley remix at one point. It’s about keeping the energy right for both me and the room.

That’s such a smart approach. It’s interesting to think about modeling as performing for the room as much as for the camera.
That's the only thing I care about during a shoot. My job is to perform for the room so that next time they think, "We need to work with her again." If I move the room, I’ll do my job. I don’t even care as much about the final photos as long as the room felt something.

That’s amazing. I could listen to you all day! Your perspective is so unique and valuable.
You're so sweet. Thank you! And hey, if you're ever interested, you should come to Model Camp.

You’ve almost convinced me! I’m based in London, but I'll keep it in mind.
Let me know! We do them every three weeks in New York.

I’ll try to plan my visit around that. Thank you so much for this conversation. It was lovely, and I hope you have a creative rest of your day.
Thank you! I'm off to Walmart—big plans today! [Laughs]

Translated from the original on "The Big Book of Trends" issue, published September 2024. Full credits and stories in the print issue.