Imogene Strauss grew up thinking that she wanted to be the complete opposite of her creative parents. As the daughter of a DJ father and a screenwriter/actress mother, her initial plan was to build a career on the opposite end of the spectrum, “I think my rebellious — and probably somewhat fearful — self pushed me to think I wanted a career in science, as far away from what my parents did as possible,” she recalls.

Her conscious pull away from a creative career ended up having an opposite effect, so much so that her official job title as a creative director and stage designer comes with an asterisk that details everything else that she is: a show director, video director, interior designer, scenic designer and more. Some of the biggest highlights in Strauss’ portfolio include directing visuals for Popcaan, handling the creative direction, scenic design and video content for Clairo’s Immunity tour and creative produced Solange’s “An Ode To” performance piece at The Guggenheim, but her most extensive body of work can be found in her collaborative efforts with Charli XCX as the artist’s creative director, music video director and stage designer.“Every artist really has such a different process and approach no matter what level they are operating at,” Strauss says of her many collaborators, stressing that a creative director’s versatility is a determining factor in the proper execution of any sort of campaign. “I think I’m pretty good at adapting to these different flows as well as all the different speeds, temperaments and budgets.”

“You should be doing a lot of research and absorbing a lot of films, music, art, architecture — but you should be doing that because you want to and need to, not because you want to be a creative director.”

Can you run us through a day in your work life?

Every day is different, that’s part of what I love about it. There’s definitely a lot of research and reference pulling, speaking with artists, deck making and communicating with other creatives. On-set days and show rehearsal days are my favorite though, because that’s when you really see all the ideas and hard work come together.

You’ve worked extensively with Charli XCX in recent years. What’s been the hardest yet most rewarding part about working with her?

I can’t really pinpoint a “hard” part about working with her. She’s really visionary, collaborative, driven, hard-working and adventurous when it comes to the creative and it’s all super rewarding. But if I had to choose one part that would be considered “hard,” it would be being able to keep up with the workflow while juggling other projects at the same time because of the output she has. I’ve always felt very supported by the team around us so it’s never been an issue though.

How has the role of Original Creative Agency (OCA) — an agency focusing on representing creative directors — helped you in furthering your career?

OCA has allowed me to stop stressing about the business and logistics side of things. They’ve given me all the support I need to be able to fully place my focus on the creative, helped me to really think about the trajectory of my career from the bigger picture and given each move from project to project a purpose.

What are the necessary first steps a young person should take to enter a career in music as a creative director?

Do anything but try to be a creative director. Learn a specific skill, become an expert at something. You should be doing a lot of research and absorbing a lot of films, music, art, architecture — but you should be doing that because you want to and need to, not because you want to be a creative director. My personal journey to creative direction involved being a music manager, a music video producer and then ultimately working for another creative before I ever decided I wanted to be one myself. But I was always looking at things, watching things, saving images and ideas. Eventually it all came together.

What lessons and/or work ethics did you only pick up after working in the music industry?

There are many lessons I’ve learned from the music industry including time management, collaboration, attention to detail and adaptability. The most important and most unique to the industry is keeping your passion for the projects alive — otherwise, what’s the point!

What was the biggest challenge you’ve had to face so far and how did you overcome it?

The biggest challenge I’ve faced so far is probably figuring out exactly what I wanted to do. I’ve always had such a wide range of interests; I was never able to pin down my singular path. I tried several different things, learned a bunch of different skills, met a lot of different people and ultimately ended up doing what I do now.

Is there a secret to career longevity in this industry?

I haven’t been doing this that long, so I don’t really know — but I would love to hear it if there is one! That said, I think it’s really important to stay inspired and, continue to fill yourself up with ideas— not exclusively drain yourself of them.

“It’s really important to stay inspired and, continue to fill yourself up with ideas— not exclusively drain yourself of them.”

What are some habits you follow regularly to always maintain a good headspace for work?

I could honestly use a re-up on my good habits, but good habits I have had are phone-free walks, journaling and meditation.

What does a day off look like for you?

I love being in nature, Going to the beach, hiking, spending time with my dog — moments to disconnect and clear space for new ideas.

If not music, what would you be doing?

Possibly interiors, possibly working in the art world. I’ve done both of those things, and ultimately, I’ve returned to music as my passion and my safe space, but I do love to dip into both these worlds on special occasions as well.

Stay tuned for more features with music industry professionals — from managers to sound engineers, stagehands and others; the people who make the music world go round without standing behind a microphone.