Getting Lost in the Fantasy of Film with Talia Collis

Luxury meets playful wit with a distinctive tone.

Stories elevated by an effortless touch of humour and subtle charm.

Strong performance captured with style, ease and a confident sense of timing.

Trusted by the biggest brands and cultural icons.

Creator of Vogue's ‘Diary of a Model’.

Talia Collis chatted with LBB to discuss bringing her fashion-forward lens to tell stories, establishing her creative identity, and frequent collaborations with Thom Browne

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Talia> The scripts that excite me most are the open ones, where a client has a clear intention or a message they want to land but they are open to interpretation, even to a version of the idea they might never have imagined. I love when a script trusts the audience. People do not need everything spelled out; they respond to work that feels instinctively smart, a little witty, and leaves them space to connect the dots.

LBB> How do you approach creating a treatment for a spot?

Talia> When I first approach a treatment, I remind myself not to get stuck on the fact that I am reading someone else’s words and ideas.

My first step is to understand the ‘why’. Why did they write this? What are they hoping the audience feels or takes away? Once I have interrogated that, I like to pressure test my ideas on real people. Sometimes that means my fiancée, sometimes someone I strike up a conversation with in a café or at the park.

If the core of the idea makes sense to people outside of the ad world, then I know I am onto something. For me, creating a treatment is about leaving ego at the door. It’s about absorbing different perspectives and then distilling those voices into a single idea that feels universal.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Talia> I am most passionate about work that is narrative led, where I can bring a fashion-forward lens to the storytelling. I am drawn to pieces that feel a little dreamlike, yet always sophisticated and beautiful. Life can be full of seriousness and heaviness… Commercials, for me, are a chance to escape that. I want to get lost in the fantasy of a film, and take the audience with me to another place..

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Talia> For a few years, I was labelled the ‘go-to interview girl’ because of my ‘Diary of a Model’ series for American Vogue. I am grateful for that experience because it taught me so much about working with every type of personality and sharpened my instinct for directing people in a way that feels both thoughtful and natural.

But, I was never just an interviewer. My creative identity has always been bigger than that. I have ideas, I have stories to tell, and I love transforming concepts into films that feel fresh, stylish, and memorable. That series was a chapter that made me stronger, but it was only the beginning. The truth is, my work today reflects a much wider vision, and I feel like I am just getting started.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Talia> I remind myself that they’ve come to me for my perspective, because they want my style to come through in the work. I stay open and collaborative, but if something risks weakening the idea, I’ll speak up. It’s really about finding that balance together and making sure the creative stays strong while their goals are achieved.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Talia> Absolutely. Welcoming a more diverse pool of talent into the production world is essential as it keeps the work fresh, pushes us to see things differently, and ultimately makes the industry stronger. I’m always open to mentoring and creating opportunities on set.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Talia> I always keep in mind that 95% of people are watching on their phones, so the social-first approach is essential. At the same time, I try to make sure the work feels cinematic enough to hold up across any format, whether it’s a vertical cut for mobile, or a big screen. If you ignore the way audiences are actually viewing content, you aren’t moving with the times. But, for me, it’s also about making sure the craft translates everywhere.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Talia> If it isn’t a perfume ad, ‘Let’s Play Hermès’ is the piece that best captures the kind of fashion work I want to create. I love taking a simple, dreamlike idea and grounding it so it feels tangible and real. The production and post process was a true challenge, which is part of why I’m so proud of it. Every product that appears to float was achieved without CGI. It took a few weeks of meticulous work with our set designer Nick White to bring that vision to life.

‘Night in the Museum’ for Thom Browne is a perfect example of my love for storytelling, even within a very short window. I knew I’d only have five minutes with each celebrity, so I had to design a narrative that was both efficient and impactful. Together with my DoP, Morgan Spencer, we pre-blocked every shot and even edited a rough version in advance to understand the rhythm of the film. Thanks to that preparation, we were able to capture the entire piece in about 45 minutes.

‘Kendall Jenner x Therabody’ began with a simple concept, but the challenge was to make it feel fresh and unique. We took the straightforward LED mask advert and reimagined it as something playful, stylish, and witty by highlighting the product’s benefits in an unexpected way. What I loved most was how the brand embraced a fashion-forward approach, allowing me to bring my own sense of fun to the work.

Picking a favourite from my four years of Met Gala collaborations with Thom Browne feels impossible. Sometimes I have less than a minute with a celebrity before they’re off to the red carpet, so it has to be captivating instantly. This year, I had fun threading a paper airplane through the hotel rooms and across our guests… It was a tiny detail that carried a sense of charm and whimsy through the chaos.