Juraj Straka is a designer who is not afraid to be daring, both in his work and in his path through the fashion industry. Born in Slovakia during the 1980s, a time of scarcity, Juraj’s fascination with textiles began by watching his mother create her own clothes. It was a infact a necessity in this era where creativity was often the only option. Fast forward to today, and Juraj has gone from mastering traditional textile techniques in Slovakia to leading design roles at iconic fashion houses like Schiaparelli and Dries Van Noten. Now, with his own brand and textile studio as well as the recent debut of his capsule collection, he is spreading the gospel of print design, creating vivid, colourful collections that challenge the conservative tones of men’s fashion.
In this conversation, Juraj shares his journey, from his early days in Lyon working with silk at Bucol to the creation of his own fashion label, JURAJ STRAKA. Along the way, he reflects on lessons learnt from haute couture. Also, how his roots and the creative limitations of his youth forged a relentless passion for colour and print. What’s more, he continues to design for joy rather than chasing trends.
Men’s fashion deserves more colour, more vibrancy. Playing it safe is no longer exciting in today’s world
Vibrant, Unapologetic, and Fearless: Juraj Straka’s Journey from Slovakia to Haute Couture
FAB: Your love for textiles started with your mother. I’m curious, what was it about her approach to clothes and design that sparked this passion in you?
Juraj Straka: Well, it all started with my mom—she’s definitely to “blame.” But honestly, it goes beyond just her influence; it’s also about the context in which I was born. I was born in 1984, in what was then Czechoslovakia. To give you an idea of what that meant, it was a country under heavy oppression, cut off from Western Europe. There was a shortage of everything—clothes, food, basic supplies. The government controlled much of life, and people couldn’t easily find what they wanted to wear or do.
So, they had to get creative. Back in the ’80s, making your own garments became almost a national pastime. People would knit, embroider, crochet—essentially invent their own clothing. Every household had a sewing machine, and nearly every woman made her own clothes. That was the environment I grew up in.
When my mom was on maternity leave with me, I spent a lot of time watching her. I’d sit next to her while she cut fabrics, knitted, and sewed. That’s how it all started.
FAB: You moved from Slovakia to France, which seems like such a huge leap. Considering your background in the ’80s with its socio-economic challenges, how did your early years at Bucol, working with silk, shape the designer you are today?
Juraj Straka: For me, it felt like stepping into Alice in Wonderland. I first travelled to France when I was 19 or 20—I can’t remember the exact age—but it was a massive revelation. Before that, I had only seen fashion in magazines, pictures, or on TV. But suddenly, I was in France, working for a company that collaborates with the best and biggest names in the fashion world. It was a “wow” moment for me, and honestly, I still feel that sense of awe.
You can’t escape your roots or the culture and values you were raised with. Coming from Slovakia, a place so vastly different, I still carry that admiration for the world I found myself in. I often remind myself how lucky I am to have pursued my passion, moved to a different country, and found happiness in fashion.
FAB: Speaking of luck, you’ve had the opportunity to work with some of the biggest names in fashion—Schiaparelli, Dries Van Noten, and more. What was it like diving into the world of haute couture, and how did that experience shape your vision of textile design?
Juraj Straka: When I first went to France, it was for a competition. I entered, and they told me, “Your project has been selected, and it will be printed by a company owned by Hermès.” At the time, I had no idea who Hermès was. My reaction was pretty genuine—I thought, “Hermès? So what? Is that a big deal?” I was completely unaware of how high I had already ascended in the fashion world. In Slovakia, I had never even heard of Hermès.
I think my naivety worked in my favor. I wasn’t pursuing this journey for the glamour or prestige—I was simply driven by my passion for textile design. I was learning about the luxury and fashion industries as I experienced them firsthand. My motivation came from a very genuine place, not from a desire for superficial recognition.
I quickly realised how fortunate I was to start at the top level of fashion, where the demands for excellence are intense. But I was so passionate about my work—just as I am today—that I was willing to go the extra mile and work harder. That dedication eventually paid off.
FAB: And did that experience influence your approach to textile design?
Juraj Straka: Absolutely. Working with top houses like Schiaparelli and collaborating with embroidery ateliers like Lesage taught me to truly appreciate textiles. You get spoilt when you work with the finest craftsmanship and materials in fashion. For instance, once you fall in love with silk, it’s hard to adjust later to working for a smaller brand that only uses polyester. Your taste in textiles becomes more refined.
That said, it was also excellent training. When you’re accustomed to high luxury, you can bring that same level of attention and excellence to a brand with a smaller budget. You learn how to achieve that same high-end aesthetic even with restricted resources. For example, if you can’t use silk, you figure out how to replace it with something else while still maintaining that luxury feel. Once you know how to create real beauty, you can always find a way, no matter how tight the budget is.
Juraj Straka: Well, I have been fortunate to gain a wide range of experience in fashion. First, I spent seven years working at a fabric supplier, then three years in Haute Couture, and finally, I joined Dries van Noten, where I worked in both men’s and women’s ready-to-wear. I felt like I had explored various aspects of the fashion industry, but I learnt something important during that time: no matter how amazing a job is, there comes a point when it starts feeling routine.
For me, that happens around the four- or five-year mark. My biggest fear is falling into a routine, where things stop feeling fresh and exciting. So, I tend to make changes in my life before that feeling sets in. As much as working for Dries van Noten was a dream job, and I enjoyed every single day of it, after four years, I sensed it was time for a change. It felt like being at the best party of your life and leaving while the energy is still high so you remember it as the best night ever.
I didn’t want to risk staying too long and damaging the incredible experience. So, I listened to my gut telling me it was time to move on. Of course, nobody understood my decision—not my friends, family, colleagues, or even Dries himself—but looking back, I’m still happy I trusted my instincts.
I launched my company – Textile Studio JS, in early 2020. Five days later, the COVID pandemic hit. So, the timing wasn’t ideal, but here I am—I survived.
FAB: That’s an amazing story, and I love how you compared it to leaving a party at its best moment. That’s such a brilliant analogy!
Juraj Straka: Especially in fashion, it’s easy to fall into the comfort zone once you’ve finally secured your place in the industry. The journey to find that place is often a battle, so when you finally get there, it’s tempting to relax. And that’s okay to an extent—we work hard to reach those moments of stability. But I’ve seen many people in my career stay in their comfort zone for too long, and eventually, it limits their perspective.
I believe it’s important to keep moving forward, to keep exploring what else life has to offer. That’s where the excitement and joy come from—discovering something new.
From Hermès to Dries Van Noten, every step in my journey taught me to embrace the unconventional and stay true to my bold vision.
FAB: And speaking of moving on, you’ve made some quick moves. You recently launched a capsule collection featuring bold, colourful prints for men. What inspired this collection? Can we unpack that?
Juraj Straka: Well, first off, it wasn’t as quick as it might seem. It actually took over four years after I left Dries Van Noten and started my own company before I began working on my own project. The drive behind this project, my own fashion label—if I can even call it that—didn’t come from the same place as most fashion designers. Usually, fashion designers have this inherent desire to create clothes, to build a brand, and to share their vision with the world. That wasn’t my experience at all.
Even though I studied fashion design early on, I never enjoyed the design process itself. Very quickly, I realised that I was drawn to fabrics, prints, colours, and embroidery. So, I don’t label myself as a fashion designer, and I still don’t. The shirts I’m making now came from a very different place.
When I opened Textile Studio JS and started meeting clients to sell my print designs, I struggled with what to wear to those meetings. I was selling bold and colourful prints, so showing up dressed all in black just didn’t feel right. How could I sell something that I wasn’t even embodying myself? At the same time, I couldn’t find any clothing that truly reflected my style or values. I stand for colour and boldness, but men’s fashion is generally very conservative and boring, especially when compared to women’s fashion.
For my very first client meeting, I made a shirt using one of my fabrics. I stitched it myself, and while it wasn’t the best craftsmanship, it was colourful, and it got the message across. After that, it became a little tradition for me. With each new collection, I would make a new shirt from one of the season’s prints just to wear to those meetings. In a way, I created a sort of uniform for myself.
The reaction from people was overwhelmingly positive. They’d say, “Oh my God, that’s a cool shirt! Where did you get it? Who made it?” After wearing these shirts for years, I finally thought, “Maybe I could actually bring this to market. Maybe there’s a place for what I’m trying to say through these designs.”
So, as you can see, my journey was very different. I still don’t consider myself a fashion designer, and I don’t think of my brand as a fashion label.
Juraj Straka, the designer whose prints became his business cards
FAB: So, you started wearing your own prints to meetings, almost like a walking business card, wouldn’t you say?
Juraj Straka: Yes, exactly. Interestingly, people around me saw the business potential in it before I did. Their feedback was unanimous, and everyone kept saying the same thing. At that point, I had been working for 15 or 16 years for other people. My role was usually just to design the fabric, and then someone else would take over and finish the process—whether it was the garments, the styling, or the presentation. After years of doing that, I began feeling creative frustration. I wanted to take the lead on a project for once and make all the decisions—from which colours to take to production to how we’d shoot the lookbooks and present the collection.
So, when this project came along, I found it really tempting because it offered the chance to be in control from start to finish. But I also learnt a very valuable lesson. I went in thinking it would be much easier than it was. You know, when you’re in the field, you sometimes think, “Oh, I could do the stylist’s job,” or “I could take the photos.” But when I actually tried doing it all myself, I quickly realised how wrong I was. There’s a reason why these people are experts in their fields and why collaboration is so important. It was a humbling experience, and I now have a newfound respect for stylists, makeup artists, photographers, and all the other professionals who bring a vision to life in fashion.
I never wanted my designs to be just beautiful. They had to tell a story, reflect a mood, or spark a conversation.
FAB: And your designs have been worn by some of fashion’s biggest icons, like Anna Wintour. How does it feel to see your work on such influential figures? Do moments like that still give you butterflies?
Juraj Straka: Oh, absolutely! I still get butterflies. When I was in high school and first discovered who Anna Wintour was, I made a joke that if she ever wore one of my designs, I’d consider my career in textiles complete, and I’d switch to studying medicine or law or something. As they say, be careful what you wish for! That dream came true much sooner than I ever imagined—Anna has worn my designs three times now. It’s mind-blowing. It feels like the ultimate validation. I mean, what else could you possibly want to achieve in this industry, right?
But honestly, while seeing celebrities wear my work is amazing, especially during my time at Schiaparelli, something else has started to bring me even more joy recently. What truly excites me now is when I see everyday people wearing my designs in real life. Not just on the red carpet, but on the street—seeing your work become a part of someone’s daily wardrobe. That’s where I find the most satisfaction nowadays. Since I work for Essentiel Antwerp, which is a very popular brand here in Belgium, I often spot people wearing pieces I’ve designed. It’s an incredible feeling to see your work integrated into the real world, not just at the top of the fashion pyramid.
FAB: Your prints are vivid, bold, and colourful. Where do you find inspiration for such vibrant designs? Are there specific places, cultures, or even memories that influence your work?
Juraj Straka: I’m a strong believer that the environment we’re in greatly impacts our mood. For example, if you’re sitting in a plain white room, it evokes a different emotion compared to sitting in a room full of colours and patterns. There’s an external influence on how we feel. I think we live in a world that can often be sad and full of challenges, so it’s such a simple but effective trick to brighten your mood by surrounding yourself with colours, prints, and bold designs.
For me, there’s a more philosophical approach to it. I love colours, and I think that love stems from growing up in Czechoslovakia during a grey period of my life. My childhood memories are filled with images of concrete buildings and dull surroundings. So, I developed a deep appreciation for colours, which I express through my designs. This love of colour is closely tied to my passion for gardening. A garden is all about nature, flowers, and—most importantly—colour combinations.
My number one inspiration is gardening. I live in Antwerp, and though my garden is small, it’s an incredible source of inspiration. I grow my own flowers and spend time studying them—drawing, photographing, and even scanning them. Nature creates colour combinations that the human brain would never imagine, so for me, it’s all about observing those details.
But it’s not just nature that inspires me. Colour combinations can happen randomly around us all the time. For instance, when you’re at the grocery store, tossing things into your basket, you might suddenly notice a blue yoghurt sitting next to a bright pink candy. These unexpected associations of colours occur naturally, and it’s about paying attention to those moments and making mental or physical notes.
I often jot down these observations in my phone rather than taking photos because cameras tend to shift the colors. Instead of snapping a picture of the yoghurt next to the candy, I’ll write it down—something like “midnight dark blue next to soft candy crushed pink.” Describe the colours in my own words helps me remember exactly what I saw, and then I can recreate those combinations later.
FAB: Wow, that’s like a masterclass on how to approach this work, find inspiration, and sharpen your sense of observation. Incredible!
Juraj Straka: Yeah, my high school teacher really taught me how to view the world that way. I remember she once shared a story with me. We were driving to a workshop together—just the two of us in her car. I was nodding off, my eyes barely staying open. She told me, “It’s okay if we don’t talk. You don’t need to feel pressured to keep up a conversation. But if you keep your eyes closed, you might miss the subtle colour combinations in the passing countryside that you’d never think of otherwise.”
That lesson stayed with me. She taught me never to sleep while travelling because, by keeping your eyes open, the shifting landscapes offer countless visual inputs—details you can store and use later in your work.
FAB: With your experience across major fashion houses and now with your own label, what do you think makes a truly timeless print?
Juraj Straka: It’s interesting to combine the words “timeless” and “print” because it’s a challenging concept. That’s one of the reasons many brands shy away from using prints. Creating a solid-colour garment is much easier because those pieces can truly be timeless. You can wear a solid-colour piece throughout your life without it losing relevance.
With prints, though, it’s different. Prints carry a strong message and visual identity, making them more memorable. If someone sees you in a black dress, you can wear that dress 50 times, and it won’t be recognised as the same piece. You just switch up the accessories or styling, and it feels fresh each time. But with prints—especially bold prints—people will remember them after just one wear, making it harder to reinvent the look.
The real issue is with society’s view on repeating outfits. Why do we act like there’s something wrong with wearing the same dress 10, 20, or even 50 times? There’s absolutely nothing wrong with that.
Prints are more emotional, more personal. I think there’s a stronger connection to printed garments than plain-coloured ones. Ultimately, it’s subjective. As a customer, you have to fall in love with a print. And if you truly love it, you’ll want to wear it again and again because every time you put it on, you think, “Oh my God, I love these flowers” or “I adore these colours.”
So, in a way, a print can be timeless from the customer’s perspective. But it’s harder to define as timeless in terms of fashion trends or the broader fashion industry.
FAB: Now that you’ve touched on trends, I want to ask, is there a secret to creating something that’s both trendy and enduring in the world of print?
Juraj Straka: Well, you always have the classics—flowers, for example. You can never really go wrong with them. In fact, about 90% of prints produced globally feature floral patterns. So yes, you can rely on safe choices like floral prints because they will always be in demand. But the real question is: do you want to stand out? That’s where things get interesting. Many brands tend to create prints that reference something familiar, something that already exists.
Take Hawaiian prints, for example. People instantly recognise them. If you put Hawaiian prints on a summer shirt, it will sell because it’s tied to the concept of summer and holidays. It’s an easy trick because it plays on familiarity. The same goes for animal prints, particularly leopard prints. It doesn’t matter that we’ve seen it millions of times—it will always sell.
But then comes the deeper question for fashion brands: are prints simply a marketing tool, a commercial decision? Or are they a medium for storytelling, translating a brand’s vision and emotions into something tangible? That’s where the difference lies. Most brands, of course, approach prints from a commercial perspective—they know flowers on summer dresses will sell. However, there are a few brands that really use prints as a storytelling device. Dries van Noten, for instance, is a master at this. Yes, his prints are beautiful, but they also carry a deep narrative. He dares to go beyond the standard flower prints and ventures into more daring, artistic territory.
FAB: I’m not letting you go just yet on current trends! Given the state of the fashion industry today, where do you see the biggest opportunities for textile designers? Are there any emerging markets or trends that particularly excite you?
Juraj Straka: I’m happy to see that fashion is evolving. There was a time, not too long ago, when minimalism dominated across various fields—fashion, lifestyle, everything. But now, we’re seeing a wider range of styles coexisting, and I find that exciting. It’s no longer about one dominant style that everyone has to conform to. There’s a resurgence of bold colours and prints, and I’m glad that hasn’t disappeared. I don’t think it ever really will.
I’m also excited to see more colour and boldness being embraced in interior design. There’s room for improvement there. It’s still a very safe, conservative space in many ways. Beige and grey sofas will always sell, but something bolder—like a yellow print with red flowers—would be much harder to sell. I understand that. However, it’s encouraging to see brands at least offering options for those who want something different.
So yes, interior design still has untapped potential for textile designers. We’re seeing colour make a comeback, and I think that’s a trend that’s going to continue.
FAB: You’ve talked about the current state of the industry. How do you think fashion needs to evolve to stay relevant in the coming decade? What changes would you like to see?
Juraj Straka: I might have an unpopular opinion here, but I feel fashion today is overly focused on sustainability, especially with upcycling and deadstock materials. Don’t get me wrong—I fully support sustainability. It’s an absolute must. However, I think we’re becoming so focused on this one aspect that we’re neglecting the evolution of style. Recently, I judged a fashion competition in Slovakia, and I realised that all the participants were using upcycled materials. It was impressive, don’t get me wrong, but their fashion seemed to stem more from activism—wanting to change the planet—than from a desire to express themselves as fashion designers with a very specific point of view.
When you design solely by upcycling old jeans or reusing fibres, it limits your creative aesthetic. You end up with a very narrow design path. It feels like these super-pro-sustainable brands are all producing similar visual outcomes. For instance, if you use old jeans, you have to cut them up and patch them back together, which creates a specific aesthetic that, to me, is becoming repetitive. I may be exaggerating, but I feel like the sustainable approach often ends up looking the same.
I’d love to see sustainability approached from different perspectives. Why can’t we focus on the material’s origin—how and where it was produced—and still create a brand-new print or design to make something fresh? It’s okay to create new fabrics in fashion. Right now, it feels almost forbidden to introduce something new. This is just my opinion, but I think we can focus on sustainability in many ways, not just through upcycling, which seems to be getting all the media attention and pushing designers into the same corner of the fashion landscape.
FAB: That’s really profound and quite different from what I’ve been hearing lately. I agree that it feels like we’re seeing the same style over and over—patches, denim, and upcycled pieces everywhere.
Juraj Straka: Exactly. Like, if I see one more jacket made from a vintage blanket, I might die of boredom. I mean, it’s great, but how groundbreaking is that? I wish we could return to dreaming in fashion and creating for the sake of innovation and imagination while still respecting sustainable and ecological standards.
FAB: I completely agree—there has to be a balance between aesthetics and sustainability. We shouldn’t have to sacrifice one for the other.
Juraj Straka: Exactly! That’s such a beautiful quote. I’ll have to remember that.
What’s Next for Juraj Straka
FAB: Where do you see your brand going in the next few years? Any plans to expand, experiment with new materials, or maybe even collaborate with other designers?
Juraj Straka: Well, that’s the thing. Deep down, I’m a textile designer, and that’s what I want to focus on. As I mentioned, the fashion label is more of a passion project for me. I don’t want to be part of the mainstream fashion industry, so it might sound odd, but I don’t have a vision to scale up. I’m not driven by business or the typical passion for fashion growth. I’m doing this purely for my personal satisfaction.
One of my main sustainability goals, apart from working locally and producing fabrics and garments within a close geographical zone, is mental health. We rarely discuss mental health and sustainability in fashion. Everyone focuses on the sustainability of materials, but what about sustaining the people who work in fashion? That’s far more important, yet it’s often overlooked.
I didn’t want to create a brand that would add extra stress to my life—I already have enough of that. So, I made a conscious decision to prioritise myself in this project. I don’t participate in fashion weeks, nor do I follow a strict calendar where I’m expected to have a new collection ready by September. I refuse to spend sleepless nights in the weeks leading up to a deadline, rushing to finish a lookbook.
I’m running this project in my own way, on my terms. There might be a new collection next season—or maybe not—and that’s completely fine with me. I refuse to commit to decisions today that might cause me stress later. I just want to keep the joy in this project and enjoy the process.
FAB: That’s absolutely brilliant—focusing on the mental health of designers. It’s something that rarely gets attention. We’re often so focused on the creative output that we forget about the well-being of the person behind the work.
Juraj Straka: Exactly. A lot of young designers start with dreams that are, perhaps, unnecessarily big. Not everyone needs to be the next creative director of Balenciaga or Louis Vuitton. Maybe it’s okay to just be a designer who sews in their own studio, working at their own pace, and having time to enjoy life. You don’t have to chase high achievement goals to be successful. Sometimes, happiness comes from finding balance.
FAB: In the next 200 years, what do you hope to be remembered for? If someone reads your story, what do you want them to take away from it?
Juraj Straka: Oh, that’s a lovely question. Well, I already have a few pieces in design museums, so I guess I’m off to a good start! But seriously, I would love to be remembered as the guy who embraced colour and prints fearlessly. Of course, I’m not naive—I know I’m not the only one out there. But within the context of my own country, Slovakia, I’d like to think that I’m leaving a significant mark.
It’s important to me that I keep reminding people where I’m from. Even though I don’t live in Slovakia anymore, I’m still incredibly proud of my heritage and culture. I think that’s something that will always define me, and I hope that’s what people will remember.
Fashion, Beauty, and Lifestyle with Juraj
FAB: What are your go-to fashion hacks for styling an outfit?
Juraj Straka: Obviously, it would be a piece from my own collection because I love wearing my designs. But if I didn’t have my own brand, I’d definitely choose something that stands out—something other than the usual black, navy, or white. Especially for men, I believe we deserve more colour. It shouldn’t just be for women. Historically, colour was shared across all genders and cultures. But in the past 40 years, it’s become so segregated. So yes, colour, colour, and more colour! Never miss a beat in fashion, arts, beauty, and lifestyle, follow FAB L’Style Magazine.
FAB: Your hair is awesome, so I’m torn between asking about your skincare routine or how you maintain healthy hair. Let’s go with the hair!
Juraj Straka: I have a funny answer for that! I just turned 40, and I’ve never had a skincare routine in my life. Honestly, I think it’s the stress that keeps me tense and looking fresh! Recently, though, I did a project with L’Oréal, and they sent me a huge package of cosmetics because I needed to match the packaging colours to my fabrics. For the first time, I had all these L’Oréal products, and I thought, “Why not try them?” I wasn’t going to throw them out. And wow, I realised how great they are! So now, I guess I’m a L’Oréal person—because I’m worth it! But honestly, it didn’t come from a deep desire for beauty products. It just kind of happened.
FAB: You’re incredibly busy, so how do you fit exercise into your daily routine?
Juraj Straka: I’m proud to say I’ve managed to fit it back into my schedule after a long time. In the past few months, I’ve been doing it consistently again. I used to swim a lot because my office was within walking distance of a pool. But since I went independent and moved, I no longer have that access. Now, I do simple exercises at home for my back because, as a designer, I spend most of the day sitting, which causes lower back pain. I don’t go to the gym or exercise outside. Instead, I do stretching and pulling exercises on a yoga mat, two or three times a week, in the morning before work. Just 20 minutes of exercises, and I’m finally starting to feel the benefits of it.
Fun Zone: #FABFastFive
FAB: If you had 24 hours to do whatever you wanted to do in life, what would that be?
Juraj Straka: Could I just spend it the whole day in the garden, gardening in the nice, beautiful sunny weather?
FAB: Would you take it if you had the opportunity to be immortal?
Juraj Straka: No, definitely no.
FAB: If you could design for a renowned client, who would that be?
Juraj Straka: I already fulfilled my life dream to work for Dries van Noten, so right now doing things for myself is the biggest dream.
FAB: Your weirdest superstition?
Juraj Straka: I think I’m superstitious with numbers.
FAB: One country you would like to travel to?
Juraj Straka: I have an unfulfilled dream to go to Canada. I’ve never been there yet, but I’m still kind of obsessed with it.
