Showing posts with label modelling industry. Show all posts
Showing posts with label modelling industry. Show all posts

Sunday, 19 July 2009

MODEL PROFILES: SASHA PIVOVAROVA

0 comments Posted by 2011 at 06:10


Four years may be a long time in politics, but in the world of fashion – it’s even longer.

From 2005 to 2009, the world has turned on a dime, and the fashion world has had little choice but to change and adapt to circumstance. Nowhere is this shift more evident than in the career of model Sasha Pivovarova.

Born in 1985, Sasha’s career in modelling began in 2005 when a photographer friend introduced her to IMG. Just a few months later, Pivovarova was making her debut at the Prada show in Milan.

Sasha, born and bred in Russia, built on her grand beginnings and steadily began the ascent to the top of the fashion world. Opening and closing shows for designers as varied as Preen, Balenciaga and Chloe, Pivovarova also worked with top photographers Steven Meisel and Patrick Demarchelier, shooting Vogue covers for France, Italy, Britain and Japan.

Her start in the modelling industry, with Prada, yielded results when the design house signed her up for an exclusive three-year contract. She also scored another first when she walked for Prada at six consecutive shows. Sasha modelled their ready-to-wear fashion along with eyewear and perfume. The relationship between model and brand set, Sasha was the face of Prada.

Sasha’s incredible success was not an isolated incident, but belonged to a wave of East-European and Russian models who invaded the fashion industry. Spear-headed by Daria Werbowy, the girls from the far side of Europe were (and continue to be) in huge demand.

Pivovarova, along with Natasha Poly and Natalia Vodianova, formed a charm offensive on the fashion industry. Their brand of beauty – aristocratic features paired with a definitive editorial edge – left the fashion world helpless to resist. Mastering both sides of the coin – having a strong, editorial look equally matched with conventional, knockout beauty – provided designers with the best of both worlds. These girls married a sense of the exotic with the familiar, and that Baltic beauty was what kept getting Sasha booked over and over again: it worked within designers’ comfort zones and produced a portfolio worthy of envy.

This glamour age in modelling coincided with our own ‘boom ‘era. It may have been short-lived, but high-end brands were doing well, and luxury brands were doing even better. No-one thought the worse of a celebrity for laying down serious cash for a must-have handbag. No-one had heard of the term ‘credit crunch’, simply because it hadn’t been invented yet. There was no need: everyone was doing just fine.

Fashion’s love affair with Russia was not just directed at the models it was producing. As the good times continued the number of affluent Russians ready to spend sky-rocketed. This meant a golden time for luxury and designer goods. Billionaires were buying designer goods in huge quantities, making Russia a key market for high-end fashion. For the first time, Russians were buying the fashion as well as starring in its runway shows and campaigns.

The celebration of decadence and luxury continued as Sasha scored a contract with Armani – another brand that translated particularly well in Moscow. Sasha’s career could not have been riding much higher: she was the model of choice for editorial shoots as well as raking in big bucks for big-name campaigns and endorsements. It was, in essence, the career models dream about when starting out in the industry.

But in 2008, the economic bubble burst. The property market collapsed, consumers lost confidence and the luxuries market seemed more than a little shaky.

An ordinary model might have quaked at the prospect of losing contracts. But Pivovarova was made of sterner stuff. With that quintessentially Russian toughness, Sasha held her nerve – and more crucially – kept her cool. She kept an open-mind too and found that the work did not disappear: it merely changed focus.

The high-end brands concentrated less on ready-to-wear (because, let’s face it, the first thing that goes in any budget-trim is the £3,000 coat), and re-shifted their priorities to the fashion consumables: accessories, cosmetics and perfume.

Where Sasha had advertised Prada dresses, she now advertised its perfume, which went on to do rather well. Her selling savvy transferred effortlessly to the smaller items, because she understood that selling a product (regardless of its price) relies on a model’s ability to sell a dream. A pair of sunglasses isn’t just two lenses and a frame: they are a gateway into another world.

Sasha’s easy-to-read beauty played well to the cosmetics and fragrance market. Her flawless skin and perfectly-set features ensured that if someone couldn’t afford an Armani evening gown, they would definitely be tempted to purchase a lipstick. After all, no-one stops buying lipstick, no matter how bad things seem to get. This seismic shift in marketing luxury is what has saved many designer names from going under in the worst recession since the 1930’s. They go with what people can realistically afford, and sell them the aspiration of luxury in a way that doesn’t pander or patronise. Those who have used this strategy have made millions.

Sasha has profited from this about-turn in her career by going with new opportunities and making the most of them. She has since the downturn worked for mid-range brands such as Gap and Zara, and now has an exclusive contract with skincare brand, Biotherm. By using models of Pivovarova’s standard, these firms are showing that they understand how to sell a product to a cash-strapped public and still stay in business. They use the best faces available, because with them, they bring the memory of better and more affluent times. More than ever before, models are not selling a tube of lipstick or a bottle of perfume: they are selling the idea of hope.

Sasha’s career has gone on from strength to strength, not just because of her extraordinary beauty, but because she kept an open mind and adapted herself to new opportunities. Many models would consider going from Gucci to Gap a bit of a step-down, but Pivovarova has been smart about lending her modelling kudos to these brands and both model and company have succeeded where others have notably failed.
Almost five years into a phenomenal career, Sasha is looking to the future. Having maintained an interest in art, she is developing her talent and has already exhibited in New York and Paris, with some of her work even featuring in French Vogue.

Whether she chooses to continue with fashion, or concentrate on art, what is for certain is that she has conquered the fashion world completely. She has been the face of luxury and the selling point of populist brands and accomplished both with impeccable style. Whatever the future holds next for Sasha, like the best military general, she knows that whatever has been done, there is always more to accomplish: it is a smart philosophy to live by, both now and for the times to come.


HELEN TOPE

 

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Sunday, 5 July 2009

MODEL PROFILES: CINDY CRAWFORD

0 comments Posted by 2011 at 06:16


For many, Cindy Crawford was the face of the Eighties. Her sophisticated, sultry look ran against everything the decade represented, but in spite of that Crawford brought ‘sexy’ back to the modelling industry, and made curves big business.

Born in 1966, and discovered at the age of 16 by a local newspaper photographer, Cindy broke into the industry when she entered the Elite Model Look of the Year contest a year later. She did not win the competition, but Elite were so impressed by her potential, that they signed her up anyway.

Cindy’s inauguration into the fashion world coincided with the ‘boom’ years of the Eighties, where people had plenty of disposable cash, and were in a mood to spend.

Classic American designers like Ralph Lauren did especially well during this era: the ‘preppy’ look (think 1950’s college student) was especially popular and people were definitely willing to pay top dollar for it.

The craze for labels started here. In the 70’s, top fashion labels such as Halston were only worn (and known) by a select few. In the Eighties, all that changed. Advertising made high fashion visible, desirable and most importantly, attainable.

Labels became a second language both here and especially in America. They spoke of status and wealth, taste being a secondary concern at this point. All that mattered was wearing the ‘right’ labels. It was more a case of who you wore, rather than how you wore it. Which goes some way to explaining some of the sartorial delights you can see if you google Eighties fashion.

This is the world Cindy Crawford stepped into when she signed up with Elite. High-fashion at the time was devoting its energies to pursing the income of the glitz and glamour crowd, and as we know, the Eighties were all about excess.

Bouffant hair laden with hairspray, and heavy make-up, made catwalk models appear years older than they actually were. This allowed customers to envisage themselves in the clothes. Designers wanted their clothes to sell, and flattered their customers by making the models look like them.

It was a canny ploy. Everyone now wanted to look worldly and sophisticated, and the concept of natural beauty was left behind, as much a part of the discarded Seventies as tank-tops and T-Rex.

This pursuit of mannequin-like perfection meant that Cindy Crawford’s impact on the modelling scene was not immediate, as the industry did not fully appreciate what it was she had to offer.
Her now-trademark mole was airbrushed off many of her earliest photographs, including a cover for Vogue. Crawford has since admitted that at the time, she felt under pressure to conform and have the mole removed – to create that perfect blank canvas – but she stood her ground and the mole stayed.

At the time it was a small decision, but in terms of her career, absolutely pivotal. Cindy Crawford flew the flag for natural beauty and the mole saved her from getting lost in the crowd. The ‘imperfection’ made her stand out, and being remembered is half the battle in getting work within the modelling industry.

As modelling jobs began to stack up, Crawford made a reputation for herself. Her curvy physique and dark features caught the attention of people outside the immediate fashion circle and created a stir in the wider media. She was a refreshing antidote to the 80’s mega-macho pop culture of cold beer, fast cars and beautiful women. A complete opposite to the coldly perfected faces in fashion, her fresh-faced beauty captured the public’s interest. Here was a model they could empathise with: someone who was warm and engaging, but still undeniably beautiful. The girl-next-door got an upgrade, as Crawford became a pin-up for teenage boys across the globe.

As her popularity grew, Crawford widened people’s perception of what sexy could be: a girl with beauty and brains, and unapologetic about having both? That was something new. She switched the idea of the ‘sexy American girl’ from a ditsy blonde bombshell to a sultry brunette ‘with brains and charm’, to quote US designer Michael Kors. Her image ran counter to every expectation, and her popularity soared because she was so different. People were ready for someone who was a non-conformist, and smart with it.
Expanding these horizons has been absolutely fundamental to the modelling industry, because if sexy only equals blonde hair and blue eyes – that’s a somewhat limited brief. Cindy was one of the first models to appeal equally to both men and women. Her unique mix of natural beauty and intelligent sex appeal made her a favourite with both.
Her success in the fashion world (including campaigns with Escada and Revlon, and covers with Vogue, W, Harpers Bazaar, Elle and Cosmopolitan) shows that she understood very clearly the difference in modelling for a predominantly female market, and modelling for a campaign specifically targeted at men. Her expertise in crafting her image towards a product, designer or campaign has been crucial to the development of modelling. Models like Tyra Banks and Gisele Bundchen owe a great debt to their predecessor.
As her name became better known, Crawford moved from fashion to television, as popular adverts (including one for Pepsi) proved that television couldn’t get enough of Cindy’s down-to-earth charm. She scored a lucrative job hosting MTV’s ‘House of Style’ from 1989 to 1995. The fashion news and features programme made contemporary fashion a visible presence in living rooms across the world. Cindy’s easy-going personality and natural flair in front of the camera ensured people stayed watching.
The popularity of the style show coincided with the era of the ‘supermodel’: a small, elect band of models who could command huge fees for just one day’s work. Cindy was part of that group, alongside Claudia Schiffer, Linda Evangelista, Naomi Campbell and Christy Turlington. They were not just models; they were celebrities in their own right.
Their fame turned to notoriety when Linda Evangelista famously told an interviewer that she wouldn’t consider getting out of bed for anything less than $10,000. There is now some discussion as to whether Evangelista made that comment in jest, but its controversy sparked a backlash against these models. Where they actually worth the astronomical fees they commanded?
At this point, Cindy Crawford sidelined into more television and film work, allowing herself to quietly drop off the fashion radar. It was good timing on her part, as fashion lost interest in the ‘Supers’, and fell in love with a new generation of androgynous girls spear-headed by a newly-discovered Kate Moss. They were younger, but more importantly, as the 80’s economic bubble burst, they were cheaper.
As fashion moved on, Cindy Crawford developed her business acumen she had cultivated during an unusually long modelling career. Tailoring a skincare line and home furnishings brand, she devoted the next decade to doing what she did best: selling.
Cindy Crawford was one of the first models to ‘do it all’: modelling, acting, presenting and big business. Crawford was perceptive enough to take notice of what was going on around her, and not take success for granted. Her astute business sense and ability to openly evaluate her own strengths provided a stand-out business model for the next generation following her.
Fashion once sneered at the concept of ‘sex sells’, perceiving it be something low-rent and nothing to do with the rarefied world of haute couture. Now it is difficult to imagine the fashion world without it. From catwalks to editorials, a smouldering look now sells everything from sunglasses to face cream. Cindy proved that sex appeal could be something subtle and aspirational – something that would enhance high fashion rather than act as an unwelcome distraction.
Cindy Crawford also opened doors for models to be able to do ultra-sexy swimwear shoots, alongside more traditional modelling fare of beauty campaigns and couture shows. Crawford proved it is possible to do it all, and do it on your own terms.
By not conforming, Crawford created a new type of career that had a huge impact on the modelling industry itself. A model entering the market today does not have to pick and choose as to whether she can be sultry, or high-fashion. It is possible to pursue both avenues and retain your credibility.
Crawford altered our perceptions of what ‘sexy’ looks like, and did so while holding onto her intelligence and much-needed sense of humour. It has kept her in the public eye for more than 20 years, and her place within modelling history remains, and will be for the foreseeable future, undisputed and unrivalled.


HELEN TOPE

 

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Monday, 25 May 2009

MODEL PROFILES: KATE MOSS

0 comments Posted by 2011 at 07:40


Kate Moss is the most influential model working in fashion today. The girl from Croydon holds a special place in modelling history: she is someone, who on paper, should never have succeeded as a model.

Kate’s career began when she was discovered at a New York airport by Storm agency founder Sarah Doukas in 1988. Kate’s meteoric rise through the fashion ranks began with a photo shoot for ‘The Face’ magazine with photographer Corinne Day. The edgy, cool shots spread through the fashion world like wildfire. It was here that Kate was first cast as the ‘anti-supermodel’. Her teenage, waif-like body could not have been more different to the Nineties’ clutch of supermodels: Cindy Crawford, Claudia Schiffer, Naomi Campbell and Linda Evangelista. They were conventionally beautiful and uber sexy. The remit for models was a womanly but slender figure – something that could comfortably fill out a Versace gown.
Kate Moss did the rounds at teen magazines, but it wasn’t until 1993 that she got her first big break. Kate’s inauguration into the public sphere occurred thanks to the vision of American designer Calvin Klein. The now-iconic black and white minimalist ads made Kate the embodiment of progressive, modern fashion – a perfect segue from the Eighties hangover of glamour and sequins. She was small, quirky and unconventional. Perfect for the Nineties.

Kate’s career blossomed virtually overnight. She began to work with the biggest designers, photographers and publications in the fashion industry. Her slight figure courted controversy as the press labelled her look ‘heroin-chic’ (based on the extreme emaciation of drug addicts), but Kate kept her cool and carried on working. Her unwillingness to get drawn into a debate on whether she was a good example to teenagers or not proved to be a canny move. The world of fashion does not stay still for long, and soon the ‘heroin chic’ look fell out of favour. But Kate remained. What she famously lacked in height (Kate, at just over 5’7”, is significantly below the standard industry requirement of 5’10”), she made up for in versatility. The fashion industry saw that in Moss, they had a face-in-a-million. A face that could sell any look: glamorous, editiorial, commercial.
By 2003, as well as her ‘mother agency’ Storm, she needed three additional agencies to manage the deluge of requests for her time. The fiscal years of 2004-06 saw Kate become the second highest-earning model in the world, second only to Gisele Bundchen. In addition to this, Kate has (to date) appeared on 24 British ‘Vogue’ covers, and 17 covers of the US style bible ‘W’. By anyone’s standards, this is an impressive track record.
If Kate had stuck to modelling, this alone would have ensured her longevity, but Kate’s popularity outside the perimeters of the fashion world was something entirely new. Everywhere she went, whatever she did, her style was obsessively chronicled across the world’s media. She wasn’t just a model: she was a pop-culture icon.
For years, the fashion press speculated on whether Kate would ever branch out into fashion design. April 30th 2007 saw the launch of the first Kate Moss / Topshop design collaboration. Kate red-ribboned the collection at Topshop in Oxford Street, appearing in the window as a live mannequin. It caused a sensation and the public, were they in further need of convincing, were hooked.
Financially, the first collection was a huge success, but there was some controversy over the term ‘designer’. Some doubted Kate’s credentials – had she any say in the development of the collection at all? Kate set the record straight by confirming that she did not design the clothes herself, but rather acted as a muse to the TS design team; bringing in samples of her own clothes to act as jumping-off points, and to discuss fabrics and finishings, as well as modelling the finished articles for the TS promotional campaign.
The collection, despite its success, initially received some mixed reviews. Some dubbed it ‘Duplikate’ – clothes for a generation of girls who have grown up watching, admiring and copying their fashion idol, although to criticise such a collection on these grounds is somewhat missing the point. The brilliance of the collaboration between Moss and TS simultaneously paid homage to, and took advantage of, her status as a style icon.
The first and subsequent Topshop collections have been designed for and marketed towards a generation who have dressed under the umbrella concept of ‘celebrity style’. They see, they like, they wear.
Where Kate has engaged with the public most successfully, is how she has ignited popular fashion trends. In recent years, she has spear-headed trends as diverse as denim shorts, Ugg boots, ballet flats, skinny jeans, the waistcoat and the leopard-print scarf, all of which have scored big with consumers across all age and income brackets. In an age where film stars recruit stylists to dress them before popping out for a latte, Kate understands that true style is innate, which is why the public respond to her in the way they do. A scarf thrown on at the last minute before heading out the door becomes a worldwide fashion blockbuster because it is spontaneous, unstudied and fun. Kate Moss has made an indelible mark on how we dress, and present ourselves to the world.
Kate has also steadfastly refused to play the fame game. Notorious for her lack of interviews, Kate Moss has remained at the top of the game by remaining an enigma: a tactic that has garnered more press attention than the ‘confessional’ attitude of D-list celebrities. It is this Garbo-esque silence that has proven to be Kate’s most irresistible play.
What makes Kate Moss so unique in comparison to other models, is her comparative ordinariness. Before her, models were statuesque, utterly beautiful and frankly, more than a little intimidating.
Kate has blown apart the conceptions of what a model should, and can, be. She is the ultimate outsider (‘wrong’ in so many respects), who ended up persuading the fashion industry to see style and beauty from her own unique point of view.
Kate’s legacy is one of embracing frailty and imperfection. This is why the public, and in turn, the world’s media, have embraced her so wholeheartedly. She is, on the face of it, just an ordinary girl. Kate never claimed to be a role model, just a model. She has no interest in being put on a pedestal – for Kate, modelling begins and ends with fashion, not celebrity.
When Moss is remembered, it will not be for the scandals, or the feted rock’n’roll lifestyle – it will be for her unabiding love for fashion. It shines through every photograph. Kate has a profound respect and appreciation for the creative process that makes fashion work. It is Kate’s understanding that the worlds of fashion and modelling progress hand-in-hand, that has made her the most sought-after name in modelling today.
It is a mistake to think that because someone chooses to remain silent, it is because they have nothing to say. Kate Moss has made a fortune on the belief that beauty is not perfection. The best of her work shows that her message is about the importance of accepting one’s flaws. Kate knows instinctively that there is no point in pretending to be perfect. There is much more mileage in being imperfect: in the long run, it makes life (and fashion) much more interesting.
HELEN TOPE

 

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Wednesday, 4 February 2009

Model Citizen

0 comments Posted by 2011 at 07:47

It is a truth universally acknowledged that the modelling industry is littered with stories of discovery. Kate Moss was discovered at an airport; Jessica Stam was found at a coffee shop and Jourdan Dunn was scouted whilst shopping at Primark.

These stories have become the stuff of legend; namely, that any pretty girl (if she hangs round for long enough) will be discovered – it’s all a matter of luck. To be sure, there is an element of luck in securing an agent, but the reality of being ‘discovered’ is somewhat different – and much more like hard work.

Modelling agencies routinely receive hundreds of applications every year, and of those, only a tiny fraction makes it through to an initial meeting, let alone the elusive contract signing. Success in finding an agency may be a numbers game, but those numbers are small.


Before we go any further, you must be honest with yourself. Ask yourself, right now, why you want to be a model. If the answer falls anywhere in the ‘I want to be famous’ ball-park, quit while you are ahead. If your aspirations begin and end with a guest spot on Celebrity Big Brother, this is not the game for you.

If you start a career in modelling, you can look forward to a career that boasts long hours, few perks and wearing designer clothes completely out of season (bikinis in November, anyone?). In addition to this, you may end up spending weeks and months away from your family and friends. If you feel you can cope with this, carry on reading.



Modelling may seem to be the glamorous option in the grey-flannel world of 9-5. But make no mistake: modelling is for the tough cookies of this world. To succeed as a model, you need stamina, resilience and the (metaphorical) skin of a rhino. Modelling is a tough business, but a business first and foremost. Models are commodities. When applying to an agency, you must know how to present yourself as a covetable commodity. It is a crowded marketplace already; to stand out you must sell yourself and sell yourself well.

If you genuinely have a passion for fashion, there is no better place to start. The internet is the best tool at your disposal in terms of applying to modelling agencies. It can be used not only to sniff out agency contacts, but also used as an invaluable means of research.

However, type ‘modelling’ into any search engine and you will come up against some of the greatest pitfalls too. If you receive or see any of the following, avoid like the plague:

§ Online invites (via Facebook or any chatroom);

§ Companies inviting you to pay large sums of cash to attend an ‘Assessment Day’ with a ‘top photographer’ to grade your suitability;

§ Any agency that charges a ‘casting fee’ or advises you to spend large sums of money building a ‘professional portfolio’.

My prolific use of sarcastically-applied speech marks should give you a clue of how you should regard these blatant attempts to part you from your cash. In order to secure an agency’s interest, you do not need to part with any money. These scams are run by individuals who have little or no connection with the legitimate modelling industry. As a general rule, the more they promise, the less you’ll receive.

Assuming you’ve now found an agency’s website that you like the look of. There’s no mention of fees or expensive portfolios? Good. Look around the website for the use of these initials: AMA. These refer to the Association of Model Agents. This association represents the best modelling agencies in the UK, and the ones with the most work. There is no guarantee an agency associated with the AMA will accept you, of course, but if they do, you can be pretty much assured that you are in safe hands. Only reputable agencies are part of this organisation.

While you are looking at an agency’s website, cast an eye over the models currently on their books. These are signposts to the aspiring model – do you (roughly) match the look of these girls? Be realistic about your own marketable appeal: if you are a girl-next-door type with a great smile, then a top-notch editorial agency may not be for you.

Scour fashion magazines as part of your research too, and locate yourself within the current industry. If you are an edgy beauty who got teased at school for being gangly and awkward, you may find your place within the high-fashion world. If you are that smiley, girl-next-door type, you might like to note that commercial modelling can provide a highly rewarding (and lucrative) career.

There are numerous agencies out there, each catering to a different area of the market. If you really have ‘it’, that indefinable something, you will eventually find your niche.

So – you’ve found an agency that seems to match your look. The next step is how to apply. After research, come headshots. Remember when I said you don’t need a portfolio? All you really need is you, a friend and a digital camera.

Most agencies require a head-shot (head and shoulders, taken from the front) and a full body-shot (head to toe, again taken head-on). Before snapping away, always check the agency’s website first as they will usually have a page that stipulates application requirements - some agencies prefer a head-shot and a profile-shot. Don’t worry if your photographer isn’t brimming with previous experience: a good agent will be able to tell if you are photogenic from non-professional snapshots.

These photos need to be shot in good light (natural or artificial). The background needs to be as clutter-free as you can make it – standing against a blank wall is perfect. Just remember that you are the focus - no arty shots here! In terms of posing, stand up straight with your shoulders back. Resist the urge to slump or hunch over like the girls in Vogue. There’ll be plenty of time for that sort of thing later on. It’s easier said than done, but do not smile or pout. Most agencies prefer a relaxed, neutral expression which allows your features to do the talking.

Like the photo, you must present yourself as a clean, uncluttered canvas. Do not make the common mistake of over-dressing. Wear nothing too trendy or distracting. A simple vest and a good pair of jeans are ideal. Make sure the clothes clearly show the outline of your figure, but are not too tight.

With hair and make-up, think pared down but polished. Clean hair is a must – if it is long, pull it back off your face into a ponytail. Use make-up sparingly but effectively. Use a tiny amount of brown-black mascara (brown if you are blonde), and a touch of lip-balm to define your features so they don’t wash out on camera. However much make-up you think you might need, decrease it by 25%. The make-up needs to subtly enhance your features and bone structure – not get in their way. Eyeliner, blush and lip-gloss are not your friends here. An agent wants to see you, not what you can do with a Ruby & Millie retractable eye pencil. Many girls applying to agencies, however, will make this mistake– let them go ahead. It may feel strange, but less is most definitely more and will give you an automatic head-start over the wannabes who have failed to do their homework.

The agent will, in viewing your photos, need to see the quality of your skin. However, if your skin poses such a problem that it absolutely needs coverage, you will score points with an agent for being honest about this. Problem skin (especially teenage) can be treated easily with medication, so don’t view this as an insurmountable hurdle. It may be a bug-bear for you, but an agent may see a few spots as nothing that can’t be fixed.

Be aware when choosing how to present yourself in these photos, that it must be a reasonable representation of what you really look like. Absolutely no digital re-touching, however tempted you may be!

When you have two photos that you are happy with, they can be usually downloaded straight to the agency via their website (again, check individual agencies for their submission guidelines). Remember to leave clear contact details, including a mobile number so you can be reached during the day.

Good news: an agent’s seen your pictures and thinks you may have potential. You are cordially invited to go to the agency and meet with the agent in person.

Treat this meeting in the way you would a normal job interview – prepare as much in advance as possible.

Again, research is crucial. Re-visit the agency’s website and glean as much information from it as possible. What is the main focus of its work – commercial, editorial, or a mixture of the two? Who are the agency’s main players, and who are its alumni?

Take this opportunity to delve deeper into the fashion world: read fashion magazines like they’re going out of style and go beyond the usual suspects. Learn about new photographers, designers and up-and-coming faces in the modelling world. Just remember: a little knowledge is not a dangerous thing.

Now it’s time for the logistics. If you’re going to an agency in an unfamiliar city, plan your route ahead of time and make Streetmap your bible. When estimating travelling time, always be over-generous. It’s better to feel daft cooling your heels in a cafe because you’ve arrived too early, than arriving in the fog of blind panic that comes from knowing that you are horribly, irretrievably late. Remember that modelling, for all the perceived glitz and glamour, is a business. Take a tip from Tyra Banks, and be on time like your life depends on it.

When deciding on what to wear for the meeting, think back to how you presented yourself in the photo. Think clean, modern and polished. By dressing in this way, you are presenting yourself as a blank canvas onto which an agent can project and speculate how best to fit you into an already-teeming industry. Presenting yourself in this way also has the added bonus of making you look professional, and even better, flags up to the agent that you know what you’re doing.

When you are talking to the agent, be friendly and attentive. If you need a moment to frame a response to a question, don’t be afraid to take it. It shows that you’re taking them seriously. There is no doubt that you will get the perennial ‘...and why do you want to be a model?’ question – don’t blurt out the first thing that comes into your head. Think about what really inspires you about fashion. There is nothing more encouraging to an agent than a prospective model that is passionate and engaged about the industry.

Be prepared for the fact that you may not get an immediate answer from the agent. Many will need to discuss you with colleagues before reaching a final decision, especially in larger agencies where there is standing room only. Don’t be despondent if you feel the meeting didn’t go as well as you’d hoped. However you feel it went, it’s important to remain upbeat and polite when thanking the agent for their time.

When you do get that phone-call, be prepared for rejection and when it does come your way, don’t take it personally: there’s a lot of it to go round. If you are not right for one agency, you may be perfect for another. It is very rare to be accepted onto an agency’s books at the first go.

If you do get a no, ask for feedback. Some of it may not be what you want to hear, but take it onboard for next time. If you are unsuccessful, but get largely positive notes, ask for any recommendations on where to go from here. The fashion-world is tightly knit and the agent will almost certainly know of an agency where you might get a more favourable response.

Repeat this process until you get that elusive yes, and good luck!



These stories have become the stuff of legend; namely, that any pretty girl (if she hangs round for long enough) will be discovered – it’s all a matter of luck. To be sure, there is an element of luck in securing an agent, but the reality of being ‘discovered’ is somewhat different – and much more like hard work.

Modelling agencies routinely receive hundreds of applications every year, and of those, only a tiny fraction makes it through to an initial meeting, let alone the elusive contract signing. Success in finding an agency may be a numbers game, but those numbers are small.


Before we go any further, you must be honest with yourself. Ask yourself, right now, why you want to be a model. If the answer falls anywhere in the ‘I want to be famous’ ball-park, quit while you are ahead. If your aspirations begin and end with a guest spot on Celebrity Big Brother, this is not the game for you.

If you start a career in modelling, you can look forward to a career that boasts long hours, few perks and wearing designer clothes completely out of season (bikinis in November, anyone?). In addition to this, you may end up spending weeks and months away from your family and friends. If you feel you can cope with this, carry on reading.



Modelling may seem to be the glamorous option in the grey-flannel world of 9-5. But make no mistake: modelling is for the tough cookies of this world. To succeed as a model, you need stamina, resilience and the (metaphorical) skin of a rhino. Modelling is a tough business, but a business first and foremost. Models are commodities. When applying to an agency, you must know how to present yourself as a covetable commodity. It is a crowded marketplace already; to stand out you must sell yourself and sell yourself well.

If you genuinely have a passion for fashion, there is no better place to start. The internet is the best tool at your disposal in terms of applying to modelling agencies. It can be used not only to sniff out agency contacts, but also used as an invaluable means of research.

However, type ‘modelling’ into any search engine and you will come up against some of the greatest pitfalls too. If you receive or see any of the following, avoid like the plague:

Online invites (via Facebook or any chatroom);

Companies inviting you to pay large sums of cash to attend an ‘Assessment Day’ with a ‘top photographer’ to grade your suitability;

Any agency that charges a ‘casting fee’ or advises you to spend large sums of money building a ‘professional portfolio’.

My prolific use of sarcastically-applied speech marks should give you a clue of how you should regard these blatant attempts to part you from your cash. In order to secure an agency’s interest, you do not need to part with any money. These scams are run by individuals who have little or no connection with the legitimate modelling industry. As a general rule, the more they promise, the less you’ll receive.

Assuming you’ve now found an agency’s website that you like the look of. There’s no mention of fees or expensive portfolios? Good. Look around the website for the use of these initials: AMA. These refer to the Association of Model Agents. This association represents the best modelling agencies in the UK, and the ones with the most work. There is no guarantee an agency associated with the AMA will accept you, of course, but if they do, you can be pretty much assured that you are in safe hands. Only reputable agencies are part of this organisation.

While you are looking at an agency’s website, cast an eye over the models currently on their books. These are signposts to the aspiring model – do you (roughly) match the look of these girls? Be realistic about your own marketable appeal: if you are a girl-next-door type with a great smile, then a top-notch editorial agency may not be for you.

Scour fashion magazines as part of your research too, and locate yourself within the current industry. If you are an edgy beauty who got teased at school for being gangly and awkward, you may find your place within the high-fashion world. If you are that smiley, girl-next-door type, you might like to note that commercial modelling can provide a highly rewarding (and lucrative) career.

There are numerous agencies out there, each catering to a different area of the market. If you really have ‘it’, that indefinable something, you will eventually find your niche.

So – you’ve found an agency that seems to match your look. The next step is how to apply. After research, come headshots. Remember when I said you don’t need a portfolio? All you really need is you, a friend and a digital camera.

Most agencies require a head-shot (head and shoulders, taken from the front) and a full body-shot (head to toe, again taken head-on). Before snapping away, always check the agency’s website first as they will usually have a page that stipulates application requirements - some agencies prefer a head-shot and a profile-shot. Don’t worry if your photographer isn’t brimming with previous experience: a good agent will be able to tell if you are photogenic from non-professional snapshots.

These photos need to be shot in good light (natural or artificial). The background needs to be as clutter-free as you can make it – standing against a blank wall is perfect. Just remember that you are the focus - no arty shots here! In terms of posing, stand up straight with your shoulders back. Resist the urge to slump or hunch over like the girls in Vogue. There’ll be plenty of time for that sort of thing later on. It’s easier said than done, but do not smile or pout. Most agencies prefer a relaxed, neutral expression which allows your features to do the talking.

Like the photo, you must present yourself as a clean, uncluttered canvas. Do not make the common mistake of over-dressing. Wear nothing too trendy or distracting. A simple vest and a good pair of jeans are ideal. Make sure the clothes clearly show the outline of your figure, but are not too tight.

With hair and make-up, think pared down but polished. Clean hair is a must – if it is long, pull it back off your face into a ponytail. Use make-up sparingly but effectively. Use a tiny amount of brown-black mascara (brown if you are blonde), and a touch of lip-balm to define your features so they don’t wash out on camera. However much make-up you think you might need, decrease it by 25%. The make-up needs to subtly enhance your features and bone structure – not get in their way. Eyeliner, blush and lip-gloss are not your friends here. An agent wants to see you, not what you can do with a Ruby & Millie retractable eye pencil. Many girls applying to agencies, however, will make this mistake– let them go ahead. It may feel strange, but less is most definitely more and will give you an automatic head-start over the wannabes who have failed to do their homework.

The agent will, in viewing your photos, need to see the quality of your skin. However, if your skin poses such a problem that it absolutely needs coverage, you will score points with an agent for being honest about this. Problem skin (especially teenage) can be treated easily with medication, so don’t view this as an insurmountable hurdle. It may be a bug-bear for you, but an agent may see a few spots as nothing that can’t be fixed.

Be aware when choosing how to present yourself in these photos, that it must be a reasonable representation of what you really look like. Absolutely no digital re-touching, however tempted you may be!

When you have two photos that you are happy with, they can be usually downloaded straight to the agency via their website (again, check individual agencies for their submission guidelines). Remember to leave clear contact details, including a mobile number so you can be reached during the day.

Good news: an agent’s seen your pictures and thinks you may have potential. You are cordially invited to go to the agency and meet with the agent in person.

Treat this meeting in the way you would a normal job interview – prepare as much in advance as possible.

Again, research is crucial. Re-visit the agency’s website and glean as much information from it as possible. What is the main focus of its work – commercial, editorial, or a mixture of the two? Who are the agency’s main players, and who are its alumni?

Take this opportunity to delve deeper into the fashion world: read fashion magazines like they’re going out of style and go beyond the usual suspects. Learn about new photographers, designers and up-and-coming faces in the modelling world. Just remember: a little knowledge is not a dangerous thing.

Now it’s time for the logistics. If you’re going to an agency in an unfamiliar city, plan your route ahead of time and make Streetmap your bible. When estimating travelling time, always be over-generous. It’s better to feel daft cooling your heels in a cafe because you’ve arrived too early, than arriving in the fog of blind panic that comes from knowing that you are horribly, irretrievably late. Remember that modelling, for all the perceived glitz and glamour, is a business. Take a tip from Tyra Banks, and be on time like your life depends on it.

When deciding on what to wear for the meeting, think back to how you presented yourself in the photo. Think clean, modern and polished. By dressing in this way, you are presenting yourself as a blank canvas onto which an agent can project and speculate how best to fit you into an already-teeming industry. Presenting yourself in this way also has the added bonus of making you look professional, and even better, flags up to the agent that you know what you’re doing.

When you are talking to the agent, be friendly and attentive. If you need a moment to frame a response to a question, don’t be afraid to take it. It shows that you’re taking them seriously. There is no doubt that you will get the perennial ‘...and why do you want to be a model?’ question – don’t blurt out the first thing that comes into your head. Think about what really inspires you about fashion. There is nothing more encouraging to an agent than a prospective model that is passionate and engaged about the industry.

Be prepared for the fact that you may not get an immediate answer from the agent. Many will need to discuss you with colleagues before reaching a final decision, especially in larger agencies where there is standing room only. Don’t be despondent if you feel the meeting didn’t go as well as you’d hoped. However you feel it went, it’s important to remain upbeat and polite when thanking the agent for their time.

When you do get that phone-call, be prepared for rejection and when it does come your way, don’t take it personally: there’s a lot of it to go round. If you are not right for one agency, you may be perfect for another. It is very rare to be accepted onto an agency’s books at the first go.

If you do get a no, ask for feedback. Some of it may not be what you want to hear, but take it onboard for next time. If you are unsuccessful, but get largely positive notes, ask for any recommendations on where to go from here. The fashion-world is tightly knit and the agent will almost certainly know of an agency where you might get a more favourable response.

Repeat this process until you get that elusive yes, and good luck!

Helen T.

 

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