Types of Modeling
The market determines what models are needed. These needs tend to cluster into market segments and allow us to look at types of models. It is important to understand the type of model you want to be. By understanding the type of modeling you are interested in you can learn what the requirements are and if you can meet them. This also helps in avoiding getting ripped off. I have seen the greatest number of rip-offs and bad business decision happen when a wannabe model is thinking of one type of modeling (usually high fashion) and a scout, agent, photographer, etc. is recruiting for another (life style, Playboy glamour). So it is very important you understand what type of modeling you are interested in.
Fashion Modeling
The Garment and Beauty product industries are large users of models. People want to see what clothes or beauty products look like on somebody. Your high-fashion, designer-label garments, are designed for what fashion designers view as the "ideal woman." This is someone tall and slender, somewhat leggy, with a swan like neck and very young. In major markets like New York, this is someone who is 5'9" to 6' tall and from a size 8 to a size 0 depending on what is in. For men it is at least 6 foot tall and a 40 regular - of course, you have to have that "look" to go with the clothes. In secondary markets we would like to have this but often work with fashion models that don't meet these measurements. It is more important you just have a look of being tall and slender and that the sample clothes will fit you. The "look" can run from classic beauty to some extreme looks for fashion.
If you are going to work in front of the camera you need to be photogenic, and this you won't know until you do a test shoot. Usually the face is oval shape, with symmetry to the facial features. Eyes are almond shape. The cheekbones should be strong and nose straight and proportioned. Lips should be full. All of this just puts you in the general category; from there it is a matter of what the market demands are.
On the money - Top New York High Fashion models (there are just a handful of these folks) make more money then any other models (As high as eight million a year). By contrast a model doing a fashion show at a local mall may get paid nothing. This shows the wide range of income one might expect in fashion modeling. Most folks who try to make it as fashion models will earn almost nothing so don't quit your day job.
Types of Fashion modeling:
FASHION EDITORIAL MODELING - Vogue, Elle, Glamour, Cosmo, etc. - these and many other magazines today that focus on fashion have lots of editorial pages they must fill each month. Many of these editorial pages feature models wearing what the magazine thinks will be the next trend in fashion. Editorial work does not pay as well as other types of high fashion modeling but it is great for building a model's reputation and getting tear sheets for one's portfolio. Also, because fashion magazines are not as constrained as advertising work, they can use more 'extreme' and 'special beauty' models in their pages.
FASHION RUNWAY MODELING - Clothing designers traditionally show their new collections twice a year (Fall and Spring) to perspective (store) buyers. (buyers is a key word here, if some one is putting on a fashion show without buyer then it is entertainment) As an example, the New York Ready Wear shows just finished with 110 designers presenting collections for Fall 2000 (post 9/11 the number of designers has fallen 30%, note 2010 slow economy has not been kind to the fashion industry). Designers present these collections to a gathering of buyers by sending models down a walkway or runway. How well a model brings the clothes to life and shows important features of the garments can determine how well they sell. So it is worth it to a designer to have the most ideal models show these collections. This leads to why models have to meet very strict requirements and why they get such high fees for this type of work (modeling agencies have also forced up fees). These young models tend to be very tall, slender and move very well in clothes.
FASHION CATALOGUE MODELING - There are a lot of clothing catalogs produced. These catalogues, whether business-to-business, store, or direct marketing, require models to pose in the clothes they are trying to sell. Generally, catalog models are picked for a project because they represent the ideal of the market segment for which that catalog is targeted. Often times this is the classic beauty - tall, slender, healthy, and beautiful. The marketing idea is for transference, i.e. if you buy these clothes you will look as nice as the person pictured in the catalog. Catalogue modeling usually pays well because of the volume of photos that must be taken.
FASHION PRINT MODELING - This is fashion and beauty for print advertising. It can be display ads or collateral print materials. This is the most demanding work to get but pays the best because of usage and exclusives (this is where models make millions). These are the ads that can make or break a designer's reputation. With these ads it is very important that the concept, photo, and model work perfectly to convey the 'image' that is wanted.
FASHION SHOW ROOM MODELING - Modeling for buyers in the designer's show room. This is lower pay but very regular work, it could even be a full time job. Only happens where there are designer show rooms.
FASHION LINGERIE MODELING - Because this type of modeling may be more revealing it requires very good body tone and proportions.
FASHION SWIM SUIT MODELING - Again, more revealing requires excellent body tone and a healthy look.
FASHION FITNESS MODELING - As health and fitness has moved more into the public consciousness a greater demand has grown in this type of modeling. Of course being in the city with the corporate headquarters for Nike, Adidas, and Columbia Sportswear makes it very noticeable here. Where once everyone exercised in baggy gray sweats, fitness attire continues to evolve and become more everyday wear. Add to this all of the fitness, health, and outdoor lifestyle magazines that are on the newsstands and you have a fast growing category for modeling.
FASHION FIT MODELING - Fit models have the perfect proportions for a given clothing size. Garment manufactures and designers hire fit models to use to piece together new creations, see how they move, and develop their patterns. The key for a fit model is to never gain or loose an inch. A clothing manufacturer may hire a fit model as a permanent salary position. It is one type of legitimate modeling that you can see advertised in the classified section of the newspaper.
FASHION INFORMAL MODELING - This once was very popular (the '80s) in smaller markets. Usually it would be at ladies' lunches where models would wander between tables wearing designer clothes from local fashion boutiques. The models would describe the outfit they wore and where to buy it. Not big money, but a place to start and gain confidence in a small market.
FURTHER DIVISIONS - These categories can have further sub-categories for size - petite and plus, and for age - children, pre teen, and mature. Petite size models usually are 5'2" to 5'6". Plus size is the same height as standard size models but size 14 -16. Main stream models usually start in around 14 years of age and go to their early twenties. Obviously pre-teen is before this age and mature is everything after it.
A category of modeling will only be found where there are clients to support it. Since almost all of the fashion magazines are based in New York, that is where you will find work in the fashion editorial modeling category.
Body Part Modeling
Body part modeling is a special category that belongs in both fashion and commercial modeling. This is the use of just part of the body in a photograph. Often standard models that look great in full-length shots or headshots don't look so good close up. Their hands or feet may look horrible. This is where the body parts model comes in. We will set up a shoot using the standard model's face but the body part model's hands and it looks like it is just one person. Usually body part models will specialize in just one part of the body like hands, feet, legs, ears, or neck.
Hand models are one type of body part model that I have had more call for. With hand models we look for long slender graceful hand and fingers. We also look for smooth (no wrinkles, hair or large pours), clear (no blemishes or irregular color) skin, and very good nails. The ability to pose the hand in a relaxed graceful fashion is very important.
Body parts model follow a similar path as regular models with finding modeling agencies, building portfolios and having comp cards. They simply pursue a very special niche market.
Commercial Modeling
Commercial modeling is sort of the catch all for everything that isn't fashion and isn't glamour. It is vast and diverse. The physical requirements can vary greatly. The 'look' can be mother, business executive, scientist, glamorous beauty, etc. The pay can be good but not to the level of the top fashion model and commercial models tend to find work less often. But it can be an area on can work part time at their whole life. Again, the purpose is to sell something - a product, service, or idea.
Some Categories of Commercial Modeling are:
COMMERCIAL PRODUCT MODELING - Generally we are generating a photo to sell a product and the model is used to show how the product is used. Also, model may be used to convey an image about a product. An example would be a model dressed like a doctor holding a blood pressure device. This gives an image of medical authority being behind the product. There is also the old technique of selling a product by putting someone attractive by it. Although it may not be politically correct to do this, it still is done and it works. People stop to look at a pretty face, not at another computer box. The physical requirements and look for commercial product modeling can vary a great deal. It all depends on the image or story you are trying to tell. This is where character models are used.
COMMERCIAL LIFESTYLE MODELING - Models are used in photos showing a period of life or doing something in life. The photo might be an older couple walking on the beach and the photo is used in the advertising materials for a new retirement resort. Or a photo of a young couple playing in a park with their children and the photo is used in an ad for a life insurance company. The models are used to act out some concept or idea of life. The physical requirements, age, size, etc. can vary greatly. But most often they use the "beautiful people" in these photos rather then real folks off the street.
COMMERCIAL CORPORATE MODELING - Corporate modeling is like Lifestyle but it always has a business theme. Again physical requirements can vary greatly, but usually attractive people are used - although sometimes character models are used.
PRODUCT DEMO - In smaller markets this seems to be a favorite area to start models. Models stand in front of, or in a store or mall, and hand out free samples of something. The idea is they want someone attractive that people will be drawn to and will work for just a few hours or a few days. When you are young and starting out this pays better then any regular job and it can really build your confidence around people.
TRADE SHOW MODELING - Once again attractive people are attention getters. When a trade show comes to town some exhibitors may hire models to hand out literature at their booths. One of the classics examples of this is the auto show. Again, it gives some income when you are starting out and gets you in front of the public.
SPORTS/ATHETICALLY PROFICIENT/FITNESS - This is kind of lumping a lot together but this has been a growing area in modeling. With sport attire companies like Nike and the increase number of personal sports, fitness and outdoor magazines the need for models that look like they actually know what they are doing has grown. The idea is to look good and actual be proficient at the activity being photographed.
HOBBY MODELING - This is modeling for the fun of it, to help out a cause or a place to get started. Some folks may never make a living at modeling but enjoy being in front of the camera or being on the runway. It also ties in with organization that might put on a fashion show as a fundraiser. There have also been cases where some one may start modeling just for fun and this may some day lead to a career.
ALTERNATIVE MODELING - This term has been coined for the whole gothic/punk modeling. This is a very specialize niche
EXTRAS MODELING -This is where you just need someone to put in a photo. When doing an outdoor tourist bureau type photos you often find you need someone hiking a trail or standing at an overlook, this is where you need a warm body to help animate the photo. This type of modeling does not pay much and may even be done on spec, but if you like doing outdoors or tourist activities it is a chance to make money while having fun. This type of modeling can be open to all ages and sizes.
Glamour Modeling
Glamour modeling is modeling for photos with a sexual theme. This might be a simple soft or hard type photos. They can include bikini, sexy outfits and lingerie modeling. On the soft level, photos can be used for calendars, posters, and other pin-up girl products. You can't pick up a car magazine without seeing a babe by the car or truck. As one moves to greater states of undress you move to the adult entertainment industry with high-end men's magazines like Playboy and then on down to the low-end back-ally magazines. But it is the Internet that dominates this field and is now loaded with all levels of sexual model photos. Glamour modeling and its triple X component is a very big industry. Top glamour models can make as much as top fashion models. But what is different from other types of modeling is all grade levels in glamour modeling can make good money and it is common for an established model to make over 50,000 pounds a year. There are no height or size requirements as in fashion modeling. Where fashion modeling wants you to look like a beanstalk, glamour modeling wants you to have curves like a young Pamela Anderson. Where fashion may want a 'special beauty look', glamour modeling wants traditional drop dead gorgeous; where fashion really only happens in New York, glamour can happen anywhere and does.
You have to be over 18 to do glamour modeling even soft . With the way the laws are today a photographer runs a real risk doing any kind of sexy photo with someone under 18. With news story reporting mothers are being thrown in jail for photographing their own children taking a bath and putting the photo in a family album, I think the risk is too great and the return too small to do any glamour work with someone under 18. But this field is wide open once one is of legal age. Unlike fashion modeling where you career is over by the time you are 30 with glamour your career could be just getting started. There is even demand for good looking grandmothers in their 50's and 60’s.
This field is easy to get started in, as there are a lot of photographers who would love to do test shoots and photo assignments on spec. Finding work and getting test shoots has been made easy with several web sites that cater to this field, although getting top high paying work can take as much effort as becoming a high fashion model. I will leave details and how this is all done to some other web sites.
Monday, February 6, 2012
Saturday, January 21, 2012
Episode Fashion Management : Marketing Campaign 2012
We recently commissioned top North West beauty and portrait photographer, Rory Lewis to provide us with a series of fashion orientated marketing images.
Over the past year, our company has gone from strength to strength, and we felt that our market place identity and re branding strategy could benefit from some excellent portraiture. We were not disappointed.
Rory Lewis, a close friend, esteemed colleague and mentor came to Barcelona for the shoot, which took place in the amply equipped Shoot 115, in down town Barcelona.
Lasting one full day, we had a chance to meet and network with excellent creative talent ( Hair and Make Up Sheila Serrano), (Models Jasmin and William), and ( Gus and Miguel at Shoot 115).
This culminated with an exterior shoot within the surreal backdrop of Gaudi's Park Guell, nestled high above Barcelona, where I gave an interview on my company, the fashion industry on 2011, and my plans for 2012.
Always the director, I then turned the tables on Rory Lewis to find out what his plans were after a very successful 2011 which saw him shoot campaigns for clients like Vidal Sassoon and Selfridge's (Manchester).
Check out Rory's dramatic web presence design which showcases his technical perfection in the form of a gallery, along with a full interactive blog. Rory Lewis Photographer which contains a treasure trove of photography out takes, tips and advice for any professional, amateur or fashionista interested in this visionaries work.
For additional information and images, please check out our campaign and multimedia from this link. Episode Fashion Management Campaign
Over the past year, our company has gone from strength to strength, and we felt that our market place identity and re branding strategy could benefit from some excellent portraiture. We were not disappointed.
Rory Lewis, a close friend, esteemed colleague and mentor came to Barcelona for the shoot, which took place in the amply equipped Shoot 115, in down town Barcelona.
Lasting one full day, we had a chance to meet and network with excellent creative talent ( Hair and Make Up Sheila Serrano), (Models Jasmin and William), and ( Gus and Miguel at Shoot 115).
This culminated with an exterior shoot within the surreal backdrop of Gaudi's Park Guell, nestled high above Barcelona, where I gave an interview on my company, the fashion industry on 2011, and my plans for 2012.
Always the director, I then turned the tables on Rory Lewis to find out what his plans were after a very successful 2011 which saw him shoot campaigns for clients like Vidal Sassoon and Selfridge's (Manchester).
Check out Rory's dramatic web presence design which showcases his technical perfection in the form of a gallery, along with a full interactive blog. Rory Lewis Photographer which contains a treasure trove of photography out takes, tips and advice for any professional, amateur or fashionista interested in this visionaries work.
For additional information and images, please check out our campaign and multimedia from this link. Episode Fashion Management Campaign
Friday, January 20, 2012
Barcelona Fashion Events A/W 2012
The close of January sees an end to many events in Barcelona. The closure of festivities, the longer, warmer days (yes, already) and two of the most prestigious fashion events commencing within Barcelona for 2012.
Barcelona Fashion Week (Which labels itself as 080) and The Brandery (A showcase for designers, trends, fashion and creativity) commence on Barcelona from January (25th to 28th for 080, and the 27th - 29th for The Brandery respectively).
Having worked at London Fashion Weeks, and frequently attending Paris Fashion Weeks, I am intrigued to see what will be served in the fashion stakes.Will the style and designers live up to the architecture and artisitic inspiration of the city?
Join us next month as we attend the shows, check out the styles, the designers, the locations, the celebrities and the events. Presenting a full and unabridged account of fashion in the city from the Autumn / Winter 2012 shows.
Barcelona Fashion Week (Which labels itself as 080) and The Brandery (A showcase for designers, trends, fashion and creativity) commence on Barcelona from January (25th to 28th for 080, and the 27th - 29th for The Brandery respectively).
Having worked at London Fashion Weeks, and frequently attending Paris Fashion Weeks, I am intrigued to see what will be served in the fashion stakes.Will the style and designers live up to the architecture and artisitic inspiration of the city?
Join us next month as we attend the shows, check out the styles, the designers, the locations, the celebrities and the events. Presenting a full and unabridged account of fashion in the city from the Autumn / Winter 2012 shows.
El Rocio Models and 4eyes Barcelona: Social Event
Two forces in fashion merged last Saturday night,as model and events agency El Rocio, joined forces with the urban boutique, 4eyes for a night for shopping, scouting and socialising at their intimate boutique, nestled close to Plaza Espana.
The night showcased generous discounts on the clothing (Think edgy, urban, structured and independant). DJ Michael Ryan threw some great tracks across the venue, which presented it's top twelve models on the showroom floor (and also in pictorial / calendar form, adorning the walls of the boutique), as well as giving guests a chance to be represented by the agency, on this glamour packed night.
Add to that Champagne, strawberries and good hospitality and you had the perfect start of the fashion dominated month of January within the Catalan super city we all know and love as Barcelona.
The night showcased generous discounts on the clothing (Think edgy, urban, structured and independant). DJ Michael Ryan threw some great tracks across the venue, which presented it's top twelve models on the showroom floor (and also in pictorial / calendar form, adorning the walls of the boutique), as well as giving guests a chance to be represented by the agency, on this glamour packed night.
Add to that Champagne, strawberries and good hospitality and you had the perfect start of the fashion dominated month of January within the Catalan super city we all know and love as Barcelona.
The Importance Of Being Karl Lagerfeld
In the deep, all-knowing German voice that could belong to no other, Karl Lagerfeld declared in 1984, “I would like to be a one-man multinational fashion phenomenon.” In this—as in so many things—he was, if perhaps not self-effacing, extremely prescient. Today, the influence of his designs is rivaled only by the infamy of his ever-present dark sunglasses (“They’re my burka,”he has professed), his magnetic pull towards controversy, and his tendency to say things like, “Vanity is the healthiest thing in life.”
Lagerfeld has become far more than just a fashion phenomenon. With runway conquests at the houses of Chloé, Fendi, and Chanel, and as a remarkable barometer of the twenty-first-century zeitgeist, he is an industry unto himself. In a business that tosses the word “icon” about with reckless abandon, he is genuinely iconic, wielding his trademark fan and his repertoire of witticisms—sometimes provocative, often amusing, and always Karl. Old enough to be the grandfather of some of his Parisian competitors, he is a modern Oscar Wilde, a black-leather dandy with a rock-and-roll pout.
The success of Karl Lagerfeld—who can reportedly turn out 200 original lightning-speed sketches in a twelve-hour stretch—is founded on a high level of technical skill, honed from an early age. After moving to Paris as a young man, he competed in a design contest sponsored by the International Wool Secretariat. His winning garment, a wool coat, led him to an apprenticeship with Pierre Balmain. (The dress category in the same competition was won by Yves Saint Laurent.) Despite his victory, Lagerfeld admitted that he didn’t much like designing coats; what he really loved doing, he told a reporter, was little black dresses. He went on, of course, to become the crown-bearer of the timeless empire whose founder was herself the progenitor of said little black dress: Chanel.
Fifty-seven years after Vogue first showed readers Coco Chanel’s innovative LBD in 1926, the company was placed in Lagerfeld’s studded, fingerless-gloved hands, and neither the LBD nor Chanel were ever the same. “My job,” Lagerfeld has said, “is to bring out in people what they wouldn’t dare do themselves.”In a way, this is what he did for the Chanel image, as well: Its elegance and dignity had lost their clout among the sixties generation of jeans-and-miniskirts-wearers, but Lagerfeld was able to transform the house into the ultimate purveyor of bad-girl chic (wealthy bad girl, that is). He was, it turned out, the perfect designer to bring the nodding camellias back to life. “Tradition is something you have to handle carefully, because it can kill you,” he told Vogue in 1984. “Respect was never creative.”
In his first years as creative director, Lagerfeld was accused by some critics of going too far—so far as to desecrate their hallowed memories of Chanel. He threw so much leather and chains into his early collections that his old friend Yves Saint Laurent balked: Chanel, he said, had become “frightening, sadomasochistic.” “Who can say what is good taste and what is bad taste?” the designer has countered. “Sometimes bad taste is more creative than good taste.”
Lagerfeld fights a fear of boredom by channeling his intense energy and curiosity into a variety of activities, any of which could be a separate career. Besides designing his many fashion lines, this multilingual hyphenate is a photographer, director, illustrator, costume designer, and diet guru. He has filled numerous homes with extraordinary decorative arts—and delighted auction houses when he’s put many of these objets under the gavel. His public appearances have superstar overtones; more than three quarters of a million people follow him on Twitter. His attendance at the 2005 Tokyo opening of the world’s largest Chanel store drew tears from fans in the crowd. “I witnessed not just one but many grown women weeping as Lagerfeld took to the thoroughfare,” reported André Leon Talley in Vogue.
Although he has a love of the eighteenth century—he views it as both the most polite and the most modern period, a time when “no one was young; no one was old. Everyone had white hair”—Lagerfeld is firmly planted in the now. “Fuck the good old days,” he told Vogue in 2004. “Today has to be okay, too. If not you make something second-rate out of the present.” With an edge of subversion as his perennial leitmotif, Lagerfeld reinvented and revivified one of the most important and historic brands in the world. And he has brought this same fearlessness into less heady markets, designing wildly successful capsule collections for H & M and Macy’s. When asked why he would lower himself—from designing $3,000 shorts for Chanel to entire dresses for a sliver of the price—he answered in typical fashion: “Because it amuses me.”
Karl Lagerfeld : Timeline
1933:
Karl Otto Lagerfeldt born in Hamburg to a Swedish father and German mother (once a lingerie saleswoman). After World War I, his father had dominated the condensed-milk market in Europe. Karl will later change his last name to Lagerfeld, claiming that the new variation sounds more commercial. He will also later claim 1938 as his birth year, though in 2003 the German press will produce a baptismal record dated 1933.
1952:
Moves to Paris, where he impresses fashion houses with his sketching abilities.
1955:
Wins the coats category in a design competition sponsored by the International Wool Secretariat; Yves Saint-Laurent wins for dresses. Lagerfeld becomes an assistant to Pierre Balmain.
1958:
Leaves Balmain, later saying, “I was not born to be an assistant.”Moves to Jean Patou, where he designs under the name Roland Karl. The Los Angeles Times reports, “Mr. Karl (whose real name is a trade secret) chose his own initial for what he calls the ‘K’ line of his first Patou collection.”He eventually will leave to become a freelancer.
1965:
Begins his tenure as head designer for Chloé, where he will remain until 1983—the brand’s headiest period. (He will reprise his Chloé success in the nineties.) Also starts collaboration with Fendi, an alliance that will last for decades. His friend, former French Vogue editor Joan Juliet Buck, later recalls, “They hired him to do the fur, and he throws out these unbelievable challenges: ‘Let’s line fur in fur, let’s knit fur, let’s tear fur up, let’s make holes in fur, let’s paint on fur, let’s paint on shearling.’
1982:
Asked by Alain Wertheimer, chairman of Chanel, to design for the label. Later recalls his friends’ advice to decline: “Everybody said, ‘Don’t touch it, it’s dead, it will never come back.‘ But by then I thought it was a challenge.”
1983:
Debuts first couture collection for Chanel. Carrie Donovan writes in The New York Times, “That Chanel has thrown down the gauntlet, challenging the supremacy of Saint Laurent, seems inescapable, as does the fact that some of the creaks are about to be taken out of that old dinosaur, couture.”
1984:
Launches a label under his own name. Tells Vogue, “I’ve not been dreaming all my life to have my name over a shop. Now, we’ll put it there because it’s the right moment to do it; and I made this name, why not use it?”
1987:
Starts photographing the Chanel press kits, launching his sideline work behind the camera.
1989:
Viciously criticized in The New Yorker by Holly Brubach for “desecrating the Chanel style with sight gags and overkill, with a tarty sex appeal and crass sensationalism.”
1992:
Returns to Chloé. Illustrates a new edition of children’s classic The Emperor’s New Clothes.
1994:
Infuriates global Islamic community when he embroiders phrases from the Koran onto dresses in his spring collection. Chanel hires a bodyguard for supermodel Claudia Schiffer, to protect against threats made by fundamentalists.
1997:
Leaves Chloé, and is unimpressed with his replacement, Stella McCartney. “I think they should have taken a big name,” he says. “They did—but in music, not fashion. Let’s hope she is as gifted as her father.”
2004:
Announces collaboration with H & M. “I was always quite fascinated by H & M,” he tells The New York Times. “Because people who buy Chanel and other expensive things buy there, too. For me, this is fashion today.”
2005:
Sells his brands Lagerfeld Gallery and Lagerfeld to Tommy Hilfiger. Lagerfeld and the 2004 Chanel collection are the subject of a documentary, Signe Chanel. After a public weight loss of more than 90 pounds, publishes The Karl Lagerfeld Diet, in which he states that “fashion is the healthiest motivation for losing weight.” Stages Spring Chanel show at Le Grand Palais. Vogue’s André Leon Talley reports that the “Elvis of fashion” told him, “It’s the highlight of my career to show at Le Grand Palais, because I was always made for this place when I came to Paris as a young man. I remember the date, November 19, 1952, the very first time I ever visited Le Grand Palais.”
2006:
Announces the launch of a new collection of denim and fitted tees for men and women dubbed K Karl Lagerfeld.
2007:
Lagerfeld Confidential, another documentary movie, premieres.
2008:
Immortalized as the host of fictional radio station “K109 —The Studio” in the video game Grand Theft Auto IV. “They had written a politically incorrect dialogue,” Lagerfeld says. “I loved it, in a time when everybody wants to be so politically correct.”
2009:
February: Walking the red carpet at Lincoln Center, is narrowly missed in a tofu-cream-pie attack by PETA supporters. (Instead, the protesters—shouting “fur pimp” and “fur kills”—peg an innocent, fur-free bystander, Calvin Klein, on the chin.) April: Celebrated as one of Time’s 100 Most Influential People in the World.
2010:
Designs a specialty bottle that incorporates his own image for Coca Cola Light in France. Appears as himself in a commercial for Volkswagen.
2011:
Directs actress Rachel Bilson in three commercials for Magnum ice cream bars. Creates a capsule collection for Macy’s. “The collaboration is a kind of test how to do this kind of clothes in that price range,” he says. “As you know, I love occasional co-branding. Macy’s is the perfect department store in the U.S., where everybody can find what they’re looking for without ruining their budget.”
Lagerfeld has become far more than just a fashion phenomenon. With runway conquests at the houses of Chloé, Fendi, and Chanel, and as a remarkable barometer of the twenty-first-century zeitgeist, he is an industry unto himself. In a business that tosses the word “icon” about with reckless abandon, he is genuinely iconic, wielding his trademark fan and his repertoire of witticisms—sometimes provocative, often amusing, and always Karl. Old enough to be the grandfather of some of his Parisian competitors, he is a modern Oscar Wilde, a black-leather dandy with a rock-and-roll pout.
The success of Karl Lagerfeld—who can reportedly turn out 200 original lightning-speed sketches in a twelve-hour stretch—is founded on a high level of technical skill, honed from an early age. After moving to Paris as a young man, he competed in a design contest sponsored by the International Wool Secretariat. His winning garment, a wool coat, led him to an apprenticeship with Pierre Balmain. (The dress category in the same competition was won by Yves Saint Laurent.) Despite his victory, Lagerfeld admitted that he didn’t much like designing coats; what he really loved doing, he told a reporter, was little black dresses. He went on, of course, to become the crown-bearer of the timeless empire whose founder was herself the progenitor of said little black dress: Chanel.
Fifty-seven years after Vogue first showed readers Coco Chanel’s innovative LBD in 1926, the company was placed in Lagerfeld’s studded, fingerless-gloved hands, and neither the LBD nor Chanel were ever the same. “My job,” Lagerfeld has said, “is to bring out in people what they wouldn’t dare do themselves.”In a way, this is what he did for the Chanel image, as well: Its elegance and dignity had lost their clout among the sixties generation of jeans-and-miniskirts-wearers, but Lagerfeld was able to transform the house into the ultimate purveyor of bad-girl chic (wealthy bad girl, that is). He was, it turned out, the perfect designer to bring the nodding camellias back to life. “Tradition is something you have to handle carefully, because it can kill you,” he told Vogue in 1984. “Respect was never creative.”
In his first years as creative director, Lagerfeld was accused by some critics of going too far—so far as to desecrate their hallowed memories of Chanel. He threw so much leather and chains into his early collections that his old friend Yves Saint Laurent balked: Chanel, he said, had become “frightening, sadomasochistic.” “Who can say what is good taste and what is bad taste?” the designer has countered. “Sometimes bad taste is more creative than good taste.”
Lagerfeld fights a fear of boredom by channeling his intense energy and curiosity into a variety of activities, any of which could be a separate career. Besides designing his many fashion lines, this multilingual hyphenate is a photographer, director, illustrator, costume designer, and diet guru. He has filled numerous homes with extraordinary decorative arts—and delighted auction houses when he’s put many of these objets under the gavel. His public appearances have superstar overtones; more than three quarters of a million people follow him on Twitter. His attendance at the 2005 Tokyo opening of the world’s largest Chanel store drew tears from fans in the crowd. “I witnessed not just one but many grown women weeping as Lagerfeld took to the thoroughfare,” reported André Leon Talley in Vogue.
Although he has a love of the eighteenth century—he views it as both the most polite and the most modern period, a time when “no one was young; no one was old. Everyone had white hair”—Lagerfeld is firmly planted in the now. “Fuck the good old days,” he told Vogue in 2004. “Today has to be okay, too. If not you make something second-rate out of the present.” With an edge of subversion as his perennial leitmotif, Lagerfeld reinvented and revivified one of the most important and historic brands in the world. And he has brought this same fearlessness into less heady markets, designing wildly successful capsule collections for H & M and Macy’s. When asked why he would lower himself—from designing $3,000 shorts for Chanel to entire dresses for a sliver of the price—he answered in typical fashion: “Because it amuses me.”
Karl Lagerfeld : Timeline
1933:
Karl Otto Lagerfeldt born in Hamburg to a Swedish father and German mother (once a lingerie saleswoman). After World War I, his father had dominated the condensed-milk market in Europe. Karl will later change his last name to Lagerfeld, claiming that the new variation sounds more commercial. He will also later claim 1938 as his birth year, though in 2003 the German press will produce a baptismal record dated 1933.
1952:
Moves to Paris, where he impresses fashion houses with his sketching abilities.
1955:
Wins the coats category in a design competition sponsored by the International Wool Secretariat; Yves Saint-Laurent wins for dresses. Lagerfeld becomes an assistant to Pierre Balmain.
1958:
Leaves Balmain, later saying, “I was not born to be an assistant.”Moves to Jean Patou, where he designs under the name Roland Karl. The Los Angeles Times reports, “Mr. Karl (whose real name is a trade secret) chose his own initial for what he calls the ‘K’ line of his first Patou collection.”He eventually will leave to become a freelancer.
1965:
Begins his tenure as head designer for Chloé, where he will remain until 1983—the brand’s headiest period. (He will reprise his Chloé success in the nineties.) Also starts collaboration with Fendi, an alliance that will last for decades. His friend, former French Vogue editor Joan Juliet Buck, later recalls, “They hired him to do the fur, and he throws out these unbelievable challenges: ‘Let’s line fur in fur, let’s knit fur, let’s tear fur up, let’s make holes in fur, let’s paint on fur, let’s paint on shearling.’
1982:
Asked by Alain Wertheimer, chairman of Chanel, to design for the label. Later recalls his friends’ advice to decline: “Everybody said, ‘Don’t touch it, it’s dead, it will never come back.‘ But by then I thought it was a challenge.”
1983:
Debuts first couture collection for Chanel. Carrie Donovan writes in The New York Times, “That Chanel has thrown down the gauntlet, challenging the supremacy of Saint Laurent, seems inescapable, as does the fact that some of the creaks are about to be taken out of that old dinosaur, couture.”
1984:
Launches a label under his own name. Tells Vogue, “I’ve not been dreaming all my life to have my name over a shop. Now, we’ll put it there because it’s the right moment to do it; and I made this name, why not use it?”
1987:
Starts photographing the Chanel press kits, launching his sideline work behind the camera.
1989:
Viciously criticized in The New Yorker by Holly Brubach for “desecrating the Chanel style with sight gags and overkill, with a tarty sex appeal and crass sensationalism.”
1992:
Returns to Chloé. Illustrates a new edition of children’s classic The Emperor’s New Clothes.
1994:
Infuriates global Islamic community when he embroiders phrases from the Koran onto dresses in his spring collection. Chanel hires a bodyguard for supermodel Claudia Schiffer, to protect against threats made by fundamentalists.
1997:
Leaves Chloé, and is unimpressed with his replacement, Stella McCartney. “I think they should have taken a big name,” he says. “They did—but in music, not fashion. Let’s hope she is as gifted as her father.”
2004:
Announces collaboration with H & M. “I was always quite fascinated by H & M,” he tells The New York Times. “Because people who buy Chanel and other expensive things buy there, too. For me, this is fashion today.”
2005:
Sells his brands Lagerfeld Gallery and Lagerfeld to Tommy Hilfiger. Lagerfeld and the 2004 Chanel collection are the subject of a documentary, Signe Chanel. After a public weight loss of more than 90 pounds, publishes The Karl Lagerfeld Diet, in which he states that “fashion is the healthiest motivation for losing weight.” Stages Spring Chanel show at Le Grand Palais. Vogue’s André Leon Talley reports that the “Elvis of fashion” told him, “It’s the highlight of my career to show at Le Grand Palais, because I was always made for this place when I came to Paris as a young man. I remember the date, November 19, 1952, the very first time I ever visited Le Grand Palais.”
2006:
Announces the launch of a new collection of denim and fitted tees for men and women dubbed K Karl Lagerfeld.
2007:
Lagerfeld Confidential, another documentary movie, premieres.
2008:
Immortalized as the host of fictional radio station “K109 —The Studio” in the video game Grand Theft Auto IV. “They had written a politically incorrect dialogue,” Lagerfeld says. “I loved it, in a time when everybody wants to be so politically correct.”
2009:
February: Walking the red carpet at Lincoln Center, is narrowly missed in a tofu-cream-pie attack by PETA supporters. (Instead, the protesters—shouting “fur pimp” and “fur kills”—peg an innocent, fur-free bystander, Calvin Klein, on the chin.) April: Celebrated as one of Time’s 100 Most Influential People in the World.
2010:
Designs a specialty bottle that incorporates his own image for Coca Cola Light in France. Appears as himself in a commercial for Volkswagen.
2011:
Directs actress Rachel Bilson in three commercials for Magnum ice cream bars. Creates a capsule collection for Macy’s. “The collaboration is a kind of test how to do this kind of clothes in that price range,” he says. “As you know, I love occasional co-branding. Macy’s is the perfect department store in the U.S., where everybody can find what they’re looking for without ruining their budget.”
Rosie Huntington-Whiteley's Super In Silk
Clad in a camisole, which was almost cut to her navel, Rosie managed to protect her modesty as she modelled in front of a packed crowd in Brazil.
Rosie, who topped FHM's Sexiest Woman list in 2011, completed the pyjama-style look with a pair of matching trousers and a faux fur bolero.
The British beauty was sporting the revealing attire for the Animale Show at Sao Paulo Fashion Week.
Dazzling Rosie recently took a break from her catwalk career to try her hand at acting.
She starred opposite Shia LaBeouf in robot action flick Transformers: Dark of the Moon.
While reviews were mixed, critics were united in praise for her incredible cheekbones.
And in good news for her many admirers, Rosie recently revealed she has no problems with stripping off:
She explained: "Going topless for Vogue wasn't a big deal at all because of the way it was done.
"It was one of the most enjoyable and tasteful shoots I've ever done. I am so proud of it."
Rosie, who topped FHM's Sexiest Woman list in 2011, completed the pyjama-style look with a pair of matching trousers and a faux fur bolero.
The British beauty was sporting the revealing attire for the Animale Show at Sao Paulo Fashion Week.
Dazzling Rosie recently took a break from her catwalk career to try her hand at acting.
She starred opposite Shia LaBeouf in robot action flick Transformers: Dark of the Moon.
While reviews were mixed, critics were united in praise for her incredible cheekbones.
And in good news for her many admirers, Rosie recently revealed she has no problems with stripping off:
She explained: "Going topless for Vogue wasn't a big deal at all because of the way it was done.
"It was one of the most enjoyable and tasteful shoots I've ever done. I am so proud of it."
Saturday, January 7, 2012
Episode Fashion Management : Photoshoot at Studio 115 Barcelona
This month we were lucky to catch up with a very good friend, and highly esteemed beauty and portraiture photographer Rory Lewis, who I approached to shoot my new marketing campaign for 2012.
The pictures and the shoot will be coming next month, along with a full length feature.
Thank you to Rory Lewis (Photographer www.rorylewis.co.uk), Shelia Serrano(Make Up Artist www.sheilaserrano.com), William and Jasmin (Models) and to Gus and Miguel at their excellent studio, Shoot 115, Barcelona (www.shoot115.com). We will look forward to working with this team again.
The pictures and the shoot will be coming next month, along with a full length feature.
Thank you to Rory Lewis (Photographer www.rorylewis.co.uk), Shelia Serrano(Make Up Artist www.sheilaserrano.com), William and Jasmin (Models) and to Gus and Miguel at their excellent studio, Shoot 115, Barcelona (www.shoot115.com). We will look forward to working with this team again.
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