Model and philanthropist Edythe Hughes has channeled her success in the fashion industry into a platform enabling models to showcase their artistry for charitable causes.  Her non-profit organization, Project Model Tee, is raising funds for RAINN the Rape, Abuse and Incest National Network for their launch.  I caught up with Edythe to talk to her about Project Model Tee and her goals for the future.

Where did the idea for Project Model Tee come from?

After modeling for five years I was ready to start making my time in fashion more meaningful and help my peers do the same. Working as a model is a true blessing for most of us, but in an industry where there is so much focus on the outside you yearn for people to know your inner self as well. Project Model Tee gives models a place to show their talents for great causes.

Why is it important to you to be of service to your community?

I come from a one stoplight village in Ohio and coming to New York City at seventeen-years-old was a challenge. After a while I realized the transition from small town girl to big city woman was difficult as community is not obvious or a given in New York City (or other big cities). You must seek, build and nurture your community. I think community is especially difficult to find as a model who travels and works with different groups of people nearly every day. Servicing the community is a great way to build one.

Why did you choose RAINN as your first charity?

To launch Project Model Tee we wanted to touch as many hearts as possible. Tragically, sexual violence is an issue that affects everyone, whether you are a victim or know one. RAINN gives survivors a voice, raises awareness and seeks justice, and it has been such a pleasure to help them spread their message.

What has been the reaction from people in the fashion industry?

Friends in fashion have supported our efforts and models have been encouraged by it. In general people want to know the girl who is selling the shoes and people are interested in our lives. Project Model Tee is a nice way to show others what we are really about.

How do you see the evolution of Project Model Tee?

As our network and resources expand, we would love to help models in the development of their artist selves. It would be wonderful to provide art and business classes for the models. We are also interested in developing a T-shirt line with artwork by talented models and donating the proceeds to great causes. This year we would like to produce a story/poetry slam to showcase the talented writers in our industry. Stay tuned!

How can people get involved?

Firstly, please connect with us via social media and sign up for our newsletter. Attend one of our events and tell your friends about our message. If you would like to get more seriously involved you can email us at info@projectmodeltee.org and let us know in what ways you would like to contribute, whether that be donating your art and talents or working with us on the administrative side. We would love to hear from you!

Learn more here

Model turned advocate Rachel Blais is ruffling feathers in the fashion industry with her candor and often controversial insights into her time as a model.  Rachel appeared in the documentary Girl Model as a whistleblower.  In an industry shrouded in mystery and often misunderstood by the public, Rachel raised questions about the working conditions of underage models.  Since appearing in the documentary her focus has shifted to advocacy.  What follows is an interesting perspective that will surely pose more questions than answers.

Ashley Arbaugh approached the filmmakers of Girl Model proposing they make a film that addresses the fine line between modeling and prostitution.  Is it your personal experience that there is a fine line between modeling and prostitution and could you elaborate?

I’ve had owners and directors of top international model agencies tell me that there is a fine line between prostitution and modeling, while saying it’s OK for girls under 18-years-old to be fashion models. The Model Alliance in New York City conducted a survey in which 86.6 percent of models said they had been put on the spot at castings or jobs.  There were many moments throughout my career that I stood up for myself, on jobs and to agencies, to ensure that the photo shoots I was taking part in would remain about fashion and not become pornographic in any way.

The length of a modeling career seems to depend on the caliber of clients a model works with and determines her ranking in the business. Is it your experience that when working with top clients and agents they are the ones suggesting and financing plastic surgery?

At 18 I had a top agency in New York City pressuring me to get liposuction for months. They even asked my mother agency back home to pressure my mom to pressure me.  I was lucky I knew about the risks involved with plastic surgery and decided not to put my health in danger for the gamble of making money.  Most agencies advance money for such procedures, but it puts the models who decide to do plastic surgery more in debt to their agency and it  puts them in even more precarious situations.

Do you think the statistics and information that come from smaller markets may not be representative and wholly accurate of someone who has experience in the top levels of the industry?

It’s very hard to judge.  In every fashion market, like any business,  there are good and bad people. Models working at the top aren’t necessarily treated better from a labor standpoint, but they usually make more money.  For models starting or simply struggling,  I think often it’s not only a labor issue but also a human rights issue. One thing that is worrying about the industry, in small as in big markets, is that models work to represent adults from the moment they are 5 feet 8 inches tall no matter what their age is.

What are your thoughts on the Japanese market where models that are scouted so young are sent to work?

I think there are definitely many issues with having children being sent to Japan to work as models. To have so many Caucasian child models as a representation of the ‘ideal woman’ can only have a negative impact on Japanese women and men.  I don’t understand the rush to take children out of school so that they can take a chance at making money modeling, especially knowing how contracts with Japan are often not legally valid.

From your experience as a model do you still hold the same feelings as you did in the film about who is culpable?

I still use the same words I did in the film, “no one is to blame, but the whole thing is still going on and wrong”.  It was cut from the film but I add, “when there’s no one to blame, shouldn’t everyone take their part of responsibility”?  Everyone can take responsibility or change their actions including agents, consumers, parents, scouts and clients.

What role do you think parents play when their children are under the age of 18?

Parents are responsible for their children, but they also have advertising, social media, popular culture and a multi-billion dollar industry to compete with.  Agents and scouts can be very convincing (lie) to parents on how safe modeling is. I can’t put the blame all on the parents.  Agents and clients have a responsibility to let children enjoy their childhood.

Is it your experience that top agencies adhere to practices that are unethical or questionable?  Can you elaborate on those experiences?

The lack of financial transparency is something all agencies are responsible for.  There aren’t any agencies I have known that haven’t lied or had unexplained expenses.  Agencies also send models, even underage girls, to photographers that are known to have a history of abuse. Along with many other insidious practices by agencies, there is also pressure to lose weight being imposed on children and young women. I’m sure it is possible to find girls in all agencies saying that they never encounter any problems.  Agencies know how to protect their image by treating some models better than others and models know if you complain or speak up their agents will stop getting work for them.

How has the release of Girl Model affected your life and do you have any regrets about your involvement in the film in hindsight?

After the premiere of Girl Model I stopped having castings and would only work with my regular clients.  A few months later, as the film was released internationally, I had my work visas withdrawn and agencies started cancelling my representation contracts.  I even had agents in New York City telling me that I could still work but I had to stop saying modeling should only start from the age of 18.  If I started saying models could start at 16-years-old I could work again, but from their reaction and the research I did, it is obvious more money is made from using children as the major work force as opposed to adult models.  It’s really too bad that no agencies want to represent me because of my involvement with Girl Model  but I have no regrets since there is so much support coming in to protect children and for fashion to stop producing images that would be considered juvenile pornography under the law.

What would you say to your critics that may suggest you are now criticizing the very industry you profited from?

I had a lot of luck as a model but a platform was given to me to explain issues in the industry.  I decided to take the risk of losing my job to bring out the truth; I’ve seen too many unethical and even criminal practices to stay silent.  I’d also say that I’m not alone and many others in fashion want to see change.  There is a long list of models, clients and artists supporting a ban on using under 18-year-old models.  It is mainly only rejected by agents and scouts.

What do you hope to achieve through your work as an advocate for model’s rights?

The focus of my work is to get a law passed, internationally, banning under 18-years-olds from working in fashion and having to travel for work. This would protect children from the potential risks of human trafficking and also make adults the major work force of modeling.  Unionizing will become easier and ensure the working conditions for models are better.

Learn more here

Listen here: Women, Money and Divorce & Reaching Your Dreams 04/10 by MattersofToday | Blog Talk Radio.

I recently spoke with filmmaker Ashley Sabin about her latest documentary Girl Model, a film that documents the fashion industries supply-chain between Siberia, Japan and the United States as told through the experiences of scouts, agencies and 13-year-old model Nadya Vall.  The film contrasts the innocence of Russian model Nadya against jaded model cum scout Ashley Abraugh in a film that is equally disturbing as it is engaging.

What motivated you to make the film Girl Model?

In 2007 Ashley Arbaugh the scout in the documentary approached us with the idea of making a film.  Her idea was to make a film about modeling and prostitution and the foggy line between the two.  After a year of discussion and trying to figure out what story we wanted to tell, we decided to make the film largely in part because of her.

What challenges did you face when making Girl Model?

I think the biggest challenge we faced was dealing with Nadya and the other young model.  The film is framed in such a way that we were behind the camera and it was difficult to know when to step in and when not to. We stepped in a lot and that isn’t shown in the film. It was important to us not to make their situations any more difficult than they needed to be, but at the same time we were documenting and we wanted the situation to be as authentic as possible.  It was tricky to have them not rely on us too much but at the same time knowing when to help them.

What biases, if any, did you discover you had about the industry during the process of making the film?

I didn’t come from the fashion world and neither did David (Redmon). I knew very little about the industry. What I knew is what most people probably know like walking down the street and seeing a billboard or looking at magazines in line at the grocery store.  I hadn’t engaged with it in such a personal and intimate way and I had no real understanding of it.  These images look back at us and the question for both myself and my partner David became to ask what is going on behind the image.  The labor and age of the models are things we now question when we look at fashion advertisements.

Do you think models that are scouted in developing countries are at a greater risk of being exploited and why?

I wish it was that way. Unfortunately, when we screened the film in association with The Model Alliance and invited models, casting agents and designers to view it, the universal response we got from people was that this happens everywhere.  It is pretty unremarkable that it’s an industry that is unregulated.

What action can the audience take to empower themselves after watching the film?

Recently, with our partner The Model Alliance , we created a petition to give child models the same protections as all child performers.  Models aren’t protected  under the Department of Labor unlike actors. We are targeting the state of New York to protect models under the Department of Labor to ensure the fashion industry abides by these laws.  I can’t encourage people enough to sign the petition.

The film explores subjects such as isolation and vulnerability. Was this intentional or a reflection of reality?

The isolation was something we saw early on when Nadya got to Japan and we wanted to contrast that with her experience in Russia where she had a support system, family and school. There were specific choices we made to bring out the feeling of isolation because that was something that really stood out to us.  That’s why we chose the color palette that we chose with Russia and Japan.

What regulations would you like to see implemented to protect working models?

I think any regulation is a step in the right direction when you don’t have any.  There have been movements in the fashion industry but the hard thing is there needs to be an external body or set of laws as opposed to the industry regulating itself.

Veteran model and scout Ashley Arbaugh expressed disdain for an industry she continues to work in and profit from.  How do you feel about her decision to continue working in the industry?

I think Ashley is a very complicated person. The fact she approached us in 2007 and was involved in the industry but at the same time wanted to be a whistleblower is something that initially attracted us to the story.  I think her motivation changed during filming. I think at the beginning she thought she was going to get out of the industry and as the film progressed she got deeper into the industry.

What message would you like the audience to take away from the film?

I’d like people to look beyond the images staring out at us and wonder who these girls are and where they come from. These images are part of our consciousness and daily lives. We all are active participants with what is happening in the fashion industry through our consumption of these images. Humanizing the models and asking ourselves the tricky questions like why we are looking at young girls to represent women’s bodies and why we use such young girls is critical.

Learn more about Girl Model here

Model and personal trainer Roger Frampton is taking a fresh approach to fitness without the use of gyms and weights.  His Re-Model-Me personal training has been employed by everyone from designer Patrick Cox to Ryan Barrett as he fronted Versace’s underwear campaign.  Roger’s approach is accessible and tailored to each individuals needs and goals without employing fad diets and gimmicks.  I spoke with Roger about his philosophy on fitness and his goals for the future in this insightful look into the world of  personal fitness.

What advice would you give to someone wanting to embark on a fitness regime that may be daunted by the idea?

The best advice I could give to someone wanting to start any fitness regime would be to not run before they can walk.  There is a lot of hype in the media e.g. “Get ripped in 12 weeks”.  It is not really like that.  It is a journey that never ends.  It’s important the individual learns to work with their body.

What is your philosophy on wellness and fitness?

Personally, I am very open-minded, as is our company. People want a simple answer, but there is none, and I believe the day we realize that there is no answer we can actually start to enjoy life more.

How does Re-Model-Me differ from other personal training regimes?

If you think of a boot camp, we are the complete opposite.  We are teachers, showing people movements and new techniques using three plane motion bodyweight only rather than the “get down and give me 20″ philosophy.

How important is it to balance the right nutrition with training to achieve results?

It is everything; I believe each diet should be suited to the individual.  We all have different goals, backgrounds, tastes and sources of stress.  We cannot all have the same results from the same diet, but that being said the big principles are the same.

What are some of the common misconceptions you encounter when working with new clients?

* Calorie counting

* Wondering why there aren’t any weights

* Women worried they will get arms like Madonna (which they don’t)

* Not understanding the importance of rest

* That when it hurts you stop

What are the key elements to achieving success in personal training?

For me it has been listening, paying full attention to each individual, constantly learning and understanding that everybody is completely different and again not trying to find the answer to the ultimate workout.

As a successful working model why did you want to develop your own personal fitness brand?

As models you are paid to make clothes look good.  If I bulk up in the gym using weights it’s possible the clothes might not look as good.  A lot of trainers don’t understand this concept so I have taken on the responsibility of showing the world our approach that you can achieve a great physique without the need for a gym or weights.

Why do you think people give up easily on their fitness goals and how can they change that?

I think the main problem is in the media, which promotes people’s demand for a ‘quick fix’ when there is no quick fix, no time frame or special program. You just start where you can and go from there slowly, patiently and consistently but giving 100 percent and maintaining faith that things will change. You must have self-belief to keep this up.

How has working in the fashion industry influenced your approach to fitness?

Everything I have done in my life has brought me where I am today.  Working in the fashion industry has been amazing and having recognition in the fashion industry is helping me spread the word about Re-Model-Me’s gym-free and weight-free training.

What are your personal and professional goals for the future?

To spread the gospel, to keep learning, to keep teaching, to test theories, to question studies, to stay open minded and to smile.

Learn more about Re-Model-Me

Follow Roger on Twitter here

Donald Simrock  is at the forefront of the beauty industry creating looks for style bible Flaunt in addition to showcasing his work in publications such as Rolling Stone, Interview, Harper’s Bazaar and VOGUE.   His unique vision has given him the opportunity to work with celebrity clients that include Madonna, Britney Spears and Lady Gaga.  Donald collaborated with Minx Nails on a collection dubbed Sextet and spoke to me and Matters of Today about the experience.

How did your collaboration with Minx Nails come to fruition?

I met the founders of Minx years ago when they were just starting up. I was so excited about all of the possibilities this product had.  From that day on, we began collaborating together…. Janice and Dawn [the founders] recently approached me to work on a line of Minx under my name, that would be geared toward men. I jumped at the opportunity and worked on creating a line that would be attractive to everyone.

What was your inspiration for the capsule collection Sextet you designed for Minx?

I really wanted to work with photographs for this collection. So I began shooting everything that inspired me, with the project in mind. It was challenging to find things that would look great in a smaller space, and even more difficult to select images that worked together. I didn’t want to do a pattern that would be exactly the same on each finger, so I would take multiple shots from various angles when I was inspired in order to do this. The collection is sort of an LA story… The combination of both urban and natural elements.

Nail art is all but forgotten. How do you feel about this oversight as part of creating a cohesive look?

Nail art has had a big come-back over the years, thankfully. Nails offer another way for people to express themselves. They can be an extension of your personality, and the possibilities are endless! Sheer beige polish doesn’t really say a lot to me.

When creating your collection what kind of person were you designing with in mind?

Originally the idea was to gear the collection toward men, but I really wanted to accept the challenge to create something that would be fun for everybody, keeping men in mind.

How would you describe your design aesthetic?

For this project, I wanted to offer an urban view to my natural elements, and a colorful view to my more industrial elements. I wanted to find a way to bring colors and metallics together. I definitely want to take that further in the future.

Do you plan to continue to collaborate with Minx and what can we expect to see from you in the future?

To kick off Fashion Week, Trudi Tapscott gave her insights into modelling, her tenure at VOGUE magazine and DNA models in the first part of a truly enlightening conversation on Matters of Today radio.  Trudi has worked with the best in the business and provides insight in this no holds barred interview that anyone interested in the workings of the industry should listen to.

Listen to part one: here & part two: here

James Gatenby may be a newbie on the modelling scene but he is already making a big impression. He opened exclusively for Louis Vuitton and is being courted by agencies in Europe and New York. Rarely does a model get the opportunity to tell their story at the genesis of their career and when stardom arrives it is even rarer.  Here, James speaks to me and Emily Sandberg about his hopes and aspirations for his career and the highlights thus far.

How were you discovered?

I tried a new hair stylist, and it just so happened he worked for GQ. At first I thought they were just being nice when they said “You should be a model.” Surely they said that to every customer, right? Then it turned out they were serious and had booked me an interview at Priscilla’s (my mother agency).

You studied Biochemistry at university. How do you think this changes people’s perception of you as a model?

People usually do a double-take when I say I studied Science, it does seem a bit contrary to a pursuit like modelling.  Hopefully they then realize that models can have passions besides modelling, we aren’t just one-dimensional. Some people don’t realize that a lot of models study even while modelling. They could be future doctors, lawyers or business owners.

How did you feel when you were booked to open exclusively for Louis Vuitton?

I was ecstatic, up until the show I don’t think I could stop smiling! I kept thinking, “This must be a dream, surely I’ll wake up soon?”, but I didn’t and I couldn’t be more thankful for that. My bookers were happy as well, one had tears in their eyes and had told their parents the good news. They really care about you and to me that was the most important part of being told about the job.

What are your aspirations and goals for the future?

In the short-term I want to travel, meet interesting people and do the best that I can in this industry. In the long-term I am passionate about medical research and when I find the time to go back to university I’ll be completing an Honors and a Ph.D.

What do you hope to get out of your modelling career?

I love that I am part of a creative industry producing works of art. Hopefully, that makes up for my deficiency in other artist abilities like drawing things that aren’t stick figures.  I want to experience life in different countries, different cultures; travelling while you are young is an experience that everyone should be able to have.

How do you handle the pressure and rejection that comes with modelling?

I have never let my appearance define me, so when I am not right for a job it’s never a personal issue for me. That’s the sort of attitude you need to have in this industry – thick skin is a must. Sure, there is pressure to look your best, but I can’t change my bone structure or my metabolism so I don’t even begin to worry about those things.

What do you think people would be surprised to learn about you?

That I am Australian. Everyone says I don’t look or sound Australian. I have an interesting mix of European ancestry that has influenced my appearance and living in England at a young impressionable age has changed my accent ever so slightly too. Sorry for being confusing casting directors.

What has been the highlight of your career so far?

Apart from Louis Vuitton, I would say the moment when I was told an agency in Milan (2morrow) wanted to sign me. It was at that point that I felt like I could succeed as a model and make something out of it. They have been so supportive and I can’t thank them enough for all the work they have done.

What do you do to decompress from the pace of modelling and refocus?

When I need to clear my head, I often go for a run. It allows me to focus on the simple motion of my body and forget everything else. To relax, hot tea is always the best option.

How do you cope when you are away from family and friends in Australia?

Australia is pretty far away, but the internet is a fantastic tool for staying in touch with those close to me.  I can call my family on Skype, see what my friends are doing on Facebook and anyone can follow what I am doing day-to-day on Twitter. It doesn’t replace face to face interaction and I can’t wait to see them all when I get back, but it helps me stay connected.

Follow James on Twitter here

Free promotional screenings of Chasing Beauty, a documentary about the intriguing world of fashion models and the true price of beauty are taking place at select locations.

These screenings are on a first-come first-served basis so arrive early.  Please state what theater and city you plan to attend when you RSVP.  For all screenings other than Dallas ‘Spring Valley RSVP at: chasingbeautyrsvp@studiomoviegrill.com
For the Dallas ‘Spring Valley’ screening RSVP at: diane@dianemarketing.com

JANUARY, 24 AT 7:30 PM

WHEATON, ILLINOIS
STUDIO MOVIE GRILL
301 RICE LAKE SQUARE
WHEATON, IL 60189
TEL: 630-480-9557

JANUARY 31 AT 7:30 PM

SCOTTSDALE, ARIZONA
STUDIO MOVIE GRILL
15515 N. HAYDEN RD.
SCOTTSDALE, AZ 85260
TEL: 480-991-3106

JANUARY, 24 AT 7 PM

DALLAS, “SPRING VALLEY” TEXAS
STUDIO MOVIE GRILL
13933 N. CENTRAL EXPY.
DALLAS, TX 75243
TEL: 214-459-0977
Q & A with the director following the screening.

JANUARY, 31 AT 7 PM

HOUSTON, TEXAS “TOWN CENTRE”
STUDIO MOVIE GRILL
822 TOWN & COUNTRY BLVD.
HOUSTON, TX 77024
TEL: 713-461-4449
Q & A with a representative of the film following the screening.

JANUARY 24, AT 7:30 PM

DULUTH, GEORGIA
STUDIO MOVIE GRILL
3850 VENTURE DR.
DULUTH, GA 30096
TEL: 770-299-7100

Join the Chasing Beauty mailing list here

On a chilly evening in Paris in November 1973 fashion history was made.  Initially conceived as a fundraiser orchestrated by American fashion publicist Eleanor Lambert and Palace of Versailles curator Gerald Van der Kemp, to raise money to restore the Palace of Versailles, American designers and African-American models emerged triumphant in a battle royale against their French counterparts.  Deborah Riley Draper directed the documentary Versailles ’73: An American Runway Revolution exploring this pivotal moment in fashion history and spoke to me and Emily Sandberg about the process, politics and legacy of this historical event.

What challenges did you face when making Versailles ’73: An American Runway Revolution and where did you gather support to help you walk through the challenges?

The biggest challenge was finding attendees from an event that took place 40 years ago.

What about this event in fashion’s history resonated with you and inspired you to document it?

I was so inspired by Eleanor Lambert’s big idea and her courage and tenacity to make it happen. I was obsessed and in love with the black models who brought not only beauty but style and passion to a runway in a château filled with 650 of the most influential people of the period.  And, I wanted this story told, known and used to inspire young women of all races to reach for the stars.

Fashion and politics are two worlds that rarely cross paths. What did you learn about the politics of fashion during the process of making this film?  

I think fashion and politics cross a lot.  Fashion is always fueled by patrons and benefactors who are connected to power and …politics.  In this case, the highest levels of French government were involved in approving this event and the U.S. Ambassador was an honorary host committee person.  Also, I think American politics have always impacted fashion. WWII impacted the hemline due to fabric shortages.  Women went to work and wore more pants.  The U.S. Commerce department hired Eleanor Lambert to promote fashion around the world to increase exports.  The youth revolution expressed itself through fashion–hairstyles (Afros, dreads), clothing ( no bras, power suits) are all tied to politics or at the very least political inclinations.

How do you think the financial landscape in fashion has changed for women of color in fashion since this period in history?

I think the number of women of color behind the scenes has increased tremendously.  I think the concept of beauty presented by the media or in front of the camera is more difficult to assess but I think the 70′s were certainly a time of free thinkers and collaborators.  There are several women of color who are the face of cosmetics with big contracts.  Everyone is awarded more money now if they can get a contract.

Andy Warhol with Yves Saint Laurent, Mary Russell and Pierre Berge. 

The opportunities for non-white models has broadened increasingly since the seventies. There are voices still that cry there isn’t enough diversity on the runway, in editorials and fronting campaigns. What do you think about the media’s representation of non-white women? Is it adequate? 

There is always room for more inclusion. People of color over-index in media consumption but the representation in media does not reflect that.

You wrote, produced and directed this film which is unheard of for first time filmmakers.  What did you have to sacrifice to maintain creative control?

My time and money.  My husband was my only investor.

Was there anything that surprised you to learn during the research and development of this film?

Two things.  The number of icons who were involved in this event–Josephine Baker, Andy Warhol, Rudolph Nureyev, Liza Minelli.  And, that so many African Americans were involved in the event and brought such diverse experiences and backgrounds to the show, including some very prestigious alma maters.

You were an advertising executive before you began this documentary.  Was there a part of you that felt you were leaving the real world to join the circus?

I am so fortunate to  have an advertising career as many of the same skills you use on a commercial production can be easily transferred to film production.

What message would you like the audience to take away from your film?

Versailles ’73 is a powerful moment in American history, where people of different races and backgrounds came together to represent America and dazzle the world with great clothes, bold, beautiful black and white models and position the U.S. as a global style and trend leader.

What projects do you have in development that you’d like to share?

A couple more documentaries in fashion, a WWII documentary and two feature films.  This will be a busy year.

Versailles ’73 is available on DVD and iTunes

Learn more here