Justin Teodoro: In Conversation With The Artist, Illustrator & Designer

Justin Teodoro is a Canadian-born, New York based artist, illustrator and designer whose work was brought to my attention by Emily Sandberg . After graduating from Parsons School of Design, Justin began his career working for Tuleh, Cynthia Steffe and Kenneth Cole. His work has been featured on Women’s Wear Daily and Pantone. Unassuming, passionate and driven, I think we can expect big things from him in the future.

What were your aspirations when you were growing up in Canada?

I was always pretty much that art kid growing up – taking art classes and always drawing and painting. I really didn’t know specifically what I wanted to do as a career but I knew it had to be something in art and design. Fashion was always something that was in the back of my head. I remember being 10 and discovering my mom’s fashion magazines for the first time (she had all these subscriptions to Vogue and Harper’s Bazaar) and I began to just devour them every month, studying them feverishly back to back. It was fun for me to draw all those amazing and inspiring editorials and the glamorous models. I really do believe I learned how to draw and illustrate from copying those fashion magazines.

I dreamed of doing something in fashion and to be in that world but for whatever reason I never thought that was a possibility for me. I thought you had to sew and do all that stuff to be considered a designer. I knew I just wanted to draw it all. After I completed my undergraduate degree in Toronto, I did a bunch of odd jobs. My only real career before fashion was the five years I spent as a Starbucks barista. When I read about the fashion program at Parsons in New York City I thought this could be my shot and I went for it.

How did your time at Parsons help shape you and hone your craft?

For me it was all about living in New York City and pursuing this dream and just being ready and hungry to work hard to make it happen. I was beyond thrilled just to be there. I did a two-year Associates Program in Fashion Design at Parsons and that was a great introduction for me. I was learning all the basics like draping and sewing and pattern making for the first time. I understood early on that I needed some outside experience to see what being in fashion was really all about. Realistically, there is only so much you can learn inside a classroom for a career like this. I landed my first internship with Tuleh, a luxury design house in the Lower East Side. As an intern there, I was doing everything from production errands in the garment district to sewing labels and making drop offs as Bergdorf Goodman. I really saw the teamwork that it takes to make it all happen; it’s never about a singular effort but a group who makes a vision possible. That was a real education and stepping stone. Eventually I was hired as a design assistant at Tuleh and everything just happened from there. It is a lot of hard work working in fashion but I made it my point that when I love what I do it shouldn’t seem like work at the end of it all. I’ve always believed that this type of work should start from somewhere fun and happy because if it’s not, then what’s the point?

What impact has social media had on your career?

Social media has been amazing. From the obvious advantages of having my work seen by a whole new audience, I’ve had some really amazing responses and support from everyone. From the likes and comments to special projects and commissions, social media has been a huge net worker for my career. I see it like an online gallery.

Where do you draw inspiration from and how does it influence your work?

I’m inspired by a lot of things. I’m a huge researcher and I love to go on Tumblr and blogs and pull images and visuals (I think I have too many folders on my computer just of research images). I love to look at old magazines and art books and watch movies and videos for inspiration. My tastes are varied and range from so many different things that I do find that it makes my work and its style eclectic. I’ll jump from fashion illustration to more graphic line drawings to sometimes comic style doodles. A lot of the drawings I do everyday are just things I respond to in the moment from a great fashion image to what my friend is wearing to something cool I see on the street.

What was it about illustration that you were drawn to?

It really is just wanting to see what I like in front of me on paper. When I was little I drew cartoon characters so they were on the page in front of me. When I see a cool stylish girl on the street today I want to draw her because I want to create that same image in my own style. I guess it’s my own form of documentation.

When I was working as designer, I would always start off with the illustration of the girl in the clothes. To me the mood and the attitude was always important. Illustration became the stronger part of my design process I guess. t was fun for me to create that world where, yes it was about the clothes, but it was more about the vision and the personality of that character. I started really getting back into my own illustration work in the last few years and had my blog to post all these drawings I was making. Then I slowly started to take on more illustration type projects that I soon realized that this is my own unique design voice. So my own pendulum swung back toward illustration and art but with my fashion background.

What are you short-term and long-term goals?

I relaunched my website where I show my work online and sell a capsule collection of products from T-shirts to illustrated prints and iPhone cases and tote bags. I’m working on a few more projects focusing more on my fashion illustration work and I want to get back into the more personal art project ideas I’ve had stewing in my head for a while.

In the long-term I’m building my brand and body of work at a more established stage where the categories of my work are expanded. I would love to do custom illustrated textiles and have the freedom to create all my ideas. I’d love to eventually have a retail/gallery type space where I can show my original artwork alongside merchandise like my printed T-shirts and house all my ideas and mediums under one roof.

How have you evolved as an artist and person?

I always think we are evolving as people so it’s hard for me to say but I do know that I’ve made a point with my work to try to create things that are important to me and that I like. I think also knowing that we are always evolving takes away that pressure of having to have all the answers upfront. It is more fun to explore.

Often times an individual’s cultural frame of reference can be vast but their tastes are of the moment. How would you describe your tastes?

My tastes are pretty eclectic and range from such high to low things that it’s all a pretty vast collage of ideas. I try not to shy away from that because that is essentially who I am. I’m always interested in what I see around me and I want to capture it all through my work.

How do you maintain your artistic integrity while producing art that is commercially viable?

I think it’s important for me to always make something I like first. If I don’t like it, why would I want to do it? I think having that as a starting point makes whatever I end up creating have an integrity from the beginning.

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Posted on May 12, 2014 by theculturalomnivore in Fashion

In Conversation With Model Manager Gabriel Ruas Santos-Rocha

A journalist by trade, Gabriel Santos-Rocha’s foray into the world of fashion was fortuitous. From his hometown in Brazil to New York City, Gabriel’s path to being a model manager at Trump Model Management was long but incredibly rewarding. I caught up with him as he talked about his journey, what it takes to make it as a model and his continued passion for writing.

You studied journalism in your hometown of Porte Alegre, Brazil. How did you transition into scouting models for Marilyn?

That’s actually a funny story. One of my best girl friends was approached by Simone Lopes, who was a director at Marilyn in Brazil when we were out one night at a Madonna themed party. My friend asked me to come with her to the appointment. I knew nothing about the modeling industry. I was really into movies and music at that time, so I came, not thinking anything of it. A couple of weeks later my friend called me to say that Simone had asked her for my number, which we both thought was strange. It turned out that Simone had seen me around at parties and social functions and decided, for whatever reason, that I could be a good scout for them. So, I went in and realized that Marilyn was a fabulous opportunity and Simone and Zeca de Abreu, their President at the time in Sao Paulo, were unbelievably great people. We had a great time working together, they taught me so much, and still do. My girl-friend though, you might wonder, decided modeling wasn’t for her and is now a successful lawyer. She just visited me in New York last week.

After a successful run at Marilyn your talents caught the attention of Ford Models which eventually led to your position as Model Manager at Trump. Tell us about that journey.

You know, moving from Marilyn to Ford was one of the hardest things I ever did. I really felt like a part of a family at Marilyn, but making that move also meant growing up and taking actions toward building a career. At Ford I was given freedom to build something really cool with a very talented group of individuals, some of which ended up at other New York agencies like me and remain close friends and others have become very successful artists, like Andre Azevedo, etc. After a long run in Brazil, I owned my own company and was very successful in what I did there and that reflected a lot in my relationships in New York and Paris particularly, so it was only natural for me to make that move. I always wanted to live in New York, so I came here, and I had three very good offers, but the one I really wanted, which was Elite, was taking forever to get back to me. I went through a lot of my savings because I wanted to wait for them and had to pay the bills and I am glad I did. Elite was a phenomenal experience; I was able to work with some of the top agents in my field and learn many important lessons. Trump is an established company with a very experienced team of agents and somehow manages to maintain a family feel to it, which I love. We work hard here to build and nourish long-term careers and we are very selective with who we represent because we are smaller and we like it that way; we love that the girls walk in and feel like this can be an extension of their home.

What does a typical day look like for you?

There are many phone and email conversations and negotiations all day long. A typical day at the office is not nearly as exciting as one would imagine. We have a lot of interaction with the models who are constantly in and out of the office. Sometimes we go to their photo shoots. Many times we take clients or models out for lunches and dinners. If we’re lucky we get to go to a fun industry event after work every now and then, but trust me, we have a desk job like most people, it only involves a much more animated crowd with music playing in the background. And snacks, lots of snacks.

Modeling requires a certain physicality but beyond that what makes a great model?

A great model has to have a great personality, there’s no way around it. Some of the most successful models in the world are the ones who are playful, who understand fashion, art, etc. The girls who understand that they are a part of the creative process and make the best of their ability to collaborate in that process are the ones who succeed.

Tell us about the process of scouting a model to developing them to launching them.

Generally the scouting is all done by a specific team of people, in our case at Trump, Duane Gazi spearheads that team. Once he finds talent that he believes in and understands would be a great addition to our roster there is a process of development in which we work with the assets the girl already has from physicality to personality, to create a career plan and a path for each girl individually. Everyone is different and careers evolve according to each individual’s journey, that’s the fun part of the process. Sometimes girls need assistance in putting together their wardrobe, need a change in haircut or need English lessons, etc. Many times they don’t and it’s only a matter of tweaking their personal style to meet what the market is asking for at that particular moment. The team works together diligently to make sure that it all comes together for the time when the girl is put in front of the client; sometimes one chance is all they get.

How do you feel about criticism leveled at the fashion industry that there’s a lack of diversity?

I believe there could be more diversity, but I don’t believe that is only for the fashion industry, it happens across the board in the entertainment industry. Look at what just happened recently at Saturday Night Live. Yes, there needs to be more diversity in the fashion industry, but let’s not be mistaken, all ethnicities are represented and hopefully that won’t diminish and only grow; our fashion campaigns, runways and editorials should reflect the world we live in.

What advice would you offer someone thinking of embarking on a modeling career?

I would advise them to be patient and to not give up easily. I’ve seen some of the biggest careers happen after years of struggle and rejection; it happens when the time is right. Oh, and always listen to your agents, of course!

The Internet has contributed to the democratization of fashion and helped demystify the industry. Do you feel this has helped or hindered fashion?

It has made fashion more accessible to the masses and it has helped build bigger stars faster with the use of social media, but it has also played a negative role. Printed material is becoming extinct, and with that those types of rates and usages. The industry hasn’t evolved quickly enough to keep up with the velocity of the Internet unfortunately and it’s a fight we have to pick daily in every agency. We understand the value behind the work that is shot for the Internet and it has been a struggle to convey that message to clients. That’s how models make a living, from their image. Internet used to be an afterthought years ago and today is a major part of our business.

What are your short-term and long-term plans?

God, what does that even mean? My short-term plans are getting girls ready for the next season. My long-term plans include a home on a beach somewhere and feet in the sand, but I don’t think I will ever be able to stop working, my mind is restless and needs a good outlet.

What would people be surprised to learn about you?

Probably that one of my biggest passions in life is to write and that I love movies more than I love fashion (sorry!).

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Posted on May 5, 2014 by theculturalomnivore in Fashion

Introducing Ataui Deng

South Sudanese model Ataui Deng moved to the United States in 2004. Four years later her modeling career started when she signed a contract with Trump Models. Since then Ataui has walked the runway for Zac Posen, Lacoste, Christian Dior and John Galliano. She also appeared in magazines such as Teen Vogue, V Magazine and appeared on the cover of French Revue de Mode and shot campaigns for Kenzo and Benetton, among others. I recently caught up with her.

Tell us how you were discovered.

I went to a modeling expo with my family in Dallas. It was there I met Duane from Trump and he signed me.

What challenges have you faced, if any, as a model of color?

I haven’t faced any challenges so far. As a model of color designers have a tendency to put me in bright colors which I don’t mind.

What have you discovered about yourself through modeling?

That I was born to do this.

What are your goals for the future?

I’d like to keep moving forward and one day try designing shoes.

What would people be surprised to learn about you?

I think they’d be surprised to learn that I’m a free spirit.

What was the last book you read?

The Wisdom of Compassion by the Dalai Lama.

What do you love most about New York City?

I love the diversity and the culture.

What are you most grateful for?

I’m grateful for the amazing people in my life.

Posted on April 10, 2014 by theculturalomnivore in Female Models

Model Lisa Can’t On Her Life In Fashion

From humble beginnings in Calgary, to the cover of Italian Vogue, Lisa Cant epitomized the doe-eyed ingénue of the early noughties. With campaigns for Chanel, Akris, Juicy Couture and Daks under her belt, Lisa stepped back from the limelight to attend university. Now a mother, Lisa balances her new role with the new challenges that brings. I caught up with Lisa to find out what she’s up to these days.

What went through your mind when you were approached in Ikea to try modeling?

I was pretty surprised – I’d never thought of modeling before that moment. I never imagined that it would take me this far.

After six years of modeling successfully you decided to enroll at Columbia University. What was the trigger for this decision and how did you maintain balance?

I was just looking to do something different. I wanted a challenge and thought that university would be incredibly enlightening – which it was. I definitely had to cut back on traveling and working. I probably could have done a better job of finding time for work, but I became very involved in my studies and rarely wanted to miss classes, so I turned down a lot of potential jobs. I felt like it was the right thing for me at the time as I wanted to do my best in university.

You are involved with The Model Alliance. What was the impetus for making this decision?

Sara Ziff, the founder, approached me and asked if I would write an essay about going back to school. We were both in Columbia at the time and she wanted a model’s perspective about the challenges of balancing modeling and studies.

What have you discovered about yourself through modeling?

I learned that I can be patient. Modeling takes a lot of patience, you are primped all day at work, sometimes longer than you are even shooting.

What are your goals for the future?

I would like to keep an open mind for the future. I don’t have any concrete plans and no specific goals at the moment, which I enjoy.

What would people be surprised to learn about you?

That I had a baby last year; little Charlie is the center of my life.

What advice would you give to someone about to embark on a modeling career?

To be persistent. I was rejected by a lot of agencies before I began working. If someone really wants it they need to try smaller markets and just keep working at it.

What are you most grateful for?

The love of my family.

What was the last book you read?

Beautiful Ruins by Jess Walters. Makes me want to go to Italy in the 1960s.

What last made you cry?

I’m not much of a crier – definitely not in movies.

Favorite board or card game?

Scattergories

Gamble or invest?

A bit of both.

List three things you are grateful for right now.

The love of my family, the opportunity to spend most days with my son and my health.

Posted on April 10, 2014 by theculturalomnivore in Female Models

Jason Kanner On The Business Of Modeling

At just 19-years-old, Jason Kanner was working at a nightclub in South Beach when he met the director of Florida-based modeling agency Irene Marie, best known for discovering Niki Taylor. Recognizing his eye for talent, Jason was offered a position as junior agent in their Miami office. From there, Jason joined Boss Models, where he worked with top talent such as Amber Valletta, Angie Harmon, Marcus Schenkenberg and Joel West, and procured contracts with luxury brands such as Calvin Klein, Chanel and Ralph Lauren. Kanner then made his way to Major Model Management where he became the director of the Men’s Division. After nine years at Major, Jason decided to transfer his passion and vast industry knowledge into an agency of his own, Soul Artist Management.

Tell us about the transition from agent to agency owner.

The transition has been quite subtle. I’ve been a director of several agencies for over 20 years. Other than signing the checks and worrying about insurance for my employees, it’s really not much different as I’ve always carried a large amount of responsibility.

Why have you made reviving the male supermodel the focus of your career?

It’s not my primary focus, but certainly one I take seriously. Models have played second fiddle to celebrities for quite some time now and I believe that the public has always enjoyed seeing models on covers, so why not recapture that and bring it back. Models are both exciting and inspiring to people.

Actors have dominated magazine covers and campaigns for years. Do you think there is the same level of interest in models as there was a decade ago?

Up until recently that would be correct. Of late, Harper’s Bazaar and Details magazine have featured models on their covers for important March & September issues. The sales of those issues have been equal to or exceeded their celebrity covers. I believe we are on the cusp of something here that has been proven by the increase in sales and circulation on the newsstands.

Models such as Mark Vanderloo and Markus Schenkenberg epitomized the male model aesthetic of the nineties. By the mid noughties, Hedi Slimane had ushered in a more waifish aesthetic for men. What do you see as the next evolution in male models?

Hedi was really more turn of the century and it was more a Kate Moss/Calvin Klein, Mike Campbell/Christian William /Steven Meisel moment that brought in the waif and grunge moment of the nineties in my opinion. I think the new evolution is going back to the classic, good-looking, Hollywood style; masculine and beautiful.

What do you think makes a model a supermodel?

Industry-wise it would be demand from designers and the advertising agencies to hire a model. I believe to be a Supermodel you must be a chameleon, a muse to designers and photographers. You must have energy, personality and a strong connection with the camera. Models are the silent movie stars of a modern time.

How is managing a model’s career different today than a decade ago?

With social media there is a different level of marketing that takes place and models are savvier today than before. They, the models, are well versed in the business and are a large part of the conversation that transpires in building their brand.

Do you think male models can have the same longevity as their predecessors?

Absolutely! Actually, they can have longer careers than females. Just look at the careers of Markus Schenkenberg and Tyson Beckford. Those are careers that have spanned 20 years. Having proper management has aided this of course.

Do you think male models have the same allure as their female counterparts?

That’s a subjective question. With photographers such as Giampaolo Sgura, Mariano Vivanco, Bruno Staub, Richard Phibbs, Arnaldo Anaya-Lucca, Alasdair McLellan and Matthew Brookes taking beautiful and iconic images of men that last the test of time, we are seeing men’s editorial flourish. The editorial itself is lifted and on par with what the girls are shooting

What does Soul Artist Management offer that’s different to other agencies? What advice do you have for young guys starting off in the business?

We are a true throw-back boutique agency. Despite our newness to the marketplace, the agents on our table have over 20 years of expert management under their belts and work with passion. We offer specific, tailor-made management strategies and have fewer clients compared to the larger, mega-agencies of the past. Our work speaks for itself.

What advice do you have for young guys starting off in the business?

I would advise any new model to finish their education. Educate yourself about the industry at the same time, the brands, the photographers and other models. Keep your ego in check but also know that you have a voice. A career is a true collaboration between all artists involved with the model as muse Bring your voice. Let it be heard.

Learn more at Soul Artist Management

Posted on April 9, 2014 by theculturalomnivore in Fashion