THE CULTURAL OMNIVORE

Danielle Z – Catwalk Queen

In the post supermodel era, Danielle Zinaich rode the crest of new models whose look would come to define the nineties. Born in West Virginia, Danielle arrived in Paris and soon found herself at the center of a coveted group of models that would dominate the runways and magazines of the time. With campaigns for AKRIS, Versus, Chloe and Istante under her belt, Danielle has managed to stay grounded and is one of the most unassuming people you could meet. I caught up with Danielle as she spoke from her home in New York about modeling, motherhood and how she embarked on a career in homeopathy.

Tell us about your start in modeling.

I grew up in Weirton, West Virginia. It’s a small steel town about 45 minutes from Pittsburgh. A man stopped me in the mall and handed me his business card and said I should model. I was 17. I had headshots done in Pittsburgh and a local photographer thought I had potential. He helped me book jobs for Kauffman’s.

You were in high school at the time. How did you juggle class and modeling? 

I spent my senior year doing half days at school and half days working. I had the grades and the credits to graduate so my principal allowed me.

Did you move to New York? 

Paul Rowland, the founder of Women Management, came to Pittsburgh to bring me to New York. He held my hand in a lot of ways. I was given the option of moving to New York or moving to Paris. My parents felt it would be safer for me in Paris.

Why is that?

When I started it was the early nineties. In New York it felt like there was a lot more crime and drugs. I think also my parents thought that moving me to Paris would give me a cultural experience and it did.

I looked at it as an adventure. I wanted bigger and better things than a small town could offer me. I wanted to explore the world and meet people and discover things. I didn’t want to feel isolated so I stepped out of my comfort zone.

That’s a really mature approach for someone so young. 

My father was a State Farm sales agent. He won trips to other countries when I was growing up so I was comfortable in new places.

Did you travel alone? 

Oh no. My parents went with me to make sure I knew how to get around the city, ride public transportation, and get settled into an apartment and with my agents.

Did you speak French? 

I spoke French fairly well. My accent wasn’t the best and they didn’t know what the hell I was saying at first, but I adjusted.

Who were your early supporters? 

Definitely my family. They would visit me in Paris. Also, my mother agency in Pittsburgh kept in contact.

What about friends?

I had a lot of model girlfriends. When I came back to New York, Carolyn Murphy and I lived next door to each other and we became close. Eventually we got a loft in Tribeca and we looked out for each other. We made sure we were safe and not partying too much.

It’s so refreshing to hear that you were looked after so well.

I was fortunate and had a good group of editors and photographers who followed me and kept rebooking me. The consistency kept me grounded. Harper’s Bazaar for instance. I worked a lot with Tonne Goodman. When you keep working with the same people over and over, they get to know you. They can see if you’re off your game. Models now travel more from team to team. It was a luxury for me to be able to get to know the people I worked with. You don’t find that happening as much now. The turnover rate is much higher with models than it used to be.

How else has the industry changed? 

The shoots are much more business-like.  Back in the day it was a party atmosphere. The creative ideas would flow and at the end of the day your hair, your makeup, the insane outfit, everything would be larger than life. It was a real riot. Now the budgets have changed. Clients try not to shoot overtime. There’s less travel to exotic places. I think both moments in fashion are exactly what they need to be.

Was there a point where you realized you made it?

Absolutely. Peter Lindbergh had shot me for an Armani campaign. I was in Milan and saw a huge billboard with my face on it. My driver stopped and took my picture in front of it. Everyone around the billboard was taking my photo and asking my name. It was very flattering and gratifying. That season I was doing about 15 shows in each country. After that I began shooting with Steven Meisel for Italian Vogue and then moving on to covers and more campaigns.

You were already a successful model but did you find that after shooting with Steven Meisel that your career skyrocketed? 

Absolutely. He’s highly respected in the industry. He’s incredibly creative and can envision the shot before he takes it.

What’s it like shooting with him?

As with all top photographers, he makes the girls feel really important. It built my confidence. I learned so much from him. He helped me find my best angles and expressions. He would put a mirror behind him so that I could see what I was doing. The experiences working with him shaped me into a better model. Both he and Peter Lindbergh were gateways. Working with them opened a lot of doors for me.

Most models don’t know what they’re doing when they step on a set the first time. Did you feel encouraged or empowered to participate in the creative process?

It’s difficult to speak up without knowing how to contribute in a way that affects your career positively. It’s really like learning a new language. It takes maturity to speak up and say this doesn’t feel right or this does. Over time as I gained confidence I took more risks on set and started testing my voice. It changes the energy on the set. It helps the creative process for everyone involved. I would encourage any young model to push boundaries and comfort zones from the very beginning. Careers are so short now it’s practically imperative.

Modeling careers are so short now. What was so great about the supers like you was you could see a career evolve and get involved with it. Now a girl has a moment and she’s gone.

The supers were unique and have certainly stood the test of time. The beautiful girls today rarely have the chance given to them to grow and develop. I definitely feel more inspired when I look at ads and see women such as Christy Turlington doing Prada.

I’m excited to see all the girls coming back. There’s a new energy. I’d love to see it inform the new models coming up.

I’m excited to see models doing ads again too. It’s been actors for so long; I’m so over that.

I think the industry agrees with you.

I detest seeing celebs on the cover. It’s become a promotion machine more than art. It’s very commercial and revenue driven. When magazines started using actors the perception became that they did a better job selling an image or turning a profit. I’m not so sure that’s true. At the very least it seems financially driven and that to me is very boring.

What do you think about the lack of indie girls?

Marc Jacobs has always used interesting faces and personalities in his ads. There are a lot of designers that will take a risk for a strong face. You definitely still see them on the cover of Italian Vogue. That look will eventually come back full force. Everything in fashion is cyclical.

How would you feel if one of your children got into modeling?

They’ve modeled with me quite a bit before. They did an H&M campaign with me and a commercial. My little guy was such a ham. I had to keep taking him aside and saying, “Nico, you’re working we have to do as they say.”  His energy ended up being perfect for the shoot. They worked for Lord  & Taylor, Target and Cookie magazine. It’s a fun way to express yourself. I get to spend a day with them and have fun. They are also paid and have savings accounts for college.

Now that you’re a mom and run a café I imagine it’s difficult to find balance in your life.

I’m a Libra so balance is really important to me. I make lists and do things when the kids are sleeping. My husband and I own a cafe in Chappaqua called Local so with modeling it takes extra team work with scheduling. It’s a juggle for sure.

You’re also interested in Homeopathy.

Yes! I love it. I’m in my fourth year of school at The Center for Homeopathic Education. It’s affiliated with Middlesex University in London. I’ve been practicing under supervision of a naturopath and I’ve begun seeing clients under supervision. I’m looking forward to having my own practice.

How did that path start for you? 

I started by eating organic and then I took all preservatives and food dyes out of my diet. We started using homeopathic medicine instead of conventional medicine. I’m a huge believer in the body knowing how to take care of itself. It’s inspired me so much and affected my life in such a positive way I had to move forward with it.

Tell us more about Local.

It was a lot of hard work but totally worth it. Local food and cultivating a community around it was important to my husband and me. It has been another way we connect with our community in Chappaqua. We chose the name Local because the food is supplied from local farms. We use only seasonal fruits and vegetables. Ice cream comes from cows with names. My husband runs the menu while I decorate. We love doing it together.

What advice you would give your younger self?

Wisdom and confidence come with age and experience. I would say don’t be so hard on yourself. Enjoy being young. On a practical note, since models don’t have the longevity that we had, if you make money it is great to invest when you have it.

Danielle is represented by IMG

Posted on by theculturalomnivore in Female Models

In Conversation With Model Haylynn Cohen


Brooklyn native Haylynn Cohen was discovered while skateboarding in a park and the rest is fashion history. Appearances on Vogue and in campaigns for Versace, Gap and Tommy Hilfiger soon followed. I caught up with Haylynn at her Malibu home to reflect on her career and find out what she is up to these days.

Can you talk about how you were discovered. What was your first job?

Sure. I was 15 in 1995. I had cut school from Lincoln High in Brooklyn and was skate boarding in Washington Square Park. I went to get a hotdog when Barbara Pfister, a casting director, approached me with a Polaroid camera. She said, “Hey, I’m casting for a Gap campaign with Mario Testino. Can I take your Polaroid”? I said no. She offered me a check for $200. I took the check and she took my photo. I went home and told my dad about the Gap shoot and he thought it was a scam. Two days later Barbara called me to say I’d booked the shoot. I took my skateboard with me and that was it.

Did you get an agent right away?

Mario took my dad and I to DNA and we sat down with them. They wanted me to drop out of high school and move to Paris. My dad, who is on the Board of Education, didn’t want to see that happen to me at 15 so we parted ways and I thought that was it. I’d had a fun experience and now it was over. I was fine with that ending.

We know now that it didn’t end for you. How did you go from walking away to getting signed?

Well, I went back to high school and a month or two later Barbara Pfister called me back for a shoot with Nathaniel Goldberg for W magazine. I showed up and several heads of top agencies were there. Some even sent gifts to my grandma and family, which I found odd. My dad set up some meetings but everyone wanted me to drop out of school and go to Paris. Faith Kates, the owner of Next, was putting together the new faces division. Tasha Tilberg was on the board as well as Emily Sandberg, Georgina Grenville and Sara Ziff. Joel, the head of the new faces division, and Faith said they would work around my school schedule. So I signed right then and there.

So what was it like at the beginning?

Every day we’d get a casting sheet, the call sheet and we would go to the appointments. We had our part. At the very beginning that was staying slim and being on time. Agents at the beginning know much more about the strategies of the job.

Who were some of your biggest supporters at the beginning? 

My agents were for sure because they wanted to get paid. A lot of photographers: Nathaniel Goldberg, Mario Testino, Juergen Teller, Craig McDean, Fabio Chizzola; There were so many. Designers would book you year after year after year. Nian Fish was also a great supporter.

Did you feel professional pressures with a seemingly quick ascent to the top?

No, though it was not a slow build, I stayed in school. There wasn’t a pressure placed on me to succeed. I didn’t understand what was being built. The pressures were more personal. I was camera shy. I felt uncomfortable wearing dresses, makeup and heels. I didn’t like the attention but I went with the flow.

What about weight? Did you have pressures with that?

I saw a lot of the girls not eating. I knew some of them struggled with eating disorders. Fortunately I didn’t struggle with weight or fitting the clothing until I turned 27.

What happened at 27?

My body changed. I grew up.

What was your experience with substance abuse?

I definitely went out at night. As a model I had a lot of access. It goes with the job. It wasn’t predatorily motivated, it was just there.

What about traveling. Did you experience loneliness?

I started traveling at 15 and my dad did go with me at first. The most difficult thing to leave behind was my friends and my first boyfriend. That hurt. A lot of models leave their hometowns, states and countries. I was fortunate in that New York was my home.

How did you cope with traveling alone?

I had art projects I would do in hotel rooms. I spent a lot of time alone. I’m not inherently social. I read a lot. During runway seasons I was with a clan of other professionals that I knew which was nice.

Models do travel alone. How did doing runway shows bring you together?

We had a common experience that bonded us. We all knew what it was like to run the circuit and sustain the demands of doing runway. We stayed at certain hotels and worked long and late hours, often from 6 AM until 2 AM having to walk the shows and complete the fittings for the next days shows. You know, we all shared that. We stuck together. We supported each other. I spent a lot of time with some models. 

Did modeling support your growth?

It did. In a way, modeling saved me. I had little direction at that time in my life. I was a skater kid. I one hundred percent rebelled against modeling and did everything I could to destroy it. I brought that to the table. Modeling did give me money but more importantly modeling gave me the freedom to explore. I experienced a lot and it gave me a work ethic.

Why were you so against it in the beginning?

It was definitely my nature at that time. I didn’t like what I thought fashion was about. I was like a kid rebelling against their parents. I rebelled against work. I rebelled against anything that came across my path.

Once your career took off did anyone talk about its expansion?

Creating a career of longevity was a big problem for fashion at the time. I think that was a big mistake that agents made with girls.  Most agents did not think long term. It was the era of the “it girl” and there were new ones every season. At that time the focus was making a name for the girl as quickly as they could to make the most money they possibly could before she was replaced. The pace was so fast. A lot of models burned out. I think the smarter agents are pursuing that conversation now.

Your moment certainly lasted a lot longer than most. At one point you were in an enviable position with editorials, runway and campaigns. Then you made a switch to shooting catalogues. Can you talk about that moment?

There was a conscious decision when I was about 22. I’d been working for eight years at that point. Eventually it was going to end and I wanted to use the opportunity to make money. My agent told me I could do Saks Fifth Avenue three days a week and make money but Mario Testino would stop booking me. I’d just been on the cover of French Vogue and she said it wasn’t a good idea. I’d been told my time would be over sooner rather than later so I took the money when I was at the height of my day rate and before it was off the table. I wanted the stability of having regular clients.

The general conception when you see a girl on the cover of Vogue is that she’s making a lot of money to be there. Is this a misconception?

Generally speaking, yes. There is a misconception that a girl who is shooting strong editorials is making a lot of money. When you see a girl over and over in magazine spreads she’s not making tens of thousands of dollars. She may take home a check for $250 and sometimes her travel expenses are covered. The money comes after a lot of strong editorial shoots with great photographers.

So let’s say she’s been doing really great editorial. What happens then?

Once they know that you’re bankable and fun to work with, they’ll say maybe lets book her for a Prada or Gucci campaign. Campaigns pay well. That’s where the money is for an editorial girl, that and runway shows. It’s definitely a strategically longer game with higher stakes than catalogue models.

How do you stay grounded?

It’s very difficult to lose focus of the ground because your nose is always hitting the pavement. There’s a misconception that models need only be beautiful and everyone around them will make their career happen. It’s very hard work actually. Decisions must be made that can make or break a career. Expectations are high and it’s constant.

Your first step into a new line of work happened when you opened a restaurant.

I needed space for something else to occupy my mind. The industry can be completely encompassing. I wanted to have a place to go to at night and hang out with my friends. So I did it. My boyfriend at that time helped. We had all my favorite foods. I cooked in the kitchen. I waitressed. I bartended and I modeled. All my friends would come and hang out after hours. It was really fun. It was a nice hangout.

There’s a renaissance of the mid-nineties models. Are they coming back on their terms?

They’ve made their money and have a name and can be a lot more selective. It’s a special moment seeing those faces again.

Do you have any plans to return full-time to modeling?

There are great clients that I enjoy working with and when they call I like to do it because it’s a good time. We know each other.

Thank you for talking with me. One last question that everyone wants to know, what are you doing now?

I’m into a lot of home renovations at the moment. I just finished a house that I love. It’s a challenge and every house has a problem that is messy and needs to be solved. It’s alive for me. I have two children and my life is simple and full. I enjoy it.

Posted on by theculturalomnivore in Female Models

2013: The Year in Review

From Scott Lipps to Ben Watts to Paul Boche and Sibyl Buck, 2013 for The Cultural Omnivore was a year of bigger than life characters that reminded us why we love fashion. While the world was introduced to newcomers James Gatenby, Alex Michels and Maggie Maurer, feature interviews with the filmmakers of Girl Model and Versailles ’73: An American Runway Revolution pushed boundaries and challenged viewers to reflect and consider a more serious side of the fashion industry. Additionally, Rachel Blais and Edythe Hughes both have used their platform to advocate for model’s rights and be of service to their community respectively. For the more health conscious reader, Roger Frampton, Catherine McCord and Dana James provided a cornucopia of information.

I would like to thank everyone for their continued support and promise to deliver plenty more in 2014.

Posted on by theculturalomnivore in Fashion

Paul Boche – Teutonic Beauty

With cheekbones that could cut glass and bee-stung lips, Paul Boche has silently been climbing the ranks in the modeling industry. A starting role in the upcoming spring Kenzo campaign will further secure Paul a place in the upper echelons of fashion.  I spoke with Paul about his plans for the future and how his creative vision has evolved.

How were you discovered?

Some years ago I was doing a mandatory internship in Berlin.  I was still in school and had to take a two-week internship of my choice. During my lunch break I was scouted by someone who worked for an agency in Berlin.

If you weren’t modeling what would you be doing?

That’s a difficult question. I probably would have gone straight to university after graduating from high school, started studying one thing, then switched to another until I figured out what I wanted to do.  I think that ultimately I would have found my way to the Arts one way or another.

How do you handle the isolation that comes with modeling?

I enjoy being by myself. I am in a relationship and love the idea that two people connect and share their lives. I also think it is important to know what to do with yourself when you’re by yourself. I read a lot, study for the projects I am working on, and so on.

How do you define success?

Being happy. Also, if you can move people with what you’re doing and make a living, that helps. I also think it’s important to be a good person to the people who love you.

How do you handle the scrutiny and rejection that comes with modeling?

I think to myself whatever and carry on.

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

I like to spend time in nature. I particularly love the desert and the woods.

What have you discovered about yourself through modeling?

I’ve discovered how important professionalism is.

What are your goals and aspirations for the future?

My long-term goals are to have a family.  In the meantime,  I am working on a movie that is filiming in March.  I am also successfully staging a play, that I’m also in, that same month.

What would people be surprised to learn about you?

I have webbed toes on my right foot.  It sounds worse than it is; you can barely notice them.

What do you think is the biggest misconception about modeling?

That models are stupid.

Paul is represented by Fusion Models

Posted on by theculturalomnivore in Male Models

Shhh! Ben Watts Talks Fashion and Photography

English-born photographer Ben Watts was raised in Sydney, Australia before moving to New York in the nineties.  Most notable for his work with GQ, Victoria’s Secret, Rolling Stone and Gap, Ben continues to innovate and bring arresting images to the forefront of fashion. Ben spoke to me and Emily Sandberg about his foray into photography and how complacency isn’t in his vocabulary.

How do you think your upbringing in Australia influenced your style of photography?

I grew to love being outdoors, the bright colors and the energetic beach lifestyle.

When you first arrived in NYC, what was it about Hip Hop culture you found so fascinating?

I was fascinated by the energy, the flamboyant showmanship and the lifestyle.  It’s all very in-your-face and nothing modest about it.  I loved it.

Having shot editorial stories, advertising campaigns and portraiture,  is there one arena you feel more comfortable in than others?

I like to think that I am comfortable in all of them, although, I treat every shoot as a new challenge. There isn’t an easy day, but there is never a hard day when you love your job.

How do you feel about the evolution of photography to digital?

I think its great. It made photography and an immediate medium, taking away the anticipation of waiting on the processing.  Sadly though, it has killed Polaroid which was a major part of my love of photography.

Karl Lagerfeld said “[We are] easily in a period of over-retouching… Some models [end up] look[ing] as if they are coming out of a funeral parlor, all life taken out of the face, I hate that.” What are your thoughts on the idea that Photoshop has ruined fashion photography?

I agree. I do very little retouching to my images and I try to make them look the way I want when I actually take them.  The beauty of a model is who she is, not who you can make her with technology.

On Twitter you’re known for the #shhhhh photos where you take photos of models and celebrities making a shhh gesture. Where did the idea for this originate?

Shhhhh…

Your Photo Booth project started with a Hipstamatic lens and is now being strategically placed outside events. What do people love so much about this experience?

People love getting their picture taken!  They love the experience of a photo shoot and the attention.

Where did the idea for your branding of the diamond come from?

Just the opening pages of my last book Lickshot.  I was playing around with some tape as I have a tendency to do and that was that.

You studied Visual Communication at university and fell in love with scrapbooking and collage. How did you end up embracing photography and why?

Really it was a natural progression.  I love visual energy and it was only a matter of time before I started making my own images.

You once said, “Never become complacent in order to stay competitive”.  Tell us more.

This goes with anything for me.  You need to always challenge yourself in order to better yourself

Your relationship with MILK studios started with the conception around the space. Their space, internship program at Parsons and ART gallery has created a subculture in the photo community. Can you tell us more about the intention and your relationship with Ben and Rozzi?

I am not an owner or partner at MILK.  I have known Rozzi forever and we have both grown up in the industry together.  There is loyalty program that we share.

Follow him at @WattsUpPhoto and Facebook

Posted on by theculturalomnivore in Fashion