Alex Michels foray into the world of modelling came after he was inspired to attend an open audition after viewing fashion editorials on Tumblr. I spoke with Alex about how he copes with the isolation of modelling, his secret ability and what he plans to do when he finishes college.
You were discovered at an open audition. What interested you about modeling?
I used to be really into Tumblr. Lots of random fashion editorials would filter through and I would see the photos and think to myself, “I could probably fit those clothes too, right?” I decided to go to the audition and the agents at Stars Model Management signed me on the spot.
What are your aspirations and goals for the future?
When I’m finished with college I’m hoping to try my hand at animation or video game design. Hopefully I get to stay here in California as well.
What do you hope to get out of your modeling career?
I hope to earn enough money to buy my mom a new fancy kitchen; She hates all of our appliances. I’d also like to spend more time travelling around Europe.
How do you handle the pressure and rejection that comes with modeling?
The pressure to look ‘casting-ready’ is a challenge for me. I’m naturally less put together and usually have disheveled bed-head. The rejection can really be a bummer as well but I have to just remind myself that it’s not personal.
What do you think people would be surprised to learn about you?
I have the secret ability to wiggle my ears on demand.
What has been the highlight of your career so far?
The highlight of my career has definitely been walking for Louis Vuitton last summer in Paris. They also used me for looks for a few days. You would not believe the food they ordered for catering, it was like a French Thanksgiving every day.
How do you cope when you are away from family and friends?
I like to stay connected through social media such as Facebook, Instagram and Skype. During Fashion Week I am kept really busy with castings so that makes it easier.
What do you like to do in your spare time to decompress?
When I’m away and I want to relax I do any number of things from video chatting with my girlfriend, Gameboy, reading, eating everything in sight, napping, drawing to squatting at Barnes and Noble.
Maggie Maurer made her modeling debut at the grand old age of 23, a feat virtually unheard of in the fashion industry. At an age when most models would be considering opportunities post modeling, Maggie is quietly making her mark. As an exclusive for Calvin Klein, Maggie is one of a number of models entering the fashion industry later in life and creating a shift in perception about what is too old to begin your career. I caught up with Maggie to talk to her about her goals for the future and the highlights of her burgeoning career.
What advantages and disadvantages do you feel that starting your career at 23 gives you?
I don’t really feel like starting at 23 is a disadvantage. I think this business is all about timing and in my life, this is my time. If I had gone through this same experience at 16 or 17 I’d be home right now.
What are your aspirations and goals for the future?
I am going try my hardest to make this happen. Go big or go home, right? I’m not interested in just floating by in this industry. I want them to know me, love me, respect me and want to work with me for many years to come.
What do you hope to get out of your modeling career?
Honestly, I don’t really know what my future holds. I just hope that I can inspire the people I meet to spread kindness and love in the world. That sounds kind of hippyish but I just want to help people realize life is what you make it and if you’re not happy or where you want to be in your life, only you can change that. Life is what you make it, you just need to be wise enough to take the opportunities presented to you. Also, I would like to see the view from the top. I’m not sure if I will like it but it’s a risk I’m willing to take. No risk no reward.
How do you handle the pressure and rejection that comes with modeling?
I think that is one of the advantages I have being older. I mean, it’s kind of like; if you don’t like me, you don’t like me. You’re not going to hurt my feelings. I haven’t experienced anything super harsh yet. I guess maybe when I do have my feelings hurt that might change.
What do you think people would be surprised to learn about you?
I was home-schooled. That always seems to surprise people.
What has been the highlight of your career so far?
Obviously, Calvin Klein. I mean really, to have that be my first show and booking for that matter is just insane! I was so humbled and in shock.
What do you do to decompress from the pace of modeling and refocus?
When I’m in New York, I sometimes go home to Potsdam for the weekend, especially around this time of year. It’s so beautiful, calming and relaxing. When I travel I really just like getting to know people and making memories because if you can’t do that then what is it worth? To spend so much time away from home you have to establish relationships wherever you are and if I can’t do that I don’t want this. My life is better because of the people that are in it. As long as I can surround myself with the right people I’m happy doing just about anything.
How were you discovered?
My photographer friend Tom Newton sent pictures of me to an agency in Toronto, Elmer Olsen Model Management with no information on how to contact me. Through the wonderful world of Facebook and Google they were able to find out where I worked. Elmer called the store just as I had walked in. I picked up the phone to call someone else so it didn’t even ring and there he was screaming my name on the other end. He said, “May I speak to Maggie? You have no idea who I am but I know who you are. My name is Elmer Olsen from Toronto and we received your pictures about a week ago.” I said OK . He then asked if I sent pictures and I told him I didn’t but I had a feeling I knew who did. Enter Tom Newton and the rest is history.
How do you cope when you are away from family and friends?
I’m very independent so although it’s hard sometimes as long as I can make friends and see familiar faces I’m just fine. It’s much harder in a different country with different languages but I haven’t experienced too much of it yet so I’ll have to get back to you.
What is your approach to health and wellness?
I try to really be aware of what I put in my body. So many people don’t realize how important it is and how everything you put into your body has an effect on how you feel mentally, physically and emotionally. Once you understand your body, it’s very hard to go back to old habits. I try to stay away from processed and genetically modified food that are full of chemicals and who knows what else. It definitely takes dedication and is a lot harder when you’re traveling so much but I do the best I can and generally feel amazing.
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.
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.
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!
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.
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.
