Chasing Beauty – The Ugly Side of Being Pretty

Chasing Beauty provides a rare glimpse into the modeling industry peeling away the veneer that all too often seduces ingénues hoping to be catapulted into the big leagues. I recently previewed the film and was excited to have the opportunity to speak with editor and co-writer Pete Sepenuk. With brilliant candor, Pete spoke to me about the genesis of the film and his working relationship with director Brent Huff.

What challenges did you face when making Chasing Beauty?

There are always challenges when making any film, but I think the documentary is its own unique beast. I previously edited three other narrative features and several short form documentaries, but this was my first time doing a feature documentary, so it was extremely daunting. Without a script written ahead of time, you’re essentially writing and crafting the entire film in the editing, figuring out the story and character arcs through the hours and hours of interviews and B roll. I was not at all prepared for the amount of time I was about to invest, fourteen months, when my previous features had only taken an average of about eight weeks. It’s like a marriage in that you have to truly love what you are working on and stay committed for a long period of time. In many ways though, the feature documentary is actually a dream job for an editor, because you are creating the entire story almost from scratch, which is actually pretty exciting. I’m also a credited writer on the film, along with the director, Brent Huff.

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

I had heard so many amazing stories about the fashion business from Brent, the director, who is a former model himself. Although I never had much of an interest in the fashion business (you should see my daily wardrobe), the more I heard from Brent and the more I watched the full interviews with our subjects, I was surprised at how fascinated I became with the business. I found more heart in the business than I did heartlessness. The main thing that drew me to the project was our five main characters’ different stories and the inherent real life drama and humor that come along with that.

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

Obviously the business is for the young and skinny, so I was already set up for that bias. Before going into this, I also thought that the modeling industry was full of selfish, vapid people whose worth was determined by either their waist or the number of abs they’ve chiseled out. I was surprised to find that many models, their families, and the people they work for are all very human and strive to succeed in a way that lifts the industry and the individual. I think some other documentaries were too biased, which means they really are only focused on one side, i.e. aging models, the dark side of modeling, drugs, extreme weight loss, etc. Our portrayal of the industry in Chasing Beauty covers all aspects, revealing the pitfalls, excess and success, and really gives the viewer an honest look at the current state of the beauty business.

How did your perception of the modeling industry evolve during the making of the film?

I actually found that bad things happen to truly good people. The hardcore motivation for success in the modeling industry can cause people to put on blinders to the point where they are doing literally anything to get to the next level. Modeling is an intense profession, and some people forget who they are in an effort to reach the top, or just to become successful at all. It’s a trap that exists in any industry, but because the shelf life of a model is so brief, many of them are on overdrive to make that success happen now. There really is no later. My perception evolved in the sense that I learned about the urgency these people face in their lives if they want to be successful. Many people think of models as shallow, but I learned that they are just intensely focused on what is important in this industry – looks, personality and the ability to outwardly “sell” a product, because they have to be – or else they won’t have a career.

How is the approach to making documentaries different than other films?

The main thing is that the process is completely reversed. There isn’t a script to hang your story on so you need to be prepared for a much longer journey. You may think you’ve nailed a section, but then realize it’s in the completely wrong place in the movie, or a sound bite you think is hilarious on its own, doesn’t work at all in the context of the story you are trying to tell. Just like a narrative feature, you could work all day on something that you think is brilliant and then watch it the next day and think it stinks. With a documentary, everything already is real, whereas with a scripted film, you are trying to make everything seem real. If you are saddled with trying to edit a bad performance in a scripted feature, the challenge then becomes to make it as realistic as possible. In a documentary it’s all real, so you never are cutting based on performance, only what’s relevant to the point you are making, and if it’s moving the story forward.

I think the main key to getting through any long-term film project is to have a sense of humor and work with people you really enjoy and click with artistically. Working with Brent is always extremely creatively satisfying. We have very similar sensibilities and are never at extremes.

You have done a lot of voice over work for movies. Do you have a preference when working in film?

My preference changes every day, depending on my mood. The great thing about these two professions is that they are polar opposites. The voice over work is fun, doesn’t take very long, you get to work with a lot of different people, and provides instant gratification when you record on a Tuesday and you see and hear it on TV the following Friday. Editing is the quite the contrary. It takes up all your time, mental focus and energy, you work mostly all alone, and the gratification only comes sporadically in waves while you’re working. It can also be extremely gratifying in the end when you finally see the finished product up on the big screen. It’s highly creative in a much different sense than the voice over work, and since I am an insane movie buff and love watching movies, working on them satisfies my creative passion, whereas doing voice overs fulfills my passion for performing. I’ve been doing voices and making movies since I was seven, and still feel the need to do both so that I really appreciate the other.

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

I think the message is two-fold: that modeling is a slippery slope, and that like any business, there are a few who are highly successful but many who are not. The main message is that the subject of beauty is universal. It’s one of the few subjects where everyone has an opinion. I think the film’s strength is that even after the viewer spends time watching models, beauty brokers, and agents in the film, they will ask themselves, what does beauty really mean to me? I was always coming at it from an outsider’s perspective, meaning how could I entertain an audience member who may be like me: at first skeptical and not too interested in models, to in the end, really embracing this film on a human level and finding a universal connection.

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

I am the voice of Gabe in the feature film Gabe the Cupid Dog, which comes out on DVD and VOD on October 23. It’s a very sweet family film with a talking dog who plays matchmaker. I am also featured in the 3D feature Dorothy of OZ, which is the animated sequel to The Wizard of OZ, coming out in early 2013. Right now, we are gearing up for the release of Chasing Beauty, which will come out in January 2013.

Any advice you’d like to offer to models starting out in the business now that you’ve covered some of the pitfalls?

Just know going in exactly what you’re getting into, that you may not always be treated with the respect you feel you deserve, and you may not achieve the success you think you will. That being said, if this is something that you really feel passionate about, then go for it.

Would you be interested in covering the fashion industry again? If so, what next would you like to look at?

I think if I were to cover anything in fashion again, it would be from a magazine’s side or the agents’ perspective. I find their process to be fascinating since it’s all from the business perspective. Truthfully, if it’s a good story with great characters, whether it’s a narrative or a documentary in any genre, I’ll be interested.

Learn more about Chasing Beauty here

Rent and purchase on iTunes

Posted on September 20, 2012 by theculturalomnivore in Fashion

Project Runway: The Show That Changed Fashion

Journalist Eila Mell has spent many years writing about fashion, theater, and film and interviewing some of the biggest names in the fashion and entertainment industries. As Eila launched her new book Project Runway: The Show That Changed Fashion she shared some surprising insights about the show, now in its tenth season, with me.

Do you think Project Runway is a viable platform to launch new designers?

I think Project Runway is a very viable platform for new designers. They are introduced to many key players in the industry. The status of being on the show can propel their career forward and advance their name recognition. They not only have the invaluable opportunity to work with Michael Kors, Nina Garcia, Heidi Klum and Tim Gunn, but all of the show’s guest judges are top notch.

How do you think Project Runway has informed the average American’s view of the fashion world?

Project Runway has brought the fashion industry to the average person. The show has given people a glimpse into the world of fashion they otherwise wouldn’t have had. For example, how many people knew about Fashion Week prior to Project Runway? It has also helped people have a greater understanding of how designers work. Obviously established designers are not designing their collections in such a short period of time, but it definitely suggests what the process is. In addition, Project Runway has allowed many designers to showcase their talents and expand their audience base. Before Project Runway, where did you find people like Francisco Costa, Zac Posen and Georgina Chapman on television?

What challenges did you find when researching your book Project Runway: The Show That Changed Fashion?

Writing Project Runway: The Show That Changed Fashion was a pleasure. I would say the biggest challenge I faced was having to decide which designers I could interview and include in the book. Every single one is in there, but I couldn’t interview everyone (much as I would have liked to)!

On Late Night with Jimmy Fallon Heidi Klum stated, ‘We had a lot of cowards on the show’ in reference to two designers walking off. Why do you think many of the contestants struggle to cope?

What people might not realize about Project Runway is that, although the show airs weekly, the production schedule is daily for 4-6 weeks without a single day off. In addition, the designers have no TV, radio, internet or communication with friends and family. Keeping that in mind, it’s not hard to see why it might be a struggle for some.

Why did you want to commemorate Project Runway with your coffee table book?

This season marks the show’s 10th anniversary. I felt this was the perfect time to commemorate a show that has really changed the way so many view the fashion industry.

What do you think people would be surprised to know about the show and those involved in it?

People might be surprised to know that the contestants have to work without air conditioning (the show is shot in summer). The air conditioning is too loud for the cameras.

Now in its tenth season, how do you think Project Runway has maintained its longevity?

I think the show has been around for ten seasons because it has integrity. Situations aren’t manipulated to titillate viewers. Project Runway is a show about talented people doing what they love to do, and I think the audience enjoys watching the creative process. I also think the cast (Heidi, Michael, Nina and Tim) is part of that equation. Tim brings so much to the show. The judges have a great chemistry, and approach the judging from different angles in a way that blends perfectly. One should not underestimate Heidi Klum; She helped create the show, is one of the producers and is the ideal host. She is smart, funny and honest, and I think the audience appreciates that.

What projects do you have in development that you’re excited about and would like to share?

I am excited to continue writing books about the fashion industry. In addition, I have a blog called Not Without My Gucci, and I have just signed on as a stylist for a new project.

Project Runway: The Show That Changed Fashion by Eila Mell is available at Barnes & Noble and Amazon

Posted on August 2, 2012 by theculturalomnivore in Fashion

Sierra Sullivan – Strength in Beauty

Sierra Sullivan was discovered at a modelling convention and shortly after graduating high school was treading the runways of Milan, Paris, New York and London. She secured a solo girl spot in the Spring 2000 Prada advertising campaign in addition to the covers of numerous fashion magazines. Sierra took the time to speak with me and Emily Sandberg about her time modelling with unusual candor and maturity.

The Model Alliance is working toward improving the working conditions of models. What’s your experience been like?

I’ve experienced pretty much every working condition – good and bad. The worst condition was working past midnight and for over 14 hours with minimal food. The best was in a controlled studio environment with plenty of food all day and finishing by five o’clock. In France it was amazing because they would take a leisurely lunch with (diluted) wine! While I don’t think the general working conditions are too terrible, I agree that they should be improved and maybe even regulated to prevent overworking the models, and other crew members, because of a lack of organization on the client’s part.

The payment system used by agencies has been nebulous. What type of reform would you like to see happen to the way models are paid?

This is a very good question as there is no way to keep agencies accountable without contacting the clients themselves. Personally, I would have no problem receiving the payment directly from the client and then pay the agency their cut plus any expenses incurred on my behalf. After all, the agency works for me. Since that will most likely never happen, I would like to see it become mandatory that clients receive a model’s personal phone number and/or email address at the time of booking so that when the client cuts a check to the agency, the model is also notified. That way the model knows that a check is arriving in a matter of days to the agency. That prevents an agency from “holding” the funds (whether the model is aware of it or not) for any unnecessary reason. I have heard horror stories of an agency using payments to pay for a booker’s personal home while telling the models the clients never paid. Awful.

I would also love to see a system where there is, at the very least, a deposit on the models at the time of booking. Nowadays it can take from six months up to a year, or more, to get paid for a single job. This has to stop. The system as it is is so abused. It’s simply not fair. Either pay a 50 percent deposit before the shoot date, or better yet, pay the rate in full. Otherwise, how do you enforce a 30 or 60 day payment rule? It’s a tough one.

What do you think about the celebrity culture that dominates the fashion industry?

I totally get that celebrity images sell. There’s no doubt about that. It’s really unfortunate though because for me, it’s getting old. I admire certain celebrities, I do, but it has become one huge marketing tactic with a celebrity appearing on a cover mostly to promote an upcoming film or project. There’s no longer much of a celebration of beauty and something new, like when Karolina Kurkova made the cover of American VOGUE. That was exciting! I love perusing the French and Italian VOGUE’s and other independent fashion magazines for the love of aesthetics and art. That is something we don’t really seem to appreciate in American fashion. The fact that women like Snooki and the Kardashians are highly profiled is deeply disturbing to me. I don’t necessarily want to ban all celebrities but there needs to be more of a mix of models, art, beauty and worthy celebrities…like Adele.

How do you feel about the media’s portrayal of beauty?

There is definitely far too much Photoshop being used. I don’t mind a pimple or glaring mark being erased, but when a model or celebrity’s actual physical attributes start getting changed, such as boobs, waist and hip sizes, and faces get completely cleaned up to the point of absolutely no wrinkles or marks on the skin, then it’s no wonder teens, and adults for that matter, are being driven mad trying to keep up with the ideals of media-enhanced beauty. It’s just impossible! Only a few of us are so blessed with near perfect skin or body shapes. I remember a photo shoot I did years ago for Numero magazine with photographer Thomas Schenk. The call time was 8 a.m. and I was in front of the camera by 8:15 a.m.. How did I get my hair and makeup done so fast? There wasn’t any! All they did was curl my eyelashes and tease my hair a bit. I pretty much woke up from bed and got in front of a camera. Very refreshing and the portrait turned out great. Also, when I did the Guerlain beauty campaign, they even left in my scar that’s on the side of my eye; No Photoshopping. I’m not sure they would do that now. So yeah, let’s get back to real beauty.

How do you think the Council of Fashion Designers of America’s health initiative will impact the types of images presented to the public?

Didn’t they try to do this in Europe? I didn’t see any changes in the size of the models and I would be very surprised if there was much of a change here. The bottom line is that as long as designers use small sample sizes and demand tiny models, the models will have to be thin to work with them. The designers will have to change. I’m sure some will, but not all of them will. While I’m glad there’s a plus-sized modeling industry out there, what about the normal girls that are size 4-8? That is what a large number of healthy women are. It’s not healthy to be underweight but it’s not healthy to be overweight either in reference to plus-sized. It may be average, but it’s not necessarily healthy. So, I don’t have a lot of confidence that the health initiative will have much of an impact.

You are a diabetic, how did you manage your health with the stressful physical demands at the height of your career?

It was very difficult and a less than ideal situation. Being a diabetic and having to be that thin did not mix. I simply did not manage it well. It is actually because of it that I had to leave New York City and move to California. I couldn’t handle the pressure to be that thin as a diabetic anymore. It wasn’t sustainable. I got healthy again after my move. While I lost the momentum of my career, I gained my life back and am now happily married with an amazing little two-year-old.

Does your hearing impairment affect your modeling?

Only when it comes to having to understand what the photographer is saying when his/her face is behind the camera. The fact that I’m hearing impaired may have scared off some clients from booking me. Other than those two things, it hasn’t affected my career at all. I’ve never let it keep me from achieving my goals.

How did fronting the Prada campaign change the course of your career?

It brought on a slew of new bookings and campaigns. It was great!

Who were some of your favorite people in fashion to work with?

Some of my favorites were Bruce Weber, Debra Watson (stylist), David Sims, Ralph Lauren crew and Thomas Schenk.

Any fun summer plans?

We live in Laguna Beach, a destination millions go to every year, so we’ll be spending most of our summer here. We are also planning on going to Lake Tahoe for a week to visit family.

Follow Sierra’s blog and view her portfolio here.

Posted on July 17, 2012 by theculturalomnivore in Female Models

Eila Mell – Reflections on Fashion Week

Journalist Eila Mell has spent many years writing about fashion, theater, and film and interviewing some of the biggest names in the fashion and entertainment industries. I caught up with Eila and she shared her views with me about this years Fashion Week.

The Council of Fashion Designers of America’s efforts to ensure all models who work New York Fashion Week are over 16 years old wasn’t observed by all agencies. Last season, at least two agencies, Ford and Women flouted those guidelines, and models aged 14 and 15 walked for a number of top designers, including Marc Jacobs, Tory Burch, BCBG, and DKNY. What do you think about the disregard for these guidelines?

While I agree that the guidelines are important, they are not policy. I think the more important thing is to establish some sort of regulations to protect models of all ages.

Marc Jacobs was quoted in Time saying, “You have child actors and children who model for catalogs. What’s the difference between doing a commercial for peanut butter and being on a runway?” How do you feel about Marc’s stance on the use of models under 16 years old?

I agree with Marc Jacobs in principle that there isn’t much difference. In fact, I think that an underage model probably has to work fewer hours than an underage actor. My concern however, is that of supervision. Child actors have parents with them on a set. Are underage models accompanied by a parent? If so, I think it is much less of an issue.

Puerto Rican model Joan Smalls was New York Fashion Week’s top non-white model walking in 20 shows. Do you think this year was more or less diverse than previous years and why?

I think this season saw a lot of diversity. Not only did we see Joan Smalls, but Nyasha Matonhodze, Anais Mali, Jasmine Tookes, Sui He, Tao Okamoto and Liu Wen were some of the other fabulous models who were all over the runways. That said, if 20 was the most a non-white model walked in, it is nowhere near the 72 shows Julia Nobis walked for Spring 2012.

Crystal Renn recently lost a significant amount of weight prompting outcries of betrayal. On what side of the debate do you stand and why?

Weight is such a personal issue. I understand that for many Crystal Renn represented beauty at any size. However, if she wanted to lose weight I don’t think anyone should criticize her. Only she knows what’s right for her.

What do you think about the work The Model Alliance is doing?

I think the work Sara Ziff and the Model Alliance does is fantastic. Why shouldn’t models have their rights protected? The things they are working toward, such as affordable health care and protection against sexual harassment are things that are commonplace in other work environments.

Fashion editor Suzy Menkes took the industry to task over the public soap opera of designer replacements at various fashion houses. How do you think this has effected public opinion of the fashion industry?

I don’t think it had any effect on those who don’t follow the fashion industry. For those who do it’s an interesting topic of conversation and speculation. Who will replace them? What will the transition be like? Overall, I don’t think it will change anyone’s opinion of the industry.

There has been much discussion of late about the use of ‘tribal prints’ in designer collections. Do you think western cultures need to be more sensitive when referencing Aboriginal or Navajo design, for example, or do you feel the appropriation of such design is exploitative?

I do think that there needs to be sensitivity when referencing a culture that is not your own. That said, I don’t think that designers are trying to appropriate another culture simply because they are inspired by it.

Do you agree with the assertion that New York City is the epicentre of fashion and why?

I don’t think any one city is the epicentre of fashion. I do think New York has certain advantages, such as being the first to show during Fashion Week. In addition, New York has the wonderful Garment Center, an invaluable resource for the industry.

Follow her at @eilamell

Posted on May 16, 2012 by theculturalomnivore in Fashion

Amy Lemons – Defying Convention

Amy grew up in Richmond, Virginia and before long she was working with amazing photographers like Bruce Weber and Steven Meisel. Her second job was the ultimate dream job for a girl from Richmond, working with Kate Moss for the Calvin Klein campaign. From that point on, she worked for everyone from Abercrombie to Louis Vuitton, from Versace to Valentino, Hilfiger and Ralph Lauren. She loved it, until she noticed people were making comments about her size, some mild, some blatantly rude. She would hear things like “you are a pretty girl, but slightly “too healthy” for my taste”. Amy signed with Ford+ in January 2009 where she started working immediately. Amy took the time to speak with me about her experiences and work with the Model Alliance.

You have worked both as a straight sized and plus sized model. What have you learned from this experience?

I’ve learned that I’m really not a straight or a plus sized model. My size does not define me and my management recognizes that and represents me as the individual I am. That hasn’t happened to me before and it has been the best experience of my career so far. The modeling world can categorize me and I am fine with that but I represent a size in between the two worlds and there is a huge gap in that market. Why do we have to be a size two or a size 12? There are a lot of sizes in between that need representation. I think it’s important for models to know that there is a choice out there.

Some people accuse the modeling industry of body fascism, others see thinness as part of the territory. On what side of the conversation do you stand and why?

I think all body types are part of the territory. A whole other world has been opened up to me in the fashion industry. My curves were embraced and no one has tried to pin me as stick thin which I will never be.

Eating disorders are endemic in the modeling industry while the majority of Americans struggle with obesity. How do you define wellness and health?

I define wellness and health by my own standard. Every body type is different and there isn’t one approach to fitness. It takes work but I have found a balance where my body should be naturally and I believe that is where a woman looks her best. It’s different for everyone. Some girls look great as a size four, like Sara Ziff, because that is where they are naturally. Some girls are a size 14 and look amazing like model Ashley Graham. I don’t feel I have to compromise myself any longer and I am being embraced by the fashion industry. That is a great feeling.

What did you learn about yourself during your time away from the industry?

When I left for Los Angeles and went back to UCLA I found a whole new happiness and stability that I never felt before. I realized I wasn’t defined by my looks and the modeling business.

What do you think about the unobtainable images perpetuated by the media?

I think women want less illusion in their fashion images. There’s an emerging ‘let’s get real’ mentality that makes women less competitive and more supportive of each other.

How is your experience now as a model different than the beginning of your career?

I wish the Model Alliance was around when I started in the business. I wasn’t able to properly talk about my struggles and therefore they got worse. It can be very alienating. The Model Alliance brings girls together and gives them a voice. It advocates for models so they are not compromised and we asks for standard rights in the work place just like everyone else has. It is even more important when you are dealing with minors. We are also working to provide health insurance and I believe that is a great place to start.

Follow her at @AmyLemons

Posted on March 20, 2012 by theculturalomnivore in Female Models