Michael Flutie – The Media Mogul

A prominent authority in the modeling industry for the discovery, development and management of models for more than 30 years, Michael Flutie has discovered and/or managed iconic faces such as Stephanie Seymour, Milla Jovovich and Cindy Crawford. Michael began his career in model management at 22-years-old for Elite Model Management in New York where he worked directly with international model mogul John Casablancas. His successes led him to Paris, where he worked with legendary model and model agent Louise Despoints for City Models. His scouting contacts across the country make him an invaluable asset to New York agencies. Michael spoke to me about his new venture with the E! network, what it takes to make it in the competitive world of modeling and how tough love is sometimes the only option.

You helped develop Scouted for E! What insight into the industry can this show offer that is unique from other modeling based shows?

Fashion has, for the majority, been depicted and documented in major cities. I’ve always felt that before New York or Paris or Milan, the true story begins with the discovery process of the model or talent. I wanted to take the cameras to the heartland of America and show how a girl or boy is recognized for their potential; specifically, for those young kids who have never dreamed or thought that they were beautiful. I’ve always believed that it is a Cinderella story and watching the work of the local scouts discovering new talent is really powerful. I wanted the scouts to be recognized for their expertise in giving people a chance and making dreams come true. Before supermodels and Hollywood stars attended red carpet events and graced the covers of magazines, they went to school, worked at fast food restaurants, shopped at malls and performed in high school plays. The stars of Hollywood and Madison Avenue were all discovered and Scouted showcases the beginning of that process.

You were embroiled in a highly publicized legal dispute with model Amy Wesson over breach of contract in 1997. What lessons did you learn from this time in your life and would you have done anything different in hindsight?

I was embroiled in trying to help somebody that I had scouted, created/developed, worked with and made into a very successful model, save herself from her own self-destruction from drugs and alcohol. My position of taking a legal stand with her was my hard love approach to wanting to save her life. The only way that I knew how to help, at the time, was to stop giving her bookings and stop feeding the ugly world that she got so involved in. I froze her contract until she cleaned herself up. I told her to not go to any other agency as I didn’t want her to self-destruct. I hope that experience caused the industry to learn that we have to be responsible for the young men and women who we introduce to the very fast-paced, financially-lucrative, glamorized adult world of modeling. Amy knows that I really care and love her and was looking out for her best interests and we’re good friends now.

Throughout the 1980’s you worked with Cindy Crawford, Stephanie Seymour, Tatjana Patitz and others. How has the modeling industry changed since the heyday of the supermodels?

The industry has become much more of a corporate business. There are a lot more models than there used to be. The opportunity to find an agent is easier with the Internet; you can submit pictures of yourself directly to the decision makers. Also, the expansion into Western Europe has made the field much more competitive. At the same time, brands are being much more cautious with their money, so celebrities have taken many more of the lucrative contracts that in the past would have gone to models. Celebrities are the lure for consumers more than models. As a result, they grace the covers of magazines more frequently than in the past.

You advocated for the fair treatment of models and even voiced support for a model’s union or guild to protect their interests. What framework do you think needs to be created to support new models entering the business?

There is a need for programs in modeling agencies that support safe conditions for models. I grew up in a time in the 80’s where there were closed backstage sets for a lingerie show and it was a very protective environment. I feel as though this has changed and I think that we have to take a look at the working conditions today. If, in fact, a young girl is working and home schooled, it should not be any different from a young actor working and being home schooled. The industry itself has to breed and support wellness and wellness programs so that girls are healthy and work proper hours and in proper conditions. I think that Paris and New York try to maintain regulations. However, in the fringe markets, this is more of a problem. An acknowledged guild in the industry could provide a great opportunity to set up and create standard guidelines for models to succeed without being harmed. That includes everything from nutrition and diet to business management and long-term financial strategy.

Now, more than ever, girls aspire to model as a career choice. What advice can you offer an aspiring model wanting to enter the fashion industry?

Find a really good agent that really believes in you. Always be professional. Study the industry. Be very responsible to the profession in terms of the clients, photographers and stylists that you work with as they are your lifelines to prolonging your career. Participate in the creative process, always take risks and don’t marry any man who doesn’t have a job and calls himself a producer.

Topshop Advertisement Withdrawn Following Complaints it Encouraged Anorexia

Media doesn’t tell people what to think but it does tell them what to think about. Do you think the fashion industry is culpable of perpetuating an unrealistic body image?

It’s not just the fashion industry that is responsible for perpetuating unrealistic body images; it’s everyone in the public eye, from musicians, to actors, to athletes. It is the responsibility of advertisers, brands and designers to represent true body types. The fashion industry is definitely culpable of showcasing a specific model body type, but they are trying to do a better job at representing different figures. For example, the Dove beauty campaigns or the cover of Italian VOGUE have increased the use of “real people” in brand communications allowing a much more honest representation of what people look like and what is healthy.

Do you notice diversification in the modeling industry as more companies enter non-western markets?

Yes, I do. However, the same “It” girls are used in every show and campaign.

Social media has become an integral part of any business. How have you integrated social media into your business and how do you plan to evolve your brand?

By producing television shows through my production company Madwood, like Scouted, and through our management company Flutie, that specializes in representing experts, I intend to evolve my brand with the knowledge I’ve been blessed with over the past 20 years. With social media changing every day, we are trying to catch up by communicating via all social media platforms; our blog, Facebook and Twitter. However, there is nothing better than good old fashioned face-to-face meetings or picking up the phone and speaking to someone. Part of my brand is to integrate the use of social media on a global level but also remain personal.

Guinevere Van Seenus in Miu Miu Resort 2012

Miu Miu’s 2012 Resort campaign features 34-year-old model Guinevere Van Seenus. At twenty years the previous models senior, do you think either model more accurately represents the demographic of the brand?

No. I think Miu Miu is trying to expand their brand. Miu Miu, as a brand, is much more youthful and I think that Prada is trying to increase their consumer demographic. With the increase in life expectancy, 40 is the new 20. Therefore, brands are responding to this by marketing and promoting products that are typically targeted to a younger market and associating them with more mature consumers.

What part does brand development play in creating a lasting and sustainable career for a model?

It’s a huge part of the brand identity and developing the DNA of someone’s persona. Talent Brand Management is a term that we created and coined in the year 2000 that defines this. It represents the management of the brand of a talent in understanding that not only celebrities and models can be representatives of brands, but also experts. These experts have an influential voice that consumers can associate with and value because it is based on education, knowledge and authenticity versus just good looks. By developing one’s brand, one is guaranteeing a lasting career.

Do you think we’ll see the return of the household name supermodel again?

With the increased interest in fashion on a mass level and with the kind of television programming that we’re creating, hopefully, the household supermodel will return. Beautiful men and women, who will be developed in brands as experts, will once again become the celebrities and hopefully grace the covers of magazines and new media platforms.

Follow him at @MichaelFlutie

Posted on November 23, 2011 by theculturalomnivore in Fashion

Beri Smither – Blonde Ambition

International cover girl and American model famous for her million-dollar smile, Beri now looks to develop young hopefuls who were once just like her. Originally from Salem, Oregon, Beri was discovered by former French VOGUE editor Carine Roitfeld. Beri has appeared on the covers of countless magazines, including American, British, Italian and French VOGUE, Elle, Marie Claire, Glamour and Cosmopolitan. Beri spoke with me about her involvement in Scouted and what it takes to remain at the top after all these years.

How have you been able to stay the course and continue when most girls disappear after a few years?

The fact that I have been able to sustain a long and fruitful modeling career is more than I could ever ask for. First and foremost, I give credit to my amazing management team. Longevity has always been our focus. We have flowed with, and adapted, to the demands of popular culture and the economy in order to best utilize my skill set. Being innovative and willing to continually reinvent yourself contributes to longevity as well.

Aesthetically speaking, I fall into the “classic beauty” category versus “unique beauty.” I inherited a great pearly white smile that can take you a long way too. These assets all play a part in the longevity of my career. Classic beauty equates to approachability and a smile conveys happiness and joy. Also, I’ve always looked at everything I encounter in the business as an opportunity and I try to use those opportunities to the best of my ability.

What qualities must a model have today in order to succeed in the modeling business?

First, they need to meet the physical requirements. What sets models apart are their personalities, passion, intelligence and business sensibility. In order to become a successful model, one needs to have all of these attributes. They also need to be able to move well in front of the camera and know how to speak for on camera work such as TV commercials, digital content, hosting jobs, etc.

What support for models would you love to see created that doesn’t already exist?

I would love to see a union that provides health insurance similar to the one offered by The Screen Actors Guild. I’d also like to see a governing body that regulates working conditions so that models are protected and safe. It would be really great for young boys and girls to have access to access mentorship and be provided financial and investment planning along with tax planning.

Why this TV show? What drew you to becoming involved in Scouted?

I was drawn to this show because it is an amazing opportunity to utilize my experience. Scouted is an authentic reality show documenting the process of finding a “diamond in the rough,” preparing her, then getting her signed to an agency. Michael Flutie is the producer and creator of the show so I trusted the aesthetic of what we were documenting.

Can you talk about your relationship with Michael Flutie? It’s rare that a girl stays with her agent throughout her entire career?

OMG! Michael Flutie means so much to me. I absolutely adore him. He is my agent first then friend and mentor second. Because of our long history together I consider him family. He has always been on my side and shown me his true self through his actions. He is the real deal. I have been on and off the beam in life and work, but Michael has always been consistent with me giving me honest support and love no matter what.

I respect Michael and I think he is brilliant. One of his most impressive qualities is his positive outlook on life and he always fights and stands up for what he believes in. His opinions are usually in the minority most of the time, which in my experience, is often the wisest and most innovative. Michael tends to paddle upstream before others catch on. Michael is not afraid to make mistakes, and more importantly, not afraid to take business risks. His energy is infectious and always inspires me. Michael challenges you, makes you want to be a better person and to give more of yourself. He truly is one of a kind.

How did you cope with the initial thrust into fame with modeling? What effects did it have on you and how were you able to integrate it?

I found the initial thrust into fame was very helpful. I believe it created an easier path for me. When you are in demand, everyone wants to keep the logistics running smoothly for you. Having these things hammered out for you allows you to have less of a struggle and consequently less stress. That was my experience. I feel incredibly blessed by my journey on in modeling.

Can you talk about the change we’ve seen in model’s bodies the past five years? Is the standard different today than it was when you first started?

What works, body wise, has ebbed and flowed and I believe it always will. Fashion goes in a circle and lands on one or two trends for about five years then moves on to the next thing. However, the last five years have been monumental. For example:

Plus size modeling has found its place and is being rightfully celebrated.
Beauty and fashion campaigns started using beautiful people, not just beautiful models.
The Council of Fashion Designers of America created a health initiative campaign to raise awareness and create an atmosphere that supports the well-being of these young women.

You’ve worked with every major photographer in the business, what piece of advice would you give a model going on her first test shoot?

Get involved, ask questions, show your personality, be confident and connect with your team on set. Get involved in what image they are trying to create. Understand that this is your stage. Don’t be afraid to be what you think will make a good photo and ask for feed back. Try all sorts of things with your body and facial expressions. It takes work and a lot of energy. Whether the shoot demands high energy, stillness or a mix, just be focused. Most of all – have fun!

How much control does a model have in her career?

That’s between her and her agent. It’s a relationship. Ask questions and stay in tune. Learn as much as you can about the business.

A new girl watching Scouted wants to be discovered. What advice do you have for her? How does she get started?

First, she must be 5 feet 9 inches or above and have the face and body of a model. If she is shorter and still thinks she can work then she should submit pictures of herself to modeling scouts. There may be a rare exception like Kate Moss. Hello! Major!

Next, she should ask herself if she has what it takes. Is she passionate about the idea of modeling? Does she like to travel? What is her true motivation?

Scouted premieres Monday, November 28th at 10pm ET/PT on E!

Posted on November 21, 2011 by theculturalomnivore in Female Models

Erin Olson – The Scout

With a resume that includes work as a model, scout, agency owner, fashion writer and stylist all over the world, Erin is a working mom in one of the largest Mormon communities in the country, Salt Lake City, Utah. Erin took time out from her busy schedule to talk to me about what she looks for when scouting new talent and why bangs do not the girl make.

Scouting new models is crucial to the modeling industry. It keeps the talent pool full of fresh faces. Where do you go to discover new faces?

A good model scout never stops looking. I always have my eyes peeled for fresh faces because you never know where or when you’ll discover someone. I randomly scout for girls, but I also like to go to events or places where I know girls who might fit into the model mold might be. Discovering someone can happen anywhere from a high school track meet to a basketball game to a volleyball game because girls who participate in these sports tend to be taller than others. Dances, concerts and even malls are also places I like to look and one of my new favorite places to scout is on Facebook; you can tell a lot from a photo.

Do you target certain regions or ethnicities as trends change?

Once in a while I like to scout in smaller towns because I know they are untouched by other scouts or local agencies. I don’t target specific ethnicities unless agencies tell me they are looking for a specific look. Once, I was in contact with a top agency in New York City and they said they wanted me to find Native American girls. After that, I found myself scouting pow wows and Native American gatherings.

What age do you think is appropriate for a model to start work in a larger market such as New York or Paris and why?

Every girl matures differently. Some girls I scouted at the age of 18 were more immature than some of the 14-year-olds. I know New York City and Paris are very demanding markets to work in. If a girl is ready and mature enough to start modeling at 16 I see no problem with sending her to work, as long as it doesn’t interfere with school.

Beyond the beauty of the modeling industry, how do you prepare the girls you work with to handle the business of modeling?

I teach them how to walk like a model and how to move in front of the camera so they can start learning what will make them successful. So many girls think they can model and the second they step in front of the camera, they freeze. I also try to help them understand the importance of etiquette and interviewing skills because, after all, castings are the same as interviews and no one wants to hire someone who doesn’t represent their company well.

What character traits do you look for when scouting a girl?

I think it’s important for girls to have their own voice and to be able to communicate without the aid of their parents. I also look for a great smile and a friendly nature. A model can’t go to New York City, London, Paris or Milan on looks only. It’s crucial to find girls who have a tough skin to handle rejection and, most importantly, I look for girls with good business sense because they are, in essence, their own business owners.

After a girl is placed with an agency, are you still able to have any say or control on the development of her career?

I certainly hope so. I establish a relationship with them from the beginning that is built on trust and I feel that I’m always a part of their development. The more we meet, the more opportunity I have to help develop their skills, even if it’s only to update digitals photos. Trudi Tapscott manages the girls and is primarily responsible for developing them and making the most important decisions for their careers; there isn’t anyone better.

Is it possible for a 22-year-old model to begin her career in the fashion industry today, or is that considered too old to start her career?

Twenty-two is not too old at all. In fact, it could work to her advantage if she has kept herself looking good and her measurements are right. Her maturity level could be a huge advantage for her. There seems to be a need in the industry for more mature models. Overall older models handle the business better than a 16-year-old and usually understand the importance of perseverance. Many young models leave the industry because they don’t see the bigger picture.

Most models look quite plain or even odd looking without makeup, hair and the other accoutrements. Have you always had a keen eye for photogenic faces or did it develop with experience and time?

When I was about eight or nine I remember looking at VOGUE magazine with my mom and her best friend Nancy. They said something to me that I’ll never forget. “Erin, do you notice how none of the models have big bangs?” They said that because they wanted me to know that just because everyone else had big bangs, which was a huge trend in the 80’s, didn’t mean it was beautiful. From then on I saw beauty differently. I developed the ability to see beyond the obvious and see the potential in the less obvious.

When did you become aware of model scouting and how did you end up becoming involved in the process?

I don’t remember a specific time when I became aware of model scouting. I spent over 15 years in many aspects of the industry: buying, showroom sales, styling, modeling and model management. That gave me a unique understanding of the fashion and modeling industry. This combination of experience, I believe, developed my ability to scout. I fell into scouting because I have little kids and it is the most flexible way for me to stay involved in the industry and still be a mom.

Trudi Tapscott is one of the greatest model scouts in the industry. How has working with her changed your perspective?

When I opened Echo Models in 2008 I struck up a relationship with Trudi Tapscott when she was at DNA. I felt so lucky to know her and have a great scouting partnership with one of my favorite agencies of all time. Trudi instantly became a mentor to me as I was managing models and I relied on her expertise when things got tough. As I scouted and managed more girls, it became increasingly difficult trying to be mom, scout and model manager. Freshly Scouted and Trudi Tapscott Model Management was born and I started working directly with Trudi. I have 100 percent confidence that she has no interest other than the models best interest. It’s such a rare quality to find. She’s changed my perspective immensely and my knowledge of the modeling industry has forever been changed.

Follow her at @ErinScouted

Learn more at Freshly Scouted

Posted on November 17, 2011 by theculturalomnivore in Fashion

Scott Lipps – The Powerhouse

Founded in 2002 by Scott Lipps, One Management is a hybrid branding company whose primary focus is bringing together the elements of fashion, film, music and celebrity. One’s current roster of talent includes a number of well known and extremely successful models including Claudia Schiffer, Helena Christensen, Iman and Eva Herzigova. Scott talked to me about what it takes to run one of the top modeling agencies in the world and his involvement in the new show Scouted which premieres on E! later this month.

A models career is typically short-lived; How does One Model Management ensure career longevity for its models?

I think the key to this business is branding and working with clients for a long time to create opportunities. We work with a lot of iconic models and they are their own business in some cases too. The right combination of editorial, advertising and branding is essential to maintaining their career.

Do you work with scouts outside of your agency or do you keep the scouting internal?

The best advice I can give is to have good pictures taken and submit them to the top five agencies in New York City. Normally, if there is tremendous potential, somebody out there will notice.

When you discover someone you think has modeling potential, but isn’t ready to move to New York City, what do you suggest they and their parents do to prepare them to enter the world of modeling?

It’s essential to do your homework. To prepare yourself, you must educate yourself. Study various photographer’s work and research as much as you can. It’s always better when you are familiar with the style of their work.

V Magazine’s Model Issue featuring One Models

A model’s physique is specific. How do you navigate the sensitive issue of weight management without giving the models a complex?

We always look for the right physical characteristics coupled with a great attitude and personality. It’s not enough just to be a pretty face these days. If you want to have a long career you also must have a great personality to boot. It’s all about eating healthy and taking care of yourself. We usually educate the girls on these issues.

When representing a model who may not be modeling the next season, how do you prioritize, balance and maintain relationships with long-term relationships such as: photographers, editors and casting directors?

I think the idea of a model mentor is always interesting. Experienced models can pass down advice to younger models breaking into the business. One of our models, Kim Iglinksky, does this and it seems to be very helpful. I think the girls all deal with fame and the fast paced lifestyle differently. It’s important to be grounded, as things can change quickly in this business. People appreciate girls that are gracious and personable.

You represented Colette Pechekhonova when she made her comeback into the industry. How did you mitigate those waters and make her a viable product again?

Colette is a timeless beauty. She divides her time between New York City, Russia and Paris, so we work around her busy travel schedule. We work with tastemakers in the business on finding key jobs that are the right fit for her.

You built One Model Management from the ground up in 2002. What drove you to get out of bed and make it happen the first few years?

I guess hard work never scared me! I just didn’t over think it; I worked hard and knew that with a great team and hard work we could do well with great talent.

Why Scouted?

I loved the idea of doing something credible in the fashion industry with girls that I believe could go on to have a good career in this business. I’ve known Michael Flutie and some of the other experts for years and it seemed like a great fit. Although it is sometimes rare in this business, honesty can go a long way. It seemed to me that Michael Flutie had a great rapport with some of the girls he represented. We have known each other for years and we have always had a mutual respect for each other.

As a drummer, do you feel like you’re still drumming today, backing up the band with the innate beat that lives inside?

I was fortunate enough to perform with Hole and Courtney Love recently. This weekend we are playing a huge festival with Kanye West, The Black Eyed Peas and Duran Duran in Brazil and I don’t miss a day of work…how cool is that?

Follow him at @Scottlipps

Posted on November 14, 2011 by theculturalomnivore in Fashion

Trudi Tapscott – The Tastemaker

Trudi Tapscott: Bookings Editor, VOGUE Magazine

A visionary manager at DNA Model Management for five years, Trudi Tapscott brings over 25 years of industry experience to the talent she currently manages. Praised by insiders as “a legend in the industry” Tapscott is renowned for her intuitive savvy and masterful, personable approach in developing potential and launching the careers of countless models, even prior to her six years as a Model Editor at American VOGUE. While at VOGUE, Tapscott worked alongside the Editor-in Chief, Anna Wintour and Creative Director Grace Coddington, coordinating amongst fashion editors, photographers and models to orchestrate editorial photo shoots. Tapscott’s gifted eye and talent were instrumental in launching many successful modeling careers, including Gisele Bundchen, Carmen Kass, Liya Kebede, Karolina Kurkova, Oluchi Onwegba and Natalia Vodianova. Trudi now runs her own model management agency from Texas and talked to Emily Sandberg and me about her career, what it takes to make it in the world of modeling and why her girls are dear to her heart.

During your tenure as a model booker at DNA Model Management, what qualities did you observe girls possessed that helped them with longevity in their careers?

There are so many qualities that come into play for success as a model. I observed so much. First, let me say that I never referred to myself, or any of my colleagues, as “bookers”. It is a term that lends itself to booking airline tickets or cars or theatre tickets. I prefer the term managers because it encompasses the totality of the job from A to Z. My observations are the subtleties that so many take for granted. Models can’t be imposters in the game. Photographers, editors and designers have a sixth sense about determining the truth when a model is really what they are looking for. You can’t fake it; they see the cues. How you photograph is obvious, but the other elements are who you are and how people relate to you. You must have an understanding of fashion and the business, a natural curiosity for the work and history of what has come before you. It is naïve to think that you can survive in an industry you have no knowledge about. Thick skin, having a sense of humor, people skills and actually caring about the people you work with but not a forced character help. Good energy that makes others comfortable helps, because everyone won’t like you for a job right now, but an impression is good. Minds change in this business. It is funny because all models reach the intended level of their potential in the end. Knowing HOW to model, understanding fashion, and what makes a great picture help too. All photographers and teams are different and models work with different teams every day for the most part. This requires a curiosity, imagination and listening, for flexible adjustments. Models are a part of creating the mood, but it is a subtle inspiration.

Do model bookers set the standard and trends when discovering new models or are they merely a conduit for designers?

Scouts and agencies bring the best of talent to the table. Sometimes the timing is not what designers are dreaming about at the time. There is no way to set the trend with only the model in mind. They have to inspire or fit into the collection inspiration. The fashion mood and trend is the dictator. This is the beginning. There are so many factors to consider when developing a model. So many times it takes several seasons for a model to “catch on”, and that is because designers, editors and photographers all “fall in love” on their own time line. The model has to fit into the concept of their brand. Once a model gets started and is in the casting “mix” and clients are able to see the possibilities she offers, her image is seen as more flexible and not just one frame. That helps for a designer and casting director to push for a model. That is not to say that when someone exceptional walks in the door, she could not be the must have inspiration for someone; It happens.

As obesity increases, the BMI of the population increases. What is considered normally thin today will be considered abnormally thin tomorrow. What role do you feel the fashion industry plays in setting the standard of the ideal body type?

This is such a tricky and complex subject. I believe that the fashion industry has extended themselves as a group to address the subject. The Council of Fashion Designers of America and VOGUE magazine have made guidelines to assist and put the subject at the forefront of a conversation. Agencies are always aware and on guard to help models who are in danger with their body image. That being said, I don’t think that the modeling industry is responsible for the body image of individuals. We could also look to Hollywood in this equation as well. The point really is that if the industry of image making does not photo shop images to ridiculous standards, which is deceiving and unacceptable, they are in a business of selling clothes, products and image. The truth is that models need to fit into a concept for a job. This is not going to change; Any evolution takes time. Parents and young women are responsible for their body image. There are many examples of successful individuals larger than a size zero. Idolize and emulate whoever you like, but you can’t expect a designer or a magazine to take full responsibility for your feelings about your body. It is my understanding, and I have been a part of many projects with experts, that an eating disorder is primarily a psychological issue of a complex nature; Obesity is the same. Everyone knows what is needed do in order to decrease his or her BMI. This should be a concern for our overall health, heart and mind. Because I work with young teenage women, I talk about this subject quite openly, but with caution. No need to create a problem that is not already predisposed. I also think that our society should not give so much power to beauty and perfection, and value the individual character. All trends have an end, and hopefully we will become less fascinated with the exterior of others. For the sake of our young generation, we need to change.

American VOGUE is marketed toward a specific socio-economic, predominately white audience. As a former Model Bookings Editor at VOGUE, how much of this did you take into consideration when booking models to appear in the pages of the magazine?

I am not sure I agree completely. I think the demographics of the readership reflect a mix and a socio economic issue comes up in the price point more than anything. There is always a leader or top-tier in fashion. That is no surprise, and merchandising has always followed the “elite” of the design world by emulating them. During my time at VOGUE and working for Anna Wintour, she was actively aware of who her readers were and was a leader to make change in ethnic diversity. We launched Liya Kebede and Oluchi during my time there. It was a serious element that Anna always wanted to focus on. I will say, that if a model isn’t a VOGUE model, she isn’t regardless of ethnicity. Trends and vision take time to hit the market, and models are no different. As the evolution occurred, and the opportunities opened up, the magazine had more model choices. It has taken a long time and a spectacular moment for Asian models to be so prevalent in fashion. VOGUE magazine went to those markets developing their brand increasing overall exposure and gaining outlets. Models and their looks or “types” are a part of larger trend than just “the model”.

I am looking at the current V magazine Model Issue and it is an explosion of current, modern beauties that reflect the business now. All of these efforts give scouts, casting directors, agents, models, photographers and designers new inspiring options. Diversity is extremely important for our culture, humanity and our creative influence and I think it has now become a huge part of the exceptional.

The fashion industry is often criticized for perpetuating a limited ideal of beauty. Do you feel this is a fair assessment and why do you feel that way?

I think we have decades or years of a “type” of model who is considered an exceptional beauty. When we look back at the history of modeling, the trend is fairly obvious, and then someone like Lauren Hutton comes along and breaks the mold. This has happened many times, and now I feel like photographers and editors have a wide range of the ideal beauty. But it is not just because you are “pretty” in an average way, you have to be exceptional to win their eyes, hearts and minds. It is not as obvious anymore but I think we know it when we see it. Creative people are inspired by visual elements and a model is part of the vision.

Child Actor Hailee Steinfeld in Miu Miu Campaign

Models are often discovered at a young age and expected to conduct themselves as adults before their peers. What do you consider too young to model?

I will comment on this subject in a general way because we are talking about young human beings who are individual and should be managed in that manner. My experience has always been that to model in New York City or Paris on a full-time basis, you should be able to really handle all aspects of your life on your own, personal and professional. I would never expect a 14-year-old to do that and I am not comfortable with models starting in a large market that young. The pressure is too much and the rate of failure is too great. I prefer they start outside of their hometown a little bit at 16, if they are truly ready, inside and out or a show season after a bit of experience. They should not quit high school, or start home school or online classes immediately to be available to model. Once a model has been introduced to the right people in the business, the business dictates the decisions about the timing. The models family background, maturity, as well as confidence, also determine when the time is right. I don’t mean because you are in the business of modeling you should dictate the next step, I mean the demand of jobs and the level of people who are asking to work with the model qualify and determine the work and the career choices. That is the best determination. This is like a layered cake, and if you try to work on the top before you have secured the foundation the cake will collapse. I am not always the most popular when holding my clients back until they are ready, as teenagers they think they are ready. My experience has made me very aware of this incredibly competitive business of beauty and I want them to be as successful as possible. Age matters and timing is everything.

Models are commodities easily replaced. How do maintain your sense of humanity with the models when operating in such a money-focused environment?

I never see my clients as easily replaced. I truly see them as a brand from the beginning. We may fall short, but if I downgrade my efforts to less, I am not working hard enough for them. In the industry, yes, others exist who can do the job and we are all hyper aware of that element. How you do the job determines your demand. At some point, agents, casting and scouting are a silent support, and it comes down to the model. Period. It is easy for me to be a part of their development, as I love the challenge of starting a new model. When I talk to them about staying grounded and not letting it all go to their heads, I lead by example. Being vulnerable and not expecting perfection is part of life and when grooming new talent it helps to show it. The world is money focused, that is unavoidable, but it isn’t the almighty power unless you allow it to be. Slowly we see leaders who lead from a deeper place. It may not be obvious, but the true stars in any field are very relaxed at what they do and make it look effortless. The truly talented are authentic, honest, and gracious. They make it all seem easy, but they have found their center and have fun with what they do at the same time. The money is great in this business. There is a lot to make and a lot at stake for that reason, but your work really should be your passion or you may be blocked from doing your best, and certainly not happy. I try to be a mentor and advise along the way.

Why did you want to get involved with the new show Scouted on E!?

I can’t comment on the show until it airs. So we shall see…

You recently established your own modeling agency Trudi Tapscott Model Management. What do you feel you can offer that is different to other modeling agencies?

My experience. I wanted to create a scouting and development company in the United States that focused on teenagers who had true potential and not charge them money up front. There is a business model in the US that was created years ago and has been very lucrative but created false hopes and did not teach what the business was really about. Charging young girls a lot of money for modeling classes, or makeup classes or walking classes to prepare them for modeling which they do not fit the requirements for is irresponsible and taking advantage of them and their parents. If you want to help your daughter with her confidence by putting her in a modeling class, that is a different subject. However, to promise a model who is 5’6” that she should take a class and pursue modeling is unrealistic. I scout and I work with Erin Olson, who scouts in Utah, and once we find someone with potential we work with them one on one to prepare them for the real world of modeling. I manage their careers and placement with models worldwide. I wanted to accumulate all of my experience and pass it on in a meaningful, and hopefully, profitable way.

Why do you think models such as Stella Tennant, Raquel Zimmermann and Edita Vilkeviciute, to name but a few, value and appreciate your judgment so highly?

That is kind of you to say. Actually, it is mutual respect and time that creates trust as well as appreciation. I was very fortunate while at VOGUE magazine to be surrounded by the top people in all areas, and that includes models. I cherish that experience, and it is when I first met Stella and Raquel. At DNA I had the opportunity to be a part of the team that managed them. My relationship with Edita developed beyond business and it is extra special to me. It is a unique experience to speak about someone all day, and in order to do that with passion, you really need to know what is important to them so the goals are met. It is an immense responsibility to manage their relationships with their clients and make good choices. Being a model manager is an all-encompassing job and includes business and their personal well-being. I take that very seriously.

Follow her at @tapscout

Posted on November 10, 2011 by theculturalomnivore in Fashion