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

Molly R. Stern – Beyond Beauty

Molly R. Stern’s love affair with makeup began at the age of 16 when she worked after school for prestige brand Shu Uemura. She later held corporate positions with Clinique, M.A.C. and Trish McEvoy, gaining experience in sales, merchandising and makeup application training. In 1993 she embarked on her freelance career capturing the attention of Hollywood’s A-listers with her work in high-profile advertising and editorials. By 1998, with her freelance career fully established, Molly moved to New York City to expand her career and pursue other creative opportunities. Molly founded the boutique clothing label m.r.s., based on her philosophy that every woman has a unique natural beauty and that makeup and clothing should enhance this beauty. Her success with m.r.s. was reflected when one of her couture gowns was shown at the “Goddess” themed Costume Institute Gala at the Metropolitan Museum of Art. The piece resides in the museum’s permanent collection. As one of the foremost voices in the field of makeup, her advice, wisdom and beauty tips have been published in international beauty magazines including: Allure, Instyle, Elle and many of the weeklies such as People and Us Magazine. Here, Molly talks makeup, influences, motherhood and more with Emily Sandberg and me.

Can you tell us about the impact music has played in your work?

For me, music is the most reliable, relatable and moving art form that exists. On a great day, every song one hears is speaking to them, on a bad day every song understands them. I love to listen to music and I love to play music. It impacts my life, not just my work, in that it speaks to my soul. Listening to music I love makes me feel confident and connected. My iPod is the first thing I set up when I get to work. It creates an environment and vibe that my clients can settle into.

What was working with bassist Melissa Auf Der Maur like and how has she affected your design approach?

I was lucky to have Melissa wear a lot of my designs throughout the time that I was making clothes. Melissa was my first ever muse. Her intense love of rock music combined with her strange meld of Renaissance and futuristic style made her super inspiring to dress. At the time my style was very feminine yet deconstructed. She was my classically beautiful robot.

You have a flair and honed instinct for the theatrics and costume design. How did you tune that into your work as a makeup artist?

My makeup artistry came first. My love of the face and its countenance started when I was 16 years old. I love women and bringing out the strength in their features in feminine ways.

Amy Adams editorial for InStyle magazine

Everything creative you do involves your hands. Can you tell me about the lineage of creativity in your family? Do all the artists use their hands the same way you do?

My father’s side of the family gave me my love of music as my grandmother was a classically trained pianist. My grandfather worked as a tailor for most of his life. I wasn’t close to either of them, but my father and I are extremely close and he plays the violin and guitar and has a deep passion for the arts. His support of any and every one of my artistic endeavors shows no bounds. On my mother’s side, my grandmother whom I was very close to was a total fashionista. She dressed, always, to impress. I think my love of VOGUE beauty and fashion was highly influenced by her. My darling grandfather liked to draw and I have a fantastic piece of dancing girls drawn with a very youthful touch hanging in my baby daughter’s room. My mother is a chef. She is a master in the kitchen. So yes, I suppose my blood line used their hands in the same way that I do.

What kit do you currently use to travel with? Do you check your make up or bring it as carry on?

I can’t bear to pare down my kit. I know I should, because that dang bag is so heavy. I find that anytime I have taken things out to make a ‘travel’ kit, I always wish I had what I took out, or someone inevitably asks me for the exact product I thought I wouldn’t need. So, I bring the whole kit and caboodle. No choice, I must check it…and I pray, hard, every time I get on and off that plane that I will see that kit and all of its caboodles on the luggage carousel.

As an artist what was it that drew you to makeup as your preferred medium?

I like that makeup is a tool used to empower women in their beauty. I like that it can be sheer like watercolor or opaque like oil. I like that my canvas is alive. I enjoy the science of mixing product with flesh and blood. Each face and feature gives me a different point of focus, chemistry and ultimate outcome.

There seems to be two schools of thought when it comes to the application of makeup; to enhance or to make a statement. Can you tell us about your philosophy and approach to makeup?

My goal when applying makeup is to bring out what is already there. I feel like enhancing is making a statement. They are one in the same. Generally, I keep something about the application sheer. If the skin is good, I go light on the foundation, if the skin needs work, I diffuse the shadow or gloss the lip. There is dimension to a woman’s face which in turn requires that I flow with the needs of the individual.

Where do you draw inspiration from and how do you channel that inspiration into your work?

My inspiration comes from all different sources. I live with two beautiful daughters who have the most perfect naturally blushed skin, the most gorgeous colored lips and heavenly streaked blonde hair. I am inspired by their innate confidence. We are born loving ourselves. I try to bring that buried truth back to women’s surface. Women intrinsically inspire me with their strength and will and their ability to manage with tenderness. As far as color goes, I love paintings, classic and modern, nature… I borrow from many surrounding sources to bring creativity and love to what I do.

Leighton Meester at the Mtv Movie Awards

How have you evolved as a makeup artist?

I feel as though I am constantly evolving. When I started it was how crazy and out there could I be? Then I became very interested in natural beauty. Now I encourage my clients to have fun, get ‘out there’ and know their strengths. I have abandoned terms like cover-up, yet I understand the need to feel like ‘I have my face on’. There has to be balance. I strive to know and love my true self. I hope my energy as a makeup artist does the same for the women I touch.

While promoting The September Issue, Anna Wintour quipped to David Letterman that those who couldn’t afford to purchase high fashion apparel could always “buy a new lipstick.” Do you think the value of makeup is greater than high fashion solely based on its accessibility?

I think the value of makeup is greater than high fashion because it doesn’t have anything to do with our bodies and how any given item of clothing fits. Makeup is an easy and wonderful way to uplift our spirits. When we give ourselves a spruce-up it makes us FEEL pretty. We are emotion based creatures. Naturally when we feel good, we do better, give more, achieve.

Cosmetics brands are releasing products especially tailored for men, and men are using such products increasingly more commonly. There is some controversy over this, however, as many feel that men who wear make-up are neglecting traditional gender roles, and do not view men wearing cosmetics in a positive light. What are your views on this issue?

I don’t subscribe to traditional gender roles. They simply do not exist in my personal universe. I believe humans are capable of amazing things. Man, woman, doesn’t matter. The same concept applies to men as well as women, when we feel good we excel. If using cosmetics inspires men to be more confident and empowered, by all means.

Estee Lauder recently acknowledged and embraced women of ethnic diversity in its global advertising campaigns. Why do you think the market for women of color in cosmetic advertising has gone untapped for so long?

The same question can be applied to the fashion industry as to why women with curves in advertising have gone untapped…forever. It’s time that cosmetic advertisers wise up to not only ranging ethnicities, but also the reality of ranging ages. The cosmetic industry needs to stand for all women, period.

Often we view the world through ethnocentric eyes. How do you adapt your craft when working outside a traditional Western market?

I wish I had more opportunity to work outside of the Western market. I need to branch out more! The inspiration that exists outside of our backyard is endless. Not too long ago I posted on my Tumblr page about beads and their place in fashion around the world. I shot a photo of my daughter wearing a pair of my grandmother’s beads, the same pair I wore as a young girl. There is so much to learn from other cultures about beauty. I long to travel with my daughters to study women around the world.

You work across many platforms: editorial, red carpet and the silver screen. How do you maintain a cohesive look while still maintaining a person’s individuality?

I try to encourage my clients to keep it fresh. That tends to be my cohesive thread. That desire naturally enhances distinctiveness because I am not interested in altering what’s there. I like to focus on elevating the beauty that each individual is willing to embrace.

Have you ever been in a situation when you felt you were compromising your artistic integrity and how did you cope?

More than artistic integrity, I have been in situations where I have had to compromise my emotional integrity. Many times I have cried feeling lost that I was giving my life to making pretty people look prettier. When I come out of those downs I have to remember my goal is to bring out the confidence that is within. That is what ultimately makes these women look the way they do. What I do on the surface is only 10% of my job. How I encourage women to view themselves is what gets me to work in the morning. When the client is only focused on what is skin deep, I know I am not the right lady for them.

How are you able to expand your brand while still maintaining your core values and principles?

My brand represents me and I strive to represent self love, confidence and acceptance. I plan to expand on those beliefs for as long as I exist.

What message do you want people to understand about you and your craft?

I want people to know that self love is pretty much required in order to live a full happy life. I want women to understand that only Angelina Jolie looks like Angelina Jolie and we should aspire to be our most beautiful and sacred selves. Aspiring to look like anyone else is simply a waste of precious time.

Trends come and go; what do you think constitutes timeless beauty?

Timeless beauty is fresh skin, a little dirt on the eye and a bitten lip. It just never goes out of style.

Follow her at @mollyrstern

Posted on October 23, 2011 by theculturalomnivore in Beauty

Ted Gibson – Hairstylist Extraordinaire

Ted Gibson is one of the most sought-after celebrity hairstylists in the beauty business today. His multi-faceted career as a fashion, runway, editorial and celebrity stylist continues to take him around the world where he finds great beauty in exploring different cultures. Previously exclusive to just A-list celebrity clientele such as Angelina Jolie, Renee Zellweger, Keira Knightly and Anne Hathaway; Ted took the time to chat with me and Emily Sandberg about his petition to get recognition for hairstylists at The Academy Awards, his craft and what he wants you to understand about the man behind the brand.

How has your definition of success defined you?

I have created a level of success that I’m comfortable with now and I am working towards more success in an effort to accomplish some of the goals I’ve laid out for myself in changing the industry.

The Academy Awards recognize achievements in makeup and costume, but not hair styling. How do you feel about this oversight and what would you like to see done about this?

It’s surprising to me that there isn’t a ballot for hair. It feels like hairdressers aren’t valuable. Social media is a way to reach a lot of people, for instance, it helped Betty White get on Saturday Night Live, and I’m still figuring it out how to use social media to raise awareness about this oversight and hopefully bring about a change. I know hairdressers have raised this issue in the past and brought it to light but nothing has happened yet. I’m putting a petition together to continue the effort to bring awareness to the Academy that it’s not OK that there isn’t a category for hair. There have been so many iconic hair styles that came to light through the medium of film, I’d like to see that celebrated and recognized.

At what stage was branding incorporated into your development and how do you further plan to develop the Ted Gibson brand?

I’ve always considered my work as the means for building my brand. Part of that is staying true to who I am and true to the industry I work in.

Now that you have your own salons, product lines and television shows, what other personal goals would you like to achieve?

The brand of Ted Gibson is not a household name yet. I’m opening new salons, one of which is being opened soon in Ft. Lauderdale, FL. I plan on opening beauty schools to provide a level of service that is not available for many people like it is for celebrities. My brand is about attainable luxury. Although my haircut is one of the most expensive in the world at $950, I’m on What Not to Wear helping everyday people look their best. It’s a touching moment to watch people who consider luxury out of their reach see that it is indeed attainable with the right information and tools. I feel like I was put on this earth to inspire and create something special to inspire the next generation of hairdressers to think outside the box. I want to raise the level of the profession period.

What message do you want your clients, both current and prospective, to understand about you?

I think what is unique about the brand is that at my salons you have the affordable opportunity to get great hair and the service is five star. When you come to Ted Gibson you get obtainable luxury, something that is lacking with the divide of the wealthy and middle class widening. I created the space in the salons to be like the culture of New York city. You can be standing on the corner in New York listening to four different languages at the same time; standing next to a white person or a black person or a celebrity or dude and it’s very diverse. It’s not intimidating when you come into the space, it’s very inviting, and you know you’re going to get great service and a personalized hair cut; that’s what is different about the Ted Gibson brand. People think it’s uptown and if you come into the salon you’ll be in a snooty atmosphere but it’s not that at all.

How has social media informed the way you conduct business?

I call social media free marketing. What it can provide for a brand or even an individual is the ability to reach people that wouldn’t otherwise know anything about you and get closer to people that already are aware who you are and what you represent. I do all my own tweets and Facebook updates.

You work in a collaborative art form. How do you manage, prioritize and validate all the relationships you juggle in a day in the life?

I feel like I was put on this earth to do this and I don’t treat anyone any different than I would treat someone like Angelina Jolie. It’s the same response regardless of if you are a celebrity or not, and I am who I am regardless of who you are.

You have achieved and maintained relationships with celebrities, fashion houses and regular clients while remaining accessible and not diluting your image. What principals have you applied that have created this rare combination of image and personality?

It’s worked for me because I’m in charge of my image and I’m so hands on. As well, I maintain an attitude of service. For one, I know that as a celebrity hairdresser it’s important to continue work on new actresses and models, helping them find their best image. I keep myself fresh that way and it’s been the key.

As a hairdresser my main role the past ten years has been working with celebrities and when I got the celebrity to a certain place then that relationship was over to make room for a new girl. But I still maintain the relationships I invested in in the beginning and that effort has sustained my growth. My gift is to help women discover who they are and help them focus their image. Every girl I’ve worked with has been an enduring relationship.

Do you feel that celebrity has hijacked the creative industry?

I did not want to be a starving artist. There’s nothing worse than being a starving artist. Finding the balance between art and commerce is very important to me. The whole idea about celebrity when I started in the business about 10 years ago was different. Models were still on the covers of magazines. When they were on the covers it was dynamic but grew to a point where it was no longer interesting because we didn’t know who they were. I think that’s partially why it went to celebrities. People related to their stories, where they came from, what movie they were doing and there was so much more to it than being simply a model. We thought it wouldn’t last and models would come back on covers and here we are 10 years later and celebrities are still on covers. I miss my girls though.

The audience clearly loves you. Why did you want to do the show What Not To Wear and why do you feel the women responded to you so favorably?

I give the same treatment to everyone. It’s the same banter and philosophy. Every woman, famous or not, has insecurities and doesn’t necessarily like their hair and if I can help a woman discover how beautiful she is and how great she can feel about herself, I’ve done my job. The medium I work in is hair and importantly, can transform the way a woman feels about herself in an instant.

My publicist asked me to go into an audition for the show and I was surprised and unsure but I went. I remembered Vidal Sasson television and how everything changed for him when he became a household name. A lot of my growth has come from being on television. What Not to Wear is a great vehicle to showcase my work and myself and how effective a hairdresser can be. You can’t deny the power of television.

What influence do you think growing up overseas had on your development?

My dad was in the military. The constant travel helped me develop a wider palate for what beauty is and means. Moving every two years also taught me skills to easily adapt to different situations. My tagline is Beauty is Individual. You can be a size 24 or 2 and be beautiful. It’s about what I can do to help bring out a persons best self.

Can you talk about the power of positive thinking and the effect it’s had on your work?

I believe in the law of cause and effect. What you put out is what you receive in return. I have to know everything is for my good even when I don’t understand it. From that philosophy I’ve been able to roll with the punches. I have a morning practice whereby I mediate, write or read for 15 minutes. If I don’t have enough time I definitely meditate and read. I read from the Science of Mind by Ernest Holmes. I consider myself to be a spiritual person.

Change is stressful and scary for most people. You seem to have developed productive and effective skills when dealing with change. Can you tell us about a few of them?

I belonged to a church for a long time that focused on creating your own abundance. In your world you are responsible for what you create if that’s what you choose and desire. This question hits on exactly what the teaching was about a few days ago. I hadn’t been in several years and went the other day for the first time with friends. We sat through the class then had lunch. Her talk was on change and adapting to change and embracing it. Change is inevitable, it’s how you respond to it. I love that my career has taken me in many directions because I want to leave a teachable legacy so the next black kid that comes along will have it easier to create something for himself.

Did you envision the life you have today when you began this journey?

Yes and no. I remember when I was in barber school and said I wanted to work on celebrities. I always wanted to be famous but didn’t know what that meant. It was the late 80’s and I went through my training then moved to Austin and around the country then ended up in New York. I ran the Aveda salon for about eight months then left to enter the fashion business. The first time I met Angelina Jolie, we did the covers of Cosmopolitan and Marie Claire in London and Patrick Demarchelier shot it. I didn’t know what working with her would do for my career but that’s when it shifted. I quickly realized fame was not what I had imagined it to be. But also, because of it, I was given an opportunity to do good.

What advice would you give to anyone thinking about taking a risk and doing something they love?

You have to go for it. There’s nothing worse than living in regret, it’s something you just can’t do. I don’t think there’s anything I’ve failed at. There have been mistakes that I consider stepping stones as they took me to the next thing.

Follow him at @tedgibson

Posted on October 19, 2011 by theculturalomnivore in Beauty, Fashion