Back to Black

A much-loved and often-revived trend, Goth has been aligned in the popular consciousness with disaffected youths hanging around a shopping mall. The world of fashion, however, has quite a different take on the matter.
The woman embracing this year’s Gothic look is a fashion-literate individual who knows that this season, Goth equals glamour. When Prada showed a runway of models wearing lace in new and startling incarnations, the fashion world sat up and took notice. This was a sideways glance at the world of Goth, rather than a full-on stare.
This winter, the harsh monochrome of previous years has been softened with texture. This is ‘Soft Goth’, with ruffles, chiffon and lots of layering. The new Goth girl is someone who has read Mary Shelley, but prefers Charlotte Bronte. It is Goth with a romantic undertone. There is a hint of the nineteenth century in the high necklines and low hemlines shown by Roksanda Ilincic, with delicate lace accents softening the potential severity of the modern cut.

‘I was thinking about paganism and dancing around bonfires naked.’
This is Luella Bartley’s explanation for her fairytale-fuelled Gothic fantasy. While I wouldn’t recommend running around Cornwall naked, the pagan notes are clearly felt throughout her witch’s brew of utterly desirable dresses. They are seductive, but playful – like Little Red Riding Hood has gone to the dark side. These dresses are so unapologetically sexy you can, almost like Macbeth, allow yourself to be bewitched by the sizzle and crackle from beneath the cauldron.
This element of subversive playfulness echoes through a number of collections, notably including Giles, Gareth Pugh and Emma Cook. Frills, quilting and zipper details add a new flavour to an old fashion story. Again, the slant is skewed on glamour: the soft ruffled details on a knee-length shift dress by Fendi are romance personified. It is the decadent detailing that makes this year’s Goth-girl a breath of fresh air. There is quite literally something here for every taste. It is fashion recycled; an old idea spun to weave another pattern altogether.

When many designers are choosing to head in a pared-back, minimalist, credit-crunch-proof direction, these designers are defiantly going for the glamour vote. It is a wise move too, as economic gloom aside; every woman wants to feel beautiful and special. There is nothing special about a bland LBD with nothing but its pedigree to recommend it. This season’s collections showcase truly beautiful clothes that are unique and dazzling, wearable and accessible.
When times are tough, we do indeed retrace our fashion steps and go back to what is familiar, but if you are smart, you know that nothing lifts the spirits more than wearing something that makes you feel utterly alive. In this economic slump, it is not functionality that we require: it is a lusty, full-blooded sartorial reminder that the good times will return. It is time to go back to black.

HELEN TOPE

And the Oscar Goes To

With awards season now in full swing, fashion aficionados have a golden opportunity to play their favourite indoor sport: who will wear what on the biggest runway on the planet?
With the arrival of couture shows in Paris and a sneak-peek at what is being touted for Spring and Summer, stars are spoilt for choice. Dare they go down the high fashion route and opt for edgy couture, or play it safe with a beautiful but classic gown? Now viewed by millions around the world, the Oscars are as synonymous with high fashion as they are with weepy acceptance speeches. However, it has not always been a marriage of convenience.
While designers cultivated relationships with actresses through the sixties and seventies (think of Hubert de Givenchy and Audrey Hepburn – a working relationship that created some of the most memorable fashion moments to be captured on film), it took considerably longer for their calming influence to trickle down to the red carpet. Google any award ceremony that took place during the 1980’s, and you will see this in evidence for yourself.
It wasn’t until the mid-nineties that actresses began to take fashion a little more seriously. The days of wearing ‘an Armani sack’( to quote Hugh Grant) in order to prove your artistic credentials came to a crashing close when Uma Thurman stepped out at the 1995 Academy Awards wearing a lilac gown and matching stole by Prada. At that point, Miuccia Prada was a secret only fashion insiders knew. By the next morning, Prada’s name had gone international, and Thurman’s picture was in every newspaper. It is this magical, transformative quality that had actresses beginning to appreciate what fashion could do for their career. The right dress at the right time could turn an ingénue into a star.
It is this tantalising promise that now has starlets and more-established talents running to their stylist as soon as the Oscar nominations are announced in January. Now the most-asked question on the red carpet is no longer ‘How does it feel to be nominated?’, but ‘Who are you wearing?’ Unsurprisingly, the unforgiving glare of the world’s media has actresses sensibly cultivating relationships with designers. Renee Zellwegger is rarely seen in anything but Carolina Herrera; Natalie Portman is enamoured with new-kid-on-the-fashion-block, Zac Posen and Katie Holmes is hopelessly devoted to Giorgio Armani (but don’t tell Tom). Actresses are quick to understand that if you want to stand out on the red carpet make nice with your chosen designer like your life depends on it. With the Academy Awards taking place later this month; nominees are already being fitted for their dresses, hoping that their choice will garner the most fashion nods from the world’s press.
Of course, it is not always about the nominees. Many of the most notable fashion Oscar moments have been courtesy of another attendee, creating those gasp-out-loud fashion moments that have everyone talking about them for months after the red carpet has been rolled up and put away. Nicole Kidman famously joined the ranks of the Hollywood fashion elite when she stepped out in a chartreuse Galliano gown at the 1997 Oscars. It was a completely unexpected choice, and Kidman’s gamble paid off. It was a hit, and so was she. Over ten years on, she is a fully paid-up member of the ‘Koala Mafia’, and may well be coaxed out onto the carpet, thanks to her role in Baz Luhrmann’s ‘Australia’. Nicole is arguably at the top of her game, and if she decides to put in an appearance, every designer on the planet will be vying for her attention and that nod of approval. If Nicole wears your gown, expect your career to rise in the East like the sun.
Jonathan Saunders could be one of the names on that list of fashion luminaries worn by Kidman, which includes John Galliano and Jean Paul Gaultier. Saunders is a young British designer, who specialises in austere but striking shapes. His black gown with avant-garde detailing shown earlier this year could be ideal for Nicole, who is known for taking chances on the unusual – both in her career and on the red carpet.
Headlining Jonathan Demme’s film ‘Rachel Getting Married’, Anne Hathaway, star of ‘The Devil Wears Prada’, found herself receiving unprecedented Oscar buzz on the internet surrounding her performance months before the nominations were even announced. When the nominations were finally announced, Hathaway scored her very first Best Actress nomination.
A career-making decision potentially awaits Hathaway: being red-carpet initiated, Anne is very much a fan of the dramatic, old-Hollywood look. Taking it beyond the cliché, her smart choice of a wine-coloured Marchesa dress at the Oscars in 2008 scored her numerous Best Dressed nods, even though she was just attending as a presenter. But attending as a nominee for the most hotly-contested category is another fashion ball-game altogether. In making that ultimate choice, Hathaway could do worse than consider the work of Alessandra Facchinetti, who until recently held the design reins of couture house, Valentino. Showcasing fin de siècle gowns in Valentino red, Facchinetti proved that there is nothing better a woman understands than another woman, and a fiery blaze of a gown would compliment Hathaway’s features perfectly. Making the leap to a major design-house like Valentino will show all eyes watching that this girl means business.
The nominees are who just starting out have an even more difficult balancing act ahead of them. A dress is an indicator of how you view yourself, and choosing a show-stopper of a gown could suggest to commentators that your ego is already outstripping your talent. Choose a bland, uninspired frock (like Ellen Page did when nominated for ‘Juno’ in 2008), and you run the risk of being perceived as worthy and taking yourself far too seriously.
It’s tough being young in Hollywood: the younger generation are more aware than any previous generation that their every sartorial move is being watched. Even when they’re just popping out to fetch a latte, their look is routinely photographed and scrutinised, so it’s no wonder these girls have high demands when it comes to finding that perfect red-carpet choice. These girls are no longer happy with an off-the-peg designer gown. It has be couture-quality, perfectly fit and if it’s one of a kind especially made for them – so much the better. The design duo behind label Marchesa has this market cornered. They specialise in soft, romantic gowns that have their roots very firmly in high fashion. This look is worn by the actress who fully expects to be underestimated. But don’t be fooled –she may look as harmless as cotton wool, but underneath the supportive underwear is a core of steely ambition. This gal is headed straight for the top.
Alternatively, if soft and willowy doesn’t cut the mustard, actresses have a plethora of established design houses to choose from that have drafted in young designers to bring an edge to the proceedings. Most notably, Olivier Theyskens has been doing great things at Nina Ricci, bringing a cache of cool with him. His earlier Neo-Gothic pieces, worn by Madonna in her ‘Ray of Light’ era, have evolved and become more red-carpet friendly. It retains the drama of his earlier work, which is now undercut with a swathe of softness and sophistication.
This new direction has famously caught the eye of Oscar winner Reese Witherspoon, who has sported several of Theyskens’ creations and received rave reviews on each outing. As a result, Theyskens’ designs could soon become regulars on the red carpet. Theyskens’ gold, embellished dress (seen on the Autumn / Winter 2008-09 runway) is undeniably glamorous, but something that would still suit a very young girl. Despite fashion’s infatuation with youth, it is notoriously difficult for a teenager to pull off red-carpet fashion successfully. (Think of Lindsay Lohan’s flirtation with Lanvin). But a good dress, , when paired with a loose, carefree hairstyle and polished make-up remains age, and occasion, appropriate – a hard balance to strike.
With the high pay-offs of getting it right on the red carpet, come high risks. Along with applause for the Best Dressed, there are a select band of actresses every year whose look did not make the cut. Leaving aside the glorious but defiant disasters (who’s mind went to Bjork in that swan dress?); some fail simply because they try too hard.
For red-carpet absolute beginners, this must be a particularly difficult point to negotiate. Viola Davis, a stalwart of American theatre, scored a Globes nomination for her ground-breaking performance in ‘Doubt’, and has just received an Oscar Best Supporting Actress nomination. For the first time in her career, she has to give serious thought to what to wear when making her debut on the awards circuit.
Davis might be tempted to go for an inoffensive neutral, but it would be a mistake. Not making enough of an effort is nearly as frowned upon as trying too hard. It is a conundrum, but one that can be solved by consulting Italian designers such as Alberta Ferretti and Armani. Their beautiful, elegant designs may not break new fashion ground, but they know how to make a woman look her best when it really counts. Eschewing basic black may be a smart move for Viola, as a bright unexpected colour such as sky blue or canary yellow will make her stand out, and denote that she has the confidence to side-step the familiar and take her dressing (and career) onto the next level.
For one woman in particular, this year’s awards season is especially crucial. This year, Kate Winslet has had the unique honour of competing against herself at the Golden Globes, and a double nomination at the BAFTAs for her performances in ‘Revolutionary Road’ and ‘The Reader’. If that weren’t enough, she is odds-on favourite to walk away with the Best Actress Oscar later this month.
In fact, 2009 may well prove to be a critical juncture in her career. It has been a decade since ‘Titanic’ catapulted her to stardom. The feeling that it may be Winslet’s time is inescapable. With five Oscar nominations already under her belt, the Academy may decide that this is the year that Winslet walks away with an award – or two. In making a decision on what to wear, Kate has two clear options –serious and authoritative, or head down the path of soft and romantic.
A black asymmetric silk dress from Derek Lam’s latest Spring / Summer collection may strike the right note, and would fit in seamlessly with her current award season repertoire. Her SAG Awards electric-blue gown from Narcisco Rodriguez lit up the carpet – the dynamic but pared-down silhouette hugged and flattered her curves, and scored her many Best Dressed nods.
Having prepared us to expect something equally sleek and modern for the Oscars, Kate could well surprise us with something soft and romantic. Many of the gowns featured on the S/S 09 Versace runway would be perfect. These choices may seen asinine (after all a dress is just a dress), but on the world’s most prolific runway, it is a signifier to the world as to how the actress wearing it sees herself – not just now, but five, ten years from now.
No longer is red-carpet fashion seen for the frivolous or the fashion plate. With coverage of the event growing each year, the right dress on the right actress not only means a swift injection of publicity for a designer, but also a badge of honour for the actress, declaring to everyone watching, the kind of artist she wants to become.
With all this riding on a dress, it is unsurprising that many stars feel unable, or unwilling, to take sartorial risks. The red carpet has in recent years become noticeably more refined, but often lacks the joy and surprise of someone who has taken a chance that gets the commentators talking.
Many actresses, fearful of making a wrong move, have opted for couture. These hand-crafted gowns possess plenty of drama and sophistication, and on paper, high fashion and Hollywood should be bons amies. But couture, like the stock market, does not always perform as expected. What is sent down a Parisian runway may not translate on an actress who ends up being overwhelmed by the very dress that is meant to send her career soaring.
Of course, if everyone chooses to sit on the fashion fence, we could end up with an unedifying whirl of blandness each and every year, which is no fun at all. But this depressing projection does not have to be the final word: with a little fashion know-how, and a firm editing hand, red-carpet fashion does not have to equal boring. Last year’s winner of the Best Actress Oscar, Marion Cotillard, shows that a middle ground between flair and restraint is achievable.
Her stunning collaboration with Jean Paul Gaultier shows that if actresses employ the same daring instinct they use when selecting roles, it becomes a self-evident truth that beauty and innovation are not mutually exclusive.

Model Citizen

It is a truth universally acknowledged that the modelling industry is littered with stories of discovery. Kate Moss was discovered at an airport; Jessica Stam was found at a coffee shop and Jourdan Dunn was scouted whilst shopping at Primark.

These stories have become the stuff of legend; namely, that any pretty girl (if she hangs round for long enough) will be discovered – it’s all a matter of luck. To be sure, there is an element of luck in securing an agent, but the reality of being ‘discovered’ is somewhat different – and much more like hard work.

Modelling agencies routinely receive hundreds of applications every year, and of those, only a tiny fraction makes it through to an initial meeting, let alone the elusive contract signing. Success in finding an agency may be a numbers game, but those numbers are small.


Before we go any further, you must be honest with yourself. Ask yourself, right now, why you want to be a model. If the answer falls anywhere in the ‘I want to be famous’ ball-park, quit while you are ahead. If your aspirations begin and end with a guest spot on Celebrity Big Brother, this is not the game for you.

If you start a career in modelling, you can look forward to a career that boasts long hours, few perks and wearing designer clothes completely out of season (bikinis in November, anyone?). In addition to this, you may end up spending weeks and months away from your family and friends. If you feel you can cope with this, carry on reading.



Modelling may seem to be the glamorous option in the grey-flannel world of 9-5. But make no mistake: modelling is for the tough cookies of this world. To succeed as a model, you need stamina, resilience and the (metaphorical) skin of a rhino. Modelling is a tough business, but a business first and foremost. Models are commodities. When applying to an agency, you must know how to present yourself as a covetable commodity. It is a crowded marketplace already; to stand out you must sell yourself and sell yourself well.

If you genuinely have a passion for fashion, there is no better place to start. The internet is the best tool at your disposal in terms of applying to modelling agencies. It can be used not only to sniff out agency contacts, but also used as an invaluable means of research.

However, type ‘modelling’ into any search engine and you will come up against some of the greatest pitfalls too. If you receive or see any of the following, avoid like the plague:

§ Online invites (via Facebook or any chatroom);

§ Companies inviting you to pay large sums of cash to attend an ‘Assessment Day’ with a ‘top photographer’ to grade your suitability;

§ Any agency that charges a ‘casting fee’ or advises you to spend large sums of money building a ‘professional portfolio’.

My prolific use of sarcastically-applied speech marks should give you a clue of how you should regard these blatant attempts to part you from your cash. In order to secure an agency’s interest, you do not need to part with any money. These scams are run by individuals who have little or no connection with the legitimate modelling industry. As a general rule, the more they promise, the less you’ll receive.

Assuming you’ve now found an agency’s website that you like the look of. There’s no mention of fees or expensive portfolios? Good. Look around the website for the use of these initials: AMA. These refer to the Association of Model Agents. This association represents the best modelling agencies in the UK, and the ones with the most work. There is no guarantee an agency associated with the AMA will accept you, of course, but if they do, you can be pretty much assured that you are in safe hands. Only reputable agencies are part of this organisation.

While you are looking at an agency’s website, cast an eye over the models currently on their books. These are signposts to the aspiring model – do you (roughly) match the look of these girls? Be realistic about your own marketable appeal: if you are a girl-next-door type with a great smile, then a top-notch editorial agency may not be for you.

Scour fashion magazines as part of your research too, and locate yourself within the current industry. If you are an edgy beauty who got teased at school for being gangly and awkward, you may find your place within the high-fashion world. If you are that smiley, girl-next-door type, you might like to note that commercial modelling can provide a highly rewarding (and lucrative) career.

There are numerous agencies out there, each catering to a different area of the market. If you really have ‘it’, that indefinable something, you will eventually find your niche.

So – you’ve found an agency that seems to match your look. The next step is how to apply. After research, come headshots. Remember when I said you don’t need a portfolio? All you really need is you, a friend and a digital camera.

Most agencies require a head-shot (head and shoulders, taken from the front) and a full body-shot (head to toe, again taken head-on). Before snapping away, always check the agency’s website first as they will usually have a page that stipulates application requirements - some agencies prefer a head-shot and a profile-shot. Don’t worry if your photographer isn’t brimming with previous experience: a good agent will be able to tell if you are photogenic from non-professional snapshots.

These photos need to be shot in good light (natural or artificial). The background needs to be as clutter-free as you can make it – standing against a blank wall is perfect. Just remember that you are the focus - no arty shots here! In terms of posing, stand up straight with your shoulders back. Resist the urge to slump or hunch over like the girls in Vogue. There’ll be plenty of time for that sort of thing later on. It’s easier said than done, but do not smile or pout. Most agencies prefer a relaxed, neutral expression which allows your features to do the talking.

Like the photo, you must present yourself as a clean, uncluttered canvas. Do not make the common mistake of over-dressing. Wear nothing too trendy or distracting. A simple vest and a good pair of jeans are ideal. Make sure the clothes clearly show the outline of your figure, but are not too tight.

With hair and make-up, think pared down but polished. Clean hair is a must – if it is long, pull it back off your face into a ponytail. Use make-up sparingly but effectively. Use a tiny amount of brown-black mascara (brown if you are blonde), and a touch of lip-balm to define your features so they don’t wash out on camera. However much make-up you think you might need, decrease it by 25%. The make-up needs to subtly enhance your features and bone structure – not get in their way. Eyeliner, blush and lip-gloss are not your friends here. An agent wants to see you, not what you can do with a Ruby & Millie retractable eye pencil. Many girls applying to agencies, however, will make this mistake– let them go ahead. It may feel strange, but less is most definitely more and will give you an automatic head-start over the wannabes who have failed to do their homework.

The agent will, in viewing your photos, need to see the quality of your skin. However, if your skin poses such a problem that it absolutely needs coverage, you will score points with an agent for being honest about this. Problem skin (especially teenage) can be treated easily with medication, so don’t view this as an insurmountable hurdle. It may be a bug-bear for you, but an agent may see a few spots as nothing that can’t be fixed.

Be aware when choosing how to present yourself in these photos, that it must be a reasonable representation of what you really look like. Absolutely no digital re-touching, however tempted you may be!

When you have two photos that you are happy with, they can be usually downloaded straight to the agency via their website (again, check individual agencies for their submission guidelines). Remember to leave clear contact details, including a mobile number so you can be reached during the day.

Good news: an agent’s seen your pictures and thinks you may have potential. You are cordially invited to go to the agency and meet with the agent in person.

Treat this meeting in the way you would a normal job interview – prepare as much in advance as possible.

Again, research is crucial. Re-visit the agency’s website and glean as much information from it as possible. What is the main focus of its work – commercial, editorial, or a mixture of the two? Who are the agency’s main players, and who are its alumni?

Take this opportunity to delve deeper into the fashion world: read fashion magazines like they’re going out of style and go beyond the usual suspects. Learn about new photographers, designers and up-and-coming faces in the modelling world. Just remember: a little knowledge is not a dangerous thing.

Now it’s time for the logistics. If you’re going to an agency in an unfamiliar city, plan your route ahead of time and make Streetmap your bible. When estimating travelling time, always be over-generous. It’s better to feel daft cooling your heels in a cafe because you’ve arrived too early, than arriving in the fog of blind panic that comes from knowing that you are horribly, irretrievably late. Remember that modelling, for all the perceived glitz and glamour, is a business. Take a tip from Tyra Banks, and be on time like your life depends on it.

When deciding on what to wear for the meeting, think back to how you presented yourself in the photo. Think clean, modern and polished. By dressing in this way, you are presenting yourself as a blank canvas onto which an agent can project and speculate how best to fit you into an already-teeming industry. Presenting yourself in this way also has the added bonus of making you look professional, and even better, flags up to the agent that you know what you’re doing.

When you are talking to the agent, be friendly and attentive. If you need a moment to frame a response to a question, don’t be afraid to take it. It shows that you’re taking them seriously. There is no doubt that you will get the perennial ‘...and why do you want to be a model?’ question – don’t blurt out the first thing that comes into your head. Think about what really inspires you about fashion. There is nothing more encouraging to an agent than a prospective model that is passionate and engaged about the industry.

Be prepared for the fact that you may not get an immediate answer from the agent. Many will need to discuss you with colleagues before reaching a final decision, especially in larger agencies where there is standing room only. Don’t be despondent if you feel the meeting didn’t go as well as you’d hoped. However you feel it went, it’s important to remain upbeat and polite when thanking the agent for their time.

When you do get that phone-call, be prepared for rejection and when it does come your way, don’t take it personally: there’s a lot of it to go round. If you are not right for one agency, you may be perfect for another. It is very rare to be accepted onto an agency’s books at the first go.

If you do get a no, ask for feedback. Some of it may not be what you want to hear, but take it onboard for next time. If you are unsuccessful, but get largely positive notes, ask for any recommendations on where to go from here. The fashion-world is tightly knit and the agent will almost certainly know of an agency where you might get a more favourable response.

Repeat this process until you get that elusive yes, and good luck!



These stories have become the stuff of legend; namely, that any pretty girl (if she hangs round for long enough) will be discovered – it’s all a matter of luck. To be sure, there is an element of luck in securing an agent, but the reality of being ‘discovered’ is somewhat different – and much more like hard work.

Modelling agencies routinely receive hundreds of applications every year, and of those, only a tiny fraction makes it through to an initial meeting, let alone the elusive contract signing. Success in finding an agency may be a numbers game, but those numbers are small.


Before we go any further, you must be honest with yourself. Ask yourself, right now, why you want to be a model. If the answer falls anywhere in the ‘I want to be famous’ ball-park, quit while you are ahead. If your aspirations begin and end with a guest spot on Celebrity Big Brother, this is not the game for you.

If you start a career in modelling, you can look forward to a career that boasts long hours, few perks and wearing designer clothes completely out of season (bikinis in November, anyone?). In addition to this, you may end up spending weeks and months away from your family and friends. If you feel you can cope with this, carry on reading.



Modelling may seem to be the glamorous option in the grey-flannel world of 9-5. But make no mistake: modelling is for the tough cookies of this world. To succeed as a model, you need stamina, resilience and the (metaphorical) skin of a rhino. Modelling is a tough business, but a business first and foremost. Models are commodities. When applying to an agency, you must know how to present yourself as a covetable commodity. It is a crowded marketplace already; to stand out you must sell yourself and sell yourself well.

If you genuinely have a passion for fashion, there is no better place to start. The internet is the best tool at your disposal in terms of applying to modelling agencies. It can be used not only to sniff out agency contacts, but also used as an invaluable means of research.

However, type ‘modelling’ into any search engine and you will come up against some of the greatest pitfalls too. If you receive or see any of the following, avoid like the plague:

Online invites (via Facebook or any chatroom);

Companies inviting you to pay large sums of cash to attend an ‘Assessment Day’ with a ‘top photographer’ to grade your suitability;

Any agency that charges a ‘casting fee’ or advises you to spend large sums of money building a ‘professional portfolio’.

My prolific use of sarcastically-applied speech marks should give you a clue of how you should regard these blatant attempts to part you from your cash. In order to secure an agency’s interest, you do not need to part with any money. These scams are run by individuals who have little or no connection with the legitimate modelling industry. As a general rule, the more they promise, the less you’ll receive.

Assuming you’ve now found an agency’s website that you like the look of. There’s no mention of fees or expensive portfolios? Good. Look around the website for the use of these initials: AMA. These refer to the Association of Model Agents. This association represents the best modelling agencies in the UK, and the ones with the most work. There is no guarantee an agency associated with the AMA will accept you, of course, but if they do, you can be pretty much assured that you are in safe hands. Only reputable agencies are part of this organisation.

While you are looking at an agency’s website, cast an eye over the models currently on their books. These are signposts to the aspiring model – do you (roughly) match the look of these girls? Be realistic about your own marketable appeal: if you are a girl-next-door type with a great smile, then a top-notch editorial agency may not be for you.

Scour fashion magazines as part of your research too, and locate yourself within the current industry. If you are an edgy beauty who got teased at school for being gangly and awkward, you may find your place within the high-fashion world. If you are that smiley, girl-next-door type, you might like to note that commercial modelling can provide a highly rewarding (and lucrative) career.

There are numerous agencies out there, each catering to a different area of the market. If you really have ‘it’, that indefinable something, you will eventually find your niche.

So – you’ve found an agency that seems to match your look. The next step is how to apply. After research, come headshots. Remember when I said you don’t need a portfolio? All you really need is you, a friend and a digital camera.

Most agencies require a head-shot (head and shoulders, taken from the front) and a full body-shot (head to toe, again taken head-on). Before snapping away, always check the agency’s website first as they will usually have a page that stipulates application requirements - some agencies prefer a head-shot and a profile-shot. Don’t worry if your photographer isn’t brimming with previous experience: a good agent will be able to tell if you are photogenic from non-professional snapshots.

These photos need to be shot in good light (natural or artificial). The background needs to be as clutter-free as you can make it – standing against a blank wall is perfect. Just remember that you are the focus - no arty shots here! In terms of posing, stand up straight with your shoulders back. Resist the urge to slump or hunch over like the girls in Vogue. There’ll be plenty of time for that sort of thing later on. It’s easier said than done, but do not smile or pout. Most agencies prefer a relaxed, neutral expression which allows your features to do the talking.

Like the photo, you must present yourself as a clean, uncluttered canvas. Do not make the common mistake of over-dressing. Wear nothing too trendy or distracting. A simple vest and a good pair of jeans are ideal. Make sure the clothes clearly show the outline of your figure, but are not too tight.

With hair and make-up, think pared down but polished. Clean hair is a must – if it is long, pull it back off your face into a ponytail. Use make-up sparingly but effectively. Use a tiny amount of brown-black mascara (brown if you are blonde), and a touch of lip-balm to define your features so they don’t wash out on camera. However much make-up you think you might need, decrease it by 25%. The make-up needs to subtly enhance your features and bone structure – not get in their way. Eyeliner, blush and lip-gloss are not your friends here. An agent wants to see you, not what you can do with a Ruby & Millie retractable eye pencil. Many girls applying to agencies, however, will make this mistake– let them go ahead. It may feel strange, but less is most definitely more and will give you an automatic head-start over the wannabes who have failed to do their homework.

The agent will, in viewing your photos, need to see the quality of your skin. However, if your skin poses such a problem that it absolutely needs coverage, you will score points with an agent for being honest about this. Problem skin (especially teenage) can be treated easily with medication, so don’t view this as an insurmountable hurdle. It may be a bug-bear for you, but an agent may see a few spots as nothing that can’t be fixed.

Be aware when choosing how to present yourself in these photos, that it must be a reasonable representation of what you really look like. Absolutely no digital re-touching, however tempted you may be!

When you have two photos that you are happy with, they can be usually downloaded straight to the agency via their website (again, check individual agencies for their submission guidelines). Remember to leave clear contact details, including a mobile number so you can be reached during the day.

Good news: an agent’s seen your pictures and thinks you may have potential. You are cordially invited to go to the agency and meet with the agent in person.

Treat this meeting in the way you would a normal job interview – prepare as much in advance as possible.

Again, research is crucial. Re-visit the agency’s website and glean as much information from it as possible. What is the main focus of its work – commercial, editorial, or a mixture of the two? Who are the agency’s main players, and who are its alumni?

Take this opportunity to delve deeper into the fashion world: read fashion magazines like they’re going out of style and go beyond the usual suspects. Learn about new photographers, designers and up-and-coming faces in the modelling world. Just remember: a little knowledge is not a dangerous thing.

Now it’s time for the logistics. If you’re going to an agency in an unfamiliar city, plan your route ahead of time and make Streetmap your bible. When estimating travelling time, always be over-generous. It’s better to feel daft cooling your heels in a cafe because you’ve arrived too early, than arriving in the fog of blind panic that comes from knowing that you are horribly, irretrievably late. Remember that modelling, for all the perceived glitz and glamour, is a business. Take a tip from Tyra Banks, and be on time like your life depends on it.

When deciding on what to wear for the meeting, think back to how you presented yourself in the photo. Think clean, modern and polished. By dressing in this way, you are presenting yourself as a blank canvas onto which an agent can project and speculate how best to fit you into an already-teeming industry. Presenting yourself in this way also has the added bonus of making you look professional, and even better, flags up to the agent that you know what you’re doing.

When you are talking to the agent, be friendly and attentive. If you need a moment to frame a response to a question, don’t be afraid to take it. It shows that you’re taking them seriously. There is no doubt that you will get the perennial ‘...and why do you want to be a model?’ question – don’t blurt out the first thing that comes into your head. Think about what really inspires you about fashion. There is nothing more encouraging to an agent than a prospective model that is passionate and engaged about the industry.

Be prepared for the fact that you may not get an immediate answer from the agent. Many will need to discuss you with colleagues before reaching a final decision, especially in larger agencies where there is standing room only. Don’t be despondent if you feel the meeting didn’t go as well as you’d hoped. However you feel it went, it’s important to remain upbeat and polite when thanking the agent for their time.

When you do get that phone-call, be prepared for rejection and when it does come your way, don’t take it personally: there’s a lot of it to go round. If you are not right for one agency, you may be perfect for another. It is very rare to be accepted onto an agency’s books at the first go.

If you do get a no, ask for feedback. Some of it may not be what you want to hear, but take it onboard for next time. If you are unsuccessful, but get largely positive notes, ask for any recommendations on where to go from here. The fashion-world is tightly knit and the agent will almost certainly know of an agency where you might get a more favourable response.

Repeat this process until you get that elusive yes, and good luck!

Helen T.