HAVING THE RIGHT ATTITUDE

When it comes to securing a foothold in the modelling industry, the truth is that having the wrong attitude, or worse still, a bad one, can old you back even more than a dodgy runway walk.

If you’re interested in being a model, let alone a successful one like Arlenis Sosa (pictured), it’s easy to overlook this aspect of Modelling 101. We’re told with some regularity about the physical requirements the modelling industry demand of its new recruits.

Height, good proportions and photographable features all play their part in getting you signed, but paying attention to what you bring to the mix will mean the difference in getting hired and getting left behind.

Modelling is all about perseverance, but patience, discipline and self-confidence are the qualities that can turn your career into the stuff that dreams are made of. Modelling is for tough cookies, and if you’re not fully equipped to deal with the rejections that come with the territory, the climb to success will be made that much longer.

Patience

You’ve all heard that patience is a virtue, but nowhere is this more applicable than in the modelling industry.

Having ambition – and plenty of it – is certainly no crime, but it is important to realise that there’s no such thing as an overnight sensation in modelling. Fashion moves fast, but the process by which a newcomer becomes established is somewhat slower.

Think about your favourite models and research their back stories. The one thing they have in common is that virtually all of them started their careers from humble beginnings, and that’s no bad thing. Learning the ropes in a smaller, less pressurised environment can often be the making of a model’s career. Getting to be comfortable in front of a camera or walking down a runway takes time, no matter how much of a knack you might have for posing and strutting. It all takes time to learn the basics, and once you’ve mastered those, doing the trickier stuff will seem that little bit easier.

When working on the smaller jobs, it’s crucial to treat every booking with the same elation you’d normally reserve for Italian Vogue. Treat every assignment – and client- with respect because that’s how one booking leads to two, and two lead to four, and you get the picture. If you’re a delight to work with, word will spread. The world of modelling is smaller than you think, and people do talk. Do yourself a favour, and wow every client because great things can come from those humble bookings.

Ambition is a great tool to have: knowing where you want to be in five years is brilliant for keeping you focused, but if it gets in the way of how you perform in the here and now, you may have a problem. Reel it in a little, apply some smile and charm, and watch those bookings roll in.

Self-confidence

This may seem like an obvious point, but bear with me on this one. Being self-confident is pretty much a non-negotiable when starting out. You may not be convinced your walk rivals Carmen Kass, but having a solid grounding in the basics of projecting self-confidence is a must.

Head up, shoulders back: if you walk into a casting and get a case of wobbly knees, faking good confidence really does work. Look at how a confident person walks and stands: good posture, relaxed shoulders and plenty of eye contact. Making that first impression only takes seconds, so if you have to, grit your teeth and go for the Oscar in pretending to be self-confident, because it’s worth it.

If you find the call of the wobbly knees too much to ignore, however, just switch off that inner voice that tells you you’re never going to get this booking in a million years, and pay attention to what’s going on around you. If you’re asked to show your portfolio to a client, being able to have something to say (eg: a favourite photo, why you liked working with that photographer), will fill that awkward void. Listen and participate: if a client wants you to walk and you’re not sure what type of walk they want, don’t be afraid to ask. Asking questions isn’t a sign of weakness – far from it. It will show that you’re paying attention to what’s going on around you. Also when you’re paying attention, your quaking knees soon get forgotten. See how that works?

Projecting confidence is crucial. Don’t listen to that little voice in your head: if you’ve booked a casting, let alone a job, you’re there for a reason. You’re in with a shot and it’s up to you to make the most of it. Rejection will happen, of course, it does to everyone. You may receive knock-backs for jobs you thought you were perfect for, and by the same token, you could get booked for a job you assumed you’d never get. The key to accepting rejection is to not see it as a personal slight against you. Casting directors often have very specific criteria and you may meet 10% of the brief, or 90%. If it’s not 100%, it’s unlikely you’re getting the job. It seems unfair, but it shows that rejection boils down to box-ticking rather than your hair being the ‘wrong’ colour. There is no ‘right look’ in modelling anymore: don’t fall into the trap of thinking that your failure to scoop a job is because you don’t fit in. Modelling is a game of numbers: if you have what it takes, sooner or later, you’ll find yourself at the right casting at the right time.

Discipline

Not the most thrilling of topics, but discipline is probably the most important quality a model can possess. Those who succeed don’t do so through random flashes of brilliance; they win contracts and editorials because of consistency. Again, not a word that gets the pulse racing, but in a business where time is money, being reliable is music to a client’s ears. They want someone who turns up on time, ready to work. Someone who turns up late, bleary-eyed, grumpy and none too co-operative will not get a second chance with that particular client.

Modelling can often involve long hours (unsociable too: some of the best light for outdoor shoots is at the crack of dawn). To survive travelling, long demanding shoots and endless go-sees requires you to be in peak physical and psychological condition. To get to the top, some sacrifices have to be made. Foregoing a wild night out before a major casting or shoot = good idea. Getting wasted and hoping breath mints and Touche Eclat will hide the evidence? Not so good.

The first mantra a model learns is to be on time. If you know you’re someone who always arrives 10 minutes late, adjust your watch back 15 minutes and go by that. Being constantly late isn’t cute when you’re representing not only yourself but your agency. If you’re going to unfamiliar locations, get yourself a smart phone and download navigation applications. Make that first impression a good one, by respecting that the client’s time is precious.

If you’re lucky enough to become a little more established in the industry, don’t fall into the trap of becoming complacent. Top model Kate Moss nearly lost her entire career when her partying became a problem. As big a name as Kate was, winning back clients still took her a long time, because restoring a damaged reputation is a lot harder than building a good one.

Discipline, however dry it sounds, is probably the thing that separates a good model from a great one. If you’re serious about not only making it in modelling but sticking around, this is the quality it pays to master. Don’t be fooled into thinking that modelling is the soft option: it may take discipline to make it to the top, but it takes even more to stay there.

HELEN TOPE

MODEL PROFILES: CHANEL IMAN

Chanel Iman, born 30th November 1989, is fashion’s brightest trailblazer – turning barrier-breaking into an art form.

Named after her mother’s favourite designer, Chanel spent her childhood practising runway and studying fashion magazines. This early groundwork prepared Iman when she entered the 2006 Ford Supermodel of the Year contest. She came third, but signed to Ford Models immediately. In February that same year, she made her debut at New York Fashion Week, walking for Derek Lam, Anna Sui, Marc Jacobs and Proenza Schouler.

In September, she walked in the S/S 2007 shows, including Alexander McQueen, Derek Lam, Dolce & Gabbana, Nicole Miller and Stella McCartney. But her appearance in the Valentino show sparked Chanel fever when she worked her now-signature move.

At the end of the runway, just before she was about to turn, she caught the eye of the audience and winked. The fun gesture won the crowd over, and Chanel was featured in http://www.style.com/ as the stand-out of the season – the studying had prepared her, but the impulse to stand out is what made her a star.

Chanel made it her business to exceed expectations early on in her career, receiving the Trailblazer Award from the Sankofa Group in April 2007, and in May became part of modelling history when she joined other top models to take part in the seminal US Vogue cover. A collective of new talent, Chanel joined the likes of Coco Rocha, Lily Donaldson, Hilary Rhoda and Jessica Stam to form a powerful declaration to the fashion industry. These girls were the future of modelling, and every model on that cover by Steven Meisel, went on to become part of the fashion landscape.

In September, Chanel’s career sky-rocketed with appearances for Alexander Wang, Dior, DKNY, Hermes, Louis Vuitton, Marc Jacobs and Oscar de la Renta among others.

2007 ended in triumph on the runways, but a question mark hovered over Iman’s rising fame. Landing catwalk and editorial work is one thing, but could Chanel take it to the next level and land big-name campaigns? This would then put her on a level playing field with her peers, and 2008 saw Chanel rise to the challenge with not just one, but four campaigns. Chanel did campaign shoots for high-prestige brands like Ralph Lauren and DKNY, plus budget-friendly names like Gap and Lord & Taylor.

In February 2008, Chanel’s status as fashion’s latest crush was established when Chanel, Karlie Kloss and Ali Michael appeared on the cover of Teen Vogue, photographed by legend Patrick Demarchelier. A magazine as influential as its grown-up counterpart, Teen Vogue tipped all three models for greatness.

Chanel’s year snowballed: in February, she landed an editorial with Russian Vogue, plus a stellar season walking for designers as varied as Bill Blass and Donna Karan, Jason Wu and Zac Posen. Her CV was maturing well with a mixture of old-school labels, cutting-edge talent and established names. Paired with Chanel’s appearance in the Dior and Jean Paul Gaultier couture shows on July, she had all four corners of the fashion industry covered.

July proved to be a busy month, as Chanel not only appeared in American Vogue with Jourdan Dunn, but also scored two additional editorials in Italian Vogue. However, this was to be a pivotal point in Chanel’s career. Italian Vogue took the decision to put together an edition that would only feature black models.

It was a powerful statement, but it was not without controversy. Many in the industry and press questioned Italian Vogue’s motive for doing this issue. Was it to be taken on face value, as a celebration of ethnicity, giving full-focus to new talent, or was it about something else entirely?

By shining the spotlight on black models to the exclusion of other talent (including models of other ethnic backgrounds), was this a step forward, or a giant leap back? Did such pointed inclusion do more harm than good?

Whatever the motivation, what is clear is that the Italian Vogue edition sparked debate. But debate without action is useless, and what is encouraging is that nearly two years on, a new raft of models including Tao Okamoto, Lyndsey Scott, Liu Wen and Hind Sahli are not only working but flourishing in an industry accused of having a less-than-stellar record when it comes to diversity.

Chanel’s career itself flourished after the Italian Vogue went to press, landing the September cover of Korean Vogue. She was also chosen to open the S/S 2009 Rock & Republic show. Appearing for Alberta Ferretti, D&G, Giambattista Valli and Sonia Rykiel, Chanel was becoming a hit in Europe as well as America.

2009 brought several accolades, rapidly establishing Iman as a go-to girl for not only runway work, but covers and editorials. She landed the cover of Italian Flair in February, the premiere cover of the Dubai edition of Harper’s Bazaar and the cover of i-D in May.

In September, Chanel appeared as a guest judge on hit TV show ‘America’s Next Top Model’. A spot usually reserved for designers or photographers, Chanel’s years of brushing up on fashion paid off, making her intelligent and insightful appearance a hit with fans. This was not just a model with personality and opinions – but someone who knew Pucci from Prada.

Chanel also landed a second cover of i-D, shooting a pre-autumn cover with Arlenis Sosa, Jourdan Dunn and Sessilee Lopez. The cover’s launch shows how quickly things can change in the fashion world. In 2008, Chanel’s appearance for Italian Vogue’s all-black issue was challenged as ‘agenda-pushing’. Just one year later, Chanel, Arlenis, Jourdan and Sessilee were presented, quite rightly, as cover girls at the top of their game.

Chanel’s trail-blazing continued when she surprised many by signing a 3-year contract with Victoria’s Secret. Chanel, while perfect for high-fashion, was not an expected choice for the uber-sexy lingerie brand. Some questioned whether her athletic frame could carry off the VS signature look, but Chanel’s personality-packed performance on the runway put all doubt to rest. In one fell swoop, she proved not only her versatility, but her ability to do the unexpected. This element of surprise is what gets Chanel re-hired time after time.

2010 is set to be another busy year for Chanel, with a full couture and RTW season under her belt. Walking for designers like Aquascutum, Dior, Givenchy, Thakoon and Gucci, Chanel’s list of credits defies the expectation that a black model would struggle finding work. Chanel’s career is an important lesson for models coming into the industry: place limitations on yourself at your peril.

Have a look through a recent fashion magazine: the percentages of ethnic to white faces could be better, but the numbers are not as dire as people seem to think. The argument that fashion only allows one black model to be the ‘top girl’ at any one time is clearly no longer the case: Chanel, Jourdan, Sessilee and Arlenis are all getting coveted editorial and runway spots, with Joan Smalls and Rose Cordero rising through the ranks. While it is clear that fashion has a long way to go before equality can be stated as the norm, the notion of a closed-off industry is also somewhat wide of the mark.

While Chanel’s career is still on the rise, what’s encouraging is her awareness that she is flying the flag for future models, whatever their ethnicity. The message that fashion recognises excellence is an important one for the next generation. Fashion’s consumer-base is becoming more cosmopolitan, and as a result, our expectation of seeing diversity better represented on the runways and in magazines is starting to be met.

The fact that one of Chanel’s first covers was for Teen Vogue says it all. She wasn’t being treated as the token ethnic model: Chanel made the cover because she (along with Ali and Karlie) were fashion’s brightest new models. When it came to the cover, Teen Vogue wasn’t indulging in a box-ticking exercise: it simply wanted the best.

The recession has been a huge wake-up call for the industry, and has resulted in fashion rethinking its entire approach. Fashion, as a whole, is becoming more democratic. Runway shows are being broadcast live on the internet, so you can see the latest collections at the same time as Anna Wintour, and bloggers such as Bryanboy (http://www.bryanboy.com/) and Tavi (http://www.thestylerookie.com/) are being taken seriously as fashion commentators at large.

Modelling is also becoming part of this radical rethink, and this new directive is just the beginning. Still not convinced? Watch Chanel’s progress over the next five years: the future is already here.

HELEN TOPE