Simon Ungless: “Skin Color And Gender Should Not Be A Trend”
FMD sat down with Simon Ungless, a British ex-pat and MA graduate with Distinction from the prestigious Central St. Martins School in London. Amongst many career accomplishments, he collaborated with the late Alexander McQueen on the designer’s first ten collections and has led the department of fashion at the Academy of Art University for the last two decades. Ungless also runs two notable companies; When Simon met Ralph and Blackened.
FMD: The AAU Graduate show has become one of the most highly anticipated shows in the emerging fashion industry. We would love to know your take on how it has evolved over the years.
Simon: The show is really a venue to present the designers work in the most professional way possible. Coming to California, and to the Academy, I brought my experience of working with the shows in Europe, and I feel that the designers deserve to have the same professional platform. When people come to the show, I want to transport them to New York, London or Paris. I know some people had a problem with that because the very first show I did for the University somebody said, “It was very nice, but where were the little black dresses?” I’ve always loved shows and I like producing; so I want to have fun with that.
FMD: You’ve had numerous prestigious guests, and scouts from different fashion houses and design companies attend the shows over the years. Do you think it provides opportunities for the models in the show?
Simon: I think our show is good for the models, especially the newer kids because they get excited that Alexander McQueen is in the audience, or Sarah Burton, or Azzedine Alaïa, or whoever it’s been over the years. I remember a few years ago an agent called me after the show and thanked me because they got so many requests to see one of their models, so it really acted as a giant casting or go-see. But, I think that’s different now; the industry has changed.
FMD: In what other ways do you think the show benefits the models?
Simon: Because we run the whole system of the shows exactly as you would in any fashion week, it’s a good experience for the new kids to feel what it’s going to be like when they are out there on the circuit. I think the models really enjoy doing our show. Just because it’s fashion, people assume that you have to be rude; I’m just not into it, we have fun. I treat the models as people, not just things to put clothes on. I think that it somewhat empowers the models doing our show to have some kind of self-worth, and I think this is a good training ground for them.
FMD: Talking about New Faces, you have a very good eye for spotting new talent. What is it that attracts your attention?
Simon: When Mackenzie Drazan was brand new, she did tons of stuff with us for the show and the magazine. There was no need to direct her. It felt like, yes she was a brand new face, but she didn’t act like one – she could move. There’s also a girl right now, called Tiffany, who was scouted a week before our show last year, and it was like somebody who’d been on the circuit for three seasons walked into the go-see. I love seeing the local kids go off and make their way up.
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FMD: What do you look for during your casting process? Do you have a particular format?
Simon: No, I think it’s just that there are certain people who can light up the room when they walk in. I know that I also book on personality. I don’t want to be around people that are not pleasant – and you can pick up on that really quickly. I mean obviously for show; walk and body are important, because of the clothes and the fit, but also, people who are coming to the show want to see people that can make the clothes look good in some way. Just the general vibe, the personality.
FMD: Personality is huge for a model’s career; being on set and working with clients.
Simon: Yeah, I mean I don’t want anyone that I’ve never met before to walk in and be like we’re best friends, but just to have something, and to know that they’re a really good person. When you do a show, you’re not just with somebody for half an hour, you’re with them all day and I want to make sure that there is a good energy backstage.
FMD: What’s your view on the rates for models doing shows?
Simon: When I go to New York and see what the rates are for the new kids there, sometimes I think “can’t we give them a bit more?” But, that’s what it is, that’s the rate for this model at this particular moment in their career – and I respect that. It’s the boy rates in New York, they get next to nothing. I mean our rates are the same; boys, girls everything is the same. But, when I see a brand new girl getting $900 for a show, and a boy who’s been doing it for a while is getting like $500, I think that’s really harsh. They are working just as hard. It doesn’t really make sense to me.
FMD: Talk about The Walk!
Simon: Well, I don’t like anything too diva. I think out here they call it sassy. I’m not into that. I just want something really clean. I very often have to tell models to stop and walk as if they are just walking down the street.
FMD: You also cast kids for the show. Is working with child models very different?
Simon: It’s working with the parents. At the casting they were all there with their cell phones, egging their children on to play up. I watch how the parents act because they are going to be backstage, and I’m like; the kid is going to lose out on a job if the parent is acting overbearing. Parents can make or break their child’s modeling career. There was a couple of mom’s whose kids did not get requested for fitting purely because of how they behaved. The kids were great. The kids were fun. I just didn’t want the parents backstage for eight hours…
Simon Ungless with his team during fittings - photo by Danielle Rueda, courtesy of Academy Of Art University
FMD: What is your direction or inspiration when casting for the shows in New York and San Francisco?
Simon: My direction for casting is, “Would these kids hang out? Do these kids look like they go to an art school in San Francisco?” Our students are coming in from all over the world; we’re really international and diverse. I’ve always wanted that in the casting, I’ve never been into traditional beauty. I use a casting director in New York. It’s important to find somebody that you can see eye to eye with, and have the same viewpoint. It’s easy in New York, because you have however many thousands of models trying to get into shows for fashion week.
FMD: How do you think casting effects the Industry, and vice versa?
Simon: If somebody puts a particular vibe on the runway, the next season, every agency has three of that model. It’s like right now if you don’t have a transgender model in your casting, you’re not being completely inclusive. I don’t ever want anyone to tell me that I have to book a certain type of model, because it is a trend, and it’s really disrespectful to call somebody’s skin color or gender a trend. We’ve had transgender models in our shows, but sometimes I haven’t found out until two days after, and it doesn’t matter. Now people in the Industry make it a big thing because they think it’s a trend. Transitioning your sex is not a trend. Skin color and gender should not be a trend. I try to be sensitive about all this. I want our students and the general public to see themselves on the runway. That’s why our shows will always be super diverse.
FMD: What changes, if any, did you make to the production for this year’s graduate show?
Simon: We know that there needs to be a change in fashion and we’ve tried to bring change to the students with what they do, and you will see that in their collections. Also, the portfolio review is now the day before, and it really is an industry review, not a cocktail reception half an hour before the show. The education model that we’ve worked off has been handed down to us over the past eighty years, and everyone does the same thing but complains about it. I thought this year we’ve got to start breaking this mold, this expectation of what fashion education is.
FMD: What do you see for shows in the future?
Simon: Something I wanted to do this year was to reduce the carbon footprint for the show, in any way shape or form. Again, another trend – everyone’s talking about sustainability, but I want to go deeper than that. Even transporting the collection from here to another venue is so unnecessary. If you think about the upcoming designer resort shows that will happen in some crazy location. Imagine how much money and carbon footprint those shows created flying two hundred journalists from wherever they are in the world! I think everyone needs to think slightly differently.
I want to do more in the way of moving image and photography. We’ve been doing that with the New York group. It’s had a really nice effect on them because they have different marketing collateral to use. A few years ago we did a stop-motion animation with one of the design students, which kind of brought the house down!
Last season I did a couple of things focused on movement and shapes with a model in New York. The video is ten seconds long, and I put it on Instagram and people were like: “OMG who shot that? That’s genius.” Well, it was just a film on my phone. I want to keep moving it forward and doing new things that people and the industry can relate to. It also has to be quick and easy because people are now just next, next, next.
FMD: So it’s social media and society’s need for instant gratification that is affecting the future of the industry?
Simon: That’s why nothing sells in the stores anymore. You see everyone’s Instagram of the collections, then next week you see them again, and you’ll say I don’t want to buy that, it feels really old, I want to see something new already. I’m trying to make things more containable. I really noticed during New York fashion week about five years ago, the lack of attention people have for the show. You see that people are not looking at the show. They are documenting everything from their phone. So you don’t even need to be there, as you just saw it through your screen. I get annoyed when I’m backstage; the shows about to start, I look up at my monitor, and all I see is everyone’s got their cameras up. I don’t see them paying attention. They are not present enough to look at all the work those kids have done to make the show. Just show them some respect, and enjoy it.
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What Is Catalog Modeling?
When we think of catalogs, we usually think of Target, REI, Bed Bath and Beyond and Walmart. There are hundreds of mail order and online catalogs selling a variety of merchandise; clothing, outdoor equipment, and even Halloween costumes. Their purpose is to entice customers to buy products, using visual and written descriptions – since they are not purchased from inside a brick-and-mortar store.
The model casting is based on the product that the client is selling. Models can range from children all the way up to seniors. Some clients require their models to have specific skills or interests; such as a sportswear client might look for professional or amateur athletes. Nevertheless, all clients want models who are approachable and move well in front of the camera.
Art Directors are typically responsible for booking models, though photographers and stylists can also be given the task. Art Directors gather their creative teams and ensure that their marketing visuals are properly executed. They also maintain an ‘approved’ board, displaying pictures of all the models that they consider for their shoots. If you are ‘approved’, you have the potential to work with that client annually, monthly, or even every week.
Models who get booked on a regular basis can receive significant annual incomes. As a result, catalog clients are considered the bread and butter of the modeling world. Day rates are substantially higher than editorial jobs because catalog work is more driven by advertising, and the photos from these shoots are not always portfolio worthy. However, the rate will vary depending on the client’s budget, as well as the model’s experience and the strength of his or her portfolio.
Like many other shoots, catalog jobs can be held in a studio or on location. If a client shoots consistently throughout the year, they may have an in-house studio and production team. Because outdoor shots are popular in catalogs, some clients travel to another state or abroad to get the appropriate setting and weather conditions. English and German clients have been known to shoot their summer collections in South Africa or Miami, due to consistent warmer climates and sandy beaches.
A model’s job is to emphasize the clothing or product while making it look natural. For example, you may be asked to use kitchen or gardening appliances, or pretend to be socializing with friends. But, for clothing, the movement is fluid and continuous. The most common facial expression seen in catalogs is a smile. However, when a model needs to be serious, it is usually done with a soft, pleasant look. Although the photographer and art director will give you direction, you will be expected to have a ‘flow’; making subtle adjustments to your poses. A slight move of your hand, a tilt of the head, or a change of facial expression will give the client a variety of shots to choose from. Furthermore, if you are able to do this quickly and efficiently, you’ve just increased the chances of the client wanting you back.
The No Makeup Makeup Tutorial
Makeup Artist, Diane Catorc, Shows Us How To Create The Perfect "No Makeup Makeup" Look.
Sought-after hair and makeup artist, Diane Catorc, has been in the business for twenty years. Naturally, she has picked up numerous tips along the way. We asked her how she creates the “no makeup makeup” look – which is a model’s go-to for castings and digitals. Check out the tutorial video above to watch Diane give step-by-step instructions while demonstrating on model, Julia Locatelli. We’ve been practicing it ever since, and now all of us at FMD are sporting our effortless glows!
Booking Out
To book out or not book out, that is the question....
WHAT IS A BOOK OUT?
Booking out is to inform your agent when you are not available for modeling jobs or castings. For example, you might have an upcoming doctor’s appointment or vacation or starting a new school semester.
Your agent automatically assumes that you are available during business hours unless you book out. It saves them from having to call you whenever a client inquires about your schedule. Otherwise, your agent will spend more time chasing up on your availability, rather than procuring you more bookings.
WHEN TO BOOK OUT:
To minimize any frustrations or conflicts for you, your agent, and the clients; get into the habit of notifying your agent the moment you add a commitment to your schedule. If it is something that you can't change, or you are not prepared to change- you must book it out.
Helpful hint: Make sure you relay the exact times and dates you will be unavailable, and also mention if you will be local, out of town, or out of the country. This way your agent will know if they can work around your book outs for last minute projects.
CANCEL ONLY FOR EMERGENCIES:
Keep in mind that once you have agreed to and confirmed a casting, option, or booking, never cancel for any reason other than a family or medical emergency. Your commitment to your word is the heartbeat of your integrity, and you will earn a reputation for being reliable and trustworthy.
Cellphone Etiquette
Nobody leaves home without one, so we thought we might highlight some cell phone etiquette for you to consider the next time you reach for your iPhone or Android during appointments and bookings.
WHEN IT'S OK TO USE YOUR PHONE:
WHILE ON A JOB - Limit cell phone use to lunch or coffee breaks, and switch your phone to silent mode for the duration of the booking. Although plugging yourself into your device is generally accepted during any downtime - which may be a lot, it is important to remain attentive to your surroundings and make conversation with your colleagues. This way, you will not come across as an introvert or disconnected, and you will also be aware of when the client needs you on set.
AT CASTINGS AND APPOINTMENTS - Phone calls should be made before and after castings, fittings, go-sees and other business related appointments, and silence all notifications and ringtones. If you are not distracted by your phone, you won't miss any important instructions or cues.
EXCEPTIONS:
SAFETY - If a serious issue arises during a modeling appointment or job, such as; you feel that you are in danger, or being exploited, call your agency immediately to notify your agent. You should also report any criminal incident to law enforcement.
WORK OR EMERGENCY RELATED CALLS - Although we suggest not using your phone during bookings and appointments, you may find yourself waiting for hours at a casting or on the sidelines of a photo shoot, in which case it is acceptable to make and receive business or personal emergency phone calls.
Cara Delevingne by Ellen von Unwerth for the Sunday Times Style Spring 2016 Cover
PHONE FAUX PAS:
SELFIES IN THE ARTIST'S CHAIR - Most stylists and artists don't mind the selfies or Snapchat filtered videos while you're sitting in the hair and makeup chair or trying on an outfit. Occasionally, they like to join in the fun and record their creative masterpieces. However, don't let it get in the way of what they are trying to do - their job. They too are hired by the client and on a strict schedule. Even scrolling through your phone can be just as frustrating for an artist, because they need you to follow their instructions while they apply makeup, style, and groom you. Resist the urge to bring out the camera phone until the artist says it's OK, and there's spare time to Snapchat away.
NOISY NOTIFICATIONS AND PHONE CALLS- Loud phone conversations and constant pinging of texts and messages are very off putting for everyone around you. Go to a discreet place to make your calls, when it's appropriate, and keep your phone on silent.
INDISCREET CHATTER - Be careful with your conversations. Avoid speaking negatively when you are around a client or their team, even when you think they are out of earshot. A casual phone conversation with a friend about an uncomfortable outfit or a long day could potentially offend the client. Additionally, profane or aggressive conversations are inappropriate in any professional environment.
The Importance Of Reading Your Business Emails
In today’s world, we communicate more via text and email than talk on the phone. It makes life easy, especially when receiving large amounts of information. We don’t need to write it all down, nor does it interrupt with whatever we are doing. However, many of us have a bad habit of scanning over our emails and texts, instead of actually reading them.
When it comes to business, or in any aspect of life, glancing over important emails can lead to miscommunication and misunderstandings. When your agent emails casting or booking details, they often include specific instructions. It takes time to put this information together and relay it to you. By reading the whole email and following directions, it will save a lot of stress and hassle for you, your agent, and the client.
To avoid any complications, awkward situations, or miscommunication; always read business-related emails very carefully. Also, try to get to them as soon as you can. If you feel that some of the information could be missing, like grooming prep, contact person, or brings, you will have time to check with your agent. Keep in mind that he or she may be having a super busy day, or waiting to hear from the client for further instructions.
What Is Informal Modeling?
After launching a new collection, the designer or a representative circulates the department stores and boutiques that sell their brand. They present the new designs to their customers as well as educate the stores’ employees about the collection. It typically takes two or three days of presentations and events per store, which can include product knowledgement meetings, informals, a personal appearance of the designer, trunk shows, or a runway show.
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Informal and trunk show bookings require models to have a lot of personality, and the confidence to speak with customers about the clothing he or she is wearing. Models usually stand on podiums or walk around the store with poise and elegance, while interacting with the shoppers or attendees.
Other informal bookings may be for local boutiques or charity fundraisers that showcase a designer’s collection but does not necessarily work with the designer or brand directly.
Although informals are not always as highly paid as catalog and advertising work, they are a great way to meet new clients and make money in between print bookings. If a department store latches onto you, as one of their favorite models, they could potentially book you up to five times per week, depending on the company and location.
When you get an informal or trunk show booking, be prepared to arrive with your hair and makeup done (female models) or groomed (male models). Because these types of bookings have little production, other than the store manager giving you outfits to walk around in, they rarely have hair and makeup artists. You will also need to bring a selection of undergarments and shoes (which should be permanently in your model bag). On occasion you might be provided shoes, but in general, you won’t. Your agent will let you know if there are any specific directions for hair, makeup, and items to bring. Should you regularly book informals for a particular department store, expect to follow their guidelines for each booking, unless they let you know otherwise.
But most importantly, arrive at least ten minutes earlier than the call time. It can be time-consuming finding the department or location of the event, or the manager or representative. Live events make clients anxious because it is difficult to work around late models or other challenges that can occur. Be kind, and you never know, the designer might love you and want to book you for another event, like fashion week!
Academy Of Art Spring 2018 Fashion Show
The Academy of Art Fashion School graduates of 2018 recently had their runway show. An event that not only celebrates the incredible achievements of the students, but it also acknowledges a selection of fashion industry professionals. This year, the University’s President, Elisa Stephens, granted honorary doctorates to; Alexander Fury, a fashion journalist, author, and critic. New York-based fashion designer, Andre Walker, and Lutz Huelle, a fashion designer from Paris.
THE DESIGNERS
The students’ collections were equally varied as they were riveting. A sign that creativity will remain abundant for household and future labels to come.
We wanted to delve into the stories behind their designs and were thrilled to interview the designers of five collections that featured in the show.
Zixuan (Stella) Quan (BFA Fashion Design) Lulu Hui-Ju Tsai (BFA Knitwear Design)
Luis Guillen G. (BFA Fashion Design)
Justin Ho (BFA Fashion Design)
Justin Ho (BFA Fashion Design)
Justin Ho (BFA Fashion Design)
Jeannifer Tirtamarta (BFA Fashion Design)
Jeannifer Tirtamarta (BFA Fashion Design)
Hanh (Susan) Nguyen (BFA Fashion Design) Emily McCarty (BFA Textile Design)
Jerry Lee (BFA Fashion Design)
McKaela Christenson (BFA Knitwear Design)
Sam Shan (BFA Fashion Design) Marisa Chentakul (BFA Textile Design)
Photos: Kristin Gerbert/ KG Photography
HAIR & MAKEUP
We also went backstage to ask Victor Cembellin, Senior Artist for MAC Cosmetics, and Jon Reyman, hair stylist and founder of Spoke & Weal, about the inspiration for the hair and makeup. The punk-hair mixed with the 90’s matte and glossy makeup created a look made for an amazing night out!
THE MODELS
Of course, we could not leave backstage without talking to some of the models. All were happy to describe the looks they were going to be donning down the runway. We also found out some of their routines for prepping for fashion shows.
FULL VIDEO
Watch the video below to get the full interviews and overview of the Academy Of Art Spring 2018 show.
Special thanks to: Simon Ungless (Executive Director of the School of Fashion), Elena Eberhard (Public Relations & Special Events Manager for the School of Fashion), Victor Cembellin (Senior Artist at MAC Cosmetics), Jon Reyman (Hair Stylist and Founder of Spoke & Weal), Stefanie Jessica (BFA Fashion Design), Luis Guillen G. (BFA Fashion Design), Uchechi Anigbogu (BFA Fashion Design), Jie (Robert) Ren (BFA Textile Design), McKaela Christenson (BFA Knitwear Design), Felix Ryan (BFA Fashion Design), Academy of Art University, Kristin Gerbert (KG Photography), Models: August Gonet, Rachel Heath, Marie, and Olivia Moore.
Brands Boost Influencer Marketing Budgets
Brands Boost Influencer Marketing Budgets
Influencers taking selfies in Milan | Source: Shutterstock By Victoria Berezhna April 6, 2018 05:28 LONDON, United Kingdom - Not all that long ago, many brands viewed using Instagram influencers to promote a new fashion line or attend a product launch event as a promising experiment.
