THE TIMELESS WORLD

Beauty Submission THE TIMELESS WORLD – captured by fashion photographer OLGA VALESKA for Flawless Magazine.

THE TIMELESS WORLD OF OLGA VALESKA

By Carlotta Buosi

You are a very eclectic artist, how do you manage to combine all your skills in one product?

Since I was little, I’ve been practicing a lot of different art forms: painting, drawing, sculpture writing. But the world I’m trying to express is always the same, as eclectic as it is itself. That is why everything always assembles very naturally, without effort. I must say that photography helps me a lot too. Indeed, as part of my artistic activity as a photographer I do everything, hair and make-up, painting and drawing, creating costumes, sets, sculptures; but I also play roles, since I am my own model. With my approach to staging and self-portrait photography really is a total art for me.

What is your artistic background?

As I said, I’ve always bathed in a particular universe and I have always tried to express myself through art. As a child I had problems with autism and am sometimes a bit secretive and solitary. My world was my refuge, and art was the form I used to create it. Although, I am at present particularly interested in using the medium of photography, I have never had dreams of becoming a photographer. In fact until two years ago I had never even handled a camera! I have lived in a fairly traditional environment, without cars, TV, computer or phones. I was very connected with nature and with my dreams, but at one point I wanted to make my dreams more concrete. As photography is an art that reflects reality, transcribing a dream with pictures somehow makes it real. People can say, “This really existed”

The link between dreams and reality then becomes more tenuous and that is the whole point for me.

But again the photograph is not the biggest thing; I still consider it a “creative image ” no matter the medium used to produce it.

Your images are entirely created by yourself, is there a phase of the creative process you prefer?

It depends on the day, and my mood is very changeable! When I feel like being quiet I create costumes, small objects, painting and drawings. When I feel more energy, I begin to construct large complex scenes, which often require long hours of preparation and great moves, or I start shoots that that are endless.

Shooting is such a special moment for me! Making a self-portrait gives me the impression of being transported as if in a dream. Making a self-portrait, is like playing a role on stage, but with the freedom of not caring, as there are no spectators. This, in my opinion, can make you feel free and accomplished.

Does your inspiration come from a person when you create an image?

Inspiration often comes from a person. For my self-portraits, inspiration doesn’t come from me as an individual: the goal is not to portray myself in the photograph, or evaluate myself. When I look at my self-portraits I do not see myself. I see moods, concepts, dreams and possibly other characters. That is what defines me, not my body. My body and face are tools that allow me to live my thoughts and inner characters.

Of course, these characters look like me more or less and all reflect an aspect of what I am inside, but I try not to focus on my external look. For me is not the physique but everything that transcends it, all that is beyond.

Where do you get the inspiration for the clothing and style of photos?

I do not make my costumes specifically for my photo shoots. I like to wear them regularly. I’ve always loved fashion, although I prefer to create my own way rather than follow the current trends. In any case, my inspirations are many and extremely changeable and I actually have a little trouble defining my style, which can range from classic to whimsical. I think I am strongly influenced by the traditional Slavic style, which reminds me of my childhood. I also love all that is baroque, folk, colourful, sparkling, flowery or ornate. Like a sort of visual madness, which borders with the wonderful.

Is there is an historical period you like to refer in particular?

I am passionate about history and the past in general and I think it shows a lot in my work. I’m a fairly old-fashioned, attached to traditions, folklore and memories. I’ve never felt in tune with today’s society and the modern world. I often feel like they are from another century! Yet my photos do not refer to a particular time

as my world is timeless, it’s an imaginary bubble.

Your images often remind me of fairy tales, is there the intention to tell a story with them?

My pictures sometimes have a very narrative side but I think that achieving a story is not necessarily the goal. My images are like fragments, unexplained appearances, and brief glimpses of an entire inner world.

These are not actual stories with a beginning or an end because nothing is clearly revealed in the image itself. Even if these images may have a specific meaning, I prefer them to be open to interpretation and remain ambiguous. Everything I do is so personal and reflects who I am; I sometimes have a hard time showing more. Actually I never imagined or even particularly desired for my photos to be seen by so many. Even now

I try not to think about it because it scares me a little bit!

Many of your images remind me of Pre-raphaelites’ paintings of women. What do you think of this artistic movement?

I love this movement, but I am not directly inspired by it especially as my influences are so diverse. This said, I am very confused and for several reasons: the search for a certain aesthetic beauty of a hand, with the use of colour and detail, a taste for the shimmering hues, natural scenery and flower.

On the other hand, I look at literary references, historical, and especially Christian, and they’re fascination and love for nature, tradition, the divine, the past, myths and legends.

Finally, I think that what is reflected in the characters of the Pre-Raphaelite painting in my own characters is this mystical and passionate soul, a kind of fervour and the relentless pursuit of absolute ideal and transcendence.

What has so far been the most exciting project you’ve taken part in?

All were different, but all reflected something I would have loved to be. There is no one project more exciting than another. I don’t think I have ever really had proper projects as there has never been advanced planning.

I have always followed my inspiration day by day and whenever I wanted to do something I did it straight away. It has always been very instinctive, almost unconscious. The desire to create, for me, needs to be irresistible. Everything must seem obvious, as natural as lightening, uncontrollable and inexplicable.

What are your plans for the future? How would you upgrade your own art?

I do not know myself! My inspiration is extremely unpredictable and I’m never sure what tomorrow holds for me. What is certain is that I am never short of ideas! I have a little frantic side and I feel like any challenge is possible.

I get excited about so many things! Until now a lot has surprised and amazed me and I find life so full of resources, mystery, and amazing puzzles. I find these words of photographer Bill Brandt very accurate: “This is part of the work of photographer to see more intensely than most people. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveller who enters a strange country. “

November 27, 2016March 30, 2018

Tom Ford’s 14 Commandment on How to Make It in Fashion

Flawless magazine submissions

1. “Never sell a controlling interest in your name. Ever. A few million dollars now will seem like a lot to you. But one day, when you’re the success that you know you can be, you’ll regret this. Unfortunately, there are far too many examples of this very sad tale.”

2. “If you’re designing your own label, then know yourself. When you become well-known as a designer, you give the world your taste. You sell your taste — it’s no longer yours. You can only do this once. The DNA of your brand will become all your likes and dislikes. Once you hit the right chord, you’ll then be typecast and often pegged into a certain slot. No matter what I do, I’m always pegged as the sexy designer who loves black. Miuccia [Prada] is the intelligent designer. Yves [Saint Laurent] was the delicate, suffering designer. And so on. So my point is, know what you want to say.”

3. “Know your ideal client — the dream person you design for, your fantasy muse, so to speak. This will give your collection a point of view and a focus. Then know your real client, because he or she may be completely different than what you aspire to. Or your may not want to know them because in some cases when you meet your real clients they may actually scare the hell out of you. But on occasion, you will meet one that even exceeds your highest expectations and you’ll be so proud.”

4. “Decide for you if fashion is an art or an artistic business. This will affect how you set up your company. Some designers are true artists. Alexander McQueen, for me, was an absolute artist. Some are commercial designers who consider what they do artistic but not necessarily art. I would put myself into that category. Filmmaking for me was something that I attempted to do for art’s sake.”

5. “Choose your team carefully. So much of your success is due to the people who you surround yourself with. Your friends, your family, and the people that you work with — they all play an important role in inspiring you and supporting you and giving you stability. These are the people in your life who will be honest with you.”
6. “If your brand is to have a strong identity, it must come from you and not from a committee. If you’re ever in talks with a potential investor of financial backer and they bring in their wife’s blouse to show you for inspiration, run. If a potential investor has a wife or daughter who just loves fashion and can’t wait to come in and talk to you about the collection, run. If your president or CEO thinks they know the difference between a dark burgundy and an aubergine, fire them. Don’t ever let yourself be swayed in terms of what you design by the outside. I don’t mean that you shouldn’t listen to the advice and thoughts of others because you should, but in the end it’s you, and you alone, who must decide what path to forge.”

7. “Have a five-year plan, a 10-year plan, even a 20-year plan. And possibly an exit strategy. You can always change that, but start with a vision. Where do you want to be, how big do you want to be, what context are you planning on designing in? I’ve personally always liked the idea of global domination. I never understood anyone who thought, “You know, I’m going to work really, really hard and I’m gonna be second best!”

8. “Think globally. And spend as much time outside the United States as possible. I’m an American and I’m very proud of being an American, but everything in the world today is global, and America can tend to be very inward-looking. I’m not sure I would have been as successful as a designer had I not left America. I had to leave my own culture in order to find my own design aesthetic.”

9. “Remember that our customers do not need our clothes. They don’t need another pair of shoes or a new jacket. We have to create that need by creating desire. I have at times in my life had a real problem with this, with the materialism and consumerism that is fashion. Part of me wants to rebel against this and move to the desert and live in a simple adobe hut and become a monk. The other part of me wants to enjoy the beauty of the way that a piece of silk velvet catches the light and takes color. Finally, I realized we live in a material world. We’re material creatures. We are sensorial, we feel, and we touch. We’re fortunate to live in the Western world where we do have luxury. And fashion is part of experiencing that material time that we have on earth. It really does add beauty and quality to our lives.”

10. “Try to remain positive. I struggle with this one too. When our job is to constantly scrutinize things for what’s wrong with them and to correct them and to remake them into our vision, it’s easy to see the glass as half-empty. Think about it: All day long we say, “No, no, no—it’s wrong!” It kind of a negative process. Our brain becomes critical. We have to always try to see the glass as half-full.”

11. “Believe in what you do. If you don’t believe in it, no one will. If you love something while you’re designing it and you’re excited, you can actually endow that psychical piece — whether it’s a handbag or a shoe or a dress — with that feeling. So when a consumer is flicking through a rack of clothes, they’ll stop. It will actually transmit your excitement to them.”

12. “Find a great business partner and don’t let them go. This is absolutely key. You’ll need someone who believes in you completely and respects your judgment and vision. I’m lucky to have this in Domenico De Sole. These relationships do not come easy, they’re marriages, really. I trust Domenico with my life, and I believe he feels the same. We love each other as if we were family.”

13. “Be thankful to all those who help you on the way up. You won’t get there without them. Cherish them, and don’t forget them.”

14. “Remember that we all have it in our power to simply say, ‘Fuck it, I’m going to bed.’ And somehow, the next morning, everything seems a lot better. This was my father’s secret to staying calm and making it through anything that life threw at him, and it’s given me a lot of strength over the years.”

November 27, 2016March 30, 2018

Flawless Magazine Wilson Model Management

A day in the life of Brandon Wilson director and owner of Wilson Model Management.

Q1: What does a day in the life of Wilson Model Management consists of?

What I like most about managing models is the creative aspect. I feel like a sculptor. I get to travel, find new faces, envision their careers, develop them, place them with agencies all over the world, and oversee their careers, all the while building a relationship and watching them grow. This I do on a day to day basis along with the emails, paperwork, phone calls, and meetings that come along with running any business. All in all, I find it exciting and invigorating.

Q2: Wilson Model Management was founded in 2010 and revolutionized modelling agency industry in a short space of time by managing the successful careers of different models. Can you tell us about the agency, some of your models you have and currently representing and where you think it’s going in the next seven years?

Wilson is in a unique, but not all together rare, position wherein it acts as the liaison between the model and the booking agency. Wilson is the voice for the model; it is a true “mother agency.” After modelling myself on and off for several years, I came across many obstacles and struggles which taught me many lessons. So when Wilson was started in 2010 I vowed to ensure that those lessons would be implemented in the careers of my models—that they would not make the same mistakes or encounter the same problems that I came across. That they would be protected, and if difficulties did arise, there would be someone knowledgeable enough to combat those issues. That was the case then, and it still is the case now.

We really do represent some great faces. Corey Baptiste is not only an amazing face—a true classically beautiful guy whose career just keeps going upwards—but he also has the most charming personality that wins over everyone he comes across. It is really no wonder that he has worked for such a wide array of high-end clients. Dae Na is another beauty who has such an amazing spirit and can give you the most versatile and uninhibited performance in front of the camera. He too has such an impressive client base under his belt, and in just a year and a half. There are several other models whose careers are also flourishing like David Hlinka and Russell Giardina; and I could go on and on over the new faces that all have so much potential, however there is just not enough time in the day unfortunately.

Hopefully, Wilson will continue to grow and be recognized as a great model management company, representing not only a strong mens board but an equally strong womens board as well.

Q3: Wilson Model Management currently represents some of the world’s most successful male models, including Corey Baptiste, Russell Giardina and many more. Who do you think is the next big male model in this industry?

Funny enough Russell was the first model I ever scouted and placed and Corey was the first model that I decided to manage and primarily the reason for the start of Wilson Model Management. For that, I hold those two in particular incredibly close to my heart.

With that being said, I think the next big male model in the industry is hard to say. Sometimes you think a models career is going one way but then it takes a completely different direction or just falls off all together. I have and still do a lot of studying when it comes to the fashion industry and, above all, male fashion and I’ve seen this occur many times which makes it quite difficult sometimes to pinpoint who the next big thing will be.

In any case, and taking the Wilson boys out of the equation for the moment, I’m currently looking at the careers of Benjamin Eidem, Wouter Peelen, and Conrad Bromfield.

Q4: Wilson Model Management was born in 2010 and in the short space of time has established itself as one of the leading players in the industry of men’s fashion, what are the main reasons for your success?

For one, we believe at Wilson that a model management company is only as strong as its newest face therefore we always strive hard to find a model that not only has the physical characteristics to meet the requirements of such a superficially demanding industry but also the mental capability and willingness to be guided in order to achieve maximum success.

Moreover, by working very closely with the respective models’ agencies worldwide, it insures that the models’ careers are being fully managed all around the board with no stones unturned.

Probably most importantly though is the Wilson Family. We like to keep it small, tight, and exclusive. Even though we represent models from all over the world most of them know and are familiar with each other and do get along—believe it or not. By having such a tight nit group of models, it keeps them grounded and on the right track knowing that their fellow Wilson family member is looking out for them.

Q5: The fashion industry itself changes at a rapid pace, how have Wilson Model Management been able to keep up with the constant change?

By keeping the core principles afloat which Wilson was founded on: quality not quantity, a close relationship with the model and their family, a close relationship with the models’ respective agencies worldwide, and keeping the presentation for both the model and the company simple, clean, and classic.

Q6: How have Wilson Model Management changed since it was founded back in 2010?

Wilson’s eye has become quite sharper since 2010 hence becoming more selective. We started with one model and now it has grown to about eighteen. To be honest, there was a time in the earlier portion of Wilson’s birth when we weren’t altogether on board with the looks of every single model that we represented. That has definitely changed since then. Now we are 100% sure of everyone that we represent whether they’re a brand new model running around on castings trying to book a job or one of the more established models on the board booking consistently.

Q7: Wilson Model Management is very selective when it comes to the type of model you represent, what are some of the main factors you take into consideration when it comes to scouting or representing a new Model?

As with most agencies or model management companies across the globe there are certain age, weight, height, and overall look requirements to be met for representation. Wilson is no different, nevertheless one of Wilson’s prime factors when scouting a new face is their presence which you either have or you don’t. You can build on presence but from my experience you can’t create it. I have come across quite a few potential models that even though they weren’t absolute superstars they had the personality and charisma that it took to succeed. They could just walk into a room and command attention without saying a word. This in itself was enough to at least give them a shot. Of course they still had to be tall, still had to be youthful, and still had to have some sort of a look.

Q9: Talk us through the process of helping each model with their career as well as helping them reach their fullest potential.

This is actually a pretty difficult question as every model is different, as every young child is different; and with that each model carries their own individual needs, wants, struggles, and demands. I use the child reference for a purpose. A child, because of their youth, can be naive and unknowing. If left by themselves they could be taken advantage of, used and abandoned. Therefore, a child needs the guidance and support from a knowing elder in order to learn and mature. As the child matures, an elder will slowly let go of the reigns, and what once could be looked at as a dictatorship is now a democratic institution wherein the child and the elder works together for the betterment of child. This principle can be used for a new model. With guidance and support a new model will reach their fullest potential.

Q10: Every agency has a distinct look they go for that suits most of their clients, what’s the typical Wilson Model Management look?

We at Wilson undoubtedly love the Classic Face, that face that withstands the test of time. You don’t have to squint your eyes, tilt your head to the side, and distort your face in order to get their look. We don’t really go for the weird or quirky kind. Not that there is anything wrong with that look, to each their own; however those models tend to only be good for a few seasons and then they’re basically forgotten. We love the old school classic looks of Marlon Brando, Sidney Poitier, Harry Belafonte, and James Dean. We love longevity. Longevity pays the bills.

Q11: if you could offer an aspiring model one piece of advice, what would it be?

Be patient. Models aren’t, at all, known for this attribute but everything and everyone has their season so just enjoy yourself, be patient, and take it as it comes.

Q12: How can models reach your agency?

A model you can reach Wilson at submissions@wilsonmodelmgmt.com.

Q13: Lastly any upcoming projects we should look out for?

Annually, Wilson Model Management holds a photo shoot, with the exception of our first year. It is a way to promote our models, and the Wilson Family on a whole. It is also an amazing way for all the models to hang out, chill, bond, and have some fun—comparable to a family reunion.

We’ll be shooting the Wilson Model Management 2013 shoot sometime this Fall so lookout, it is going to be really remarkable!

wilsonmodelmgmt.com.

November 26, 2016March 30, 2018

INTERVIEW WITH RADOSLAW REDZIKOWSKI

Editorial Submission INTERVIEW WITH RADOSLAW REDZIKOWSKI – captured by Polish fashion photographer Radosław Rędzikowski for Flawless Magazine.

INTERVIEW WITH RADOSLAW REDZIKOWSKI

Q1: Radosław Rędzikowski first off, can you tell us about yourself and how you got started in photography?

There is nothing extraordinary about my story. First camera I played with when I was seven was my brother’s Smena (made in USSR), then my father’s Zenith(my first SLR), dark room set up in my parents’ basement and that was basically how I lost my head for photography aged 14. I went to photography school but I left it after just two years mainly because of straight rules set up by the teachers. I was always interested in portraits and unfortunately the portrait classes were the biggest disappointment focused on techniques and no tips how to look or think about photography. After I had left the school my baby daughter became my only model and later, for many different reasons I had to forget about photography for a few years. When I finally got back to my passion, it was already a digital age and I had to start from scratch. Although I still miss my darkroom and all the excitement involved in the developing process it was a digital technology that eventually allowed me to earn a living.

Q2: How would you describe your work to someone who has never seen it?

I always try to look at my subject in a simple and open way, I like classical way of framing, not looking for oddity or surprise, I just want my models to look good. I like playing with light that allows me to introduce magical, almost fairy-tale-like ambiance.

Q3: At what point did you realize that photography is what you wanted to do as a career?

Photography has been a part of me all the time, I simply couldn’t figure out how to turn my passion into a career. I left all my stuff back in Poland and moved to the UK to start doing something completely different. After work however I couldn’t help myself visiting photographic shops and staring at cameras and accessories which at that point I didn’t really need.

And one day I just made quick and hasty decision to go back to Poland and open a studio having no job, no money, equipment or connections. I put all my eggs in one basket, came back, got married with my girlfriend and we started from scratch together. This was a very difficult but quite exciting period when I finally realised I couldn’t do anything else.

Q4: What are the biggest challenges of working in Poland?

Polish fashion world is a very hermetic circle, turning around the same names, reluctant to let anyone in. Although talented and hard-working, vast majority of currently world famous models, designers, photographers and artists in general couldn’t make a career in Poland, people simply tend to get acclaimed after they have been noticed abroad.

Q5: Your projects are a collaborative process. Tell us what is like to always be working with new stylists, models, and designers.

Work with artists, although fascinating, is quite often a huge challenge. There can be over a dozen people involved in one session, all of them equally important; having their own vision, their own ideas and ambitions. It is difficult to make them all feel appreciated and understood simultaneously not to mention organizing and looking after such projects. That’s why I always have a supervising art director, one person responsible for basically everything going on in the studio that can put her foot down when necessary. I like working in a friendly and informal atmosphere no matter how important the job is, where everyone can fool around and have a good laugh but remain professional at the same time. It’s important that people working together are on the same wavelength. I was lucky enough to meet my dream team, which I really love to work with.

Q6: What kind of impact do you hope to make in the fashion world in the next 5-10 years?

I like getting involved in independent projects. For over a year now I’ve been working on a showroom combined with a photographic studio that gathers young designers from all around the country. Now I am planning to enable photographers from all over the world to rent amazing and unique creations for the photo-shoots online. Hopefully I will be able to get through to a larger number of people with the work of young Polish artists. As I do not usually plan anything and make my decisions on the spur of the moment it is very hard to say what I will be doing in 5-10 years but wherever I’ll be I hope I will always have my camera on me.

Q7: What does fashion mean to you?

Fashion is not just a business anymore, it’s a lifestyle, a way to express yourself, for me it’s art, that inspires, generates emotions, amuses and sometimes terrifies.

Q9: What projects are you working on now?

Currently I am organizing a big photographic workshops tour; I am going to travel around the country for a few months. I managed to get a few great people involved in the workshops such as a finalist of Polish Next Top Model, talented make-up artists, hairdressers, stylists and designers. I am hoping that really magical shots will emerge from this project.

Q10: How much equipment do you typically bring to a photo-shoot?

I don’t use too much equipment in my outdoor sessions as I tend to move a lot and carry my equipment by myself. Looking for a perfect spot I often climb trees, walk into the water etc. and too much equipment would only slow me down and prevent me from taking “the picture”. I don’t use tripods, softboxes or huge lamps, quite often it’s only one camera, 1-2 lenses and some small wireless lamps. However I don’t think there is such a thing as an excessive accessory for a photographer, that’s why I keep all this stuff I don’t use in my studio.

Q11: Talk about the biggest struggles you had when you first started fashion photography in Poland, and what are the biggest challenges facing you now?

Definitely the very beginning; no studio, no fashion portfolio, no connections of any kind, I really didn’t know where to start. For the first sessions my wife (my business partner, stylist and graphic designer) and I had to re-tailor second- hand clothes, we used to make some crazy accessories and hats often at night, we were looking for models via internet… crazy times. We never knew who was going to come for the session, how they were going to model and in fact what they really looked like. But it was that time when I met most of the amazing people I still work with: make-up artists, stylists, designers and models. Waiting for the first fashion contracts we made ends meet mostly on wedding photography trying to smuggle as much fashion into it as it was possible. Nowadays more and more people can afford digital equipment and there are more and more photographers on the market, many of them are happy to work for free to gain some experience. Large substantial contracts are reserved for a small group of famous names, smaller customers, on the other hand, are still not ready to invest in good professional photography. You can find good fashion photographs at social networks, some independent magazines, unfortunately not in your potential customers’ campaigns.

Q12: What photographers from the past or present have influenced you the most?

The first and the most significant “master” in my career was Henri Cartier-Bresson, the fashion elegance in his photojournalism changed my perception of photography forever. My second fascination was Jan Saudek’s work – huge package of emotions through simplicity, no enhancement or beautification, no puffed out sceneography – that’s what mostly seduced me.

One of my favourite photographers for many years now has been Erwin Olaf with his surreal and magical light and colour in contrast with often brutal and drastic content.

I also admire every piece of a great fashion photography master Patrick Demarchelier for their elegance, simplicity and subtlety.

Q13: What’s the most important thing you want potential clients to know about you?

It is a difficult question. I would probably refer a potential customer to the photographs; I believe that only they should speak to the customer directly. As long as someone finds my work interesting we can talk about all other, additional things, which are less important.

Q14: Lastly any advice for aspiring photographers?

The one and most important rule is – there are no rules! Don’t let anyone tell you that you need specific expensive accessories, or that you have to frame, light or edit your photographs in any specific way. Lots of people out there are ready to tell you, that your work is worthless, just learn how to tell criticism from viciousness and then… ignore them both!

Contact him via his website

November 26, 2016March 30, 2018

MODEL’S BEHAVIOR WITH TEODORA SUTRA

INTERVIEW, MAGAZINE UPDATES

MODEL’S BEHAVIOR WITH TEODORA SUTRA

Image Credit: Marina Danilova

Let’s begin with your first modeling job in. How did that come about?

My first ever modelling job I got booked for was for a BT2 campaign shoot! It was one of their spring summer campaigns shot in an old house beside a lake! A taxi picked us up from home, we arrived with tea & breakfast waiting, hair & make up got started, I was in such shock thinking ‘do people actually call this work???’ 🙂 There were many other models on this shoot and everyone was so unbelievably nice unlike I expected, probably watching too much Americas next top model.

Image Credit: Eilish McCormack

You’ve done some amazing campaigns, what were your favourites?

One of my favourite campaigns was for an Irish Designer called Heidi Higgins; we shot her A/W collection in an old antique store. The layout of the store was like 10 different mini staged rooms filled with amazing antique furniture & accessories! We had so much to play with it was amazing.

Image credit:German Collins

Sum up your style in three words?

I’d sum up my style with these three words: simple, classic, comfortable! I don’t have a style as such, but I always wear clothes that suit my body and that I feel comfortable in!

Image Credit: Barry McCall

What is next in the pipeline; any major plans or projects for 2013?

In 2014 I’d like to travel! I love working in Ireland but I really want to try different markets abroad!

Lastly any advice for aspiring models and how to make a good impression when going to casting?

The best advice I can give to any girl going to a casting is to wear very little or no makeup arrive as natural as possible! Wear tight black clothing, something that shows off your figure the best. And the main thing is to have confidence!