Sunday, October 29, 2006

Creativity Cannot Be Stolen

Speaking to a lot of TV people and TV executives lately, I was advised by well-meaning friends to keep it close to the vest. They are adamant that I don’t give out my concepts and ideas. But as you can see, I published what I intend to do on my blog.

In my modeling career, my walk was out there.
Anyone can copy it anytime……the best ones were the gay fashionistas. In fact, my gay friends would come to my house and plead that I walk for them. Since I don’t do that….. ever…they decide to do it themselves. And they can do it! Pose for pose, tiptoe for tiptoe, hand sway for hand sway, attitude for attitude. They look fabulous! That is probably the biggest compliment - to be copied.

When I was working as a model, it is as if the designers had a universal or collective psyche. For some reason, every season, they seem to have the same skirt length, the same color palette, highlight the same accessory (example: fishnet stockings, Kelly bag).
Then once in a while you would get innovators like Vivienne Westwood (the most copied designer in terms of clothing design ideas). Like Azzedine Alaia with his body hugging seaming. Herve Leger with his characteristic pleating. And the real fashion world knows these innovators. These are the leaders of the pack and they separate themselves from the herd.
Once it goes down to street wear, which is about 2 to 4 seasons after, the original dress has been copied thousands of times, tweaked for public consumption and really watered down, sold at a competitive price.
These designers are elated by their influence in the world of fashion, even though at their ateliers, they are steaming at the blatant copying of their designs.

When I was doing campaigns for my lipstick line ANNA BAYLE Lipcolours, our windows and displays at Henri Bendels and Bloomingdale’s were always innovative and fun. I financed my cosmetic company and of course, we were very resourceful with our marketing budget.
When we launched the line, because my lipcolors were created for the Asian skin tones, we used the light green bamboo 'sushi rollers' as display trays and complemented them with beautiful orchids.
Together with Ruben Nazareth, a creative genius and embelliseur, we would scour the flower market of New York, very early in the morning, choosing the perfect blooms to complement our displays.
For our summer campaign, we displayed the lipsticks on ‘martini glasses'. For Fall, we set the lipsticks against miniature paper mache fruits that had autumn colors.
A month or 2 later, we would notice that Bobbi Brown or Mac, both backed by the cosmetic giant Estee Lauder would have the same concept in their windows-except bigger. They have the budget…of course! But we took pride in our creations and know that we started something.

When I wrote a comprehensive business plan for a modeling school for the Philippines and Asia, I found that investors wanted a modeling agency attached to the school immediately. Six months later, I heard that another model personality from the Philippines went ahead and opened her own modeling school.
Even though the business plan had nondisclosure statements attached to it, I find that there is no such thing outside of the United States.
Here’s my belief, at the risk of sounding cocky. They might want to steal the idea – but can they execute? Do they have the name? Do they have the history (achievements and credentials)? Do they have the contacts(will their curriculum and team of professional instructors be truly international, if they themselves have not worked abroad)?


Now I am creating my television program. Already I see a jockeying for position. That’s fairplay. We all know that this is not a new endeavor; there are many parallel TV shows that will stem out of a very successful TV show. Even China has a TV program training models.

I am not worried. What I have to teach is experiential. No one will know what I plan to teach but me and it comes from 25 years of modeling in the international scene.
I am confident of the quality of my professional contacts in the international fashion scene; some of them, I plan to invite and involve in my projects.

The question I have to ask myself is: Is there anybody else who can do what I plan to do and do it well?
The answer to that, which comes to me instinctively, is.........
Creativity cannot be stolen.

.

Thursday, October 26, 2006

"The Next Anna Bayle"


Women with Bird Cages by Anita Magsaysay-Ho

It has been almost 12 years since I retired from modeling. In that 12 year period, I have launched a successful cosmetic line, geared specifically for Asian skintones, that was sold in the best stores in the United States and Canada.

Recently, I was approached by television executives to do a reality TV model search. With the great success and worldwide viewership of Tyra Bank's, America's Next Top Model, there have been many parallel shows in the making. What was once a very exclusive enterprise of scouting for models, discovering them and making them stars is now broadcast into everyone's living room.

And what great TV entertainment.
First there is the "eye candy" factor. Who does not want to see beautiful girls? Second, there is the drama and intrigue that happens when you have 15 girls cohabiting in one house. And there is the excitement and anticipation of finding out who will be gone or who will win.

Great TV! But done the American way. Since I am touted the 'First Asian Supermodel', I really want my reality TV program to be - in search of the next Asian supermodel...in search of The Next Anna Bayle.

The Next American Top Model highlights aspects of modelling that follows Ms. Tyra Banks path to being a recognizable model (Seventeen Magazine, Victoria's Secret catalogue). However, that is not the only path to success for a model. Twiggy, Iman, Renee Russo, Cindy Crawford, Linda Evangelista all had different paths to success.

I, for one, had a different path because I was Asian. What I would really like to do is to show Asian girls this path to success. Thinking about my extensive and interesting modelling experiences, I can share my knowledge and I am confident that I can teach what I know to all these young Asian women aspiring to become models. I want to take care of them, groom them, prepare them for their journey, and when they are ready for the modelling world, set them free - so they can fly.

I am going to create this television show. Maybe because I know how it is done - how to succeed as a model in the international scene. Maybe because I am now a mother and all my mothering instincts are coming out. I want to take care of the Asian girls, groom them to be the 'next me'. Maybe because I want to produce a beautiful television show, the Asian way. Maybe because I want to showcase Asian values and the exotism of Asian beauties........

Monday, October 23, 2006

Craft of Modeling: Part II Give Them What They Want


CRAFT OF MODELING: Professionalism

So there you are on the catwalk. It is a huge press show in Paris. The master designer has designated the clothes for you alone, knowing you will do them justice. You have ascertained what role you are going to play in this ‘theater’ production called the press show.

First, you must be beautiful. Second, you must sell the clothes.

Then you must make sure you give the designer what he wants because ‘you are only as good as your last show’. In this case, the designer wants his clothes in the front pages of newspapers, he wants a big spread in fashion magazines and he also wants a great video of the fashion show that he will show to the buyers and department stores. The designer wants every single detail of the outfit recorded on that video.

In my modeling career, once I started to work with a designer, I was booked continuously from then on; some of them going for a span of 10 to 15 years. There was never a season where it was a question mark in my mind- (“Maybe they’ll use me this season, and maybe not this season.”) I was always in their list of models. Designers change their roster every season, to bring in a different look. But they always have their cadre of models (an A-list) they want to work with.

Now that we are in the show, there are a multitude of people who want and need something from you as a model. And, of course, you have to give them what they want.

PHOTOGRAPHERS.

Here is a very hungry group of people who are vying for the perfect shot of the garment.
All through out my modeling career, I know that I owe some of my success to this group.

It is a very simple thing. If they loved you, they shot you.

If you give them what they want, they will keep shooting pictures of you. So be beautiful, be professional – GIVE THEM THE SHOT.

It is as if you are traveling with a band of big brothers - as models and fashion press photographers go from city to city, season to season, designer show to designer show. Models and fashion photographers are joined at the hip. If you did 9 shows in a day, they probably did 10 or 12 shows. They saw you at 9:00 a.m. and are still with you till 10:00 p.m. on the last show of the day.

They wait long hours for the show to start and jockey for position in the photographers’ cage. Some are able to come backstage to scout the overall “look” and socialize and take beauty pictures. But most have a grueling schedule, carrying heavy equipment, lining up outside the tents before they are let in to set-up, protecting their ‘working space’ before the show starts. (Where is it good to position myself? That new photographer just got my spot….let me tell him to skedaddle out of there because I am shooting for Vogue. I am shooting for WWD. I am shooting for the house. I am senior here.) Trust me…there is a pecking order.

And of the mainstay photographers, I have come to know and respect a lot of them. When I first started, there was this Italian, the most vocal of the bunch, Graziano. He used to talk to me backstage when I first arrived in the scene. He probably knew that I was terrified out of my wits. But still, he was friendly and respectful. You could feel that he is curious and is trying to make a connection.

But he was smart….because when the show starts, he is certain to get a good picture. You are walking down the runway, blinded by the spotlight, hundreds of eyes on you; directly in front is a sea of men and women photographers that are in the press cage, and on both sides of the catwalk, it is shoulder to shoulder- a big voice booms when you get to the top of the runway. It is Graziano screaming, “Anna!” For a split second, you know it’s him and he is at top center of the blurred flashing mass of photographers and you give him a big smile or a glint in your eye or a fierce pose.

Over the years, I have come to know the voices of many photographers, especially the ones that are lined up along the catwalk. I see them in my peripheral vision and when they call my name out; I make sure to turn around or spin to give them a picture without disrupting the main flow of the fashion show. It is a timing thing. They are also confident that even if I don’t turn immediately, I will turn for them…and they will get what they want.

And it is never my face that I am concerned about. If the best feature of the dress is the back, then I give them the back shot. If it is the long silhouette of a mermaid or the flouncy skirt, or the crispness of a business suit ..then that is the shot I give them. It is moving photography.

So when I am sent out, I start my walk and the photographers start screaming my name….I give them what they want. They want a good picture…I lock in like a sensor towards the direction of their voice. I turn. I pose. I give them the biggest smile…. tomorrow, my picture is the in paper.

VIDEOGRAPHERS

When I started modeling, putting fashion shows on film and on TV was not yet the norm. Elsa Klensch of STYLE for CNN put fashion on the television map. Now every channel is doing what Ms. Klensch has started.

Another innovator was Norma Kamali who used videos to sell her clothes, specifically her swimsuit line. Now, every department store designer stall space has fashion show videos in the background.

As for the videographers, it was instinctive for me to walk straight down. It was my style and my method. I figured that if I walk a straight line, I will never be out of the main source of light. The videographer needs to focus with one eye on something moving smoothly. He needs and wants a clean continuous shot. He can’t have girls bouncing around, going hither and hie, turning and losing balance. Videographers are already pre-editing when they take a shot. Otherwise, the footage of a dress or a model is cut and is in the editing floor.

You really don’t want your footage to be cut…so again, you have to give them what they want.

Wednesday, October 18, 2006

The Craft of Modeling

A letter from Toti Manasan:

Hello Anna,

When I visualize you walking down the runway, your own particular way of walking really does stand out. Indeed, that is the reason you're considered the "best walker in the business." And of course, much has been said and written about that.

But to focus on just your brand of walking would be missing the big picture, and doesn't provide opportunity to fully appreciate your contribution to fashion. It has to do with your mastery of the craft of modeling.

Designers loved collaborating with you because you gave life to their creation. And this is an important relationship (and why you got to work with so many of them, I suspect). A painting can generate its own light and beauty. But clothes need a model who will make full use of herself as instrument to give the garment its anima (its soul!). And yes, the breathless gasps, the thunderous applause and the shivers from all who watched are testament that you, as instrument, performed beautifully and masterfully.

So… HOW do you do it? I realize the response could very well be content for a book or a master class in modeling perhaps, but throw us a bone anyway! :) I'd very much LOVE to hear you share your wisdom on this.

Craft of Modeling: Part I Give Them What They Want

Creativity

I started to understand clothes only when I started to work in Paris. I was discovered by Thierry Mugler. His show was my first and only press show when I first stepped foot in this fashion capital. I became a muse to him and the collections were fitted on me. I was one of the first girls (the other - Beth Todd, editorial model) he took on his first location shoot for a French ELLE fashion spread and for his first photography book, THIERRY MUGLER Photographer.

It is very hard not be enthralled and energized by Mugler. His energy and creative genius hits one like lightning. Everyone around him was in love with him; not in the romantic sense but in a ‘creative collaboration’ sense. He is able to seduce everyone working for him; His assistants, his make-up people, his hair people, his PR office, models -myself, included. He had a knack of getting everyone around him to give their ‘body and soul’ to his collection.

Thierry Mugler is a perfectionist. He never would let up until the make-up artist got the right shade of red lipstick, the right shape and volume of the mouth, the direction and energy of the eyeliner that would determine the slant of the eye from theatrical or stage perspective. But all these details, he had already envisioned and they were all in his sketches. He even had names for each garment (Claudette, Camille, Cyd Charisse…)

With models, he was very discerning. He had a type of woman in mind….a goddess. One catches on fast by the words he uses when he likes something.
“Divine!” he would exclaim in French.

As a muse, there were hours and hours of standing up in 4 inch heels while the madams of his atelier were fitting the clothes and hitting my body with their stray pins, but I was never mentally absent. I involved myself in the process of creating the garment. My mind would focus on the visual and auditory and kinesthetic clues that were everywhere in the atelier.

I understood that the sketches were his vision. I gave Mugler the woman he envisioned. I gave him the Claudette, the Camille - the pose, the attitude, the face in his sketch, the movement.

I understood that he wanted a goddess. I gave Mugler that. And when the show comes, you are that person – you are that goddess, if only for that moment.

I could feel the texture of the garment on my body. I could feel the movement of the design while it was on me by trying it on and walking with it. I gave Mugler what this garment is suppose to feel like when a woman puts it on.

Designers are master creators. They have their visions - a dress, a collection - their masterpieces. Their creativity and intensity rubs off on you by the mere fact that you are around that creative energy. And to have mastery in the craft of modeling – you have to understand the process and give them what they want.

Monday, October 16, 2006

Jean Jacques Picart Quotes: Asians in the Modeling World

I was talking yesterday to Jean Jacques Picart, respected, revered and feared impresario of the French fashion community. His PR firm handled designers like Mugler, Christian Lacroix, Helmut Lang, Jil Sander, Kenzo, Hermes and propelled them to stardom. His clients included Shiseido and Levi's. His firm JJP currently handles young designers and 'giants' like LVMH.

We were talking about how an Asian model could get the support of the global fashion industry. I was asking his advice on a television program I am working on.

I was able to break the mold because my 'look' was non-specific. I have Asian features but I did not look Asian. To quote Monsieur Picart on my success,
"You kept your 'Asian mind and your Asian culture'. You kept the Asian in you."
"You did not imitate -- You adapted."
"If an Asian model tries to copy a Western model, it does not work."
THE FORMULA FOR SUCCESS
"The formula for success for an
Asian model is Asian Specificity."

"A good model will always be one with a great
personality. That has not changed."

"For an Asian model to succeed, she must keep her difference!"


THE FUTURE OF SEDUCTION and ATTRACTION
" The future of seduction and attraction will be because of 'the difference'.

Sunday, October 15, 2006

It's TIME....

email from Bessie Badilla

Congratulations Anna B, love your website. I just want to
add that you have reigned and stayed on top in a business where longevity is
rare, very rare. The reason is obvious...you not only have the perfect bone
structure, the height, the figure, the HAIR, the signature WALK that everyone
copies but you also have the right attitude and the most important thing in any
industry...the BRAINS! You changed every model's stigma of having nothing
between their ears but a pretty face.

I'm so honored to have worked the
catwalks of Manila with you. And I'm so happy (with no regrets) that you stopped
me in the middle of University of the Philippines' College of Arts and Science
building to ask me to model for the prestigious Hyatt Bighani Models. That
moment changed my life and I'm forever grateful to you for that. Technically
Anna, YOU discovered me!

I'm so with you, it is indeed TIME for more
Asian models to emerge in the global fashion scene
!

Saturday, October 14, 2006

from Andy Bellamy, CNN Style

As one of the CNN STYLE senior producers who oversaw all the fashion model stories for 13 years, in addition to being responsible for our show's other topics, I agree with the article's mention of you being on par with Cindy, Naomi, Christy, Linda, Paulina, etc., the editorial stars.

Because during the mid-to-late-80s, you and other so-called runway stars such as Amalia, Dalma, Khadija, Pat, Mounia, Iman, Romney, etc., ruled the catwalks. And modeling became more integrated, not of two distinct worlds - editorial and runway. Both arenas merged during this time. Therefore, the print girls began to be seen more and more on international runways. They came into your house, so to speak. I think it may have worked well for everyone. The exposure was enormous and the stakes were uncompromisingly high.

Only the true professionals succeeded, which is why I agree that you wholeheartedly were the first Asian supermodel. Keep up the good work and continued success.

Your friend...Andy

It's Time! Time To Have More Asian Models

Yasmin Tayag said...
A lot of Asians don't think they have what it takes for
modelling. What physical attributes are needed to become a
model?

There are different types of modelling - photo modelling, runway modelling, TV modelling. Within those mediums (magazines, newspapers, fashion shows for the press and buyers, television), you have different age groups, different lifestyles, etc..

When talking about physical beauty, bone structure and body proportions are really critical.

The reason most Asians think they don't have what it takes, is because they only see Caucasian models in the mainstream. It's time to have more Asians in the modelling, don't you think?

11:19 PM

Thursday, October 12, 2006

Hello Anna!

I thought Ms. Victoria Chin's article entitled "The New Face of the Supermodel" is fitting info in your blog site being the first truly major Asian Supermodel....are you going back in the runway!! we missed you a lot

The New Face of the Supermodel
-By Victoria Chin

Asian faces in high fashion are few and far between. APA examines the lack of diversity in the world of modeling along with the increasing demand for some color amidst the omnipresent black and white. See who has penetrated the iron gates surrounding high fashion, and meet the bright young faces who seek to redefine classical notions of beauty.

For as long as we can remember, the fashion world has painted a black and white picture of what the ideal woman should look like -- literally. When most people hear the word model, they think of Caucasian beauties like Kate Moss and Heidi Klum, or African-American seductresses like Tyra Banks and Naomi Campbell. In the late 1990s, we saw the rise of the Brazilian bombshells (a la Gisele Bundchen and Isabeli Fontana), but these women’s physical features are often indistinguishable from the European staples. So where have Asians fallen in the mix, you might ask?

The answer, to be blunt, is close to nonexistent. The renowned faces in high fashion are predominantly white. There is a significant number of black models who have become household names, but for the most part, the industry is still dominated by Caucasians. On Style.com, the online home of Vogue and W Magazines and a leading news source for high-end fashion and beauty, about 90% of the current ‘it’ models are white. On Models.com, a leading source for information about runway models, 48 of the top 50 models are white. On the hit reality TV show America’s Next Top Model, hosted by Tyra Banks, we do see African-American and Latina models, but in the five season span of the show, there have been only two contestants of Asian descent. Now if you thought there was a serious lack of Asian designers, I wouldn’t know what to call the number of Asian models.

In a way, the lack of diversity in the face of high fashion used to make sense. After all, the vast majority of high-end designer clientele was Caucasian. The exorbitantly priced merchandise was also only available in the most cosmopolitan cities in Europe and America. With the penetration of African-American faces in the mass media eventually came the arrival of the first black faces in fashion -- namely, Iman and Pat Cleveland in the 1970s. Until very recently, Asian faces were an anomaly on the runways, let alone magazine editorials and designers’ advertisements.

The growing popularity of high fashion and the rise of Asian economies have created a demand for models to whom Asians can relate. The astonishing growth of Japan’s economy in the latter part of the 20th century made it the first Asian country that could boast high-end designer merchandise. In spite of this, and the fact that the first successful Asian designers were Japanese, the black and white picture persisted. Perhaps the development of Shanghai is the best example of the new demand for diversity -- the nouveau riche are running rampant, so every prominent design house is scrambling to build a boutique. Black and white faces alone aren’t going to satisfy this large and ever-increasing new class of consumers. Adding to the buzz, Vogue China was launched this past September, making this the third Asian country, next to Japan and Korea, with its own version of the premier fashion magazine. Asian designers like Anna Sui and Peter Som have a hand in this as well; their runway shows often feature an ethnically diverse set of models.

Why has the rise of Asians in the sphere of modeling been so slow compared to that in fashion design or entertainment? A logical argument would be that the traditional Asian facial features defy the Western standards of beauty. Many Asians lack the large eyes and sharp noses that are so highly esteemed in Western culture; small eyes and less prominent nose bridges are devalued. Of the black models who have succeeded, several appear simply as darker-skinned Europeans, and many struggling to penetrate the industry attempt to make themselves look more ‘white’ in photographs. Magazines, perhaps the most important medium in the fashion industry, face the dilemma of whether non-Asian audiences would be receptive to an Asian cover model.

The models of Asian descent who have risen to stardom in the fashion world can almost be counted on one hand. There was Anna Bayle, the legendary Filipina who was said to share supermodel status in the 1980s with household names like Cindy Crawford and Linda Evangelista. She is often deemed the first Asian supermodel, and may well have been the first consistent Asian face in fashion magazine editorials. Kimora Lee, better known as the wife of music mogul Russell Simmons and the designer of Baby Phat, started her career as a model at the age of 13. Kimora, who is half Korean and half black, was chosen by Karl Lagerfeld himself to grace the Chanel haute couture runway.

In the early 1990s, Siberian model turned Mortal Kombat actress turned published author Irina Pantaeva came onto the scene. This multi-talented model was arguably the first consistent Asian face in mainstream clothing ads from Gap and Levis. The early '90s was also when Pakistani-German model Yasmeen Ghauri was discovered, working in a McDonald’s in Montreal no less. Though her strict Muslim father vehemently opposed a modeling career, she managed to land contracts with Versace, Givenchy, Hermes, and Victoria’s Secret. In the late '90s, Karl Lagerfeld made yet another young and remarkable choice for the face of Chanel: Devon Aoki. Aoki, daughter of Benihana owner and Olympic wrestler Rocky Aoki, is Japanese, German, and British, and stands at a mere 5’5” -- a height unheard of in the fashion world. This model turned actress (you might recognize her from 2 Fast 2 Furious or Sin City) was labeled as the new muse of the millennium, and became the face of Baby Phat and Lancome.

In this new millennium, three Asian models have managed to break the black and white runway boundaries. First off, there’s Ai Tominaga, who can be seen on the runways of everybody who’s anybody in fashion. This new mother also opened her own boutique in Tokyo, called Deep Sweet Easy, and was most recently the face of Banana Republic and Gucci fragrance. From Mumbai we have Ujjwala Raut, the first Indian woman ever to truly ‘make it’ in high fashion. Raut has appeared in Yves Saint Laurent and Dolce & Gabbana ads, and is widely praised for celebrating her distinctly Indian physical features rather than masking them. Within the past year, the catwalks witnessed the rise of Korean-American Hye Rim Park. She’s been spotted in ads for Roberto Cavalli, D&G, H&M, and MAC Cosmetics, but we like her for her resilience. During the Spring 2006 show for Christian Dior, her heel broke while she was walking down the runway, but she acted as if nothing happened and gracefully completed her turn, sans a four-inch heel!

So perhaps there is hope for Asians who desire a future in modeling. After all, the number of prominent Asians and Asian-Americans in the design and entertainment industries is steadily rising, so why not modeling? Penetration into the world of fashion and beauty is perhaps a little more difficult than the others. This is a field based almost solely on aesthetics, a field in which the average person’s career ends at the ripe age of 24. The realm of modeling has depended on predefined notions of beauty, and already has a consistent idea of what’s hot and what’s not. Any established industry is resistant to change, but the sort of change we’re discussing is one that would alter the very fabric of the modeling world. It’s no wonder that African and Asian models have gone to great lengths to look more Caucasian.

Though the number of Asians faces in high fashion has not increased much by any standards, there is some evidence of change. The numbers are still scarce, but never before have we seen the degree of diversity we have now on the runways, in magazines, and in advertisements. The October cover of Parisian Vogue featured Chinese model Du Juan alongside supermodel Gemma Ward -- and yes, that’s a big deal. Aside from that, Vogue, Harper’s Bazaar and Elle magazines are warming up to Asian faces. Slowly, but surely, ethnic features will not be devalued, and women will begin to emphasize their different skin tones, eye shapes, and bone structures. Who knows when it will happen, but in this case, sooner is better than later.

Other up-and-coming models worth mentioning: Juliana Imai, Liu Dan, Rila Fukushima, Anne Watanabe, Amber Chia, Aline Nakashima, Kyung-Ah Song, Du Juan.


-posted by Dana

Wednesday, October 11, 2006

Off to a Great Start!

My first letter is from Bernadine Morris, respected doyenne of fashion journalism - epitome of integrity, hardwork and staying power. (Ms. Morris of the New York Times, now currently writes for the first internet fashion tradepaper, lookonline.com)

A question that I get all the time is what is it like being a model?

Everyone seems to think that fashion is all glamour. Well, yes, the perks of being a model are great - travel, luxury, adoration, substantial financial gain, and a great big boost to one's ego.

On the flip side of that (and there is always a flip side). It will not last forever. You give up your youth and leave your dreams of having an excellent education (a masters in something, perhaps.), of settling down and having a child, etc. You get used to a way of life that when you stop modelling you may not be able to support unless you marry a rock star.

The biggest plus for me - modelling was an outlet for my modest creativity. I loved working with all the designers, hair dressers, make-up artists, stylists, photographers. These are all creative people who put their art in what they were doing. For me, (and not to undervalue the word 'art'), I always wanted to put my special stamp whenever I walked down the catwalk. It was great medium to express myself because I was always changing roles, from one dress to the next, from one designer to the next, from haute couture to ready-to-wear.

Modeling is hard work. But like everything in life, if you love what you are doing, you seem to forget the pain of having your hair pulled at constantly, the agony of putting shoes 2 sizes too small,the hunger of when the last time you remember eating was yesterday morning, the restless travelling and being expected to work immediately and be bright and beautiful after a 14 hour plane ride.

Modeling is a job, really.

But if you have the dreams, coupled with the stamina, the discipline, and the confidence...the rewards are great.

If you love your job (no matter what it is), in this case modeling...it will feel like a lifelong vacation. Twenty five years of modeling went by so fast for me.

Anna Bayle

Tuesday, October 10, 2006

Hello!

Welcome to my website and my blog...

This is my first website and my first blog. Looking forward to connecting with all of you who are interested in fashion and beauty.