These male models of Instagram have got a serious set of pipes. Hunks like Adam Butcher and Nate Hill, undoubtedly the sensitive type, posted their Swoon-worthy 15 second clips and we couldn’t help but sharing their off-duty talents.
Leave it to Peter Lindbergh to round up – sans a few – the classics: Cindy Crawford, Helena Christensen, Eva Herzigova, Karen Alexander, Nadja Auermann and Tatjana Patitz. The Nowness behind the scenes short “The Reunion” captures the magic of the legendary photographer and being on set with a cast of six iconic faces, more beautiful than ever.
Is it okay to be totally envious of these models’ musical gift? Check out these sweet serenades from multitalented models who maybe could quit their day job if they wanted to (but we’re hoping they stick around). Try not to be won over by runway muse Hedvig Palm‘s Swedish lullaby or 16 year old Willow Hand‘s winning rendition–it’s impossible.
Had a little free time between go sees, so I found a guitar center! 🎶🎸🎶🎸 #guitarcenter #brooklyn A video posted by Willow Hand (@willow.hand) on
The ” Thanks for watching my dog Jenny!” Song. @girlshitonme I cut out the inappropriate ending… 🐶 #dogwatcher @elliestaffabb #chachasinging A video posted by Chantal Stafford-Abbott (@chantalstaffabb) on
Inspired by Picasso’s muses, the latest Harper’s Bazaar editorial features a painterly approach to beauty courtesy of the hands of master face painter Kabuki. Captured by photographer Ben Hassett, the intriguing Daiane Conterato is transformed into works of art further refined by the daring Nicolas Jurnjack. Fashion editor Anna Trevelyan provides wares from the Fall collections to perfect imagery that leaves the viewer spellbound.
Photographer – Ben Hassett, Fashion Editor/Stylist – Anna Trevelyan (Camilla Lowther Management), Hair – Nicolas Jurnjack (Management + Artists), Makeup – Kabuki, Nails – Naomi Yasuda (Streeters New York), Model – Daiane Conterato
Unisex fashion has steadily become more of a recognized movement and the newly formed You Do You web portal hopes to launch more agender awareness into the public sphere. The platform counts on bringing both producers and consumers together to discuss and view original digital content that strays away from confining binaries. Fashion, lifestyle, and culture are all explored and dissected with appealing editorials, interviews, and features aiming to contribute exciting inspiration to the masses. We interviewed editor-in-chief, Kristiina Wilson, about the new site, agender culture, and the need to spread the message of candid inclusiveness.
How did “You Do You” project come to fruition?
YDY started as an inherently selfish germ of an idea – I’ve always incorporated menswear into my wardrobe, but found the process arduous because I don’t like having to go to a million different stores to put together an outfit. I noticed that there were web platforms for men’s and women’s fashion separately, but nothing that put the genders together, or more importantly, demolished the barrier between them completely. Why do we have gender based, assigned types of clothing? Why can’t we all just wear cool pieces that we like without worrying about who they are “for”? Won’t getting dressed be more fun if we can mix and match from all of our friends’ closets? Basically, I wanted to start a site where I could find new, interesting fashion on a mix of different types of people, and be able to wear any of it. So together with Logan Jackson, YDY’s Creative Director, and Casey Geren, our Managing Editor, the site was born.
Why did you think it was important to talk about agender/genderlessness through the lens of fashion and beauty?
Well no matter how we identify, we all have to wear something! Why not make sure it’s interesting?
Honestly, it just seems strange NOT to talk about agender/genderlessness via fashion and beauty. We all get up and put clothes on in the morning and have some kind of grooming routine. The rules we have had in place for so long in traditional fashion/beauty publications just seem irrelevant now – we can do a story on blush for men, or buzz cuts for women, or just people wearing dangly earrings and you have no idea what gender they are. Gender as a construct doesn’t necessarily matter at this point in terms of actual fashion and products — everyone has the freedom to decide what they want to purchase, use and wear. And that’s great!
What are the goals you hope to accomplish with the “You Do You” platform?
YDY began as an exercise in collating unisex fashion online, but expanded to include even more important topics of gender and body politics. Until very recently, fashion has been rigidly binary, and my editors and I noticed that there weren’t very many online portals to help people who were interested in transitioning, being gender fluid, or just being ok with themselves in their own bodies, know where to start, fashion wise. As we expand, we will provide guides and a safe space for everyone to explore what they are into – whoever they are and however they identify — along with profiles of well known figures who have been there. We also want to give a platform to people that are doing cool things in fashion/art and with gender, as well as just getting more people into some really amazing clothes they might have otherwise overlooked.
Why do you think there’s been a push for “genderless” clothing in fashion and do you find it’s genuine or just a trend?
I think it’s genuine. From a bottom line perspective, companies can theoretically reach a wider audience going unisex than binary, but I think gender free fashion is also reflective of a younger, more modern customer whose feelings about themselves and their looks change day to day. That said, of course there will always be a place for gendered fashion — I don’t think anyone is expecting it to go anyway entirely, nor should it. I’m not advocating for some kind of futuristic society where everyone is walking around in the same grey shapeless tunic – just more options for everyone, should they want them. Who doesn’t want more options?
What excites you about fashion?
Right now, everything! :)
For her 23rd birthday, newly minted actress and supermodel (to us, ALWAYS) Cara Delevingne celebrated in Toronto with Suki Waterhouse, Poppy Jamie, Clara Paget, Georgia May Jagger and her girlfriend St. Vincent. #CD23, as they aptly Insta-dubbed the evening, from the looks of it, had an abundance of Cara’s brand of shenanigans culminating at male strip club, how scandalous. The Instagram post pieced together paints quite a night. Happy 23rd!
Danielle Bennison-Brown is the director of video content for Condé Nast Britain. She’s the one behind the crop of new material and the breath of fresh mise en scène appearing on British Vogue online. It’s a role she’s occupied since January 2015, but before British Vogue, she helmed the highly-stylized video strategy for i-D developing a recognizable brand of videos like their successful A-Z series. With platforms eager to create an online identity, the boom of digital content–now simpler than ever to produce–can sometimes seem like a race to arms. The catch: It’s one to thing to turn out a program of videos and another for them to have a reoccurring thumbprint seamlessly aligned with preexisting values. That’s where Danielle’s success is worthy of attention. Under her orchestration, the series and one-offs are easy to watch, oft-humorous, polished and authorial. Models.com spoke to Danielle to learn more about her grand design.
Firstly, can you tell me a little about your background?
I started my career at VICE as an intern in 2007, moving first into project management, then production, where I worked across a number of branded projects. In 2012 I went to NOWNESS to work as a content strategist, then came back to VICE in 2013 to lead video for i-D. In January of 2015, I started in my current role at Condé Nast. If we must go further back than that, I grew up in Middlesbrough and studied business at uni.
Has film always interested you…are you a cinephile at all? Or was it fashion that found you first?
Film has always been a passion, but I became obsessed with the artistic and creative elements of it after moving to London. Fashion, on the other hand, is something I’ve loved since I was very young.
On that note, how did you ultimately find your way to to your current position at British Vogue?
After VICE I worked as a Creative Strategist for NOWNESS, which was my first experience on the editorial side. During my time at NOWNESS, VICE bought i-D, and invited me back to devise their video offering. Getting the chance to build a video strategy from scratch, especially for such an exciting brand, was an incredible opportunity. At i-D, we followed the motto “originate don’t imitate” which meant we had to work to find an original approach to create content that was unique to i-D. We did this by merging high fashion with internet formats that resonated with a young audience, for example “How to Speak French with Camille Rowe”. The result was a strong brand on YouTube which I was really proud of. This had never been done before and meant that i-D’s approach was truly original. After a year and a half at i-D, I was approached by Condé Nast Britain to launch and lead a video department working across the media brands. I knew it was a once-in-a-lifetime opportunity, and started here in January of 2015.
Can you define your position there for me?
I’m the Group Director of Video for Condé Nast Britain where my team and I work on developing, then executing a video strategy across the Condé Nast titles. This includes all elements of content strategy, creative development, production and post-production both editorially and commercially.
Before Condé Nast, it was Vice Media with I-D…What did you go in expecting and how did it play out?
Of course, you always have ideas about what it’s like to work somewhere, but you never know until you walk through the door. Based on my first experience with VICE, coming back to work for i-D really felt like reuniting with old friends. Coming to Condé Nast was a brand new proposition. Of course, you come in feeling a bit like the new kid at school, but everyone has been incredibly kind and thoughtful, so it made it very easy to come in and get started.
Back to British Vogue, already the changes in video direction can be seen. Do you feel it has been easy to align your own perspective with a huge entity like Vogue?
It’s been a lot of fun, but is it always easy? No, because you have lots of smart, creative people around you that have their own valuable experience and opinions. My perspective stems first from a strategic point of view — aligning the core values of a brand with the interests and dynamics of an online audience. With that as the foundation, we then work closely with the editorial team and Vogue’s incredible base of collaborators to bring that strategy to life. It is my ambition to build our titles into video brands and that means working closely and collaboratively with the guardians of those brands is absolutely vital to our success.
How is the online video landscape changing?
Because it’s never been easier to shoot, cut, and distribute a video, the focus is on creative excellence more than ever. And at the same time, the definition of creative excellence has evolved as well — you can no longer hide behind production values — it’s all about your ability to tell a story that captures someone’s attention, and therefore substance is key.
Generally speaking, where do you think this new kind of content can fail?
I feel there are lots of ways in which this kind of content can fail, however I prefer not to focus on that because it can make you scared to try new things and trying new things is key to creating new and innovative sorts of content.
Where do you start when developing an idea or series?
It can vary. Sometimes it starts with a passion point of someone in the office, and sometimes it starts with some of the incredible talent we get to work with.
Can you tell me about this new short series that’s rolling out? The first came out with Anna Ewers…
It’s about collaborating with amazing directors to create new interpretations of what we’d consider the “fashion film.”
What do you think a model needs to have to cross over into motion well?
Any favorite models? Some on your shortlist for future projects that you could mention?
Of course. My favourites are Daria, Freja, Anna Ewers, Camille Rowe, Andreea Diaconu, Grace Hartzel, Mica Arganaraz, and (not to sound predictable but…) Kate Moss.
I actually have no idea, I don’t think I have the luxury of thinking that far ahead. Oh wait, I just thought ahead a bit, I really want to make a film with Kim Kardashian, the no make up shoot she just did for Vogue Spain and the Juergen shoot are just too much.
What are some of your favorite projects of all time that you’ve been a part of…?
The entire A-Z series at i-D was incredible end-to-end. From the original A-Z of Wink which was model-tastic to the A-Z of Dance which was incredible to the A-Z of Fashion Pronunciation and the A-Z of Slang, the format worked brilliantly for so many themes, amassing millions of views. The format was actually inspired by Terry’s A-Z format (Terry Jones, founder of i-D) in the magazine, which highlights how important it is to work with the core brand values and creativity of your title. In terms of future projects, we have an amazing series coming out with Alexa Chung in September, aiming to reposition peoples’ perceptions of fashion whilst exploring some of the external factors which influence change within the industry such as sustainability and technology.
Do you have any hard lessons learned? Horror stories?
Oh, loads. I think the reoccurring thing is when you work on a really ambitious production and it begins to unravel, (which it always does) and it’s never just one thing, it’s always multiple things that have a knock on effect – it’s at that point when you think “WHYYYY have I done this to myself again?!!!” – Anyway the lesson is – it’s usually solvable, so be ambitious!
Lastly, You’ve got to watch one movie for the rest of your life…what is it?
Go to Vogue.co.uk to see more videos
There’s a sense of sentimentality in this exclusive beauty shoot by Roeg Cohen featuring model Lou Schoof that triggers feelings of serene simplicity. Here beauty looks created by Yoichi Tomizawa and Allie Smith transform portraits of the flaxen-hair, doe-eyed beaut into intriguing, enduring visuals that charm as much as they excite. From wavy volume to sleeked-down swoops, there’s a little something special for any viewer.
Over more than a decade in the industry, Jones proved himself to be charming and impassioned, dedicated, and even after all his success, humble. At the age of thirty-two, he was more than a model and more than a photographer. To many of us, he was a true and loyal friend, and one who will be deeply missed.
My heart is shattered. My best friend, my soul mate, my partner in crime & creativity, the LOVE & LIGHT of my life is no longer with me. All the love that has been sent to me is giving me the strength to get through this. I know that he is so so happy that I was safely rescued. I have eternal gratitude for experiencing a love from Ian that was so unbelievably deep & true. We truly LIVED. Let us honor & celebrate this exceptionally beautiful soul & keep following the light.
Less than two months ago, Tre Samuels was on his way to lunch with his father in Chelsea in Manhattan when he was approached by an agent at Re:Quest, who asked if the soft-eyed, curly-haired sixteen-year-old had ever considered modeling. “I thought it might have been a little dodgy,” the Melbourne native laughs, “so we Googled Re:Quest to get the background, and then once we found out that it was a reputable agency, we thought, ‘Damn, we might just go.’”
That turned out to be a smart decision, as, a week later, Samuels found himself on his way to Milan for a Prada exclusive, making his runway début in a stellar first season that also saw him walking for Dior Homme, Valentino, Y-3, and Lanvin in Paris, as well as Public School, Tim Coppens, Orley, Richard Chai, Billy Reid, and Perry Ellis at the first New York Fashion Week: Men’s in July. “I’m still getting my mind around it,” he says of his whirlwind month jetting across three continents. “It’s still crazy now, but the experience was amazing.”
As things have quieted down recently, Samuels is now back home in Australia, focusing again on his first love—and the reason he was in New York in June in the first place—music. A singer and songwriter who credits Marvin Gaye, Charlie Wilson, Miguel, and Frank Ocean among his inspirations, Samuels was discovered by Atlantic Records at the age of ten when his cover of Usher’s “Climax” got seventy thousand views on YouTube. He was in New York in June meeting with record labels on the strength of his smooth voice and his latest single, “Midnight Medusa,” a slick R&B song he released in March in advance of a coming EP.
With one year left in high school, Samuels says he is looking forward to balancing his music with the obligations of his new career. “Whenever I’m traveling for modeling, I think I’ll always bring my music setup, because no matter where I go, I can still write and record,” he says. “I’ll never stop with my music. Even if modeling is super busy, I’ll always be doing that.”
He’ll also be trying to get used to his newfound visibility as well, which has of course come with the attendant questions and comments from his friends at home. “They think it’s crazy,” Samuels says. “I haven’t really told anyone yet, but it’ll be pretty crazy, because it was pretty out of nowhere for everyone. Even for me, it was out of nowhere.”