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Modeling Poses For Photographers Biography
I recently shot for Nina Canacci. They are a high end couture prom gown designer. It was a three day shoot at 10 hours each day. We shot over 200 gowns with three models. I have never talked about stamina because it’s just something that a photographer must have and I assume all photographers have enough stamina to shoot for a long period of time. However the other day I was talking shop with a colleague of mine and he mentioned a friend of ours that would never be able to last 10 hours, never mind three days in a row. Now that is not a good thing. I mean let’s face it, any catalog shoot or advertising shoot is going to be a long day. There are exceptions of course but the majority of jobs are 8-10 hours.
In this video you can see how hard I work and I think most photographers do work hard. You can see my intensity. I have a game face and I make sure that game face is on from the moment I step on set to the wrap of the shoot. Photographers must have mental, emotional and physical stamina to execute a successful shoot. We are the leader. Everyone on that set looks up to us. If we show any sign of weakness or uncertainty, then we have just lost our shoot. The good news is we can get it back. Grab the bull and come out like a lion in the second half and I guarantee that you will get your set back.For this shoot I walked on the set and the first thing I saw was racks and racks of gowns. Instead of letting that intimidate me, I remembered why I am in this business, and that is because I love women’s clothing and I love to capture the beauty and style of fashion. So I greeted everyone with a big smile and looked over the gowns and got to work on lighting the set. This was an easy set up. One 6 foot silver lined umbrella to create a soft shadow on the BG and two strobes to light my white BG. Some of the gowns were very light and were made to flow with the wind of a dancer. It is a models job to put on a dress or outfit and know what to do with it. It is the photographers job to know what the fabric is capable of and make sure the model is “working” the gown or outfit. In the video you will see examples of this.What do photographers expect from a model and what do models expect from a photographer during a shoot ? I hear many arguments on this subject and after finally getting tired of hearing many photographers and models give their opinion that THEY think is correct I decided to tell you all how it really is in hopes that I can provide a little less friction in this lovely world of the model and fashion photography industry.Ok so this is how this discussion is broken down.
We have photographers and models who shoot test shoots, paid and non paid but aren’t at the level yet to shoot commercial paid assignments, editorials or advertising.Then we have photographers who shoot commercial assignments like catalogs, advertising, editorials and look books. These photographers also shoot test shoots and model portfolios. I fall into this category. I have had many girls come to me from all over the country who want to get into modeling and some girls that are already modeling and they just need to update their books. Like I said, I also shoot advertisements, editorials and look books. I am not going to tell you how to pose, where to look, what angles you look better shooting. That is the job and responsibility of the model. She is being paid because she knows how to “model” and I am being paid to photograph her. My job as the photographer, is to direct her on what kind of looks I need her to emote. I will help her “give good face.” I will also talk to the model and give encouragement and keep the set “alive.” The model is expecting me to direct her like a director would direct an actress and I am expecting that the model knows how to take direction and turn my direction into the emotion I am asking for. But you know as sure as the sun is gonna rise that the director on a film is not going to start giving acting lessons just as I am not going to give modeling lessons. We are both professionals and expected to give our client what they are asking us to give them. Let me remind you that there is a make up artist for the shoot, a hair stylist and a wardrobe stylist. So all I am expecting from the model is to show up on time and ready to pose and take direction.
The other kind of shoot I do is model portfolio shoots. This is where a girl will pay me good money to start her portfolio for her. I shoot five different looks, in studio and on location. I have a make up artist there the whole time. I tell the model what kinds of outfits to bring and I ask her to practice posing in the mirror so she has some kind of a head start. I DO NOT expect her to know what she is doing at all. She has never modeled before and she is coming to me because I am a professional and I know what modeling agencies are looking for. So I WILL tell her how to pose. I WILL tell her where to look. I WILL help her know what her best angles are and of course I WILL direct her to emote and “give good face.” I also give the model encouragement and constantly talk to her and give her accolades throughout the whole shoot. I will also point out what she is doing wrong and show her how to do it the right way. So in this case one could call this modeling 101. That is fine with me. I get paid good money for this and I like to help and educate.
There is another kind of shoot that happens where we have “wanna be” models and “wanna be” photographers who are building their books and they both think they know what their role is in this kind of shoot when in fact BOTH of them are wrong, at least from the stories that I hear. PLEASE DO NOT TAKE OFFENSE TO ME USING THE TERM WANNA BE. I am not discounting these models and photographers in any way. They have not reached the professional status yet and earned the right to be paid for their services because they have not perfected their craft up to a level where a client can depend on them to deliver. They “wanna be” professional. I was there at one point as everyone is. Someone going to medical school wants to be a doctor, however they have not had enough experience and perfected their skills enough to be trusted with a real human life. Can you get the analogy ? I hope so.Ok so now that we got the politically correct bullshit out of the way let me go on. So as an example we have a girl who has created a profile on one of these amateur model sites. We have a boy who has created a profile on this site as well. Boy “photographer” meets girl “model” and they schedule a test / creative shoot that will hopefully benefit both their portfolios as well as the make up artists portfolio. Now because these three creative souls haven’t been exposed to the professional world of fashion photography and modeling maybe because they live in a city somewhere in the middle of the Bible belt, the only expectations they have come from their own little world of these online amateur modeling / photographer sites. They look in on the chat rooms, the forums and read what everyone else is quoting as the Gospel of the modeling industry in this little bubble world community and bingo, instantly our “photographer” and “model” think they both know what is expected of them and what is not. The problem we have here is that our “photographer” is reading what the other “photographers” are griping about and our “model” is reading what the other “models” are griping about and both sides are not working as one.So on the test shoot our photographer is expecting our model to know how to pose, give good face and know all her good angles and our model is expecting our photographer to tell her how to pose, give good face and help her know all her good angles. Well, well, well. Can you see the train wreck about to happen ? Not a pretty scene. They start to argue, it gets uncomfortable and the shots end up looking like crap because NO ONE worked as a TEAM and COLLABORATED ! So listen up ! On shoots like these neither the photographer nor the model has enough experience to handle the shoot all on their own. Therefore the solution is to help each other and if the model is not posing the way you want her to pose, Mr. Photographer, then simply tell her and show her what you want. I’ve actually struck a pose to show the “model” what I want. Talk to her through the whole shoot. Don’t just sit there like a dummy waiting for someone to pull the string on your back for your mouth to move. And ….MOVE AROUND. Look for good angles. Don’t site in one place capturing one point of view.Miss Model ? If the photographer is not directing you and you need help, then tell him. Your job as a model is to come to the shoot as prepared as you can be. Don’t expect the photographer to give you every single pose. If you want to become a professional model then do your homework and study ! Study magazines, fashion books, watch Americas Next Top Model. Some of that show is totally ridiculous I know , but much of it is actually insightful. Bring nice clothes for shooting. You AND the photographer and the make up artist should all be involved with selecting the outfits for the shoot. Have a theme and shoot at least four images with a different outfit and tell a story.Femininity, the female body and body image constitute her key topic—her latest work, entitled Body Borders, also examines the relationship between traditional fashion photography, the photographer and the model. 'Body Borders' is a photographic experiment that examines the situations of defenselessness and submission of the female body image and the traditional model-photographer relationship. Ermezei posed the questions:
what is it like to instruct her models only as an intellectual partner, as photographer without physical presence; what is the significance of the photographer in this process? She used Skype as the medium of the project, as the webcam enables her to be the ‘present’ to the least possible extent in the space.I suppose it's possible that it's what I do because my Grandfather was an avid amateur photographer and I did admire the man a great deal, or it could be that my mother was an artist... I couldn't tell you why for sure. What I can tell you is that I really love what I do and I spend a lot of time refining, perfecting and even obsessing over my work... It is a passion.
I have spent a lot of time reflecting on things such as what is my "style" of photography. Style comes with time and is a difficult thing to force. I think more important than style is being aware of the literal nature of the image I see and striving to go beyond that in an aesthetic sense to create a captivating image.Daniel's unique blend of style is developed from a broad range of artistic and photographic experience. Daniel is comfortable and relaxed in both the studio and shooting on location, possessing the uncanny ability to be creative even under pressure. Daniel is a strong advocate of killing your television and enjoys reading, coffee and intense conversation. He currently lives in Ventura, California with his wife Jennifer and four children and when not on shooting assignments he can most often be found at home playing with his wife and kids.Daniel Colegrove (1964), is a Ventura, California based photographer, Established in the industry with his early use of photojournalism techniques in wedding photography, striking editorial and commercial portraits, and his pioneering use of alternative lighting techniques in forensic photography. He is also notable for using his skills to promote awareness in many social issues including drug abuse, infant mortality and child welfare. He has worked in a wide range of photographic specialties including: Photojournalism, Movie Stills, Theatrical Headshots, Rhythmic Sports, Editorial, and Forensic Photography.Daniel Colegrove was born as Daniel Logue in Whittier, California and grew up in Ojai, where he attended Nordhoff High School and later moved to Ventura, where he still lives. He became interested in photography at 16 photographing surfing, an interest which transformed almost immediately into a career, shooting professional assignments in 1980. His mother was an impressionist painter and stepfather was an aerospace engineer. Colegrove said he was destined to become a "creative scientist" shunning the term artist in conjunction with his photographic work. Colegrove graduated from the UCSB in 1984 with a degree in Psychology. The year before his graduation he began covering assignments as a photojournalist in conflict areas around the globe. Today, though best known as an entertainment industry photographer shooting movie stills and studio headshots for actors and entertainers, he photographs weddings, events and commercial editorial assignments as well.I kind of failed to grow up in Ojai, California in the late 70's. The idea of becoming a photographer had never crossed my mind. I was thinking Rock Star or Professional Surfer. My first camera was a Kodak Instamatic I think I was about 6 when I got it, but the story really starts in 1980 at the beach in Ventura, California. My friends all wanted to become pro surfers and live on the beach in Hawaii surfing the Banzai Pipeline the first step (but obviously dude) was to get their picture in the surfing magazines. My mother was an artist and my dad was an aerospace engineer and I generally stayed sober enough to understand what I read so I was the logical choice for camera man. Money was scraped up and a Canon F1 was purchased along with a few used lenses and I became our official Surfing Photographer.I was 16 and had no idea how to submit photo's to a magazine so I stuffed an envelope with prints and a cover letter to one of the surf rags. About a month latter I received a letter that said they weren't hiring but would accept freelance work. Lucky for me they also sent forms that had information about submitting images and stories and multiple copies of copyright release contracts. My first shot was published in the spring of 1980 and I got a check for $50.
By 1982 it started to get serious, and the reality of it was... I didn't actually know what I was doing. I had friends that attended the Brooks Institute in Santa Barbara so I began to sneak into their classes and borrow their books. I took a few photography classes at Ventura College. By this time I was getting by as a Hollywood and Los Angeles Band Photographer and Freelance Photojournalist. I started doing Headshots for aspiring actors, models, dancers and other entertainers about this same time.The American fashion photographer Richard Avedon (born 1923) was best known for his probing portraits that go beyond recording likenesses to explore the identity of society and to reflect dreams and desires.
Richard Avedon was born in New York City on May 15, 1923. Educated in the New York City public school system, he left DeWitt Clinton High School without graduating. In 1942 he enlisted in the Merchant Marine's photographic section. Returning to civilian life in 1944, he worked as a department store photographer. A year later he was hired as a fashion photographer by Alexey Brodovitch, the art director of Harper's Bazaar. In 1946 he established his own studio and after that contributed photographs to Vogue, Theatre Arts, Life, Look, and Graphis.Savvy businesswoman, author, philanthropist, producer, top model, television personality, Tony Award winner and — according to Forbes Magazine — Kimora Lee Simmons is one of the top “hardest working mothers in Hollywood.” Her vivacious personality and stunning beauty are familiar around the world, but these attributes only scratch the surface of one of the most dynamic and influential businesswomen in fashion and entertainment. Kimora Lee Simmons has accomplished what many may not accomplish in a lifetime.A native of St. Louis, Missouri, Kimora stood out in the crowd. By age 10 she was already 5’10, towering above her classmates. To build her confidence her mother enrolled her in modeling classes. At age 13, her unique exotic mix of Asian and African-American beauty captured the attention of agents at a Midwest model search. She was soon whisked away to Paris and quickly earned an exclusive contract with the House of Chanel. Karl Lagerfeld declared her his “muse” and deemed her the “Face of the 21st Century.” Kimora has graced the covers and pages of international fashion magazines such as Vogue, Elle, and Harper’s Bazaar. She has also modeled for some of the world’s most legendary designers including Christian Dior, Roberto Cavalli and Yves Saint Laurent in addition to posing for iconic fashion photographers such as Patrick Demarchelier, Peter Lindberg and Annie Leibovitz.
In 1999, Kimora launched the phenomenon known as Baby Phat with then-husband Russell Simmons – the President and Founder of Phat Fashions – as the counterpart to Phat Farm, his pioneering mens urban fashion brand.As the face of the brand and the visionary behind it, Kimora was the driving force behind Baby Phat and worked tirelessly to establish it as a premier metropolitan collection. When the brand first hit the scene, it was with tiny tees cleverly named Baby Phat (an acronym for “pretty, hot and tempting”) that were produced to electrify a Phat Farm runway show. When celebrities, supermodels and arbiters of style began wearing the baby tees, the phenomenon grew, and Kimora launched an entire Baby Phat sportswear collection. A lifestyle brand was born and expanded into over 20 product categories globally ranging from fragrance, jewelry, footwear and kids apparel to outerwear, handbags and intimates. During this time, Kimora also launched junior brands Kouture by Kimora and Fabulosity.
Modeling Poses For Photographers Biography
I recently shot for Nina Canacci. They are a high end couture prom gown designer. It was a three day shoot at 10 hours each day. We shot over 200 gowns with three models. I have never talked about stamina because it’s just something that a photographer must have and I assume all photographers have enough stamina to shoot for a long period of time. However the other day I was talking shop with a colleague of mine and he mentioned a friend of ours that would never be able to last 10 hours, never mind three days in a row. Now that is not a good thing. I mean let’s face it, any catalog shoot or advertising shoot is going to be a long day. There are exceptions of course but the majority of jobs are 8-10 hours.
In this video you can see how hard I work and I think most photographers do work hard. You can see my intensity. I have a game face and I make sure that game face is on from the moment I step on set to the wrap of the shoot. Photographers must have mental, emotional and physical stamina to execute a successful shoot. We are the leader. Everyone on that set looks up to us. If we show any sign of weakness or uncertainty, then we have just lost our shoot. The good news is we can get it back. Grab the bull and come out like a lion in the second half and I guarantee that you will get your set back.For this shoot I walked on the set and the first thing I saw was racks and racks of gowns. Instead of letting that intimidate me, I remembered why I am in this business, and that is because I love women’s clothing and I love to capture the beauty and style of fashion. So I greeted everyone with a big smile and looked over the gowns and got to work on lighting the set. This was an easy set up. One 6 foot silver lined umbrella to create a soft shadow on the BG and two strobes to light my white BG. Some of the gowns were very light and were made to flow with the wind of a dancer. It is a models job to put on a dress or outfit and know what to do with it. It is the photographers job to know what the fabric is capable of and make sure the model is “working” the gown or outfit. In the video you will see examples of this.What do photographers expect from a model and what do models expect from a photographer during a shoot ? I hear many arguments on this subject and after finally getting tired of hearing many photographers and models give their opinion that THEY think is correct I decided to tell you all how it really is in hopes that I can provide a little less friction in this lovely world of the model and fashion photography industry.Ok so this is how this discussion is broken down.
We have photographers and models who shoot test shoots, paid and non paid but aren’t at the level yet to shoot commercial paid assignments, editorials or advertising.Then we have photographers who shoot commercial assignments like catalogs, advertising, editorials and look books. These photographers also shoot test shoots and model portfolios. I fall into this category. I have had many girls come to me from all over the country who want to get into modeling and some girls that are already modeling and they just need to update their books. Like I said, I also shoot advertisements, editorials and look books. I am not going to tell you how to pose, where to look, what angles you look better shooting. That is the job and responsibility of the model. She is being paid because she knows how to “model” and I am being paid to photograph her. My job as the photographer, is to direct her on what kind of looks I need her to emote. I will help her “give good face.” I will also talk to the model and give encouragement and keep the set “alive.” The model is expecting me to direct her like a director would direct an actress and I am expecting that the model knows how to take direction and turn my direction into the emotion I am asking for. But you know as sure as the sun is gonna rise that the director on a film is not going to start giving acting lessons just as I am not going to give modeling lessons. We are both professionals and expected to give our client what they are asking us to give them. Let me remind you that there is a make up artist for the shoot, a hair stylist and a wardrobe stylist. So all I am expecting from the model is to show up on time and ready to pose and take direction.
The other kind of shoot I do is model portfolio shoots. This is where a girl will pay me good money to start her portfolio for her. I shoot five different looks, in studio and on location. I have a make up artist there the whole time. I tell the model what kinds of outfits to bring and I ask her to practice posing in the mirror so she has some kind of a head start. I DO NOT expect her to know what she is doing at all. She has never modeled before and she is coming to me because I am a professional and I know what modeling agencies are looking for. So I WILL tell her how to pose. I WILL tell her where to look. I WILL help her know what her best angles are and of course I WILL direct her to emote and “give good face.” I also give the model encouragement and constantly talk to her and give her accolades throughout the whole shoot. I will also point out what she is doing wrong and show her how to do it the right way. So in this case one could call this modeling 101. That is fine with me. I get paid good money for this and I like to help and educate.
There is another kind of shoot that happens where we have “wanna be” models and “wanna be” photographers who are building their books and they both think they know what their role is in this kind of shoot when in fact BOTH of them are wrong, at least from the stories that I hear. PLEASE DO NOT TAKE OFFENSE TO ME USING THE TERM WANNA BE. I am not discounting these models and photographers in any way. They have not reached the professional status yet and earned the right to be paid for their services because they have not perfected their craft up to a level where a client can depend on them to deliver. They “wanna be” professional. I was there at one point as everyone is. Someone going to medical school wants to be a doctor, however they have not had enough experience and perfected their skills enough to be trusted with a real human life. Can you get the analogy ? I hope so.Ok so now that we got the politically correct bullshit out of the way let me go on. So as an example we have a girl who has created a profile on one of these amateur model sites. We have a boy who has created a profile on this site as well. Boy “photographer” meets girl “model” and they schedule a test / creative shoot that will hopefully benefit both their portfolios as well as the make up artists portfolio. Now because these three creative souls haven’t been exposed to the professional world of fashion photography and modeling maybe because they live in a city somewhere in the middle of the Bible belt, the only expectations they have come from their own little world of these online amateur modeling / photographer sites. They look in on the chat rooms, the forums and read what everyone else is quoting as the Gospel of the modeling industry in this little bubble world community and bingo, instantly our “photographer” and “model” think they both know what is expected of them and what is not. The problem we have here is that our “photographer” is reading what the other “photographers” are griping about and our “model” is reading what the other “models” are griping about and both sides are not working as one.So on the test shoot our photographer is expecting our model to know how to pose, give good face and know all her good angles and our model is expecting our photographer to tell her how to pose, give good face and help her know all her good angles. Well, well, well. Can you see the train wreck about to happen ? Not a pretty scene. They start to argue, it gets uncomfortable and the shots end up looking like crap because NO ONE worked as a TEAM and COLLABORATED ! So listen up ! On shoots like these neither the photographer nor the model has enough experience to handle the shoot all on their own. Therefore the solution is to help each other and if the model is not posing the way you want her to pose, Mr. Photographer, then simply tell her and show her what you want. I’ve actually struck a pose to show the “model” what I want. Talk to her through the whole shoot. Don’t just sit there like a dummy waiting for someone to pull the string on your back for your mouth to move. And ….MOVE AROUND. Look for good angles. Don’t site in one place capturing one point of view.Miss Model ? If the photographer is not directing you and you need help, then tell him. Your job as a model is to come to the shoot as prepared as you can be. Don’t expect the photographer to give you every single pose. If you want to become a professional model then do your homework and study ! Study magazines, fashion books, watch Americas Next Top Model. Some of that show is totally ridiculous I know , but much of it is actually insightful. Bring nice clothes for shooting. You AND the photographer and the make up artist should all be involved with selecting the outfits for the shoot. Have a theme and shoot at least four images with a different outfit and tell a story.Femininity, the female body and body image constitute her key topic—her latest work, entitled Body Borders, also examines the relationship between traditional fashion photography, the photographer and the model. 'Body Borders' is a photographic experiment that examines the situations of defenselessness and submission of the female body image and the traditional model-photographer relationship. Ermezei posed the questions:
what is it like to instruct her models only as an intellectual partner, as photographer without physical presence; what is the significance of the photographer in this process? She used Skype as the medium of the project, as the webcam enables her to be the ‘present’ to the least possible extent in the space.I suppose it's possible that it's what I do because my Grandfather was an avid amateur photographer and I did admire the man a great deal, or it could be that my mother was an artist... I couldn't tell you why for sure. What I can tell you is that I really love what I do and I spend a lot of time refining, perfecting and even obsessing over my work... It is a passion.
I have spent a lot of time reflecting on things such as what is my "style" of photography. Style comes with time and is a difficult thing to force. I think more important than style is being aware of the literal nature of the image I see and striving to go beyond that in an aesthetic sense to create a captivating image.Daniel's unique blend of style is developed from a broad range of artistic and photographic experience. Daniel is comfortable and relaxed in both the studio and shooting on location, possessing the uncanny ability to be creative even under pressure. Daniel is a strong advocate of killing your television and enjoys reading, coffee and intense conversation. He currently lives in Ventura, California with his wife Jennifer and four children and when not on shooting assignments he can most often be found at home playing with his wife and kids.Daniel Colegrove (1964), is a Ventura, California based photographer, Established in the industry with his early use of photojournalism techniques in wedding photography, striking editorial and commercial portraits, and his pioneering use of alternative lighting techniques in forensic photography. He is also notable for using his skills to promote awareness in many social issues including drug abuse, infant mortality and child welfare. He has worked in a wide range of photographic specialties including: Photojournalism, Movie Stills, Theatrical Headshots, Rhythmic Sports, Editorial, and Forensic Photography.Daniel Colegrove was born as Daniel Logue in Whittier, California and grew up in Ojai, where he attended Nordhoff High School and later moved to Ventura, where he still lives. He became interested in photography at 16 photographing surfing, an interest which transformed almost immediately into a career, shooting professional assignments in 1980. His mother was an impressionist painter and stepfather was an aerospace engineer. Colegrove said he was destined to become a "creative scientist" shunning the term artist in conjunction with his photographic work. Colegrove graduated from the UCSB in 1984 with a degree in Psychology. The year before his graduation he began covering assignments as a photojournalist in conflict areas around the globe. Today, though best known as an entertainment industry photographer shooting movie stills and studio headshots for actors and entertainers, he photographs weddings, events and commercial editorial assignments as well.I kind of failed to grow up in Ojai, California in the late 70's. The idea of becoming a photographer had never crossed my mind. I was thinking Rock Star or Professional Surfer. My first camera was a Kodak Instamatic I think I was about 6 when I got it, but the story really starts in 1980 at the beach in Ventura, California. My friends all wanted to become pro surfers and live on the beach in Hawaii surfing the Banzai Pipeline the first step (but obviously dude) was to get their picture in the surfing magazines. My mother was an artist and my dad was an aerospace engineer and I generally stayed sober enough to understand what I read so I was the logical choice for camera man. Money was scraped up and a Canon F1 was purchased along with a few used lenses and I became our official Surfing Photographer.I was 16 and had no idea how to submit photo's to a magazine so I stuffed an envelope with prints and a cover letter to one of the surf rags. About a month latter I received a letter that said they weren't hiring but would accept freelance work. Lucky for me they also sent forms that had information about submitting images and stories and multiple copies of copyright release contracts. My first shot was published in the spring of 1980 and I got a check for $50.
By 1982 it started to get serious, and the reality of it was... I didn't actually know what I was doing. I had friends that attended the Brooks Institute in Santa Barbara so I began to sneak into their classes and borrow their books. I took a few photography classes at Ventura College. By this time I was getting by as a Hollywood and Los Angeles Band Photographer and Freelance Photojournalist. I started doing Headshots for aspiring actors, models, dancers and other entertainers about this same time.The American fashion photographer Richard Avedon (born 1923) was best known for his probing portraits that go beyond recording likenesses to explore the identity of society and to reflect dreams and desires.
Richard Avedon was born in New York City on May 15, 1923. Educated in the New York City public school system, he left DeWitt Clinton High School without graduating. In 1942 he enlisted in the Merchant Marine's photographic section. Returning to civilian life in 1944, he worked as a department store photographer. A year later he was hired as a fashion photographer by Alexey Brodovitch, the art director of Harper's Bazaar. In 1946 he established his own studio and after that contributed photographs to Vogue, Theatre Arts, Life, Look, and Graphis.Savvy businesswoman, author, philanthropist, producer, top model, television personality, Tony Award winner and — according to Forbes Magazine — Kimora Lee Simmons is one of the top “hardest working mothers in Hollywood.” Her vivacious personality and stunning beauty are familiar around the world, but these attributes only scratch the surface of one of the most dynamic and influential businesswomen in fashion and entertainment. Kimora Lee Simmons has accomplished what many may not accomplish in a lifetime.A native of St. Louis, Missouri, Kimora stood out in the crowd. By age 10 she was already 5’10, towering above her classmates. To build her confidence her mother enrolled her in modeling classes. At age 13, her unique exotic mix of Asian and African-American beauty captured the attention of agents at a Midwest model search. She was soon whisked away to Paris and quickly earned an exclusive contract with the House of Chanel. Karl Lagerfeld declared her his “muse” and deemed her the “Face of the 21st Century.” Kimora has graced the covers and pages of international fashion magazines such as Vogue, Elle, and Harper’s Bazaar. She has also modeled for some of the world’s most legendary designers including Christian Dior, Roberto Cavalli and Yves Saint Laurent in addition to posing for iconic fashion photographers such as Patrick Demarchelier, Peter Lindberg and Annie Leibovitz.
In 1999, Kimora launched the phenomenon known as Baby Phat with then-husband Russell Simmons – the President and Founder of Phat Fashions – as the counterpart to Phat Farm, his pioneering mens urban fashion brand.As the face of the brand and the visionary behind it, Kimora was the driving force behind Baby Phat and worked tirelessly to establish it as a premier metropolitan collection. When the brand first hit the scene, it was with tiny tees cleverly named Baby Phat (an acronym for “pretty, hot and tempting”) that were produced to electrify a Phat Farm runway show. When celebrities, supermodels and arbiters of style began wearing the baby tees, the phenomenon grew, and Kimora launched an entire Baby Phat sportswear collection. A lifestyle brand was born and expanded into over 20 product categories globally ranging from fragrance, jewelry, footwear and kids apparel to outerwear, handbags and intimates. During this time, Kimora also launched junior brands Kouture by Kimora and Fabulosity.
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
Modeling Poses For Photographers
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