How did you get into modelling?
It wasn’t a typical path. Before modelling, I worked for four years as a correspondent for music channels, with no connection to the fashion industry. After professional fatigue I resigned my position and I started looking for new opportunities and came across a job posting for an Intern at A.B.A Group modelling agency. They were looking for an assistant in the international department. The probationary period lasted a month, and the condition for being hired was to successfully send five models abroad. I sent seven and was accepted onto the team. Six months later, I became an independent booker.
What do you love about your job, and what don’t you like about it?
What appeals to me about working at an agency is the freedom. Many bookers work remotely, coordinating models from all over the world. I value daily language practice, as well as the opportunity to expand my network and professional connections. I don’t like the multitasking. You have to be a visa agent, a psychologist, and a lawyer, all while finding the best flight options, checking the agencies’ reputations, and accounting for time zone differences with different countries.
Does your agency have a policy?
We advocate for model freedom. We consciously avoid rigid, exclusive contracts and penalty systems often used by other parent agencies. Although we do offer a three year contract option, which is designed to be as comfortable and accommodating as possible for models. We strictly avoid working with models who already have an existing contract with another mother agency.
How do you think artificial intelligence will impact modelling?
Artificial intelligence has already become an integral part of our lives, and it is a reality we must accept. For my generation, millennials, this is especially challenging, as AI is perceived as something new and initially scary. Nevertheless, many studios and agencies are actively implementing AI models into their work. It’s still difficult to say whether they’ll be able to completely replace human labour; we’ll see what happens.
What will happen to modelling in a year or two? What are your predictions?
Studios and production houses will likely scale back, shifting their focus from volume to quality. Professionals accustomed to a steady flow of work are now facing a shortage. Although the modelling industry is experiencing a slight decline, strong models remain in demand. The key is continuous training and modernisation.
What advice would you give to new faces in today’s reality?
Learn foreign languages, regularly update your book, accept criticism and any comments adequately, and work on improving yourself. If your mother agency offers you something, don’t miss it. Truly significant opportunities only come once in a lifetime.
