The Untold Issue One

The Untold magazine 1The Untold Magazine 1

The UntoldIssue #1

The Open IssueThe isssue where everything goes

Fashion, Art, Photography

The Untold Magazine 2

index/ credits

credits

Editor in chief Callum Bird. managing editor Sabrina Cooke. article editorials Sophie Biddlestone, Jade Shaw & Tolmeia Gregory interviews Lizzy Meow & Elsa Dinletir contributors Bonnie Leeman, Red Tweny, Shin Kwangho, Christopher Korakianitis, Laurent Giguere, Zewar Fadhil, Gevorkyan Ashot, Olga Martzoukou, Agnes Talarska, Alexander Loginov, Ifigenia Tsitsa, Jade Diebelius, John Baptiste Fort, Marianna Orlova, Michela Riva & Ravena Juliart. Front cover Marc Lamey


Photography

Art

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12

16

20

26

36

42

44

48

58

Bonnie Leeman

Red Tweny

Shin Kwangho

Lizzy Meow

Elsa Dinletir

Christopher Korakianitis

Laurent Giguere

Zewar Fadhil

Gevorkyan Ashot

Jade Shaw

index

MAY2013ISSUE#1

Interview One

Article One


8 1644

98 Tolmeia Gregory

Article two


746488

Fashion

64

66

70

72

74

86

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Agnes Talarska

Alexander Loginov

Ifigenia Tsitsa

Jade Diebelius

Jean-Baptiste Fort

Marianna Orlova

Michela Riva

Ravena Juliart


art



LeemanBonnie Leeman, 22, Loughborough, Leicestershire

Title: Courageous HeartOil on canvas

To Commemorate Armistice Day 2012



Bonnie Leeman, 22, Loughborough, Leicestershire

‘Any Human Heart’Pencil colours on acrylic pad

2013


I am a traditional artist who works in a variety of mediums including graphite, coloured pencils, oil and

acrylic paint. I am heavily inspired by classical work, such as the beautiful use of warm colours in the paintings of the renaissance artist Titian, to the sentimental beauty of the artwork in the preraphaelite and victorian paint-ings such as that of Sir Francis Ber-nard Dicksee and John William Walter-house. I enjoy the work of 20th century fantasy artists such as Frank Frazetti and Boris Vallejo for their masterful representations of the human form and movement. I also look at the stylised work of Art Nouveau artist Alphonse Mucha and I admire the mesmeris-ing simplicity of Japanese paintings.

Title: Quitters Never Win, Winners Never QuitPencil colours on acrylic pad

2013



TwenyRed Tweny, 48, Rome, Italy

Title: Checkmate



(Top Left) Title: Dancing with the Heart. (Bottom Left) Title: Waiting without Hope. (Above) Title: A Free Condemned


KwanghoShin Kwangho

(Above) Title: Untitled, Oil on Canvas 130cm x 162cm 2013 (Right) Title: Untitled, Oil on Canvas 65cm x 45.5cm 2013



Title: Untitled, Oil on Canvas, 116.5cm x 90.5cm 2012 Title: Untitled, Oil on Canvas, 33cm x 24cm 2013


Title: Untitled, Oil on Canvas, 162cm x 112cm 2013

C omplexity of human emotions, which is hard to be defined in one word, is left as momentary traces on the emp-

ty space, after the long agony of the artist’s inner side. The ‘complexity’ is a kind of action which is come by completely ab-sorbing and assimilating with the artworks while he holds the brush in a brief, and from the moment that the colors arrive on the screen, and the shape is built, the fear of blank space is collapsed, and his inner side’s fear and the ecstasy from the fear coincide. This moment is the process that the artist takes out something from his inside, and also is the climax of the energy that he cre-ates the pieces.“ (Myung-Jin You, Curator)


Hi Lizzy Meow, how are you doing today?

I am fine, just a bit tired, I’ve been shooting as day. It was a fashion editorial shooting in an old flat, atmosphere was great, everything was a bit shabby but the clothes on it looked glamorous. We shot like five different sets with different styling and all that so it took quite long, brilliant results through so I am very happy.

So Lizzy, how long have you been modelling?

Well, I have started a bit more than a year ago when I was asked to be on a flyer for an alternative party; the photographer contacted me while shopping in a gothic shop and I was really happy about this. Modelling has always interested me and as someone had come up to me I decided to give it a try. I signed up to an agency and collected shots for my portfolio, and now I am a freelance model. In my opinion, it is better than being agency bound because I can decide what to accept and what to let go – also I don’t have to share my fees with anyone.

Sounds like you’re living the life – what agency were you with?

It’s good now as I can do the jobs that I wanted and schedule everything myself. I really enjoy it. I was with an agency in Vienna that also showed me how to walk properly on the catwalk and other basics. I might sign up to another agency soon, but only if this is not an exclusive contact.

Were you born in Austria then, or did you move over there when you were young?

I was born in a town close to Vienna and moved to England after my A-Levels, then moved back to Vienna about nine months ago and af-ter this summer, I will either go to Berlin or Amsterdam. I haven’t de-cided yet, but I definitely want to go to a different country again.

“I’m not an artist – I don’t want to be an artist – I’d like to be the art – I am the art!”

By Sabrina Cooke

Interview



You seem to be quite the traveler; do you feel that the experience you gain from other countries can give you the edge in your industry?

Yes, I love travelling and I tend to get bored after some time and I get the urge to move on. I can understand that travelling and work-ing together with different people can help. You adapt for each shoot because the person you work with is different and wants differ-ent things of you, so it has certainly helped me to be more flexible and changeable. Of course it’s also good to work internationally because you get more chances for bookings.

It certainly gives you more freedom – what would you say your most important shoot has been in ways of aiding your career?

That’s a hard one because every shoot gets you further as you meet new people and then

they introduce you to others and so the word gets spread. I don’t think that there is one most important shoot, but my favourites are of course the ones abroad where I am surround-ed by totally new people and opportunities

So what work do you do and what levels do you work up to?

Well to sum it up quickly, I do everything between portrait and fetish fashion shoots. I don’t do nudes but I can be booked for fash-ion shows as I am a trained catwalk model. I do photoshoots, videoshoots, lookbook shoots for designers and workshops for pho-tographers. It’s quite a wide range really, but that’s the fun part as it never gets boring.

How much do you usually charge for you shoots, or does it vary on the type of shoot?

I get this question asked by a lot of people. My


fees vary from shoot to shoot as it depends what the photos are used for. Sometimes I get booked for workshops or campaigns and the company or photographer booking you offers you a fixed rate and you either accept or deny. If it’s a commercial project like for a Cd cover, the booker will use it to earn money, so the fee I accept is way higher than if it is just a pho-tographer booking you to extend his portfolio.

You’ve said that you don’t shoot nudes – but what is your opinion of them from a model’s perspective? Do you find them artistic or just something that is unneces-sary in fashion photography?

I think that nudes can be very beautiful and artistic if shot by a great photographer. If you have a good body and feel like doing then why not. But it’s not for me as I want to have fashion as my main focus. Sometimes also in fashion photography it might be necessary to do hidden nudes. For instance, if a naked back

or something is important to transport the message of the clothing. Of course I haven’t got anything against that, as long as the ‘im-portant’ parts are hidden. A few times though, a photographer just wants to see the model na-ked and that’s a no-go. That hasn’t happened to me yet, but I have heard of bad stories about photographers and model friends of mine.

Apart from modelling, what else are you doing with yourself?

I am still studying fashion design, and I am currently in a masters of tailoring course that will end in late May, then I will be revising and practicing until September for the main exam. After I have finished, I will be concentrating on my modelling completely. Modelling is my main income, and through the last five months it has started to get better and better. At the moment I am really happy how everything has turned out. Hopefully it will stay that way.


Are there any dream shoots that you wish to be a part of, or any part of modelling that really interests you at the moment? There is one on the list to do! I have al-ways loved underwater fashion shots, but not in swimming pools, that’s a bit too normal. I would love to have a job wearing beautiful gowns underwater in the actual ocean, with the fish around and so on; like an underwater fairytale. That would be pretty amaz-ing to see. Have you ever used be-ing a model as a pick up line? That made me laugh! No I haven’t, yet I am a big fan of cheesy and funny pick-up lines; they break the ice I think – some-

thing funny to start a conversation with. I do get loads of weird messages from men that I really don’t want to ever meet, so I think mentioning you’re a model in the first place is a bit of a turn off. To finish with, what’s your cheesiest pick up line then? There are so many really. Some like ‘See my friend over there? He wants to know if you think I’m cute’ to ‘How much does a polar bear weigh? Enough to break the ice’. But I do think it’s far better if men come up with a funny pick up line be-cause it’s a bit awkward for a girl to do it. w w w . l i z z y m e o w . c o m



Hi Elsa, how are you today?

I’m good thanks; just finished a cupcake sale for an exhibition I’m planning with some other photographers for my uni class - we managed to raise around £200.

Excellent, am I right to say that your study at Anglia Ruskin Univeristy?

Yes I am. This is my last year - I was doing the FdA course and then pro-gressed onto the BA. I was one of the last students to study the FdA course because it’s not available as a course at ARU anymore. It’s not too bad, I al-ways argued alot with the tutors there, although one of the teachers that I had on the FdA, Hag, was really good. none of them really apprecieated fash-ion style photography so it was difficult. They always said things like ‘eve-ryone always wants to do fashion and then they realise that isn’t not good’.

It’s a shame, but it seems to me that your doing fine now. Your style seems very different to the normal, how would you class your style of work if you had to?

I’d say maybe something like conceptual abstract work maybe. I like to experi-ment with my photography. I do mess around with post-production, I like to play around with the curves settings on photoshop. I’ve always been changing colours in my photography, even my earlier stuff from the beginning of 2006.

The majority of the work that you have produced is very colourful. The edito-rial that you have submitted, Autumn Attic, is full of colour - was that inten-tional, or something you decided to add after in post production?

The colours were already bright because ofthe collection, but I still like to enhance and modify colours in all of my work. I think post-process-ing is a very important part of photography, especially now that we are us-ing digital cameras. Post-processing is like using the darkrooms and play-ing with different chemicals to process the film or the filters we would use.

I was quite rebellious as a kid so photography was everything that was the opposite of what I was meant to do.

By Sabrina Cooke

Interview




Exactly, post-production can be a lot quicker - do you think that film will become abandoned as a way to take photographs, or do you think that there will always be a gap in the market for someone with the skills to take an analogue photograph?

I don’t think that is will ever be abandoned, if anything it will become more appreciated. For example, right now in the music industry being able to play instruments has become more important after the wave of electronic music kind of took it’s place. So I believe the same will happen in photography. I mean, you can see it from simple apps such as Instagram. People look for these film-like styles.

There is definitely a look to film photography that will always be hard/impossible to replicate through a digital medium - what is your prefered equipment list at the moment?

I’ve just recently purchased a 6D so right now I’m loving that. Apart from that, I have my much loved 50mm f1.4, and as 35mm f2.0.

Do you think that the equipment makes a

photograph, or the photographer?

Definately the photographer. Most of the photos that I used in the portfolio that got acceptedd at Anglia Ruskin were taken with my phone, but heavily edited in GIMP - I didn’t have photoshop at the time.

It just goes to show that you don’t need the best software to take a good photograph.

Exactly, I actually think that I used to be more creative when I had worse equipment because it forced me. I think that I have become lazier over the last couple of years and have just recently realised it. Basically, when I had a simple Canon Powershot A550, because the quality wasn’t so great, I was spending more time editing and cropping, making sure the photo looked good. Whereas when I got my Canon 450D, because the quality is so much better, I got lazy.

I know what you mean from experience, creativity seems to die away when photography gets easier - when did you actually realise that you wanted to become a photographer? Were you

one of those children who got a camera for their birthday and never let go?

Basically yes - I started carrying my parent’s Kodak point and shoot around everywhere I went. I had this little camera bag that I had attached to my hand at all times, and then I begged for a better camera and gotthe A550.

I went to a French school where you can either pick literature, science or economics, and my parents made me pick science. Plus I had to do all the extra curricular stuff. I was also learning how to play the violin so photography was my way of running away from it all.

Eventually I failed high school because I was doing too much photography. But that got me into Anglia Ruskin. I could have been a DNA researcher, can you believe that?

How come you decided to go through the photography route rather than that?

It’s much more fun. Also I was quite rebellious as a kid so photography was everything that was the opposite of what I was meant to do.

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So what is the story behind the Autumn Attic anyway?

Basically, I went out to see my friend, and the woman behind Au-tumn Attice, Leanne was also handing out with her. We were talking about photog-raphy, and an upcom-ing photoshoot I was already planning and she took my details. The next day, she said she needed a photog-rapher for a Vogue feature she has and so we met up the next day and did it in her gar-den/house.

When you do your shoots, do you find that the designers or clothing influence the shoot, and change it into something more than what you had planned?

Sure they do, every-thing influences the shoot, the location, the clothes, the makeup. I don’t plan much ei-ther, I like to do things in the moment.

And lastly, do you have anything planned for the fu-ture?

Yes, we have our grad-uate exhibition com-ing up. It’s the 25th - 30th June, and is at the Hoxton Gallery, The Basement, 12-18 Hox-ton St. London N1 6NG.

Our website is

www.wesurveil.co.uk

www.wesurveil.co.uk


photography



KorakianitisChristopher Korakianitis

(Above) Title: Untitled, Oil on Canvas 130cm x 162cm 2013 (Right) Title: Untitled, Oil on Canvas 65cm x 45.5cm 2013



“I’m a professional and collaborative photographer/digital artist from Greece

and I prefer shooting on location with natural light.Although I dabble in all photographic genres (architecture, nature, advertising, event),but my passion is in portraiture photography.Photography is a passion that needs to kept as that alone,both the model and photographer working in the same zone to produce a frozen moment of visual art that can captivate the viewers imagination.”






GiguereLaurent Giguere

I am a student from Montreal, started photography two years ago with an iphone, progress to a digital camera and started this way. At the moment I’m more using film than digital. I’m a black and white artist for the reason that I don’t want colours to

interfere with the emotions and only the elements present in the pictures talk something.This series is called spotless Mind. The flat composition makes myself parallel to the wall and let me project my emotion on a piece of wall, as if the flat wall was a mind and the cracks and stain represent the glitch of the system.


FadhilZewar Fadhil

(Above) Title: Dead City Dreaming; Nightmares cause mind-numbing fear to poets and artists all over the world. Strange visions are haunting their sleep; A city of madness

that lurks in the deep.(Right) Title: Lost in a Dead World with Broken Wings; The world is falling so cold and

grey. Shallow and empty life lingers on.



< <

Title: Angels of Distress; Come closer for myself, and let your angels fly away. As I am, forgiven by them, my angels. Feel mine cleansing touch, fall through your worlds, fall, onto me. Let me caress you, let me take you through my worlds. Let them, (my angels), taste you with this night, with this tounge of this might. Perish, onto us, feel your mind weaken, your cold body withered, let us, take you far of this night, far away within distress to do.

Title: Be Silent in that Solitude; Be silent in that solitude, which is not loneliness, for then the spirits of the dead, who stood in life before thee, are again in the death around thee, and their will shall overshadow thee, be still.


Title: And we are Nowhere to be Found; When we have all gone, to the silence of eternity. To first be forgotten, and lost in, the records of the Earth could I still miss you, then, in the time and space after life when no one is searching anymore, and where we are nowhere to be found.



AshotGevorkyan Ashot










Fashion & Art.Are they the same in one?What is art? The dictionary defines it as an expression or application of human creative skill and imagina-tion. Art is subjective. Take for example graffiti artists. Some call them artists, others call them vandals. A Damien Hurst piece could express so much depth and feeling to one person, and to another look like a shark in box, and nothing more. So, when the debate over what art really is can be so heated, how do you really

know what is and isn’t art?

By Jade Shaw


How do you even attempt to put fashion into one

of those boxes?

If you look purely at the definition of art, taking out subjectivity, personal opinions and any other varying factors, then fashion is clearly an art form. Fashion thrives on a designers creative skill and imagination, and their application of that skill into fabric, that will be worn by men and women throughout the world. But, unfortunately, nothing can ever be that simple, and it takes a lot more to convince people than quoting the dictionary at them.

To further the argument, you could look at all the other forms of art that stem from fashion. Before an item of clothing is even made, the designing must take place. A designer channels their ideas from pure imagination onto paper. A design is sketched, erased, drawn again, filled with colour; by pencils, paints, inks, the list can go on. Fabric is found, or even created. Minute details are enlarged to show detail meant to

catch the viewers eye. Surely, designing itself is art in its purest from, art aswe all think of it?

Then, there is photography. Another skill, which when done correctly, most of us think of as art.Photography is a huge part of the fashion industry, taking those finished clothes and placing them inan environment that truly shows their beauty to the public eye. The photographs of clothing must show them in their best light, in a way which gets the mood, cut and shape across exquisitely. A constantly evolving gallery open to public scrutinization as soon as they open a magazine, or walk into any number of stores on the high street. An art which can be viewed at a whim, and bought inthe next.

One, of course, can not look at fashion without looking at the runways that first show the public a designers newest creations. Gone are the days when a runway was just a long cat walk in a blank room. The modern day runway shows see creations being displayed in

wild, imaginative, and sometime absurd settings. Chanel’s 2013 couture collection, an ethereal, slightly wild collection,was shown on a cat walk working it’s way through an eerie indoor forest. When considering the question of whether we should consider fashion as art, this is surely something that needs to be taken into account? Like any museum or gallery would create the perfect atmosphere and space to show art pieces, so, it appears, does fashion. A sign of an artistic flare to create perfection.

Still not convinced? Try thinking about it from a different angle. Think of the human body as a blank canvas. With clothing, you can add colour, texture, depth, and volume. You can create a new persona, broadcast an emotion, a part of oneself that may otherwise be lost to passer’s by. Think of any girl you have seen in a red dress, a rather emotionally intense colour. Red allows youi mpressions of sensuality, passion, and love. It can also bring feelings of rage, anger, courage andmalice. It

can be an invitation, or a warning. That girl in a red dress could bring to you as many different emotions as you would receive looking at a Van Gough painting. A designer must think of how the colours they are pairing together in a design will emote when worn - just as a painter must think of these implications when they apply colour to a canvas.

Take a look back to the summer of 2012: a collaboration appeared in the UK that took the fashion world by storm. Britain Creates, an art-fashion concept project backed by the British Fashion Council and Harpers Bazaar, took the English Fashion World by storm. Intended as something tocommemorate the Olympic Games being held in London, the project saw designers and more“traditional” artists coming together othing. Not only does this show designers are more than capable of moving their artistic skillsover to sculpture and paint, but it shows a willingness from the art world to accept fashion into its loving embrace to create works of art


only one of which was an item of clothing. Not only does this show designers are more than capable of moving their artistic skills over to sculpture and paint, but it shows a willingness from the art world to accept fashion into its loving embrace.

This is not the first time designer and artist have combined, either. Collaborations have always appeared in the industries. With graphic design being one of the main ways to create print for fabric, perhaps it has always been essential for the two to merge. Although a designer may live and breathe their designs, a graphic designer is normally brought in to bring the pattern to life. This by no means discredits an designers artistic ability, but instead highlights a willingness to work together amongst different areas of the artistic community. It adds a little extra art to something already oozing in it.

Naturally a debate this big is not full of people backing a certain side. As with any discussion bothsides have a voice, and some of those who consider fashion and art to be separate entities are some of fashion’s biggest names. Karl Largerfeld, perhaps one of fashions biggest names, has been quoted as saying that any designer that calls themselves an artist is “second rate”. A host of others agreewith him, but there are plenty of designers that would gladly be considered second rate by Mr.Largerfeld and hold on to their artist’s title.

Ultimately, this a debate that will always stay open, with both sides never able to reach a mutual conclusion. But if a vintage car or rustic bridge can be classed as a work of art, why not those infamous Louboutin shoes holding a place of pride in your wardrobe?


Title: Reloading, by Christopher Korakiantis


Fashion




TalarskaAgnes Talarska

I was born in Poland in 1990, and in 2010 I started my way into photography. I love the excitement that comes with portraits. I scout for the modeling agency Myskena and Ml studio. The photos show my character. When

it comes to my photographs, I find it important to be different from the rest.


LoginovAlexander Loginov

I was born and grew up in a small industrial town. I was inspired photography as long as I remember myself, then I started researching this field more directly by books and master classes. I worked on several local issues as a press

photographer, but my favorite course is a portrait with expressive accent on faces.

Title: Homelight; When the luster installation is broken seems like it is a good reason for desperate measures! Desperate measures can become fun-ny games. Funny games figure in creation. So the broken luster instal-lation easily becomes happy concurrence, than a failure or a trouble!


Alexander Loginov




TsitsaIfigenia Tsitsa

Ifigenia (aka Crow’s Reign), born and raised in Thessaloniki,Greece, has shown a love for the arts from a very young age.She has a passion for literature and poetry as long as painting and collage.Her big love is music with the sounds to go to

a huge range of classical composers to extreme forms of metal.Among her intrests are traveling and foreign cultures and languages.At the same time she is studying Chemistry at the Aristotle University of Thessaloniki, specializing in Biochemistry and Biotechnology. With modeling she started working seriously 4 years ago although she used to work occasionaly earlier. During those years she managed to work with a variety of important Greek photographers in many different styles such as fashion,glamour,rock, theatrical and even horror and macabre. In the future she wants to know and work with many more people from different countries around the world.



DiebeliusJade Diebelius

I am a 20 year old model from Plymouth and photography/ modelling is a passion of mine. I love creating dark images emphasizing

power, innocence or isolation. I find there is nothing more satisfying than when you nail the look you are seeking. Inspiration wise I get most of mine from Victoria Francis I love how beautiful and feminine yet dark her work is.



FortJean Baptiste Fort

I’m a fashion and beauty photographer with about 8 years of experience. I share my time between two cities: Barcelona and Paris. Today I’m a lucky person to be able to travel, to do what I love, to work only

on the projects I like to be surrounded with the talented and professional people who I admire. This allows me to stay true to my vision and grow as an artist.

Credits

Model: Emma Elite Model Management Barcelona

Photographer: Jean Baptiste Fort

Style/make-up/hair: Elena Fort













OrlovaMarianna Orlova



RivaMichela Riva

I’m a freelance photographer from Trieste, Italy. I’m 30 years old and I’m a professional, starting my own business 1 year ago but my passion for photography started since I was a child. During the last 2 year I did 2 personal exhibitions

and 1 collective. I have been published on PhotoVogue, L’Image Magazine, fART Magazine, Literary Orphans and other online and print publications. Regarding influences, I studied Art History for many years so I think painting has influenced a lot my photography. My favorite photographers are Annie Leibovitz, Tim Walker and Steven Meisel… I really like works by Lisa Carletta, Lara Jade and Emily Soto.

Title:

“Lady of the Lagoon”

Credits:

Photography by Michela RivaModel: Irene Florean at Exit Models Agency

Make Up & Hair: Cecilia Carbonelli Styling: Michela Puzzer

Photo Assistant: Cristina Salvi








JuliartRavena Juliart


My name is Julia, I’m 23 year old, and my pen name is Ravena Juliart .

I’ve been graduated from Pedagogical State University, my speciality is graphic designer. I also do professional photography for 4 years! I have alway been inspired by unordinary photographers and artists, who can stick to their style, anyway, I’m still looking for my own style. Soon you will be able to see more photos, paintings, engravings and graphic compositions.



ModelThe Modelling Industry

In this modern society, the modelling industry is one of the most influen-tial industries there is. It is an industry that sucks us into buying things be-cause they look nice, or be-cause a certain person has worn it. But there is always one person who ruins the show, they make people feel like they aren’t good enough, they make us feel ugly, they are the models.

As a fashion blogger, and a tween, a lot of people

think I am more innocent to fall into the ‘I don’t look good enough’ trap, but we’re all as innocent as each other. When we look at models in our favourite magazines, they all look ‘good’, which makes us look at ourselves, and think ‘Why am I not that?’. Imagine if we stripped out modelling, and there was no such thing, we would all go about our lives think we were the most marvellous living being on the planet. We wouldn’t wake up in

the morning and slap on a thick layer of foundation, and we certainly wouldn’t be on diets. These things have only been put into peoples daily routines, because of the industry, yet most of us are oblivious to why that is happening.

The definition of a model, is a person who is employed to advertise and promote commercial products, such as a piece of clothing, or the next big ‘CC’ cream. It’s a chance for a brand to

show off their products on this stunning woman (or man), so that we think it looks fabulous. Models are people who pretty much, make things look good. In my view, the real models are the people who are going to be wearing them, with their own style. The people of the streets, the bloggers, the young girls, the sport luxe loving teen who has to wear everything camo, sort of people.

By Tolmeia Gregory


Before this Sunday I’d been saving

up for Dr Martens, the classic 1460s black pair. My love for DM boots started from when I was out with my family and I saw a girl wearing a floral pair of jeans, and a nice shiny pair of white boots. I saw them, and thought about how much I would die for a pair of them, and now a Black Shimmer pair are on my feet. But, I didn’t fall in love with them because a model was wearing them, I fell in love with them because a real person was wearing them. Dr Marten adverts don’t excite me that much either, I only really do a happy dance when people walk by me in a street wearing a pair. No joke, I actually jump up and down on the rare occasion, and perhaps I will get a little bit excited when I see a pair in a shop window, but other than that, I won’t be too thrilled unless they’re on my own feet. The point in me saying this is because I think we over estimate models. We think that they are perfect, and we should look like them, when

really they’re just here to sell things.

The effects of the modelling industry to young girls is actually getting quite serious. It’s one of those things that I can definitely come to terms with, but people may just forget about. In the past 10 years, in the US, 80% of children want to change their appearance, and this is becoming more and mm 1ore of a reality. More than 50% of 10 year old girls, want to loose weight and become thinner, which I find as a 12 year old, quite unbelievable. I’m a small girl for my age, and I know girls who are like that. They say that they need to go on a diet, or they’re ‘fat’. It’s ridiculous, I will tell them that they’re fine, and that it’s just their age, but it really won’t change, it’s all being influenced by the things they see around them. It’s not just young girls. In your lifetime over 50,000 people will die because of eating disorders which stem from trying to change appearances. Some girls or women, will be looking up to

celebrities or models such as Cameron Diaz, who’s BMI is actually at the level class of Anorexia. The fact that girls are actually trying to look like models who could actually be unheathily thin, is actually quite worrying, as only 5% of the female population will actually achieve ‘a model’ look. I was looking at some of these stats, and was horrified.

It’s not just the public who are effected though, it’s also the models themselves. At school one day we were talking about a similar subject to this, and we ended up on the topic of models diets. We were reading a newspaper article and it had a bit about a model who only ate grapes, and that sounds ridiculous, but it was true. Some models aren’t just effecting young girls, they’re making themselves ill too. They want to make themselves look better, and the best they can be. Their agencies, want them to be this perfect ‘Size 0’, but their bodies are screaming at them saying ‘Don’t do it!’.

We’re not meant to be doing this! We’re either too big, we can get ill, or too thin, we get ill, why can’t we just stay normal?! And that’s not it! If it isn’t models, it’s airbrushed celebrities, which is still as big as an impact.

The answer is simple, we can’t change what we all think about ourselves, unless we have no airbrushing, and we have normal people modelling, but that’s never going to happen. There are so many different things that people will look at, and there is only going to be one winner. Money. The fashion and beauty industry would stand no chance if there wasn’t modelling, which is a shame, because from what I’ve learnt, it is damaging young girls and ordinary woman. It puts a perspective of a perfect woman which they ‘need’ to be, in their minds, and that’s never going to stop, because the modelling industry is an influential monster, and all we can do is try and teach people that they are perfect how they are.


Issue #2The Portrait Issue

Now taking submissions

Issue two deadline for submission is June 23rd 2013. All submissions must be submitted before that date otherwise it wont be considered. Submission requirements and terms and conditions can be found:

www.theuntold.co.uk/contribute

By The Untold

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Documents

The Untold Issue One