Any prospective young models out there should give this a watch before they even consider skipping down to a modelling agency, photo portfolio in hand. This new fly on the wall documentary series, which started last night on Channel 4, shows us the true reality of selling your soul to the world of modelling. And it isn’t a pretty one.
The series follows Premier Model Management, in the typical what I call ‘action, description, action, description’ format. This style of television came from the US, where we’re shown about 15 seconds of footage then it cuts to one of the subjects talking to the camera/interviewer about what just happened (just watch about 2 minutes of ANY American factual show, you’ll see what I mean). Usually this format enrages me as it can feel patronising, however with this programme, the solitary moments in the tiny studio and a camera gives the subjects time to reflect on their feelings, worries, afterthoughts and conclusions, giving us a more human insight into the activities on screen.
Take, for example, the booking agent Annie’s maternal relationship with up-and-coming Premier model India Farrell. After being scouted by the company 4 years earlier, India had been carefully nurtured into becoming one of the agency’s top new faces and was promptly whisked off to New York aged just 16. We then discover that after being told not to put on any more weight (despite her waif-like physique) by some draconian New York agency, she breaks down and wants to quit altogether. We don’t see any of this happening, just a extremely stressed and tearful Annie, who clucks around the office wailing of how she just wants to help India, and how much she’ll regret not taking the opportunity now. In a lot of ways, it’s heartwarming to see somebody care so much for this young woman, although I can’t help but wonder how many girls go through the same horrendous experience at such a young age for the sake of this ‘opportunity’.
Modelling and the fashion industry are forever under scrutiny for the way they portray beauty and perfection and this programme makes no apologies for having such standards for young men and women. “They should look like they’re from another planet”, one of the booking agents assures us. He does have a point, if models did look like ordinary people, then there wouldn’t be such a demand for them. Ultimately, I like the show for its honesty and frank nature when it comes to such a bitterly brutal industry. As agency boss Carol White so poignantly puts it “Your product isn’t a bottle on a shelf. It talks back.” Sad, but hopelessly true.
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