Creative Director, Editor: Staley Cook
Photographer: Will Shively Photography
Betsy Stevenson, Calvin Klein, Royal Factory Atelier, Olivia Mitchell, Jody Krevens, Staley Cook
Felicia Jimenez, Adrianne Ahlswede
Lindsay Mikesell, Dustin Von
Kt Knilans, Lauren Held Barber
Special Effects MUA: John Wright
Paul Michaels, Justin Korn,
Amelia Binderfolder, Ebony Renee Hatcher,
Bailey Dawn, Kathryn Fogo,
Assts: Abbey Swihart, Gabe Botkin, Sara Hussain
BTS Video: Karl Michael Allsop
Catering: Taste of Belgium
Creative Director: Staley Cook
Host Photographer: Will Shively
Set Producer: Kathryn Fogo
Studio Asst: Aldo Corona
Camera Asst: Katie Proctor
Gendala Kelli Anna, Ross Schultz,
Leigh Restivo, Tony Anders
Kt Knilans, Christine Chamness Langston,
Marissa Bender, Helene Palone
Stylist: Anna Wonn
Ruby Hill by Aaron James, Elizabeth Ashleigh Designs,
Cierra Lauren Designs, Ryan Charles Richmond,
Rock and Royalty
Staley Cook, Emma Schutte,
Jessi Lynn Neidert, Nick Horner,
Chimere Sullivan, Fahad Aftab,
Josh Ware, Kyle Endicott
Andrew Banacki, The Cake Chick,
Brother’s Drake Meadery, Little Tree Studios
Edited By: Christopher George
Shot & Produced By: Silver Lightning Media
There isn’t a model, makeup artist, or photographer in the business who is unfamiliar with the industry acronym TFP- Time For Print. To those not in the industry, time for print represents a professional exchange of services and talents between the various members of a photo shoot’s creative team. Generally speaking, models will pose in exchange for copies of the final photographs, and in turn, photographers go unpaid but are able to build their portfolios. The same goes for the makeup artists, stylists, producers, etc.
The letters TFP may generate a wide array of emotions within those in the industry, as most professionals have had their fair share of “bad experiences” with TFP shoots.
When money is not providing accountability, models may be unreliable, photographers may be sleazy, and agreements can go unfulfilled. However, ideally speaking, proper TFP shoots are indeed professionally secure book builders that result not only in beautifully established portfolios, but also rich learning experiences for everyone involved. How to behave on set, work in a team, refine your technique, contribute without over stepping, and follow an itinerary are all vitally important industry skills that only come with experience. Most importantly, receiving beautiful artwork as the end result, like a wonderful gift spawning from everyone’s combined talents, and utilizing it as a base to generate profitable future opportunities.
TFP shoots are like tryouts for the fashion big leagues, as artwork from the shoots are often sent as “auditions” to major magazines. National fashion publications charge a hefty fee for their contact info, but when you have it, making every shot count is crucial to impress an art director enough to procure yourself a shot at a published ad, spread, or even cover. Most are not aware that VOGUE only pays their models $150.00 to pose for covers, no matter how big of an “A-Lister” that model or celebrity may be. The point of gaining covers is not to be paid well, but the exposure and resulting advertising and credential one procures. Should Anna Wintour’s office call you requesting your participation with a cover, would you turn it down just because you didn’t think the pay was good enough? Yeah, I didn’t think so.
Industry standard requires a minimum of three published, for–print editorial covers for a photographer/ model/ talent to be considered “professional.” So a photographer, for example, profits immensely from a portfolio featuring their work on covers as aspiring models will therefore book with their hoping to land a cover for themselves. Likewise, models get paid higher rates when big name clients contact that model’s agency needing a well-known, recognized model to showcase their brand’s products, fashions, or companies. The same goes for hair and makeup artists, stylists, and producers. It’s like a glamorous money machine that runs on fuel called the aspiring and up-and-coming. Money is the last thing anyone makes in editorial work, at least initially, but as the saying goes, “you must spend money to make money.” Once you have established a means of showcasing your talent, and properly networked into the right circles, you can sell that talent to the highest bidder.
As my godfather, Will Shively, always taught me, “You are only as good as the people you surround yourself with.” The 2012 STALEY DESIGNS BookBuilder shoot brought together a team of 30 Columbus based talents to create editorial worthy fashion photography with the intention of shopping the images to various major magazines, seeking a spread in an upcoming issue. As the shoot’s Creative Director and photographer, it was my responsibility to ensure all parties remained on task, the itinerary was followed, and the aesthetic vision and standard of the photography was maintained throughout. From beginning details to finished product, it is all about assembling, elevating, motivating, and guiding the team. The success of the shoot was beyond the beyond, shooting 18 looks on 6 models in full hair, makeup, and styling changes in less then 8 hours. Here is a list of my wonderful team that day…
TFP Shoots are one small part of the stepping-stones to greatness in the fashion scene. I look forward to my next big book builder in the fall, and am so grateful for the time and energy of all involved. I also remain hopeful that one of my near future blog entries will feature the article, spread, or cover that my team and I will be producing for any number of major magazine as a result of the 2012 STALEY DESIGNS BookBuilder endeavor. Onward and upward, and always in designer shoes!
When someone says the word, “Fashion,” what cities come to mind? New York, Rome, Paris, London, Milan to name a few… but Columbus, Ohio? Not hardly. And for good reason. Despite a strong presence of major brands settled right here in the midwest, Abercrombie, The Limited, Pink, Victoria Secret, DSW, and Express just to name a few, the local Fashion scene has struggled to have any level of real relevance besides grass root efforts from groups trying to shift the norm. The economy, brand’s red velvet rope, and the paperwork of paperwork do not make this effort any easier. The bar indeed is high, but recently those determined fashion few have grown into stylishly stubborn hundreds, and even thousands, with more and more Fashion Shows popping up throughout the city of Columbus, featuring local designers and their respective collections. There truly is something to be said for the determination and development of an ever changing, growing city culture, and a passion for fashion seems to be at the forefront of Columbus’s most recent social developments.
Fashion shows in their purest form are not just a gimmick, entertainment, or party base. They are the bread-and-butter evaluative moment of a major part of our economy’s financial and artistic health. Not everyone is “into” fashion, and that’s just fine, but no one should deny its importance. That runway represents a significant landing point of the newest and freshest ideas, opinions, and thought, meant to stimulate, inspire, and cultivate culture, class, and an enormous aspect of art. Miranda Priestly, the fictional character from the film “The Devil Wears Prada,” based on the book by Lauren Weisberger, puts it so correctly, albeit theatrically and cold, when an assistant snuffs at the idea of fashionable details being worthy of any significant relevance—
Consider the “big picture” perspective. Remember that Fashion contributes to nearly every realm of our culture, as it has for all civilizations past— Sports, Politics, Music, Advertising— the list goes on and on. Additionally, as fashion plays a major role in defining social class, I ask my readers to question if that’s all bad? Are people groups generally lowered with such standards, or are they heightened? Is fashion’s involvement in articulating social class levels mutually exclusive to defining personal character or individual experience? Ultimately, fashion is a form of art and therefor a means of communication, opening a multi-faceted dialect that words may struggle to stimulate. This is what fashion shows and their responsible parties are, in part, meant to bring together as an exciting outlet, showcasing designers’ talent as both dynamic metaphor and personal contribution to a culture. When a runway show is done correctly and well, every associated party benefits.
That a city like Columbus is developing an ever growing fashion presence excites me beyond words. The movement is finally expanding beyond the two-mile stretch of the Short North into our suburbs and neighborhoods, where the next generation of designers is being reached. With passionate organizations including but not limited to CMH Fashion Week and Highball Halloween, and the efforts of charity events like The Golden Age and Models, Martinis, and Movie on the Mile, local designers and therefore boutiques, bloggers, and buyers continue to find substance and opportunity to expand and profit. Columbus must consistently call forward talented designers throughout the Midwest, provide opportunities to showcase collections, and cultivate support with local sponsors and even major brands. Fashion is not and should never be only about making money but making statements that positively change, inspire, and free people.
Anyone can follow popular fashion guidelines, but not every city has an individual sense of style. It’s time to burn those stereotypically midwest khakis and start wearing what’s true to our inward self on the outside self. Take advantage of this united fashion front movement! Volunteer, sponsor, and support those worthy organizations working to make our state capital a hub of style and diversity that cannot be ignored.