‘It Felt Disposable’: Models (Aged 27 and 62) Discuss Botox, Weight Loss, Creativity, and the Impact of AI

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When we imagine models, they often appear as glamorous individuals who command high fees for their work. However, New York’s Daniel Maleka, 27, and London’s Dee O, 62, reveal that the reality is often a challenging quest for visibility.

The fashion industry is also rapidly evolving. Since O began her modeling career in 1983, the internet and social media have dramatically altered its dynamics. Currently, she’s adapting to trends such as:
AI models appearing in “VOGUE” and
the effects of GLP-1 weight loss drugs.
O and Maleka recently convened to reflect on their careers across different eras.

What’s your story?
D-O: I grew up in Birmingham, from a working-class Irish immigrant family. My boyfriend entered me in the “Face of 1983” contest without telling me. I was about 17 or 18 then. Out of the blue, Look Now magazine called, inviting me as a finalist in Birmingham. Though I didn’t win, the agency still wanted me to represent them, leading me to travel frequently from Birmingham and catch a bus from Victoria at 2 AM after a less than appetizing sandwich.




Composition: Christian Sinibaldi, The Guardian

Daniel Maleka: I was raised in New York by Guyanese-American parents and was inspired to model by watching America’s Next Top Model. Though my family urged me to focus on university first, I explored modeling a little during my teenage years. While studying public health at New York University and running track, a teammate who loved photography helped me take my first photos. As fashion week approached, we reached out to casting directors and designers via Instagram. I eventually signed with WeSpeak, a boutique agency founded by models.

How has your career evolved since then?
D-O:
At 29, I decided to step away from modeling for a regular job. I pursued education, but my daughter, now 27, inspired me to return to modeling, something I initially disliked. Five years later, I found my passion again and signed with Gray Agency, which offers a diverse range of models and continuing opportunities without the stress I once felt.

DM: After five years at WeSpeak, I felt I hadn’t reached my full potential, so I tried a more traditional agency for a year and a half. We clashed often, eventually parting ways. I found my way back to WeSpeak while scouting for a UK agent during a London show with a New York client. Many agencies don’t provide feedback, often leaving me to feel undervalued.




Danielle is wearing Christopher John Rogers’ Pre-Fall 2023 collection. Photo: Cesar Buitrago

Do: The situation is always murky! It’s challenging to navigate since I desire clarity, yet often, with competition being high, I wonder if I’m overlooked because there are countless others who resemble me.

Dee, how has modeling transformed since your initial days?
Do:
Back then, conversation was minimal. The agent handled all communications, often taking 20% commission. Models just needed to show up with looks. While there’s a surge of writers and stylists in the industry now, not all models fit the same mold. Leveraging platforms like social media is essential for job hunting today.

DM: I’ve cultivated a solid social media presence and experienced waves of viral moments during COVID-19. Much of my career has revolved around online networking and connections.

Does modeling affect how you perceive yourself?
DM:
Some shoots led me to question if others appreciated my looks. For a while, I struggled with my sense of beauty, which is quite a burden.

Do: It’s subtle but impactful. Prioritizing others’ needs and identity over our own can affect mental health significantly over time. When I began in the early 1980s, there was an evident class structure, making me feel like an outsider. There’s also the personal challenge of comparing oneself to other women.




Composition: Christian Sinibaldi, The Guardian

I think models are often seen and not heard, but does this lead to exploitation?
Do:
We witnessed predatory behaviors pre-MeToo in the ’80s. I was fortunate to have a strong voice, which made others wary of me. Yet, I recognized that social invitations might have led to more work, highlighting a power dynamic dominated by men, which made me feel expendable.

DM: I’ve always been progressive. At NYU, I collaborated with organizations on family planning and women’s rights. However, in that previous corporate environment, I often held back my opinions out of fear of agency rejection. Now, I advocate with the
Model Alliance, which fights for model rights. The
Fashion Worker Law passed in New York last year, enhancing protections. Despite this, I still see models being asked to sign contracts that exceed legal requirements, suggesting some continue to exploit the inexperience of newcomers.

Do: Absolutely, naivety, aspirations, and disillusionment.

DM: Joining the Model Alliance Worker Council comes with a warning: your agency could terminate you for being part of it. I had no idea such implications existed.

The Fashion Workers Act: What an impressive step forward!
Is progress occurring elsewhere?
Do:
There’s still a dominance of typical models in runway shows, often standing at 6 feet tall and size 8 or 6. Occasionally, I do see designers like
Ashish Gupta intentionally showcasing diverse models. His recent London Fashion Week show incorporated a troupe of dancers, a creative idea that excites me. It’s also gratifying to see growing awareness about ethical sourcing and environmental concerns in fashion, with greater salary attention for workers. I’m passionate about fashion and proudly represent vintage clothing.




JD Williams Dee model. Photo: JD Williams

DM: 2020 truly felt like a turning point in Black representation within modeling. After the Black Lives Matter protests, my bookings surged, creating a narrative of inclusivity. Now, however, it appears the trend is regressing, with fewer Black models in the spotlight. Additionally, I often find that stylists aren’t equipped to handle black hair, leading to detrimental outcomes, such as heat damage I experienced.

I’ve heard that models face pressure to remain thin. Have you experienced that?
Do:
I once knew a roommate who was an unhealthy size 12 in the UK (8 in the US). She lived on apples, battled rotting teeth, and suffered from bulimia, all in pursuit of agency approval for the desired height and size. Ultimately, she became sick and had to return home, a memory I’ll never forget.

DM: This issue has long affected model standards, and while I maintain a fit physique, I’ve gradually come to realize the pressures of being thinner. Initially, I was more muscular due to my athletics, but feedback like, “You need to change your dimensions,” during meetings hit me hard emotionally.

Do: Such standards have a profound impact on your mental state. Yet, we’re witnessing an emergence of diverse body shapes and sizes. Although it appears better than before, curvy models still face stereotypes, often expected to have hourglass figures.

With innovations like Botox and weight loss medications, have you noticed changes in the industry?
DM:
My peers who model plus sizes have expressed that these developments affect their runway bookings.


Do: On one job, they even taped my face to alter my skin. If my face isn’t good enough, why book someone older? These thoughts persist. I find myself torn about it; I have never undergone Botox or surgery, yet contemplate it. Models of my age at that shoot often shared similar feelings, emphasizing the contradictions we navigate.

Are you concerned about your images being used for deepfakes or AI training?
DM:
The Model Alliance included a clause in their legislation requiring written consent from models for such uses. There’s apprehension about the risk of my image being misused, especially with the vulnerability posed by sharing on platforms like Instagram.

Would you recommend modeling as a career?
DM:
Yes, it offers fulfillment and is often playful and fun, allowing you to embrace your inner child. However, if I had children, I’d prefer they start their modeling journey later, not at 15 or 16.

Do: I mirrored my parents’ approach with my daughter, insisting she finish college first. Nevertheless, her determination prevailed. I’m grateful for her resolve, especially as we now collaborate in the industry.




Photo: Christian Sinibaldi/Guardian

DM: I urge pursuing interests outside of modeling. After gaining recognition through TikTok, I perceived it as my sole identity for a while, which left me feeling disoriented.

Do: Traveling worldwide has been invaluable; even those experiences justify the journey. However, it’s critical to remember that success can vanish overnight.

Source: www.theguardian.com

Researchers Develop AI Tools to Revive Artwork Aged by Time in Just Hours

Throughout history, the effects of wear and tear, along with natural aging, have resulted in oil paintings displaying cracks, discoloration, and peeling pigments, leaving lasting marks.

Repairing such damage is typically reserved for the most treasured artworks, requiring years of meticulous effort. However, a new approach promises to revolutionize this process, enabling the restoration of aging pieces in a matter of hours.

This innovative technique utilizes artificial intelligence and advanced digital tools to create reconstructions of damaged paintings, which are subsequently printed on a transparent polymer sheet and applied over the original artwork.

To showcase this method, Alex Kachin, a graduate researcher from the Massachusetts Institute of Technology, undertook the restoration of damaged panels attributed to a master Dutch painter of the late 15th century, whose identity remains unknown, following a piece by Martin Schongauer.

The artwork, rich in detail, is visibly segmented into four panels, marred by fine cracks and speckled with countless tiny paint losses.

“Much of the damage involves small, intricate details,” Kachin noted. “It has been deteriorating for centuries.”

Kachin initiated the process by scanning the painting to ascertain the dimensions, shapes, and locations of the damaged areas, identifying 5,612 individual sections requiring repair.

Following this, a digital mask was created using Adobe Photoshop. Missing paint spots were filled in, with surrounding pigment colors adjusted accordingly. Repairs to patterned sections involved duplicating similar patterns from other areas of the painting. For instance, a missing facial feature of a child was sourced from a different work by the same artist.

Close-ups illustrating the masking results. Photo: Alex Kachin, MIT

Once the mask was complete, it was printed on the polymer sheet and painted over, followed by a varnish application to ensure it harmonized with the painting.

In total, 57,314 colors were utilized to restore the damaged sections. The modifications were crafted to enhance the artwork even if slightly misaligned.

Upon seeing the results, Kachin expressed satisfaction. “We dedicated years to perfecting this method,” he remarked. “It was a significant relief to realize that this approach enabled us to reconstruct and piece together the surviving parts of the painting.”

This approach, as detailed in Nature, can only be applied to works featuring a smooth varnish that allows for flat application. The mask can be removed using conservator solvents without leaving marks on the original piece.

Kachin envisions this technique facilitating galleries in restoring and showcasing numerous damaged paintings that might otherwise lack the value warranting traditional restoration efforts.

Nonetheless, he recognizes the ethical considerations surrounding the use of film overlays on paintings, questioning whether they might disrupt the viewing experience and the appropriateness of features derived from other works.

In a related commentary, Professor Hartmut Kutzke from the Museum of Cultural History at the University of Oslo emphasized that this method enables quicker and more cost-effective recovery of damaged artworks compared to conventional methods.

“This technique is likely best suited for relatively low-value pieces kept in less visible locations, and may not be appropriate for renowned, high-value artworks,” he noted. “However, it could significantly increase public access to the arts, bringing damaged pieces out of storage and into the view of new audiences.”

Source: www.theguardian.com

Study reveals 25% of UK toddlers aged three and four have their own smartphone

In the UK, a quarter of three and four-year-olds now own a smartphone, and even children under 13 have smartphones, according to new data. As ministers consider banning mobile phone ownership for children under 16, half of children are already using social media.

Reports from the communications regulator Ofcom show a significant increase in online activity among toddlers to school-age children, with social media usage among 5 to 7-year-olds rising from 30% to 38% in the past year. Furthermore, 76% of children in this age group are using tablets.

These findings support the arguments of those close to Rishi Sunak, urging him to regulate young children’s phone and social media usage. Discussions on potential measures are expected to begin in the coming weeks, with proposals including banning the sale of mobile phones to under-16s, enhancing parental control capabilities, and raising the minimum age for social media platforms to 16.

It is concerning that despite the age requirement of 13 for social media apps, half of children aged 3 to 12 are using at least one social media platform. Michelle Donnellan, the Tech Secretary, emphasized the importance of implementing online safety laws to protect children.

The figures underscore the negative impact of widespread social media use on children’s mental health, with a significant increase in depression and anxiety among adolescents. Experts like Jonathan Haidt recommend delaying smartphone ownership until the age of 16 to address these issues.

Tech Secretary Michelle Donnellan said the figures showed why the Government’s online safety laws were essential. Photo: Andy Lane/EPA

Child safety advocates urge action to enforce age restrictions on social media platforms. Organizations like the Molly Rose Foundation and NSPCC emphasize the need for stronger regulations to protect children online.

New data from Ofcom also reveals an increase in messaging and calling among 5 to 7-year-olds, with more children using apps like WhatsApp and TikTok. The vast majority of children aged 3 to 17 are now online, with younger children favoring tablets and older children owning smartphones.

The smartphone ownership statistics are based on a survey of 2,480 parents with children aged 3 to 17. Ofcom defines smartphones as devices that enable app download, web browsing, and online activity.

Source: www.theguardian.com