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Tyra Banks Starts an MLM Company - A Look Inside Tyra Banks's Exploitative Empire

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More Than Meets the Smize: A Look Inside Tyra Banks's Exploitative Empire

Emalie Marthe/Vice.com

Tyra Banks has rebranded herself as a trustworthy guide to your finances, but former employees, a financial expert, and a former "ANTM" contestant claim Banks is exploiting vulnerable young women.

Tyra Banks wants to be your boss. The 90s supermodel and 2000s camp icon has rebranded herself as a financial guru who wants to share her business acumen with young women trying to better their lives. Banks has long fashioned herself as the "relatable supermodel"—an A-lister who repeatedly referred her own "five-head" and implored the media to kiss her fat ass—and this fall she hopes to expand her brand across a variety of platforms: a new beauty venture called Tyra Beauty, which teaches girls how to become "beautytainers" who can sell Banks's makeup products to their communities; the final cycle of America's Next Top Model; and a new talk show called Tyra Presents FABLife.

With panelists like fellow "real" model Chrissy Teigen, interior designer Lauren Makk, YouTube celebrity Leah Ashley, and former Elle creative director Joe Zee, Banks's daytime show aims to help women improve their lives. The woman who once pretended to have rabies to scare her studio audience will now tell you how to live your best life. "I'm ready to come back and help share and inspire women to start their own businesses," Banks recently told New York magazine. "That's my passion, every day. I hunkered down and put my nose to the grindstone at Harvard Business School, learning more about the tools I needed to launch my business."

But Banks never attended Harvard Business School. She took a non-degree-granting certificate course at Harvard called the Owner/President Management program, which, as Jezebel points out, has "no formal educational requirements" and refers to students as "clients." Although media outlets have questioned Banks's presentation of her education, the model continues to describe herself as a Harvard-accredited businesswoman while encouraging young women to take her advice and buy her products. (The first Google result for "Tyra Banks University" is Harvard.)

Lying to get ahead, of course, isn't new for Banks. Several of Banks's new ventures follow suspect business practices, and Banks still faces the repercussions of professional mistakes she's made in the past.

Nobody knows this better than previous ANTM contestants. It's no secret few competitors go onto fame and fortune—past stars have been sent to prison, murdered, and dated Jim Carrey—but people watch the show to see naïve young girls battle for their dream. Whereas new Real Housewives purposefully create drama so they can launch liquor lines like Bethenny Frankel, most top models lack self-awareness or even a basic understanding of show business.

Cycle 17 winner Angelea Preston was one of these girls. Growing up in the inner city, she was a wide-eyed fan of all things Tyra, but following her appearances on the show, she's now she's suing Banks for the mistreatment she allegedly suffered during her time.

"Tyra exploits women, period," Preston says. "Once she gets out what she wants from you, then you're done to her. You're nothing. She preaches on TV that she's just like you, that she helps girls, but she doesn't help girls. She exploits them."

Growing up, Preston looked up to Banks. She competed on the show three times, enamored with Banks's relatable image. After almost making it into the house on her first season, she was accepted on her second try, quickly becoming a fan favorite for her humor and lack of filter. She cursed and called herself "classy ghetto." She lost, but still expected to find success as a model after the show. She says she quickly discovered the show robbed her of those opportunities.

"Nobody wanted to work with me after the show," Preston says. "I was labeled a bitch and super ghetto, so when I would walk into agencies, a lot of them recognized me from the show. The show exploited my personality in such a negative way that it stopped my career from flourishing."

Desperate and unable to work, Preston says she took an "opportunity" that turned out to be an escorting job. When ANTM producers found out, Preston says, they offered her a spot on the show's All-Star cycle under the guise of being concerned about her well-being. She won her third cycle and the coveted Cover Girl contract. Months later, Angelea says, the CW called her back to New York for a full-scale intervention: The network had found out about her past as an escort, and despite the production's previous knowledge, they were stripping her of her title for violating a "morality clause."

"I think why they took it from me, is because it makes their show look like the crock of **** that is," Preston says. "If I had escorted before I came on the show, they would have used it to further exploit me. They would say, 'Hey, she was an escort, but we put her on America's Top Model, and we made her great.' But because it happened after, how could they say their show created such a great opportunity for me, when it didn't? It lead me into a path that I wasn't supposed to travel down, coming off a show like that."

Preston says other contestants endured similar experiences. She remembers producers denying girls food and water on long filming days to make them bitchy and confrontational. She says they were "put on ice," forbidden from talking when cameras weren't filming, spending hours in silence. One day, Preston recounts, an All-Star contestant led an uprising of models. The girls refused to work until they were provided with food. It worked in the moment, but Preston says the judges kicked the hero model off just a few episodes later, for suspect reasons.

"They didn't care about our health," Preston says. "I got sick overseas and had an anxiety attack [during the All-Star Cycle finale]. I was dizzy, I was throwing up, and it felt like it was taking forever for the nurse to come. I have asthma!"

According to Preston, producers filmed her health crisis. When she opened her eyes, she says she saw Banks sitting in front of her, asking if she was OK. Maybe she cares! Preston remembers thinking. Later, she says, she found out executive producer Ken Mok allegedly withheld treatment for better footage. "Tyra didn't give a ****," Preston says. "The whole time she was complaining, 'I just want to go back to my villa.'"

When I spoke to Preston, she delivered the signature attitude she was known for on the show, peppering her explanations with expletives, while remaining polite and surprisingly vulnerable. At one point, she burst into tears.

"They treated us like slaves," Preston wailed. "We were pretty slaves."

When I reached out to ANTM's representative for comment, they were initially receptive but then did not return emails. A few days later, I discovered why: After 22 cycles, the show had been canceled. Banks played the cancellation as a personal choice, tweeting at her followers:

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Thinking #ANTM22 should be our last cycle. Yeah, I truly believe it's time. Our diehard… https://instagram.com/p/81IdmRKQFJ/
3:44 PM - 14 Oct 2015

Raf Simons S/S 1998 - Black Palms

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source: http://in-the-name-of-raf.tumblr.com/

It's funny to see how raw and avantgarde this collection was. He revived the skinny suit, and turned basic, almost unwearable clothes into desirable products, and it was just one of his first collections.

Diana Karla Vidal Sanchez

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EML Italia 2015 Finalist :heart:



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Agency- Elite Milan
Height- 180 cm
Bust- 82 cm
Waist- 60 cm
Hips- 88 cm
Hair- Brown
Eyes- Brown
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Elze Kazlauskaite

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Lithuaniam newbie :heart:



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Agency- Elite Milan
Mother Agency- Ruta Model Mgmgt
Height- 179 cm
Bust- 83 cm
Waist- 62 cm
Hips- 90 cm
Hair- Brown
Eyes- Green
rutamodel

Xueqi Zhao

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Chinese newface with Elite Paris :heart:


elitemodel.fr

Magda Kuffel

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Agency- Elite Milan
Height- 179 cm
Bust- 79 cm
Waist- 59 cm
Hips- 88 cm
Hair- Strawberry Blonde
Eyes- Blue Green
elitemodel.it

Ana Glavan

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Agency- Elite Milan
Height- 177 cm
Bust- 79 cm
Waist- 62 cm
Hips- 88 cm
Hair- Brown
Eyes- Blue
elitemodel.it

Lina Marie Schulz

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Agency- Elite Milan
Height- 180 cm
Bust- 80 cm
Waist- 62 cm
Hips- 90 cm
Hair- Brown
Eyes- Brown
elitemodel.it

Hanna Yahorava

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Agency- Elite Milan
Height- 177 cm
Bust- 81 cm
Waist- 59 cm
Hips- 89 cm
Hair- Brown
Eyes- Blue Green
elitemodel.it

Aleksandra Andrejic

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Agency- Elite Milan
Height- 178 cm
Bust- 81 cm
Waist- 60 cm
Hips- 89 cm
Hair- Brown
Eyes- Brown
elitemodel.it

Luisa Faust

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Swiss beauty :heart:



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Agency- Elite Milan
Mother Agency- Option Model Agency
Height- 179 cm
Bust- 86 cm
Waist- 62 cm
Hips- 90 cm
Hair- Blonde
Eyes- Blue
elitemodel.it

Raf Simons S/S 1998 - Black Palms

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source: http://in-the-name-of-raf.tumblr.com/

It's funny to see how raw and avantgarde this collection was. He revived the skinny suit, and turned basic, almost unwearable clothes into desirable products, and it was just one of his first collections.

Raf Simons Leaving Christian Dior

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noooo :cry:

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Raf Simons is leaving Christian Dior.

Sidney Toledano, the chief executive officer of the Paris fashion house, made the announcement today in a statement. The decision by Simons, 47, not to renew his contract is surprising. Since he took over in April 2012, Dior has prospered under his creative control. And Simons seemed to thrive, too: For once in the gossipy world of fashion, there were no rumors of a rift or whispers that Simons would leave.

Quite the contrary, in fact. After Dior’s spring show in Paris on October 2 — Simons’s last, as it turns out — Bernard Arnault, the chairman of LVMH, was backstage praising the designer, although he had already told Arnault and Toledano that he planned to leave. Simons has always had a warm relationship with both men and with Arnault’s daughter, Delphine, who was involved in his hiring. He gave Dior’s rich, romantic legacy — the full skirts, the fitted Bar jacket, the flowers — a modern edge, and without the drama and personal excess of his predecessor John Galliano, who was fired in 2011. Indeed, Simons’s tightrope walk between realness and high fashion not only felt new and directional, it also helped fuel a 60 percent rise in sales since 2011, as Toledano recently told a French newspaper. For the most recent fiscal year, revenues at Christian Dior Couture were up 18 percent, to $1.94 billion. For those reasons and others, Toledano and Arnault tried over the summer and into September to persuade Simons to stay.

So what’s behind his decision? And what will Simons and Dior do next?

The second question won’t have answers for some time. Simons, who was unavailable for comment, will likely focus on his avant-garde men’s label, based in Antwerp. He no doubt has a noncompete agreement with Dior that will prohibit him from working for another brand for some months, possibly a year. Almost certainly he’ll want to do women’s fashion again, perhaps with a different set of challenges than he had at Dior or Jil Sander, where he worked from 2005 to 2011.

Who will succeed him at Dior? Lots of names will surface. One is Givenchy’s Riccardo Tisci. His show in New York in September, attended by top LVMH executives, seemed a platform for a major career move. But is his dark, religion-infused aesthetic right for pretty Dior? And can Toledano strike a rapport with Tisci, as he did so easily with Simons? Another possibility is Phoebe Philo of Céline. Her women-friendly clothes cause a buzz, and she’s a master of accessories, but while it would be fascinating to see a woman at Dior, the London-based Philo may resist the idea of spending more time in Paris — and being responsible for many more shows than she now is at Céline.

And that leads us back to the first question: Why? Although Simons seldom voiced regret in interviews about the workload at Dior — six shows a year, two involving the extra finesse of haute couture — he was candid about the pressures it put on the creative process. Galliano’s downfall made people question the amount of stress designers are under, but that wasn’t Simons’s complaint. He certainly talked about stress, but he had enough personal resources to handle it — a stable private life, close friendships that go back 35 years, an overriding sense of duty toward Dior and the people in its ateliers. This last was evident in Dior and I, the documentary that was shot during his first season as artistic director. He was uncomfortable with the old formalities of couture, like being addressed as “monsieur.” He didn’t want to feel isolated, nor make fashion that was out of touch. As Toledano said to the staff in the film, “Let’s call him Raf, as a token of modernity.”

But Simons was frustrated by the lack of time to create. For his debut show, in July 2012, he had eight weeks to prepare, but that was soon cut in half, given other demands on his schedule. That was okay, he told me a few months ago during an interview for System magazine that will appear in early November, because Dior’s workrooms and their network of suppliers could turn things out at amazing speed. But as he said then, “When you do six shows a year, there’s not enough time for the whole process. Technically, yes — the people who make the samples, do the stitching, they can do it. But you have no incubation time for ideas, and incubation time is very important. When you try an idea, you look at it and think, Hmm, let’s put it away for a week and think about it later. But that’s never possible when you have only one team working on all the collections.”

His solution was to form two design studios last year, so that they alternated on the collections. That helped a lot, he said, but he still seemed to question the value of producing so many shows, and if it was just self-deluding to think that fresh ideas could emerge at such a pace. “Because I’m not the kind of person who likes to do things so fast,” Simons said. “I think if I had more time, I would reject more things, and bring other ideas or concepts in.” He added, “I think I can deal with the highest level of expectation within the business, like massive blockbuster shows, commercial clothes, big concepts. But I don’t think that necessarily makes you a better designer.”

Maybe, but one could argue otherwise — that the pressure of Dior made Simons more proficient, more intuitive. His last haute couture collection, in July, imposed a kind of Flemish stillness on Dior’s New Look volumes, resulting in serenely plain gowns worn with almost decadent cape-coats. Simons said it was his favorite show. It also had a perceptible influence on the New York collections in September, leading to a flock of Guinevere dresses.

Yet despite Dior’s unlimited artistry and a great deal of freedom to reinvent its fashion, Simons’s creative control didn’t extend everywhere, and that may have gnawed at him, too. Some areas, like store design, were out of his hands. There has long been a slight disconnect between Dior’s runway image and the image of the brand presented in, say, its celebrity perfume ads — a gap that was actually wider and weirder in the early Galliano years. Philo, by contrast, seems to have a lot of say in Céline’s overall image — from advertising to the intimate scale of her shows to the cool elegance of the company’s new Paris showrooms. But Dior is a much larger, more complex business — the pride of Arnault, a virtual fiefdom on Avenue Montaigne — and it seems unlikely that one individual, however willing and admired, would ever be given too much power.

So perhaps, after three and a half years at Dior, Simons felt it was not the best place for him. Does walking away from one of the great Paris houses amount to a rejection of the model of the past 20 years — the big-show, high-profile luxury brand? No, that would be an exaggeration. But it does suggest that the even-tempered Simons is seeking a better sense of proportion — fewer shows, more time to create — and with it, greater control and personal satisfaction.
http://nymag.com/thecut/2015/10/raf-...id=twitter_cut

Numéro Tokyo December 2015 : Ella Richards

Saks Fith Avenue F/W 15.16 : Joséphine Le Tutour by Sharif Hamza


Bart van Houten

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Agency: MP Paris
Height: 187 / 6'1.5"
Chest: 93 / 36"
Waist: 78 / 30"
Hips: 97 / 38"
Shoe: 44 / 12.5
Hair: Brown
Eyes: Green
mpparis.fr

Vogue México November 2015 : Karmen Pedaru by David Roemer

Aaron Smith Henrikson - Make-up Artist

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Aaron is a native of California and appreciates his unique upbringing in Venice Beach.

From an early age his artistic ability was recognized and rewarded through artistic scholarships. His studies in painting, illustration, graphic design and photography all contribute to and form the artist he is today.

This hyperpolyglot with a degree in Linguistics from Yale University adapts quickly to any new country or linguistic environment. Aaron loves to travel and is currently cultivating his interest in far eastern languages.

Aaron is an integral part of the fashion world’s most respected runway shows in New York, Milan, and Paris. Most people who have worked with Aaron can agree that he brings more to any photo shoot than just his uncanny make up skills.
aaronmakeup.com

@visionaaron
https://instagram.com/visionaaron/

Grégoire Dangaïs

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Agency: M Management Paris
Height: 6'2.5" / 190
Chest: 36" / 93
Waist: 31" / 79
Hips: 35" / 88
Shoes: 14.5 / 46
Hair: Dark Blond
Eyes: Green
men.mmanagementmodels

Video Applications for Employment / Jobs

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Hey there!

I have had my eyes on this Business Trainee position in a big mainstream-fashion company for a while now.
One of the requirements for being an eligible applicant is to make a video application that does not focus so much on your direct qualifications for the position, but more on "who you really are".
That brings me in to a bit of a pickle...

Firstly, I am camera shy.

Secondly, I have no idea where to start with all of this.
Have any of you had to ever use video applications to land a job?
If not, how would you do it, if you were in a position to make a video application?

Any tips on editing, what to include, how to make it professional, but fun and original at the same time?

Any input and/or links would be very appreciated!:flower:
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