My experience should be a given - An interview with Holly Kone

Holly, a US athletic scholar turned-model, discusses her positive journey into modelling, with acknowledgment that her trust in her agency should be a given for black women in fashion.

The 22-year-old, Ivorian-London model, is at-heart an athlete. From school, partaking in clubs, to then a signed-for club mid-teens, then granted a scholarship to study in the states, alongside with the continuation of athletics. It was at 17, during an athletic competition, that she was scouted by FORTE Model Management – the dual sports and modelling agency – by the Director, Dale King Clutterbuck himself.

(Courtesy of photographer Cinsy Tam)

“Modelling wasn’t something [Holly] had ever thought about” prior to being scouted. With this, Holly said she found herself being very “hesitant” to signing with FORTE, whereas her fellow athletes signed with no anxiety. When discussing with Holly why she was reluctant to sign, it became apparent that she didn’t think people “like me” could be models, and hesitated due to the surprise of it all. 5 years ago, modelling wasn’t particularly inclusive, pre-lockdown, pre- the reintroduction of the Black Lives Matter protests, and so, representation lacked severely. It was no shock that Holly felt taken aback when asked to be a model herself as a black teen.

Holly states her agency is “so supportive” and that “it should be a given” that all agencies are like this – but acknowledges that majority are not. Without the support of her agency regarding her education, ethnicity, and career plans, Holly would not be in the promising position she is in today. Due to being signed as a minor, as well as right before COVID-19 there wasn’t very much work, but once turning 18 Holly was contacted by several well-known sports brands for work: JD, Sports Direct, Zalando, etc. With Zalando, she was even flown out to Germany to shoot. Despite the influx of work, Holly made it apparent that her studies came first, explaining “my parents always said to not rely entirely on modelling, and I needed a degree as a backup”. The French-speaking model therefore prioritised university in North Carolina, only modelling during the 3-month period of summer between academic years – something FORTE were extremely supportive about. This alone is unheard of in the industry. An industry where it is known many models drop out of school/uni to peruse their careers, in fear of being dropped, but in this modern-day case, is a respected choice. Noting this, it was joked by Holly that whenever visiting the offices, it was “almost like a countdown” until graduation, so she could transition to a full-time model.

Holly’s experience as a black model is one of the most positive I had ever heard of, giving hope for the future of modelling due to her being part of the upcoming cohort of faces as a Gen-Z model. FORTE “never tones down blackness”, allowing Holly to be her ultimate self, without the whitewashing predominantly done in the industry. Granted, commercial modelling is typically more inclusive, Holly feels optimistic about her transition into the editorial world.

So, it is clear, in terms of management, her agency is doing it right, but like any other POC model, Holly had the one experience they all dread – a horror makeup artist. Whilst on set, Holly, prepping for a shoot, was getting her makeup done by an artist who clearly had not worked on black skin before. Holly states: “if you can’t do everyone’s makeup, you shouldn’t be doing anyone’s” and is happy to be vocal about the neglection of education in makeup artists for black models. Leaving her feeling self-conscious (the worst possible feeling when about to be photographed) Holly had to fix her makeup herself. But due to her positive relationship with her agency, Holly felt comfortable to discuss the matter, which was dealt with quickly and efficiently. Whilst dealt with, the issues surrounding hairstylists and makeup artists having no knowledge in how to work with POC is disappointing in this day-and-age. Something we thought would have been put in the past is still an ongoing issue and needs to be addressed by the designers hiring them, as well as the industry.

“Representation matters so much”

(Courtesy of photographer Cinsy Tam)

Holly explains that modelling is not what is used to be, rather it is slowly becoming more diverse, moving away from tokenism: “I now see how many POC there are in the industry and have made so many friends that look like me. If I saw that when I was younger in magazines, I would have been much more open to get signed straight away”. Traditionally, black models have Eurocentric features, with a “very specific look and not the typical black look”, but Holly proud that she is now “part of the change”. Role models like Anok Yai and Jasmine Tookes, who have broken into both commercial and editorial modelling, but openly discuss political matters of discrimination, are examples of what Holly aspires to be like. She also discusses how “as any POC, you have to pick and choose when to use your voice” due to the risk of being blacklisted, but Tookes does it in a way where she is extremely successful in her career, and still uses her platform to help others.

“I want to be the person to advocate but still be successful, whether its modelling or a different career”.

Always wanting to help people, Holly is now looking into doing a Master’s degree in Social Impact.

(Courtesy of photographer Cinsy Tam)

Holly regards her experience to be great due to her agency’s support but suggests there are “small changes” that contribute to the wider solution for POC models less “fortunate” than her (it is also noted that Holly shouldn’t be regarded as “fortunate” for an agency being inclusive, but alas, in the climate of diversity in the fashion industry, is). Casting directors need to be more open; “be inclusive but not performative”, having all on set trained to dress and style ALL models; and having it as a requirement for agencies to offer the necessary support to minority models that Holly receives.