What about the non-makeup jobs?

I have done makeup for print, runway, and events. I have worked in spas as an Aveda-trained esthetician. I have been contracted out by cosmetic lines for years of employment. I have been internationally published in fashion magazines. I also am a pretty successful freelancer who has been running my own studio for a number of years. Seems glam, doesn't it?

However, what captures the imagination of my clients when they sit in my chair is my long history of non-makeup jobs. To lay the groundwork, and to support my art until it could support itself, I would do just about anything to survive, to get a good story, or for a laugh. These three things have defined my job history; I am not afraid to try new things, and I look for the best story.  I have also usually held down more than one job at a time, so my work history is pretty packed. Even though I no longer worry about a day job now that makeup has turned into a career, sometimes I will still take a short-term gig for a good story or experience, like when I worked the recent King Tutankhamun exhibit.

I have often run into people who needed work, but didn't want to take anything that wasn't "in their field". I can understand this for some highly-specialized fields. However, in the creative industries, I would argue that variety and flexibility (both on the job-seeker's part and in the job's scheduling) is extremely enriching. It allows you to build a firm and colorful foundation so when you are ready to venture on your own, you can also be a social chameleon, rich in stories and skills. I was recently working with a model and mentioned "I used to catch snakes for a nature center" and she stopped in her impressively high heelless platforms and laughed "what HAVEN'T you done?" So, for the record, I give you my non-makeup jobs, and how they helped me become the makeup artist I am today.

Our story REALLY begins 13 years ago.
Outside the place I made perfume.

Hell yes I was rocking glitter and a porkpie hat. 

I have...

...Bussed tables in a biker bar while my dad cooked.

How it applies today: It keeps me grounded to remember my roots. My dad would bring us to work when had us for the weekend. I grew up around these bikers and bussed the tables for pool, pinball, and jukebox money. They were my first patrons. They gave me art supplies and encouragement as I drew on their walls, and fulfilled requests for designs for tattoos and for images to be painted on the tanks of motorcycles and the hoods of cars.

...Been a nanny.

How it applies today: If I could handle a four year old, a seven year old and a twelve year old that chased each other with knives when I first arrived and turn them into well-behaved kids that would take care of each other and make breakfast...I can handle chaos backstage.

...Worked as a park laborer, twice.

How it applies today: I am not afraid to work hard, get dirty, or lend a hand to the crew. If I can wade into leech-filled waters to fix a pontoon bridge, chop down trees and dig stumps, pull up a patch of poison ivy by hand, drive industrial lawnmowers, or shovel hotly decaying woodchips in full august sun...I'm pretty sure I can roll up my sleeves to help lift a few things and lighten your load. I also wield a mean multi-tool and am prepared for almost anything needing fixing on set.

...Done my fast food time

How it applies today: It gave me humility and the ability to fend off skeezy people in positions of authority. It helped to ensure that I will never be needlessly rude to someone working an entry-level job.

...Bathed animals in a homeopathic pet center.

How it applies today: It helped me to start thinking in a holistic manner when approaching something cosmetic. It wasn't just about prettying up the animals, but doing so in a healthy manner with quality products. This location was also an animal rescue, so it taught me to be firm but gentle, and to work with creatures that have been scared or wounded. It's a little surprising how much working with packs of dogs and working with crews of people can have similarities at times. 

...Been a clerk in a metaphysical book shop.

How it applies today: I am open-minded and love to hear what motivates and moves people of all walks of life. I find artistic inspiration in the mythologies, traditions, and stories from people all around the world and throughout history. It also gave me a start in herbalism, which has helped me a great deal when it comes to my cosmetic ingredient knowledge.

...Organized and crafted displays for a boutique.

How it applies today: It helped me to look at a work as a whole picture, not a single element, which helps to ensure that my makeup is part of the whole story that is being created, and not an element that is going to seem out-of-place. It also allowed me to experiment with color and texture and to bring something lovely and intentional out of chaos.

...Been a muralist.

How it applies today: It taught me how to manage commissions, and was my first foray into pricing my own work and timing my pace to match a project deadline. It also taught me how to work in front of an audience and in hustle-and-bustle.

...Been a cocktail waitress in a gay bar.

How it applies today: This was my first brush with being  "a name". I had large groups of regulars, who would shout their nickname for me when I'd walk in the door, like I was Norm from the show "Cheers". This was weird for a shy kid. It helped draw me out of my shell and got me to loosen up and play. It introduced me to the club scene.

...Been a hostess/organizer for a gothic-industrial dance night.

How it applies today: I performed my very first makeup application on a stranger. He was a lovely gay boy who wandered in and wanted to fit in on the dance floor. I did his makeup while perched on the bathroom sink in the men's room (it was years before I even considered makeup as a job, so I didn't know ANYTHING about safety and sanitation). I learned to commit to an ongoing project. I learned to mix and mingle. I learned to keep a crowd moving, talking, and entertained.

...Been a custom-perfumer, "the best nose in the business" according to my coworkers, and a buyer at an indie bath, body and gift boutique.

How it applies today: The buying taught me trendspotting and how to have variety while maintaining a cohesive "feel" for the store. The bath and body care was my introduction to product knowledge and applied ingredient knowledge.  It was when I first addressed individual and varied skin and hair needs. It taught me how to let a celebrity know it was good to see them without getting uncomfortably star-struck. The perfuming taught me aromatherapy and managing commissions as well as patience, attention to tiny details, and that work can be very meditative.

...Been a waitress/barista/prep cook/dishwasher/somalier at a restaurant.

How it applies today: I learned to maintain professionalism, boundaries, and a poker face while working with very difficult people.  I learned to rise above my station a bit and experience some of the finer things and to explain and sell them to the customers. Again, I learned to make people feel genuinely welcomed, relaxed, and like they were part of an exclusive club. I never let it show that I was working the jobs of four people until I went home, took one shoe off and fell face-first on my bed.

...Been a figure model.

How it applies today: I know and can coach posing to models. I also never take a model for granted and I am always aware of the model's physical and emotional comfort. It taught me to slow down, take a breath, and just BE. As there was nothing to do but listen, I earned a free supplemental art education by walking around the room on my breaks and taking mental pictures of the works in progress. I would then listen to the instructors and picture what they were saying. Thirteen years of this was more valuable than many college courses I paid for. 

...Been a public relations lead.

How it applies today: It pummeled my stage fright into something manageable and I could hide it as long as I was on-air. It also taught me how to design and present a message, steer conversations, and hit talking points. It taught me that presentation does matter. It was my introduction to teaching and to appearing in various forms of media. This is why I could look calm while painting a newscaster live on air, transforming her from a pretty princess to a zombie bride. I'm completely nervous before and after an appearance, but pretty mellow once I'm in the swing of it.

...Been a used clothing clerk.

How it applies today: I can spot a deal a mile away. I can pinch a penny until it bleeds. I can create wonderful things on a budget. It also taught me how to inspect things closely for quality, to repair things that only need a little love to be spectacular,  and to find diamonds in the rough. It helped me develop an eye for fashion.

...Been a clerk in a mom and pop gift shop.

How it applies today: I like to support the little guy. I learned to maintain equipment from the "pop" half of the equation, who would putter around the store and fix things. I always remember that there are livelihoods and beating hearts behind a business, so if one does right by me, I return the favor. I haven't worked there in years, but my husband and I recently spent a summer afternoon fixing their register. 

...Been a promotional model.

How it applies today: I tailor my look, attitude and bearing to fit the company's message. I know that sometimes it is about the message, not about me. I engage in cram study-sessions to become an instant-expert on topics. I have driven VIPs around in little golf-carts. It also taught me to be clear-headed and selective about the jobs I book, no matter the pay.

...Interned in a puppet theater.

How it applies today: I can do a lot more than makeup for a shoot. It taught me fast-paced flexibility. One day I would have to dumpster dive for puppet parts for a show on recycling, the next I would be assisting actors with pogo-stilts. I might assist with taiko-drumming, paint batik, stitch a tiny luchador costume, or help construct a giant jack-in-the-box. When we would open for community workshops, I learned to guide people in the the process of bringing their visions into creation. I also learned tenacity...I did not know how to drive at the time and there was a bus strike. I walked miles and miles on heavily blistered feet to an unpaid internship because I believed in the work I was doing.

...Worked in hand-bindery in a print factory.

How it applies today: Repetitive work by yourself can be almost meditative. It also taught me attention to detail and the ability to spot the smallest flaws in color, pattern, or symmetry.

...Been a pub wench at a Renaissance festival

How it applies today: It taught  me not to be afraid of well-timed sass. It taught me to work a crowd, laugh at myself, and to exude confidence and own my space. 

...Been a resident girl-geek in a comic store on a troubled block with aggressive shoplifters.

How it applies today: I got used to being stared at. I was masterful at letting trouble know I was not allowing any shenanigans and steering it away without question or escalation. I learned to be assertive and to watch out for my coworkers (as one of my interview questions actually asked if I was willing to physically throw people out of the store if they got violent). I collected a ton of stories, enough that even though I now run my own business, I would probably have kept on there part time for the entertainment value. It also let me further study art, color, and texture through the comics, and fashion through the Vogue Italia magazines that my manager and I would descend on like ravenous hounds when it came time to discard them. 

...Been an esthetician at spas.

How it applies today: This is where I learned my safety and sanitation procedure and kicked it up a notch.  This is where I started doing makeup for weddings and events. It is also where I developed a reputation as a "brow artist". It taught me to maintain client relationships, to promote my own business, and to create opportunity. It also taught me to read subtle cues. I could tell through touch alone if someone was left or right handed, which side they would hold their cell-phone on, and if they were using certain skincare products. I could look and diagnose different skin conditions and hormonal states.  I read the tiniest shift in body language to tell if I was massaging a tender spot, or if I needed to adjust my technique. I learned to comfort and soothe, or to listen if someone needed to talk. I learned that when someone is cocooned in blankets in front of me, with their eyes covered, they are vulnerable and their trust is a sacred gift. I am not going to betray that trust by putting a client at risk, which is why my kit is one of the cleanest and freshest you will find in the industry. That is also how I learned that I would choose integrity over money, as when I was asked to do things that were dangerous for my clients, I struck out on my own and started my makeup career.

...Been a dresser for theater for disabled artists

How it applies today: Many of our actors had issues with mobility, mood, or developmental disorders. I would help people change backstage during shows, especially the people with limited mobility or who needed a little help moving fast enough between scenes. It taught me to stick to timing of the play even if someone is having a rough moment, to coach them through it and get them ready for the cue. It taught me patience and compassion and to take things in stride with humor. Backstage at a theater can be fast-paced and challenging enough. When you add disabilities and emotional disorders, when you puzzle out sentences from a few seemingly random words from a stroke victim, when you lunge forward to catch a blind gentleman before he tumbles from stage and sprain your shoulder, when someone has a loud outburst about your "ghetto booty" during a quiet part of the show...it becomes a whole new ballgame. 

...Been a bellydancer, performing 6 times a day on weekends.

How it applies today: It taught me how to treat fans, respectfully, thankfully, with boundaries. It taught me to push past what I though my physical limits were. It taught me costume design and fine embellishment work. It provided the name for this blog when I had some very ardent fans and was told, "Lucinda, fanboys are an occupational hazard of being fab."

...Been a bodygaurd.

How it applies today: I spent a week in a hotel room with a model to make sure she was safe while traveling. My models trust me to look out for their safety when I am backstage. Even if other designers are having trouble, that trouble instinctively knows to leave my crew alone. We are the safe and calm eye of the storm.

...Worked door at a nightclub.

How it applies today: I brook no BS. I know a line when I hear one. I am not easily intimidated. I polish up well. This was another job where I worked alongside some of the very wealthy and blended in even though I was living in a tiny studio apartment with a shared bathroom at the time. I learned to carry myself well and walk in circles that I would have though beyond my reach as a kid. It also taught me to handle the unexpected with poise, including the night I had to ask myself "there are free drinks, no electric lights, women in nothing but body paint, candles, and a petting zoo..what could possibly go wrong?"

...been a clerk in an adult novelty boutique.

How it applies today: Discretion. I know the kinks of local celebrities and I will never tell. Humor. When you realize we all come naked and screaming into this world, and you've seen all of the ridiculous ways that seed gets planted, it's hard to take yourself too seriously. I also went into this job in this post here.

...Been a substitute teacher at a center for disabled artists.

How it applies today: I am constantly inspired by the artists. I see such deep acts of compassion and far-reaching founts of creativity. I see miracles happen through art and determination. I am reminded to play and to experiment with my art. I constantly learn new techniques so that I can help someone achieve a goal. They teach me as much as I teach them.

Each and every one of these jobs had something to offer that I use in my career today. You never know what will come in handy. Supplementing my arts with interesting jobs did not diminish me or blow my focus. It just meant that when the art was ready to support itself, I had a richer background for it. That depth and "something different" makes people want to work with me and keep working with me. It made me more skilled and adaptable. Lessons and opportunity are not always on a clear-cut path, and an interesting life rarely is. Don't be afraid to explore what you can do or to seek out your own collection of stories. 

One from the Vaults: Proper Care and Feeding of a Figure Model

This is a repost of one of my earlier writings. As most of you know, before my makeup career took off, modeling was the main source of my income for several years, and was one of the most rewarding jobs I have done. It also provided me with a supplemental arts education. I had the joy of working with many amazing and talented artists, some of whom I saw develop their art over years. Luckily, I have been fortunate to find that most of the artists who employ me are wonderfully respectful people, although I've had my own share of more difficult ones. After the incident in #2 a handful of years ago, I was inspired to write this. I repost it because it addresses many of the questions I get from models and from artists.

The only models that never have their legs fall asleep.

Proper Care and Feeding of a Figure Model

1. Remember that they are human.

Do not, through word or action treat them as though they are a piece of furniture or a ragdoll.

One of my jobs had a hard focal point for me to look at over the course of eight weeks. One eye would be focused in deep shadow and the other in bright light, which caused eyestrain. The solution to this was to close my eyes for a few moments and let my eyes readjust before opening them again, otherwise tension around the eyes would show in the paintings, making them look squinty, and I'd end up with a migraine. An instructor walked in to critique the paintings. She didn't say hello, and assuming I was falling asleep, made a comment to the artists that they needed to keep a cattle prod to keep me awake...very rude.

2. Respect the model's personal space.

I had a woman try to point out to a student the subtle variations in color on my face. Fair enough, it's a useful and important lesson. However, she was pointing with a paintbrush millimeters from my face, including near the eye area. It took a great deal of willpower not to slap it away. Don't poke things at somebody's eye, ever, without a bit of warning. Likewise, if the model's clothing, drapery, position, etc need to be adjusted, ask permission first, especially if the model is nude. Permission will almost always be granted, but it is a courtesy.

3. Entertain them.

I may sound like a diva with this one, but really, it is for your own benefit. Talking, playing music with a beat or interesting lyrics (blues and soul music are great, classical and jazz can be a bit too soothing) or putting on Public Radio will make the difference between a technically good figure study that you wouldn't want to hang on your wall and a figure study with a spark of life. Don't be afraid to talk to each other and laugh, not only does it give us something to listen to, but helps them to know more about you so you can better work together. There is a reason why many figure studies have their eyes closed. It is because the model has become so bored that the brain has decided to shut down and take them to dreamland. On the other hand, if the model has had things to keep their brain focused on, there is a twinkle in the eye, the face doesn't appear quite so slack, and the posture will be better. You're more likely to be happy with your work.

4. Feeding them is a big plus.

Most of the models I know do not eat large meals before going into a job, as they don't want to be bloated or standing up there digesting. It's awkward enough being in a room full of people when you are the only one naked, they don't want to have to worry about feeling fat or gassy as well. That's a great way to kill the glamour. However, the jobs are usually a few hours long, and they can get a bit hungry or even a bit wonky from hunger toward the end. Something small and light to snack on is always appreciated. My favorite groups to work for paid well and always broke for food and wine halfway through the job; they got priority booking when I was arranging my schedule. Not only did it give a small boost to the blood-sugar, but it gave me a chance to actually know and like the people who were hiring me.

5. Most models are not Yogis.

Chances are, the more interesting the pose, the shorter period of time the model will be able to hold it. To give you an idea, here is a yoga pose for you. Sit down, stretch your arms out to the side, forming a "T" with your palms flat and facing toward the ceiling. Hold it. Do not move. Try to hold it for three minutes, just three. Notice how your arms feel. Then consider that the average length of a pose for us is twenty-two minutes before an 8 minute break and back on. If you want a 45 minute pose, you can expect it to be a boring one, or if it isn't, you can expect the model to be hurting for it. It is better to break it up into two sessions.

6. If a model is good, reward them.

This doesn't have to be, nor should it be, a regular or expected thing. It is not a matter of entitlement. However, if a model has worked hard to help your art, and has done an exceptional job, this is a nice touch. Artists happy with my work have given me gifts of art, the potted plants from still-lifes, clothing that I modeled in, a mug of cocoa or milky ginger tea on a cold day, jewelry, thank you cards, and a cute little blue vase from a local ceramics place. It is not the dollar amount that counts, everyone likes to feel appreciated.

7. Keep the temperature stable.

Unless the studio is really warm, space heaters are a must. Cold muscles cramp up and you will have a sore and cranky model and the grimace will show. I modeled at a location in winter that had the model stand under a drafty and leaky skylight that dripped on me for three hours a night, three days a week, for fifteen weeks. It was miserable. I eventually made that location a spring through early-autumn only booking.

On the other extreme, if someone is on an elevated stand on a hot day, in a standing pose, under lights, it gets hot. No matter how lovely the model, they will feel awkward if sweat is running down their legs and they have to remain perfectly still. It is also important to make sure they don't overheat and faint. More than one figure model has toppled ass-over-teakettle from this, and it is enough of a danger that many figure-drawing groups do not schedule in the summer.

8. Have a private place for the model to change.

Yes you will be seeing them naked later, but there is an entirely different feeling to being nude on the stand, and stripping down in front of people. It is a psychological boundary, a chance to take a breath or stretch, a symbol of the beginning and end of work. This clear start and stop point is important to both the artists and the models to ensure professional boundaries.

9. Never. Never ever ever try to pick a model up or hit on them while they are working.

Just don't. This includes when they are packing up to leave the studio, or when they are anywhere near the studio. If you bump into each other outside of work, it may be another story...but at work is completely inappropriate. Even if you are perfectly nice, it will still come across as creepy due to the fact that someone is in a more physically vulnerable state and it will make future bookings uncomfortable for them as they will wonder what your real motives are.

10. If more than one model will be posing together for a piece, please let them know in advance.

I was once surprised to find that I would be posing with two other models on a tiny stand. They were also professionals, so I was fine. I didn't mind working with others who are mature and respectful. It's just nice to know in advance what is expected of the job. Most of the poses were laborer or shipwreck scenes. However, had I arrived to find that one of the other models was sleazy, or that the artists were expecting something erotic (sexual as opposed to sensual, a fine line), I would have walked off the job.

11. Models don't bite.

Don't be afraid to speak to models on their breaks (once we are robed, of course). Most of the figure models I have worked with are artists in their own right, and do have interesting things to say. They are not just a pretty face and body.

12. Do not piss off the model.

Most of the figure models I know are pretty level-headed, so I don't mean you have to walk on eggshells around them. I simply mean that some are very well-connected in the arts community though our work. They also talk to each other. This is great if you are a legitimate and professional artist, as they can promote you to no end, but if you are a slimebag out to scam models, it will be known and other models will be warned. I myself have turned down people who wanted to work with me because of how they acted with other models. I have likewise gotten the reference calls and warned models away from people who were unethical or dangerous. As wonderful as work in the arts can be, it can have a dark side as well. Every industry has bad seeds. Luckily, they also have people willing to look out for others.

13. If your work is not turning out the way you would like it to, do not blame the model and start complaining to everyone in earshot about it. It's possible that you just screwed up.

This one also comes from personal experience. models who work professionally (by this I mean regular work as a main source of income) can develop good muscle memory, much like martial artists. As both a model and dancer, my muscle memory is better than average. There was a class I was modeling for on a long-term basis. Same pose a few days a week for 15 weeks. My muscles knew it. Surrounded by a circle of 18 students, every one of them would measure and say that I was right where I needed to be. There was one woman, however, who every day, without fail, would loudly tsk-tsk at her drawing and say "She must have moved". She would ask me to move my hand a couple of inches over. Knowing I was where I needed to be, I'd exaggerate it and move it WAY over. She'd say "move it back". I'd put it back in the exact same spot it was before and she would say "that's it." I did this for months, and managed not to openly chuckle.

14. Figure models generally don't come with an airbrushing crew.

Yes, you will see freckles, sunburn, stretchmarks, tanlines, cellulite and pimples, and there is only so much makeup can do. You're the artist, you can figure out how to minimize the appearance of these.

15. Know the difference between a professional figure model and someone seeking a thrill/ego boost.

A professional will work with you to ensure the best possible work.

A professional has learned through trial and error what will and will not work out as expected.

A professional has learned their body's limitations and will tell you right away if that fabulous pose you chose is actually feasible over an extended period of time rather than try and hold it and have to back out halfway through.

A professional is not there for ego-validation or sexual kicks. I have been called in to replace models like this when their motivation became clear.

Oftentimes a professional has undergone their own art training as well (or has been around long enough to pick it up) and can figure out which poses will look best in which lighting and from what angle.

A professional has the experience to sense what the job needs.

A professional has gained a measure of control over their body.

A professional will give you your money's worth and then some.

16. If you like working with a model, recommend them to other artists.

Not only is it flattering, but it helps ensure that they can keep working. Easily 80% of my work over the last thirteen years has been through recommendations.

Definitions and Pronunciation in the Image Industries

These should come in handy for anyone interested in working in the industry. It always helps to speak the language, and it makes a difference when you present yourself in a professional setting. It makes you appear more polished and knowledgeable.

Makeup artist Barry M Robinson put together a wonderful PDF of industry definitions that are commonly confused or misused. "Glossary for Photographers, Models, Makeup Artists, and Stylists"

Paula's Choice "Cosmetic Ingredient Dictionary". The "Cosmetics Cop" explains not only what the ingredients are and what they do, but evaluates them for safety.

Glamazon Diaries presents their "Lesson in Designer Name Pronunciation". This is very handy. Though there is debate on a couple of the pronunciations, it is a good starting-point. I better not hear anyone I know mispronouncing haute couture after this.

"It's 'La-kwah' sweetie"

Don't worry, stylists and designers I didn't forget about you. Bizchickblogs has two glossaries that are right up your alley. "A Complete Guide to Styles, Cuts, & Fit" and "A complete guide to Fabrics".

For anyone working in film, IMDB has posted their extensive "Movie Terminology Glossary".

These resources are all worth a look. Our studying doesn't stop once we're out of school, and these combined are a wonderful refresher course.

Markus Klinko on Skinny Models

I was just reading this article and I was struck by how intense Mr Klinko's feelings were on the topic of skinny models.

from the cover of Markus Klinko's book, "Icons"

  "I like to talk about this actually. Maybe we’ve talked about this before, but specifically about the body shape of a girl like Kate Upton. She is a real woman with curves; she’s not a skinny, anorexic, 90-lb 6ft tall girl. Let me be more clear though. I am not against skinny girls. If a girl is naturally skinny, they can be very sexy and very beautiful, but what I don’t like is all these modeling agents and all these designers pushing these poor 14 and 15-year-old girls, who happen to be very tall and very thin already, to become anorexic and be so unattractively skinny. I just don’t understand why and who wants that. I think that this is why celebrities have taken over the covers of fashion magazines because I think that people aren’t interested in skeletons. People want real women.
  I can tell you for sure that women with curves are hotter than women that are sticks. But again, when Kate Moss first started out, she was very skinny and yet attractive. However, when you look at girls who are naturally a little bit curvy and they are forced to become so skinny that they are no longer themselves, then I get very upset.
  To all the designers out there: If girls don’t fit the sample size, just make the sample bigger. That’s it. That’s the solution. Why do the samples have to be so small that no normal woman can fit into it? I just don’t get it. Take the biggest stars of today–none of them are super skinny and they look fantastic in designer clothes. Why do we need girls who model them to be insanely unhealthy? This is another reason why we dedicated our book, Icons, to celebrities and women who are real trendsetters, like Beyonce, Eva Mendes, Lindsay Lohan–those are real women with real bodies.
  I wish that the modeling world would be a bit more diverse. I think that it’s good that Model Mayhem exists. I think at least it gives a chance to girls who are not necessarily 5’11″ and ultra thin to start modeling and they can do different kind of photos and maybe even get discovered. They may end up on the cover of Sports Illustrated, because clearly they are not looking for skeletons and I think Kate Upton is a very good example. I’m sorry for the long answer, but I’m very passionate about this."

Read more of the interview here.



As for myself, I would take his premise a step further than his mention of sizes 4-6 and welcome a return to the golden age of the supermodel, when sizes 6-10 (US) were the norm for models. They were gorgeous, yet still provided a more attainable and healthier influence for women. Cindy Crawford has been wonderfully outspoken about healthy body image and in her heyday she was a 6-8. I find it absurd that she would be considered "plus-sized" in today's industry. You'll never convince me that this is fat. "I would not have become a supermodel in 2009, I look too healthy. A body like mine with big breasts, normal thighs and toned upper arms would not be tailored for today's runways."

So you want to be a runway model?

When I first started my makeup artistry, I was thrown into the sink-or-swim situation of runway work. Through trial and error, I found what would help things run smoothly backstage during the mad rush and what would create chaos. Through my background as a model and behind-the-scenes in theater, I found myself doing a lot of organizing backstage as well as model coaching. This is the list that was distributed to our models prior to an event. I saw the effect when I was at a show, and other designers had models who were sloppy-drunk, or ripping clothing, AWOL, smearing their makeup, or creating drama. There in the middle of it was my crew, running like a well-oiled machine. The contrast really threw things into perspective. Expectations were clear, and the models took pride in their professionalism.  The woman who started my steps into the industry, through my own modeling work, poked her head backstage and exclaimed, "Oh my god Lucinda! You're like a backstage general!".

So, these are the rules I had drafted up and that we ran by. Most of them seem common-sense, but they still need to be stated, especially as many models are now booked online, and may not have the training of an agency or experience to know what is expected.

Arrive fresh-faced, this means absolutely no makeup. Having to scrub off mascara, foundation or liner slows everything down backstage. Wear big diva sunglasses if you are embarrassed to leave your house without an inch of black goop around your eyes. Do not use sunscreen with titanium dioxide.

Exfoliate. Pick up a good facial scrub and use it to clear the flakes from the skin. Use a toothbrush or warm wash cloth to scrub dead skin from lips.

Be where we need you when we need you. Do not make us have to go hunting.

Shower and dry hair before arriving.

Make sure your nails are freshly manicured, no chipped polish. A natural or neutral nail is best unless otherwise advised.

Bring undergarments in black and nude, make sure you have thongs and strapless bras. A non-pullover shirt is advised so that hair and makeup are not ruined during change.

Bring a book or other diversion if you have a short attention span.

Groom facial hair before arriving, wax peach fuzz and  tweeze stray eyebrows a couple of days before the event. Men arrive with a clean-shave unless otherwise advised, exfoliate to treat ingrown hairs, use product to treat razor-burn.

Do not change, touch-up, or adjust makeup, even slightly. Go to a makeup artist on our team. This is about a look that fits the theme and the designer’s vision and photographs well. This is not about what you are used to seeing on yourself or even if you like it. If you change the makeup, you will be asked to wash your face and/or may not go down the runway.

Respect the designer’s clothing. Be careful to keep it clean and undamaged. No smoking in the outfits. Get a patch, e-cigarette, or nicotine gum if you absolutely need the fix.

This is work, not a date. Leave the significant other at home if they will occupy your working time or bring drama to the show.

Staff only backstage. This includes members of the design collective and their assistants, models and security. This does not mean friends, significant others, etc.

This is not a party. No drugs, and watch your alcohol intake.

Remember you are representing a brand. Behave with professionalism and know what you are wearing so you can answer questions about it and direct customers to the designer.

Respect the space. Don’t mess with the venue’s equipment. Do clean up after yourself.

Phones are to be put away during makeup.

Ensure all outfits are hung up after the show and given to the appropriate designer.

If it’s not yours, don’t touch it. If you steal, you will never again be booked.

If you put your fingers in any of the makeup artist’s product, you will be asked to replace it at your own expense.

Do not chew gum on stage.

Eat a meal that will sustain you for the night before you arrive. High protein, and complex carbs work well. Bring energy bars or other convenient snack that can be eaten without destroying makeup. Food is never a guarantee, and disappearing in the middle of preparations to go get food can mess up the timeline.

Even if you are friends with the staff outside of a show, they are your employer at the show. Keep things professional. Don’t slack off, disrespect them, or create drama because you think you are doing a friend a favor.

You absolutely must be punctual. Arrive early or on time and if there is something pressing to prevent that, call and keep the staff updated.

Sit still. Do not distract other models while they are being briefed or in the hair or makeup chairs.

Remember that being a diva must be earned, and once it’s earned, you don’t have to be an ass to prove it.