#elitehotseat: HANNAH SABUELBA

How did you get started at Elite Toronto? 
-- I started at Elite Toronto December of 2012 as an intern when I was studying Fashion Communication at Ryerson University. During my internship, I had a particular interest in social media - my goal was to build Elite a credible reputation on social media and for the agency to be seen as an authority in the industry. I ended up interning for a whole year until I officially joined the Elite team. There's more to this role than just publishing attractive images—our online Elite community is the product of thoughtful strategy, a well-defined brand identity grounded in visual creativity and effective community management. 

What stream of social media do you think is the most influential and why? 
-- In this industry, it would definitely be Instagram. It's layout and design allows companies to share visual content easily. The dynamics of other platforms vary and are for different target audiences. 

Do you have any tips for someone who wants to improve their social media game? 
-- Post consistently and post quality content. Knowing what type of feed you want to curate will help you when you're trying decide on what photos to post. Also, this one is pretty obvious: be yourself. Uploading content that reflects who you are is important and anyone visiting your profile should be able to get an insight into your brand or personality.

Since you work on both sides, can you give us your first hand experience of how the rapidly changing landscape of social media has effected both the fashion and media industry? 
-- The rise of social media has brought connectivity, innovation, and diversity to the industry. Users are building their own brands and finding their own fans and followers. Currently, I work for YM Inc., and oversee social media marketing for retailers such as Urban Planet, Urban Kids, Sirens, Stitches and West49. Social media has made it easy to connect to our consumer and increased customer satisfaction. Fashion used to be a two-dimensional, one-sided industry and users didn’t have a say in what they were consuming. Social media has reframed this structure, allowing people to not only consume fashion but to also contribute to it; the demand for the opinion of consumers and influencers is stronger than ever. Social media has also contributed to pathways for creatives to not only expose their work, but to also book clients and work with brands with such convenience.

#elitehotseat: PETER TAMLIN

How did you get started in video and photography? 

Growing up in the late 80’s and 90’s, I was captivated and intrigued by music videos by David Fincher and Mark Romanek, who directed videos for Madonna, Michael Jackson, Nine Inch Nails, EnVogue, etc. They were dark, aggressive, glamorous, but most of all, inspiring. Without even really knowing or understanding what I was watching, I still knew that it was a world I wanted to be a part of. 

When I was 18, I met my first boyfriend. He was an assistant to David LaChapelle and showed me one of David’s books, Hotel LaChapelle. It was the spark that lit my interest and obsession with photography. 

After graduating high school, I experimented with many different career paths, fashion marketing, retail, hair dressing, all of which I more or less hated. 

Fortunately, though, it was the key for me to learn that I should pursue my passion for photography wholly and completely. At 25, I moved to Montreal and enrolled in the Dawson College Institute of Photography. After completing the program, I moved back to Toronto and began my career as a photographer and video director.

What were some of the biggest struggles you had when you first moved to New York? 

Being new to NY has many challenges, but the most significant challenge has been deciding on what course of action I should take in order to stand out and get noticed. 

The fashion industry in New York City is extremely fast paced and highly competitive. Being based here has forced me to think carefully and be especially strategic about which projects I pursue. In a city with a virtually unlimited amount of models, stylists and hair & makeup artists, not to mention stunning locations, it has been challenging to decide on which concepts to shoot, which magazines to shoot for, which models to shoot and ultimately what I want to say as an artist and photographer. However, this is a welcome challenge.

What artists from the past or present have influenced you the most? 

David LaChapelle, David Fincher, Steven Klein, Chris Cunningham, Alexander McQueen and Mark Romanek.

What would be the most important thing you want potential clients to know about you? 

Since the day I started shooting I’ve always tried to be original. 

The photos that always attracted the most attention were the ones where I did something completely unexpected, unorthodox and outside the box. Even though not everyone liked or appreciated those photos, they were ones that set me apart from the crowd and helped me stand out. 

Even though my work had evolved over the last 10 years, I always try to bring that mentality to every shoot that I do. From my more mainstream commercial projects all the way to my creative editorial projects, I always aim to bring something new and original to the table.

What kind of impact do you hope to make in the fashion industry in the next 10 years? 

Some of my favourite photos from other photographers were campaigns from the 2000’s for Alexander McQueen, DSquared2 and Dolce and Gabbana by Steven Klein, Steven Meisel and Mert & Marcus. 

These campaign shoots were completely original, innovative and had a high level of production. They used multiple models, elaborate sets, extravagant styling, and had strong visual message, but most importantly, they were memorable. 

This is what I want to contribute to the fashion industry. I want to create imagery that is bold, intense and captivating, all while having the same impact as these iconic and unforgettable campaigns. 

I will always strive to maintain my own distinct creative vision and hope to be known and sought after for a style that is unmistakably mine.

#elitehotseat: HANS KOECHLING

1. What was the most challenging part about starting your own business over 20 years ago? 

I think that every new start has it’s challenges. 20 years ago, I had to take the jump – a leap of faith, but also to know I would land on my feet in this industry.

I am very thankful for all and everyone that believed in me, my fashion family, from models, agents, stylists, hair & make-up crews, to established clients and my family. But the biggest challenge was to stand tall and be understood that this is a serious business.

To this day – I can say Thank You for believing in me – and to know that you are only as good as your last show.

I was discovered as a model in the 80’s and worked in the industry for many years with simply with the best and most creative people that the industry had to offer – who in hindsight helped me find my inspiration.

This is the time when fashion shows were sometimes very theatrical fashion shows that cast models that could walk, I mean models that had attitude and expression, that could really bring the runway to life, walk like a cat and sell the designer’s brand down the runway. I worked with some of the world’s top runway stars including Jerry Hall, Pat Cleveland, Claudia Schiffer, Yasmin Ghauri, The IT 4 Super girls, the Versace gals, The Ferre clique, Karl’s top ten… Models made a show and still do!

I was hooked, and so as I worked my way up the ladder from assistant to stylist and artistic director to producer.

I had the great pleasure to work and learn from some of the best lighting designers and sound, stage and make-up – hair artists along the way.

My mother client - the IGEDO Company was the best teacher! I really learned and earned my reputation as a show producer working with the company in Germany, with producing international events in China, New York and Miami celebrating fashion from around the globe.

From very humble beginnings to being honored to work with some of the world’s top designers today, I will always remember where it all started and that you are only as good as your last show.

2. What's an average day for you like? 

My Average day, - Up early around 5:30 AM, coffee and a quick look at the calendar and overnight e-mails, then take our Westie, Sir Wellington Kelly out for morning walk and then a jump into the shower to get the day started…

After some fruit or cereal for breakfast – it’s off to the fashion desk, to review all work in progress shows and also to review next travel schedules with my assistant and check in with my team.

Either I am off to client meetings, site meetings, creative concept meetings, technical meetings, model castings, or budget meetings, or off to the airport to jump to Toronto or other fashionable destinations for work.

My incredible team always makes miracles happen but we all need to be on the same page to keep the constant schedule moving. I rely on them as they do on me,- to keep it all together.

It only comes together when I see the shows come alive.

It’s like the long and sometimes sleepless nights and hours and collaborations with the designer and in house teams, all the creative vision, stage design, lighting, sound, casting, styling meetings, fittings, and hair & make-up tests, tight rehearsals and lots of patience, much love, lots of rush and adrenaline have finally turned into the vision you had from the beginning to a live performance that takes your breath away.

3. What are three skills or traits you must have in order to be a great fashion show producer?

Have the skills and experience to dream big !

The designer or the client is the star – they hired you to make their dreams come to life.

Hard work and showmanship will make your dreams come true. Assist your mentors and bring it on and learn every day and listen, understand teamwork, and can I say be *on time, or don’t bother showing up.

4. What's one thing you have learned from mistakes on the fashion show producer job?

Patience, longevity and be flexible when it comes to your time and budgets.

Follow your gut and heart when making decisions about accepting or quoting on a job.

After all you’re worth all the time and effort, creative vision and years of experience you are bringing to the job.

Know that when working in this industry, you will need to be sensitive to the client’s needs and listen.

Fashion is here and gone tomorrow, as a show producer you have to be flexible and know your place how to lead the team and the client into the show.

5. What's one piece of advice you would give an emerging Canadian Designer?

I have supported and mentored many Canadian Designers directly or through design programs. Christopher Bates, UNTTLD, Dalla, Mikael D., Elama Furs, and many more.

The bottom line is you have to dream BIG and get out there.

Thank You Suzanne Rogers’ Fashion Institute and Studio at Ryerson for stepping up and supporting these fabulous select talented designers to brand themselves internationally.

6. With the changing landscape of Canadian fashion, designers have been tasked with finding new and innovative ways to gain exposure. What do you think the Canadian fashion industry needs in order to thrive? 

Fashion is what we all wear every day. It’s one’s expression of our personality and the time we live in. It defines who we are and where we are going in our daily lives.

It’s also a multi million $ industry in Canada that supports many lives and communities.

Canadian Fashion needs to export itself as a brand!  The world awaits your fashion!

Now more than ever can Canadian Designers be proud of their 150^th heritage and make their way to other global platforms to launch their collections.