As I mentioned in one of my previous Blog entries, I have been contacting Photographers, Magazines and Designers in order to help me advance my photography.
While the number of replies has been very disappointing the numbers do fall within the parameters of the 1-3% that's the recognised questionnaire response rate.
I have noted that many of the people I contacted had contact forms on their website and this may have contributed to the low number of replies I have received back. I am now trying to get together some email contact info so I can see if this will increase my response rate.
I contacted Ectomorph and here's the reply from Krystina Kitsis:
“I look for an excellent image that is technically competent, an interesting image and how well the garment is shown. I have a different approach depending on whether the session/image is for editorial publication or internet/catalogue publication. If it is the former then imagination, creativity and originality would be more important than showing off the garments. In the latter the clear and informative are of paramount importance."
"THE ECTOMORPH STORY
Ectomorph in 1985 set out to merge the boundaries of fetish and high fashion, an objective in which it has been spectacularly successful. The inspiration and design experience of its founder, Krystina Kitsis, ensures that Ectomorph continues to produce quality garments, the execution of which is unmatched by any other company.
All latex garments are sewn and glued to reinforce the seams and ensure durability. The cut is designed to flatter all body sizes. Ectomorph does not discriminate. The standard range is sized from XS to XXL, but the made-to-measure service, for a discretionary extra 20%, means that all shapes and sizes can be catered for. Cross dressers, too, can confidently opt for any of our female garments.
Ectomorph started in 1985 as an experiment, spurred by the excitement generated by a new club in Soho, 'Skin Two' where I felt there was a need for fresh ideas in fetish clothing. I thought it would be interesting to take fetish into fashion. Subcultures, like Punk had already flirted with fetish paraphernalia and I wanted to take it further. I was fresh out of college, having studied cultural history at the Royal College of Art and written a thesis on the connection between sexuality and fashion that took me into the area of fetish and the way it had evolved. I was determined to write myself into the history of fetishism by transforming its image through fashion, though I retained many of fetish's intrinsic elements, those of silhouette and detail, whilst applying a modern approach.
Using the principles of structuring clothes that I had learned at the St Martin's School of Art, I treated rubber essentially I would any other fabric and created structured garments that were sewn and glued, so enabling the parameters of what was hitherto available to be extended. Determined to see my collection in the pages of Vogue, I telephoned the fashion editor who swiftly halted my desired rise to fame by informing me that this was, "Not the kind of thing that young gels should be wearing." It took the foresight of Elle magazine to make history and feature a long rubber sheath dress (Style 130) that was to become an Ectomorph icon that remains a firm favourite with many customers. Vogue then rose to the challenge, showing the same dress and subsequently returning time and again.
Ectomorph has not looked back since. The first collection was made in white rubber, firstly because I felt that white would be more acceptable to the fashion market, not so threatening perhaps, and secondly because it has a wonderful scent and feel to it, completely different from black rubber. However, I soon discovered that it was black that people wanted and so, along with Trevor Watson, an inspirational photographer, Ectomorph produced its first catalogue in black and white. Regrettably, stocks of this collector's item are exhausted.
It was always my intention to produce a rubber collection that could be worn out of a fetish context in a 'normal' setting. I drew my inspiration from fashion trends and just the feeling rubber inspires when placed against the body. My peplum jacket (Style 092) and fishtail skirt (Style 078) became staples of the fetish closet, appearing on many postcards and posters and in the pages of well-know magazines.
Since that date my work has frequently featured in prestige magazines, Vogue, Elle, Marie Claire, Loaded, Playboy, Skin Two, Sky Magazine, 19, to name but a few. Ectomorph garments figure in videos by Siouxie & The Banshees and The Corrs. I have worked on advertisements for David Bailey. Twenty five years on I am still producing new fetish styles for an expanding market that has differentiated into a number of subcultures. Black firmly remains the favourite colour. Men are finally rising to the challenge and demanding more 'outrageous' garments other than a rubber shirt and a pair of jeans. So, our mission continues, we will endeavour to continue producing new and exciting garments for everyone to wear."
While the number of replies has been very disappointing the numbers do fall within the parameters of the 1-3% that's the recognised questionnaire response rate.
I have noted that many of the people I contacted had contact forms on their website and this may have contributed to the low number of replies I have received back. I am now trying to get together some email contact info so I can see if this will increase my response rate.
I contacted Ectomorph and here's the reply from Krystina Kitsis:
“I look for an excellent image that is technically competent, an interesting image and how well the garment is shown. I have a different approach depending on whether the session/image is for editorial publication or internet/catalogue publication. If it is the former then imagination, creativity and originality would be more important than showing off the garments. In the latter the clear and informative are of paramount importance."
Here's some more info about them which I have taken from their website:
"THE ECTOMORPH STORY
Ectomorph in 1985 set out to merge the boundaries of fetish and high fashion, an objective in which it has been spectacularly successful. The inspiration and design experience of its founder, Krystina Kitsis, ensures that Ectomorph continues to produce quality garments, the execution of which is unmatched by any other company.
All latex garments are sewn and glued to reinforce the seams and ensure durability. The cut is designed to flatter all body sizes. Ectomorph does not discriminate. The standard range is sized from XS to XXL, but the made-to-measure service, for a discretionary extra 20%, means that all shapes and sizes can be catered for. Cross dressers, too, can confidently opt for any of our female garments.
Ectomorph started in 1985 as an experiment, spurred by the excitement generated by a new club in Soho, 'Skin Two' where I felt there was a need for fresh ideas in fetish clothing. I thought it would be interesting to take fetish into fashion. Subcultures, like Punk had already flirted with fetish paraphernalia and I wanted to take it further. I was fresh out of college, having studied cultural history at the Royal College of Art and written a thesis on the connection between sexuality and fashion that took me into the area of fetish and the way it had evolved. I was determined to write myself into the history of fetishism by transforming its image through fashion, though I retained many of fetish's intrinsic elements, those of silhouette and detail, whilst applying a modern approach.
Using the principles of structuring clothes that I had learned at the St Martin's School of Art, I treated rubber essentially I would any other fabric and created structured garments that were sewn and glued, so enabling the parameters of what was hitherto available to be extended. Determined to see my collection in the pages of Vogue, I telephoned the fashion editor who swiftly halted my desired rise to fame by informing me that this was, "Not the kind of thing that young gels should be wearing." It took the foresight of Elle magazine to make history and feature a long rubber sheath dress (Style 130) that was to become an Ectomorph icon that remains a firm favourite with many customers. Vogue then rose to the challenge, showing the same dress and subsequently returning time and again.
Ectomorph has not looked back since. The first collection was made in white rubber, firstly because I felt that white would be more acceptable to the fashion market, not so threatening perhaps, and secondly because it has a wonderful scent and feel to it, completely different from black rubber. However, I soon discovered that it was black that people wanted and so, along with Trevor Watson, an inspirational photographer, Ectomorph produced its first catalogue in black and white. Regrettably, stocks of this collector's item are exhausted.
It was always my intention to produce a rubber collection that could be worn out of a fetish context in a 'normal' setting. I drew my inspiration from fashion trends and just the feeling rubber inspires when placed against the body. My peplum jacket (Style 092) and fishtail skirt (Style 078) became staples of the fetish closet, appearing on many postcards and posters and in the pages of well-know magazines.
Since that date my work has frequently featured in prestige magazines, Vogue, Elle, Marie Claire, Loaded, Playboy, Skin Two, Sky Magazine, 19, to name but a few. Ectomorph garments figure in videos by Siouxie & The Banshees and The Corrs. I have worked on advertisements for David Bailey. Twenty five years on I am still producing new fetish styles for an expanding market that has differentiated into a number of subcultures. Black firmly remains the favourite colour. Men are finally rising to the challenge and demanding more 'outrageous' garments other than a rubber shirt and a pair of jeans. So, our mission continues, we will endeavour to continue producing new and exciting garments for everyone to wear."
My next reply was from Dark Beauty Magazine.
Here's their reply:
“Hi Chris,
Cheers for looking to us to participate with your research.
Dark Beauty Magazine runs each issue as themed issue. We encourage our artists, photographers and designers to follow the theme and ask them to submit content that relates to our theme. We look for artists who have content that fits spot on, that has something that is close or drives the feeling around the theme. I personally look for a story, composition and stylization to ensure our readers are getting content that still maintains what we are about. Dark Beauty Magazine is all about the Avant-Garde high fashion and story telling.
Again, cheers and take care! Keep us posted on additions questions you may have, we are always available to help.
Topher AdamDark Beauty Magazine
415-350-5074”Here's some more info taken from their website:
http://www.darkbeautymag.com/
"Dark Beauty Magazine
Dark Beauty is a magazine dedicated to artists, fashion designers, photographers, musicians, and actors who crave dark glamour. We provide a new avenue for promoting new and exciting talents who dares to push the envelope and bring such fantasies to life. Our focus is to highlight and bring awareness to bold talents from the darker side of the arts community.
Audience
Our core audience is artists, music lovers, fashionistas, and art enthusiasts who are ages 18 and above. We also place emphasis on peer-to-peer interactivity through easy references case studies, tutorials, and DIY projects.Forecast
We envision Dark Beauty becoming an industry-influencing magazine, with an emphasis for the unconventional at its core. Our magazine seeks novel methods to bring broader visibility to all, especially emerging talents. Dark Beauty strives to provide full-page imagery, engaging stories, and comprehensive references to the dark arts community.Dark Beauty will publish 12 issues and a limited edition book each year. The two special issues are the frightfully fun and exuberant “Dark Gore” Halloween issue, and the phantasmagoric “Dark ‘Holla’-Daze,” Christmas issue.
Throughout the year, we will be continuously acquiring, cataloging, and selecting fresh and compelling contributions to feature in our annual limited edition, hardcover book. The book will be a celebration of Dark Beauty talents and their exquisite work. We hope the book will award the talents with the recognition they deserve.
Proceeds from magazine sales will be invested into the growth of Dark Beauty. We hope to see a gradual growth of readership and contributors alike in the coming months. We also believe Dark Beauty will prosper and soar with each successive issue."
My next reply from from Photographer Julian M Kilsby:
"Research is the most important. Always target specialist magazine titles within your own field of interest, or those that deal with a subject area that you know something about. And then analyse the photography in those publications, in order to ensure that the submission is appropriate, I'm still surprised at how few photographers do this, and are then upset when their wholly inappropriate work is rejected. And after saying that, get used to rejection! It happens to everyone! Don't submit too many pics, between 5-10 pics is fine. Avoid using the phone for initial contact, photo editors work in hectic environments and would prefer email with attachments or weblinks as the first contact. And don't send the same pics to competing titles, as most will assume that what you’ve sent them is being offered to them exclusively."
Julian Kilsby.
Here's some info from his website:
http://www.jmkphoto.co.uk/
“Julian M Kilsby is a UK based photographer from Birmingham in the West Midlands and specialises in fashion, editorial portraiture and travel photography.
He has a professional, yet informal approach to his photography, with a creative vision and expressive eye for colour, lighting and dynamics.
Julian is not only a freelance photographer, he also teaches photography and is Degree Leader of BA Media Photography and MA Freelance Photography at Birmingham City University.
“I've been passionate about photography for as long as I can remember. To be able to 'see' a moment in time, to observe form & character, to mould and sculpt the light, to interpret and capture the essence of all that drama in a single frame – that’s the draw of photography. The desire to make photographs tempers everything I 'see'!
I have over 12 years professional experience in a number of photographic fields including fashion & beauty, portraiture, travel, wildlife, wedding reportage and interior design photography.
I've recently been working with a number of internationally-renowned latex fashion designers from all across the globe."
He has a professional, yet informal approach to his photography, with a creative vision and expressive eye for colour, lighting and dynamics.
Julian is not only a freelance photographer, he also teaches photography and is Degree Leader of BA Media Photography and MA Freelance Photography at Birmingham City University.
“I've been passionate about photography for as long as I can remember. To be able to 'see' a moment in time, to observe form & character, to mould and sculpt the light, to interpret and capture the essence of all that drama in a single frame – that’s the draw of photography. The desire to make photographs tempers everything I 'see'!
I have over 12 years professional experience in a number of photographic fields including fashion & beauty, portraiture, travel, wildlife, wedding reportage and interior design photography.
I've recently been working with a number of internationally-renowned latex fashion designers from all across the globe."
