Abigaile R
While talking to makeup artist, Schanica Pickens, Abigail expressed interest in doing some fashion work. She was already an established commercial fitness model. After talking, we decided that the fashion had to be fun and have a brighter, lighter aesthetic that could be seen as also commercial. We borrowed some clothing from JUS10H, brought in model/presenter Kody Onyiuke, and lit the studio brightly. Oh boy, can Abigaile MOVE ! (“ok fitness model…”). I think she had fun with the shoot. I think that you’ll enjoy looking at the images below.
Like every development shoot, each image on this page was built around a specific editorial and commercial goal.
Fashion Editorial
Teal Patchwork Blazer / Wide-Leg Trousers
The blazer is the argument.
A single-button teal blazer with houndstooth and multicolor tweed appliqué panels is not a garment that asks to go unnoticed. It has a point of view. The session was built around that point of view and around the question every high fashion editorial look has to answer: can the model carry it without disappearing behind it.
She can. The wide-leg heatheorange trousers ground the look without competing with it. The black stiletto heels close it. What the frames in this gallery show is range within a single look: hands in pockets, arms extended, deep squat, profile, close-crop. Eight frames. Eight distinct reads of the same garment. That is what agencies and casting directors need to see, not one strong image, but evidence that the model knows how to work.
The close-crop frames at the end of the gallery exist for a specific reason. The houndstooth appliqué panel at the shoulder and the multicolor tweed at the chest are construction details. Showing them clearly, at the right scale, in focus, is part of what a portfolio session produces that a casual shoot does not.
Destroyed Knit Stripe Sweater / Patchwork Blazer
The sweater does not ask permission.
Burgundy and heather grey destroyed-knit stripe with raw-edge cutout sleeves is a garment with a specific market and a specific message. High fashion editorial. The kind of image that belongs in a submission to an agency that is looking for range and point of view, not just a clean presentation of a model in interesting clothes.
The oversized heatheorange patchwork blazer enters and exits across this look. With the blazer on, the session is about layering and proportion: how a deliberately oversized silhouette reads against the destroyed texture of the sweater underneath. With the blazer off, the sweater stands alone and the destroyed-knit construction becomes the full story. Both versions are finished, deliveorange images. Both are usable submissions.
The solo frames in this look cover the full range of what the session was producing: full-length standing, dynamic movement, three-quarter, close crop. Each frame answers a different question a casting director or agency might ask. Together they build a case. That is what a portfolio is supposed to do.
Destroyed Knit Stripe Sweater / Duo Frames with Kody
The same garments. A different conversation.
Introducing a second model into the session is not a styling decision. It is a range decision. A model who can work alone and work with a partner is showing a casting director something that solo frames cannot: that she understands how to share a frame, how to direct energy toward and away from another subject, how to stay present when the image is not only about her.
Kody brings the white patchwork bouclé knit sweater with houndstooth and multicolor tweed appliqué panels and houndstooth bermuda shorts. The two looks were designed to speak to each other: destroyed knit against bouclé, burgundy and heather grey against white, straight-leg trousers against bermuda shorts. The garments are in conversation. The models are in conversation. The frames in this gallery show the range of that conversation: standing together, leaning apart, one seated and one standing, arms extended, arms crossed, close crop.
Twelve frames. Twelve distinct configurations of two people in the same space working toward the same image.
Commercial Athletic
Orange Sports Bra / High-Waist Leggings / White Cropped Jacket
The session closes in a different market entirely.
The commercial athletic look is not a footnote. It is a demonstration that the range built across the first three looks extends into a category that has its own clients, its own casting directors, and its own standards for what a usable image looks like. A model who can move from high fashion editorial to commercial athletic without losing conviction in either direction is a model an agent can place across a wider range of bookings.
The orange sports bra with black underband and high-waist orange leggings are the anchor. The white cropped zip jacket enters and exits, the way the blazer did in Look 02, giving the look two distinct reads from a single wardrobe investment. Without the jacket the session is producing pure athletic imagery: mid-jump, deep squat, low lunge, side plank. With the jacket it shifts toward the activewear lifestyle market where the garment is as much about how it looks standing still as how it performs in motion.
The energy in these frames is not performed. That matters. Commercial athletic clients are not hiring a model to look like she exercises. They are hiring a model who can make a consumer believe the product is worth buying. The frames in this gallery do that work.
This session produced three fashion looks and one commercial looks.
Every session begins with a conversation about where the model is and where they are trying to go. The work on this page followed from that conversation.
If you are a model seriously pursuing commercial or fashion work and want to understand what a session built around your goals would look like, the next step is simple. To learn more about model portoflio development sessions, click the button below.