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JW: Over the last 10 years you have seen many artists come and
go, what would you say are the most important skills a ‘star’
artist must possess for longevity?
Kellie: Everyone is different, but talent, chemistry, personality,
patience, and persistence are key. Talent is an instinct; personality
is vital to creating chemistry with the team or celebrity involved,
and believing in your ability and worth, as an artist matters a
great deal.
We are in a very personal industry especially in the celebrity arena.
If the chemistry is right but the ability and talent are not there
the artist probably won’t get called back, no matter how well
they get along with the celeb or the team.
JW: What is more important to you when reviewing a portfolio,
a great creative photo, or a mediocre tearsheet?
Kellie: That’s a difficult call. Beautiful, creative
images are very important but tearsheets show you’re working
and have experience. Ideally a balance of both creativity and tearsheets
are important. You want to show your level of skill, and diversification
in both ability and look, and your ability to work as a team member.
Sometimes the image can turn out mediocre but the important thing
to show is range. A mediocre tearsheet can be okay if kept in context.
JW: How do you and the artists you rep decide what type of work
you go after for them.
Kellie: I ask the artist what area they really want to work
in, anyone they really want to work with but haven’t yet, and
most importantly who they have worked with and want to continue
to work with. Most of my artists want to try everything eventually.
We create a profile with a strategy and re-evaluate it as the artist
grows and their needs and desires change.
JW: Describe what has kept you with Jed Root for 10 years and
what you expect from the next 10 years?
Kellie: The artist’s and clients have all become friends,
so I get to work with friends. I get excited when the artists are
happy and achieving their goals. I am still challenged but get to
be part of the artists continued success, so I am very comfortable.
JW: Who does your hair?
Kellie: Kevin Mancuso has done it for years.
JW: Talk about your job perks! What changes have you noticed
in the industry over the last 10 years and what is your forecast
of the next 10 years.
Kellie: There are so many more hair & makeup artists
now then there seemed to be then, and Agencies. It’s great
as long as everybody is working. Many artists are now celebrities
and while once agents booked just jobs, artists and agents are now
involved in developing and negotiating; product lines, books and
endorsements. It just keeps getting bigger and better.
JW: How have the current world events affected business?
Kellie: After 9-11 there was a definite slow down here in
NYC and abroad, as we all tried to assess world affairs and deal
with the losses. But things are definitely picking up. We’ve
had a busy summer. The beauty business is booming. People are looking
for ways to feel good about themselves and beauty inspires and soothes.
JW: What advice would you give new artists looking for an agency?
Kellie: Be patient and persistent. But persistent in terms
of checking with several agencies in your area and pounding the
pavement with agents, new photographers, testing, new designers,
etc. Keep your ‘goal agency’ informed of great new tears
or tests, but not to the point that you become a nuisance. Believe
in yourself and your ability, both your artistic ability and your
ability to have an agent. I try my best to look at the portfolios
that get dropped off and include a thank-you note or advice letter,
I always ask artists to re-submit their book in the future, when
I may have an opening or they have new work they are proud of.
JW: Thank you, Kellie for your time, your openness, and honesty!
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New York City is without question the largest U.S. Fashion and Beauty
market, and the biggest revenue-generating city for freelance talent. It
is also the toughest to break into. So how does a young southern boy from
Shreveport Louisiana find himself leading the pack? Read on.
Jed Root moved from Louisiana to New York City in January of 1983 with his
boyfriend Kevyn Aucoin. In the beginning, Jed was Kevyn’s assistant
on test shoots. But, out of necessity, and as Kevyn’s popularity began
to grow, he changed hats and took on the role of Kevyn’s Agent. When
Vogue called––it was Jed that purchased a suit from the Salvation
Army so he could “look the part,” and took the meeting.
Realizing that it would take more than a suit to get Kevyn’s career
going, they mutually decided that Kevyn needed someone who was already in
the mix, and Root needed more experience.
Kevyn ventured over to Art and Commerce and then to Helen Murphy. At the
same time, Jed spent the next 3 years learning the ropes and cutting his
teeth at the now defunct, Name Models where he worked as a booking agent.
“I wanted to work with the creative forces that were responsible for
the beautiful images I spent all day editing––not the models,”
says Jed. Those forces meant photography, makeup, hair and styling
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By January 1989, Kevyn was feeling uneasy with his representation, and
Jed wanted out of the model business. Jed Root, Inc. opened its doors
January 1989 in Jed’s 5th Street apartment in the East Village, “I
really wasn’t sure what I was doing,” says Jed, but with Kevyn
as his first official artist he was off to a good start.
For all that he didn’t know, he knew plenty about negotiating and
booking talent. And by the time Kevyn came aboard, he had established
himself as a highly sought after makeup artist by New York’s fashion
elite. Behind Kevyn Root followed up with celebrity manicurist Sheril
Bailey and photographer Michael Thompson, who at that time was still assisting
legendary photographer Irving Penn. But Root could see the signature style
developing.
He spent nights and weekends with Thompson shooting tests and small editorial
jobs for magazines like Lears, Working Woman and Allure, which was still
in its infancy. Thompson continued to work as Penn’s assistant for
another year while Root steadily built his agency roster of artists and
clients.
The agency’s first big money––big exposure client was L’Oreal.
It established Kevyn and the agency as a contender.
To this day Jed says his most exciting client, on a personal level, has
to be Audrey Hepburn. “Whenever Audrey was going to be in NYC and
needed Kevyn’s services she would pick up the phone herself and call
me directly,” says Root. “Hello this is Audrey Hepburn calling
from Switzerland––can you imagine!”
Jed Root, Inc. is a powerhouse of creative geniuses and household names
led by their illustrious leader Jed Root and his generals, Director of
Beauty, Kellie O’Bosky-Haas and Director of Style, Laura Ball.
Jed Root manages the careers of mega stars Kevyn Mancuso (Hair), Dick
Page (Makeup Artist), Michael Thompson and Patric Shaw (photographers)
among others, procuring work for them in the high profile industries of
fashion, beauty, film, advertising, video, TV, and book publishing.
The strength of Jed Root is its contacts and Root’s ability to syndicate
his artists work and name value into every available niche worldwide.
Jed Root, Inc. has expanded to include a full time office in Paris where
Root spends 4-5 weeks a year, and a strategic partnership with the Tokyo
offices of Kohno Management, moves which insure worldwide exposure of
his artists.
Says Root, “A successful artist is equal parts personality, talent
and pure luck”. For beginning artists he recommends, “Testing
and assisting as much as possible, on shoots or at shows. Go to Europe
for the shows and assist if possible. Even the salon can be a great training
ground for the basics. “But”, he cautions, “It’s easy
to get stuck in the salon five days a week and not be able to find time
for testing or assisting at shows. Get your feet wet assisting by connecting
with working artists on your own or within the agency framework.”
While the agency has no formal portfolio submission requirements (i.e.
the number of tears or prior agency experience) they are open to artists
who; can show a range of work (looks), a great personality and focus on
their art form. Photographers need to show a range of work but not to
much of a range. “It’s got to express the photographers signature
style. Hair and makeup artists need to show range as well, but also a
sense of style and sensibility, so their creations contribute to the overall
image and story” says Root. Fashion stylists have it the hardest
because while they also have to demonstrate a range in their ability their
images can look dated very quickly. Basically we are in an industry where
the image we create can be out of ‘style’ by the time it gets
printed” says Root.
Kellie
O’Bosky-Haas can pick up the phone and direct dial editors at Vogue,
Allure and W magazines to firm up a booking, pitch a new artist or just
to catch up––as friends do. It’s her world. Half of the
nation’s bookers are just hoping to get one of those fashion and
beauty mavens to open up their mail to get a glimpse of a comp card. Friends?.
O’Bosky-Haas is director of hair and makeup at Jed Root. Her superior
talent roster, and the agency’s stellar reputation allow her to maneuver
effortlessly though days full of flux and change at a level that would
make most of us faint just from the dizzying height. But for O’Bosky-Haas,
it’s all in a days work.
For more than a decade O’Bosky-Haas, who was Root’s first employee
has dedicated herself to the growth and success of the agency’s artists,
inspiring trust and confidence in everyone she meets.
While working in the art world as a studio manager for world famous painter
Marilyn Minter, O’Bosky-Haas heard that Jed Root was looking for
a booker to help him out with his new agency.
As the story goes, O’Bosky-Haas was friends with a model’s agent
who knew Whitney Houston’s manager. Kevin Aucoin––then
with Jed Root, was working with Whitney quite a bit, and had mentioned
to Whitney’s manager that Jed was looking for someone to help him
out. Whitney’s manager mentioned it to Kellie’s model-agent
friend, who mentioned it to Kellie, and the rest as they say is history
Kelly learned the business on the job. Jed Root had already taken on a
few hair and makeup artists, most notably Kevin Aucoin; one photographer,
Michael Thompson, and a manicurist. With help on board, he added fashion
stylists to the mix.
Kellie’s ten plus year tenure is already a milestone in an industry
where the average is about four years for bookers in a single agency.
Most last less than two.
Her ability to get things done, engenders trust and confidence from her
artists. That coupled with long standing client relationships turned friendships,
has resulted in an outstanding career.
Part of her magic is the belief that what her artists create is truly
“Art”, which she and her clients value highly. Believing in
the value of the artists work helps her to be a tough negotiator, and
work out the best deals. The agency and the artists stay on track by setting
goals, having periodic reviews, and re-evaluating as artists meet their
personal targets.
Jed Root is more than a rep firm. As artists have become celebrities and
moved into realms that include book deals, and product lines, Jed Root’s
top guns have become saavy deal-makers, as well as negotiators.
Although the agency reps some of the worlds top photographers and artists
they are not presented as packages. Suggestions are made, but ultimately
the client’s needs and budgets dictate the team. Handling 13 artists
in her division, she is supported by the help of one booker, Danielle,
who works closely handling agency business, artist needs, and booking
details. Kellie stays very hands on in the day-to-day operations of the
agency, directing the promotion of and negotiations for each artist.
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