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NEW WORK

Nyome Nicholas-Williams for The Flat Lay Co.

A summer campaign for a brand that gets it right.

The Flat Lay Co. makes the bags, pouches, and organisers that hold the things people actually use — makeup, swimwear, brushes, the small kit of a life lived properly. The brand has built its identity on imagery that reflects the women buying its products: real hands, real skin, real bodies, real ages. For their summer campaign, they cast Nyome Nicholas-Williams.

Shot at The Flat Lay Co. studio in Bloomsbury and directed by Bronwyn Wade, the campaign moves between beach scenes and studio close-ups. Bags on brown towels by the sea. Brushes spilling from a quilted pouch. A blue clear-PVC pouch held up against a bright sky next to a blue bikini. Hands reaching into a vanity-station bag full of skincare and tools. The imagery does what the brand has always done well — shows the product in use, in context, with the people who use it visible in the frame rather than hidden behind it.

Nyome is a recognised model within the UK modelling industry - who we are proud to represent - with previous notable campaigns including Dove and Vogue Italia, with a body of public advocacy that has reshaped the cultural conversation around body representation in fashion and on social media.

Her presence on a campaign signals what kind of brand has booked her. The Flat Lay Co. and Nyome are an honest fit — a brand whose creative direction already centres real bodies, working with a model whose career has demanded the industry do exactly that.

We represent Nyome for hand modelling, body modelling, and full commercial work. This is what good casting looks like when brand and talent

Campaign credits

🌺 Brand: The Flat Lay Co.

🎬 Director: Bronwyn Wade

🛠️ Production: Jasmin Manzano, Libby Walshe

👋 Talent: Nyome Nicholas-Williams, represented by Hired Hands Models

🔗 Nyome's full portfolio

🔗 The Flat Lay Co.share the same point of view.

5 May 2026

AGENCY UPDATES

Authentic Representation & Inclusive Casting in Commercial Modelling | HHM

Whether you are a production team or brand casting across the full range of real people, or someone who has never matched the traditional idea of a model and are weighing up modelling for yourself, this guide is a starting point. It also sets out why this is not a recent shift for HHM: the instinct to make room for talent the industry had previously overlooked has run through two generations of family ownership since 1991.

For most of advertising's history, the people in the pictures were there to be admired rather than recognised. Tall, slim, young, symmetrical. A narrow physical ideal that a large part of any audience could never see themselves in.

That has changed. It changed because it stopped working. Brands worked out that a campaign full of people who look nothing like the customer doesn't sell to that customer, and that audiences respond to faces they recognise as their own. Over the past decade or so the market has corrected, hard, toward real people of every kind. The practical result for anyone considering modelling is simple: there is more commercial work available now for people who were never the traditional type than there has ever been.

None of which is news to us. HHM has been casting for real, varied people since 1991, and the part of the industry that now treats authentic representation as a discovery is, from where we sit, arriving somewhere we set out from.

We have been doing this for a long time

Hired Hands Models was founded in 1991 by Steve and Judi Barker. In the 1990s and early 2000s, while much of the industry was still working to a fairly fixed idea of who a model was, they ran specialist divisions for the talent the mainstream tended to overlook.

One was Origin, representing talent from a wide range of ethnic backgrounds.

Another was Role Models, built around real working people — the builder, the gardener, the person who looks like an actual customer rather than an aspiration.

A third, Suits, covered corporate talent.

The thread running through all three was the same conviction that still drives the agency: that the most useful talent for a brand is usually the talent that looks like the people the brand is talking to.

The Origin catalogue still exists. It's a physical book of talent cards — names, measurements, black-and-white headshots — and it's a more convincing record than anything we could write here, because it shows the agency genuinely representing this breadth of people thirty years ago, not claiming to in hindsight.

So when we say HHM has championed inclusive casting for decades, it isn't a positioning line written to suit the moment. It's a matter of record: we even have a book to prove it.

***An Editorial note on past language used***

We share that history honestly, which means being straight about the parts of it that haven't aged well.

The Origin division, and the way its talent was grouped, used terminology that was in mainstream use in the 1990s and would not be chosen today. Some of it is now rightly recognised as outdated and, in places, offensive.

We've left that language firmly in the past. Our understanding has moved on with the wider culture's, and we no longer group talent by ethnicity at all — because genuine representation means diversity woven through the whole roster, not partitioned off into a separate category, which on reflection does more to reinforce a sense of "otherness" than to dissolve it.

We raise the history not because the words were right. By today's understanding, they weren't. We raise it because the intent behind it was. Steve and Judi were trying to create space and opportunity for talent the industry overlooked, well before that became a priority anyone else was acting on. That instinct was right then and it's right now. The implementation has evolved; the direction never needed to.

Why we back commercial modelling over fashion

Role Models — the everyday-people division — is the direct ancestor of something HHM still argues for today: that commercial modelling, not fashion modelling, is where real representation lives and where most of the actual work is.

Fashion modelling operates inside narrow physical parameters by design, because the garments and the editorial aesthetic call for a particular silhouette. Commercial modelling has no such constraint. A healthcare brand needs someone who genuinely looks like the patient. A pension provider needs a face with real authority and age behind it. A supermarket needs people who look like families. The brief decides the casting, and briefs run across every age, body type, ethnicity and characteristic there is.

Repeatable, recognisable, real people — which is exactly what Role Models was built on.

Why inclusive casting works

The approach behind all of this is straightforward: open the casting up. The traditional idea of who belonged in front of a camera was narrow by habit, not by necessity, and most of the people it left out are the same people brands are trying to reach. Casting across size, age, background, ability and presentation gives a more accurate picture of who actually buys things, and it gives more people a genuine route into the work.

That accuracy is where the commercial benefit sits, because audiences notice whether they are in the picture. A customer who never sees anyone like themselves in a brand's advertising tends to conclude, quietly, that the brand is not really for them.

People respond to faces and bodies that reflect their lived experiences and no product is used only by some narrow ideal. Customers come in every shape, size, ability and background, so casting that reflects them reaches more of them, not fewer. For example, a campaign that casts a genuine gay couple lands with the LGBTQ+ audience it is speaking to, because that audience reads the difference at a glance: the ease, the small specifics, the things a performance does not reproduce.

Cast two straight models to play the part and the audience you were hoping to reach is the first to notice, and what was meant as inclusion comes across as a brand talking about people rather than to them. The same holds across disability and every other lived experience. Someone who actually holds it brings something to the frame that direction and styling cannot add afterwards, and the people who share that experience can tell. Authentic casting earns trust because it is true; the approximated version tends to get spotted, and spends that trust instead.

We make the point here for a straightforward reason: building a roster around real, varied people is what HHM has done since long before the wider market treated it as a priority.

What does the data say

Audiences increasingly expect to see real, varied people, while the industry still under-delivers. Channel 4's 2025 'Mirror on the Industry' audit found 77% of people now agree diversity and inclusion matters in advertising, up from 72% in 2023, even as several groups remain barely visible on screen. That distance between what audiences want and who actually gets cast is where a specialist roster does its work.

Size — curve, plus and body positivity

Curve modelling covers roughly UK 12 to 16; plus size, UK 18 and above. The distinction is practical rather than political: different briefs call for different size ranges, and for ecommerce in particular the model's actual size has to match the sample being shot, or the imagery is unusable. It's also not only about dress size - fit and proportion matter, and a good deal of commercial size work still carries height and proportion requirements people don't always expect - with female plus size models, for example, generally needing to be 5'8" or taller.

The opportunity here is defined by a gap rather than a boom. Most women are above a standard sample size, yet visible representation stays thin and, at the fashion end, is going backwards: Vogue Business's 'Fall / Winter 2026 size inclusivity report' found plus-size models in just 0.3% of runway looks — a three-year low — against 97.6% straight size. That is exactly why commercial casting matters where fashion retreats: retailers selling across a full size range need imagery across that range, and brands have worked out that showing the size a customer actually is converts better than aspiring past them. Demand for male curve and plus size talent is real too, not only female.

There is a body-positivity dimension here as well, and it is commercial as much as cultural. A 2024 study of body-positive advertising, 'Perfectly Imperfect', found that ads featuring real, varied bodies drive stronger consumer engagement, working through the brand authenticity audiences perceive - and that simply showing diverse bodies outperforms loud, explicit "body-positive" messaging. That is how good size casting works in practice: representing real people, not making a performance of it.

Age — classic and older talent

We tend to say classic or older talent rather than "mature," because "classic" better describes what brands are actually casting for. The commercial case is one of the strongest in this whole piece, and it's well documented: older consumers hold real spending power yet are persistently underrepresented on screen — the pattern set out in Martin Eisend's review 'Older People in Advertising' in the Journal of Advertising, and borne out in the UK by Mirror on the Industry, which put people aged 70 and over in just 2% of advertising lead roles, mostly health or charity contexts.

The same report cites projections that by 2040, 63p in every pound spent in the UK will come from older audiences — so casting that skews entirely young is a commercial risk, not a neutral choice. Grey hair is an asset to cast for, not something to colour over, and this is one of the few areas you can enter later in life with no prior experience: the authentic presence of age can't be manufactured, and everything else is learnable.

Ethnicity — woven through, not partitioned

This is where our own history did its work on us. Having once run a division that grouped talent by ethnic background, we came to the considered view that segmenting talent that way reinforces a sense of separateness rather than dissolving it. So the current roster doesn't. Talent of every background sits throughout the categories, cast on suitability for the brief.

On volume, the industry has largely caught up for several groups — Mirror on the Industry found Black representation sustained above population share, for instance.

Where it still falls short is authenticity: around half of ethnic-minority respondents in the same study said they only ever see people from minority groups portrayed tokenistically. That is an argument for casting real, well-matched people throughout a roster rather than filing them under a separate heading.

Gender and orientation

HHM represents gay, lesbian, bisexual, transgender and non-binary talent across a full range of ages and presentations, and we make that talent browseable for a simple reason: brands ask for authentic LGBTQ+ casting, and the people on our roster have chosen to be represented that way. Demand is now standard across lifestyle, financial services, housing, travel and mainstream consumer advertising, not confined to specialist campaigns.

Supply hasn't kept pace. Mirror on the Industry found LGBTQ+ people in only 2% of ads and 1% of lead roles, with transgender and non-binary people absent from lead roles altogether, and what representation there is tends to lean on narrow cues. The appetite, though, is real and long-established: a 2019 GLAAD and P&G study in the US, 'LGBTQ Inclusion in Advertising & Media', found three-quarters of non-LGBTQ people comfortable seeing an LGBTQ person in a commercial.

The commercial reality is simply that this audience is significant and responds to being represented by people who genuinely belong to it rather than approximate it — which is the whole case against tokenism.

Disability and visible differences

This covers a wide spread: mobility impairments and wheelchair use, limb differences, sensory impairments, chronic and non-visible conditions, neurodivergence, and visible differences such as vitiligo, birthmarks, scarring, burns and alopecia. Healthcare, pharmaceutical and public-health work has the longest track record here and often briefs for very specific conditions, where accurate matching at agency level matters a great deal. Adaptive-product brands cast genuine users, and mainstream retail increasingly features models with disabilities and visible differences in ordinary seasonal campaigns.

This is also the strand with the strongest evidence behind it. A forthcoming Journal of Marketing study from Bayes Business School, 'Beyond Visibility: The Disability Inclusion Effect in Advertising', found across nine pre-registered experiments that featuring disabled people lifts how audiences feel about the ad, the brand and the product — for disabled and non-disabled viewers alike — but that the effect collapses when the portrayal leans on vulnerability or treats the disability as a token. It is a near-exact academic statement of how we cast: real people with agency, matched to the brief, not pity and not box-ticking.

The opportunity is wide open, too: Mirror on the Industry put disabled people in just 4% of ads and 2% of lead roles, against roughly 18% of the UK population.

It was never a trend for us

The market reaching authentic representation is a genuinely good thing, and we're not precious about having got there first. But it's worth being clear that for HHM this isn't a recent adjustment to the mood of the moment. It's been the approach for more than thirty-five years — from Steve and Judi Barker's original divisions to the agency Chloe Barker and Thomas Albone run today, with a roster of 250-plus vetted models that reflects the actual range of people brands need to cast. Two generations, one instinct.

The market catching up doesn't change what we do. It just means more opportunity — for the brands casting more honestly, and for the wide range of people who can now build a real career in front of a camera without being the one narrow type the old industry would have picked.

Sources

- Channel 4 & Tapestry (2025). Mirror on the Industry. https://www.channel4.com/press/news/how-representative-are-adverts-british-population-channel-4s-mirror-industry-audit

- Cossu, M., Estes, Z. & Vosgerau, J. (2026). Beyond Visibility: The Disability Inclusion Effect in Advertising. Journal of Marketing (in press). https://openaccess.city.ac.uk/id/eprint/37335/

- Eisend, M. (2022). Older People in Advertising. Journal of Advertising, 51(3), 308–322. https://www.tandfonline.com/doi/full/10.1080/00913367.2022.2027300

- Roy Bhattacharjee, D., Pradhan, D., Kuanr, A. & Malhotra, N. (2024). Perfectly Imperfect: How Body-Positive Advertisements in Social Media Foster Consumer Engagement. https://gala.gre.ac.uk/id/eprint/49203/

- Vogue Business (2026). Size Inclusivity Report: Fall/Winter 2026. https://www.vogue.com/article/the-vogue-business-fall-winter-2026-size-inclusivity-report

- GLAAD & P&G (2019). LGBTQ Inclusion in Advertising & Media (US survey). https://assets.glaad.org/m/30c92ca3257ffc4c/original/2019-LGBTQ-Inclusion-in-Advertising-Media.pdf

For production teams: If you are looking to cast authentic, diverse and inclusive talent, then browse the HHM roster, including Plus Size, Classic, LGBTQ+, Disability and Visible Differences divisions.

For talent: If you would like to be considered for representation for any of these divisions of our agency then please see our applications page - HHM charges no upfront fees to join our agency.

4 June 2026

NEW WORK

Timex for J Crew, with Stuart Reed

The Timex for J Crew campaign, shot with Common Image and photographer Sam Nicklin, runs on playful still-life: a retro desk in one frame, a hand pressed into sand in another, the watch at the centre of each. Two very different worlds, shot in a day.

What links them is the hand, and that is harder than it looks. The hand in the cluttered office and the hand on the beach have to read as the same relaxed, in-character hand, even though the scenes share nothing else. It comes down to taking direction and holding it — keep the shape, adjust by a centimetre, hold again, and look as unforced on the fortieth take as the first. On a multi-setup day, that consistency is most of the job.

Stuart Reed did the hand work. He has been at it for over 25 years, as both a hand and a commercial model, with credits from Cunard cruises to Creed fragrances. A model who also works commercially reads the whole frame, not only the hand, which tends to show up on set as fewer resets and less explaining.

Campaigns like this come together when everyone is working to the same standard. Produced by Common Image, shot by Sam Nicklin, with Stuart on hand.

CREDITS

Creative Concepts by Sam Nicklin @sakegrni

Photographer Sam Nicklin @sakegrni

Production by Common Image @commonimage__

Producer & Agent Tom Burns @tombburns

Props Stylist Katherine Pickup @katherinepickup

1st Lighting Assistant Connor Egan @connortimothyy

2nd Lighting Assistant Sarah Wilson @sarah.wilso.n

Digi-op Anna-Sophia John @annasophiajohn

Groomer India Rawlings @facesbyindia_

Wardrobe Stylist Jessica Harris @nationalltreasure

Home Economist Maricella Espinosa-Blohm @maricellacelinedion

Props Assistant Lucia Barsegian @luciabarsegian

Runner Misa Mlambo @misamlambo

Hand Model Stuart Reed @stuartreedmodel

Retouching Sam Nicklin @sakegrni

2 June 2026

NEW WORK

Jonathan Kogan and Claudia Cole on the latest Hellmann's campaign

Two of our hand models, Jonathan Kogan and Claudia Cole, have featured in the new Hellmann's campaign for Unilever — shot by Robert Billington for Ogilvy, produced by Twenty Twenty Agency.

The campaign sits firmly in the territory where hand modelling earns its keep: detail-led food work, the hero product held cleanly in frame, the hand doing real storytelling alongside the food stylist's craft. It's precise, repeatable, and unforgiving — and exactly the kind of brief Jonathan and Claudia are cast for.

Casting hand or detail work for a food or product campaign? Their full portfolios are linked above, and the wider HHM hand modelling roster sits here.

Credits

- Client: Hellmann's (Unilever)

- Agency: Ogilvy UK

- Photographer: Robert Billington

- 1st Assistant: Jack Storer

- Digi Tech: Liam Prior

- Food Stylist: Livia Abraham, Salt Spoon Ltd

- Food Stylist Assistants: Sophie Sibbald, Olha Diachenko

- Manicurist: Christie Huseyin (Eighteen Management)

- Talent: Claudia Cole and Jonathan Kogan (Hired Hands Models)

- Production Company: Twenty Twenty Agency

- Exec Producer: Tom Gallagher

- Producer: Jodie Simms

- Retoucher: Barry Craig

3 May 2026

AGENCY UPDATES

What the Avatar lawsuit asks the industry

The question the case puts to the industry is a simple one: is the convention you have been pricing against the same framework you have collectively committed to?

A lawsuit filed in the U.S. District Court for the Central District of California last week has put a question that the industry has been working with quietly for decades into a courtroom. Q'orianka Kilcher, the Indigenous actress who portrayed Pocahontas in Terrence Malick's The New World in 2005, is suing James Cameron, The Walt Disney Company, and several visual effects vendors over the design of Neytiri in Avatar. Her complaint cites a recorded interview in which Cameron is shown holding the original Neytiri sketch and identifying the source: a photograph of Kilcher in the Los Angeles Times, age fourteen, with her lower face used as the basis for the character's design.

We are not going to comment on the merits of the case. That is for the court. What we want to talk about is the frame the case sets — because the line the lawsuit draws sits across territory the industry has been mapping for a long time, often without acknowledging the work that has already been done on it.

What the audience actually saw

Before getting into recognisability and consent, it is worth being clear about what the character on screen actually is. Neytiri is a composite. Cameron's design phase is the layer the lawsuit pulls on. Zoe Saldaña performed Neytiri through motion capture across the Avatar films and has been a public advocate for performance capture as a craft, arguing that the actor owns the character that appears on screen. The visual effects pipeline rendered the final asset.

Three contributions, layered together, producing a CGI alien that audiences identify as Neytiri. Neither Kilcher's face nor Saldaña's face appears in the finished frame. The character is everyone and no one. Whatever the court concludes about the design layer, that compositing reality is part of why this case matters beyond a single film.

Recognisability and consent: separate axes, agreed framework

Where on the face the camera lands is a defined commercial category, not a subjective one. We publish our own working line in our rate card — the threshold sits across the tip of the nose, above which a performer is treated as recognisable for fee purposes, below which they are not.

There is no single codified UK visual standard for that line. Different agencies operate to slightly different versions, because the industry has never harmonised one. But there is an agreed framework for the related question — how to categorise a performer's contribution — and it is more sophisticated than the convention the industry is currently pricing against.

The 2011 IPA / Equity Agreed Document on Definitions of Artists in Commercials defines a Featured Artist by a functional test. From Glossary 1:

"An appropriate test of whether 'an individual role plays an essential part' in telling the commercial story is to ask whether or not the performance could be removed from the commercial without compromising the relaying of the commercial story. If it can, then the artist is not a Featured Artist; if it cannot, then the artist is a Featured Artist."

The same clause states explicitly that "recognisability is not a sole criterion" for the category. The IPA is the trade body for UK advertising agencies — its members account for the bulk of UK media spend, and the agreed document was signed jointly with Equity, the APA, and ISBA. The framework is what the agencies producing UK advertising, the performers' union, the production companies, and the advertisers themselves have collectively committed to.

That framework treats recognisability and the essential nature of a performance as independent. A performer whose physical contribution is the commercial story — a hand on a product, a body in a fitting, a figure in silhouette — passes the functional test. The performance cannot be removed without dismantling the campaign. There is a contradiction inside the agreed definition — physically obscured performers are listed as excluded from Featured Artist status, even when their performance is essential by the test the same clause sets out — and that internal tension is one of the things the Kilcher case puts on display. But the principle the framework starts from is clear.

Consent is anchored just as firmly. The BCAP Code, Rule 6.1, governing UK broadcast advertising:

"Living persons must not be featured… without their permission."

The CAP Code's non-broadcast equivalent, Rule 6.1, applies the same principle to print, online, and out-of-home: permission is the operating standard for portraying an individual in a marketing communication. Recognisability is not the test. Permission is.

That is what every release form signed for every UK booking is doing. The release form documents the consent the codes require. If it were administrative paperwork without commercial weight, it would not be universal practice. It is universal because the codes mean it has to be.

How the rest of the commercial visual industry handles this

Two of the largest commercial stock photography platforms have already operationalised the consent principle, on slightly different standards.

Getty Images requires a model release for any recognisable person in commercial imagery, whether the main subject of the shoot or in the background. Its contributor guidance states that "if your content has recognizable people… you'll need a model or property release." The trigger is audience recognition: if the public can identify the person, consent is required.

Alamy goes further. Its commercial-use rule applies "if the person in your image can recognise themselves in any way," and its contributor guidance is explicit: "This includes crowd scenes, parts of the body or silhouettes." A separate Alamy guidance page states that a model release is required for "any people featured in an image even if they are un-recognisable, body parts like hands or feet will also require a release." The trigger is self-recognition: if the person depicted can recognise themselves, consent is required.

Both platforms treat consent as material to commercial use, independent of how prominent or recognisable the depicted person is in the final frame. The Alamy rule, in particular, applies the same logic to body parts work that the Kilcher case is asking the court to apply to design-stage extraction. The principle in both cases is that consent attaches to the use of the person, not to the visibility of their face.

Two principles, one pricing convention

SAG-AFTRA's 2025 Commercials Contract, effective 1 April 2025, sets out the US position contractually. Performers receive a session fee plus ongoing use fees, paid as independent items. The categorisation extends across performer types, including extras. New provisions for digital replicas require performer consent in writing before any replica is created, with a reasonably specific description of intended use. Use of a digital replica triggers minimum compensation of 1.5 times the applicable session fee, plus use and holding fees at scale.

In the UK, the agreed framework sets out the same principles. The Equity/IPA definition treats categorisation as a function of contribution. The CAP and BCAP codes require permission for any living person featured. In November 2023, the IPA and ISBA jointly published twelve guiding principles for the use of generative AI in advertising. Two of those principles land directly on the same territory:

- Principle 6: "AI should not be used in a manner that is likely to undermine the rights of individuals."

- Principle 8: "AI should be additive and an enabler — helping rather than replacing people."

What the US framework has done — and what the UK framework has not yet done — is convert principles into a pricing structure. SAG-AFTRA's contract separates session compensation from ongoing use compensation as independent line items. The UK convention has folded them together. Day rates incorporate the usage scope the work realistically requires, with the buyout included rather than billed separately. The convention is not contrary to the agreed framework. But it is not what the framework would imply if read on its own terms — and it is not how Getty, Alamy, or SAG-AFTRA have read the same principles.

What this means for AI

The dimension of the case with the broadest implication is the one that has not yet been argued in court. If a verdict concludes that biometric extraction without consent is actionable even when the end product is unrecognisable, the same logic applies to every generative imagery system trained on scraped datasets of real people. SAG-AFTRA's 2025 contract has already converted the principle into binding contractual terms. The IPA/ISBA AI Principles have set out the same direction at a principles level. Two industries, two stages of the same conversation, both arriving at the same answer: consent at the point of use, and compensation that follows the consent.

The norm and the framework

The norm of "no usage for unrecognisable talent" in the UK is established. It is not a regulatory one. The Equity/IPA definitions, the CAP and BCAP codes, the IPA/ISBA AI Principles, the SAG-AFTRA contract, and the Getty and Alamy commercial-use rules together set out a framework in which consent attaches to the use of a person regardless of how recognisable they are in the finished work. The convention has been operating around the framework, not against it — but the gap between the two has existed in plain sight.

Whatever the court decides about Kilcher, the case has made that gap visible to anyone reading the framework on its own terms. We will be watching.

Sources

- 2011 IPA / Equity / APA / ISBA Agreed Document on Definitions of Artists in Commercials. Available via Equity and IPA member resources.

- CAP Code (UK Code of Non-broadcast Advertising and Direct & Promotional Marketing), Rule 6.1 — Privacy. https://www.asa.org.uk/codes-and-rulings/advertising-codes/non-broadcast-code.html

- BCAP Code (UK Code of Broadcast Advertising), Rule 6.1 — Privacy. https://www.asa.org.uk/codes-and-rulings/advertising-codes.html

- IPA / ISBA Twelve Guiding Principles for the Use of Generative AI in Advertising (November 2023). https://ipa.co.uk/news/industry-principles-for-generative-ai

- SAG-AFTRA 2025 Commercials Contract (effective 1 April 2025). https://www.sagaftra.org/contracts-industry-resources/commercials/2025-commercials-contracts

- Getty Images — Rights & Clearance / contributor guidance on model releases. https://www.gettyimages.com/rights-and-clearance

- Alamy — Model and property releases explained. https://www.alamy.com/help/what-is-a-property-and-model-release/

Hired Hands Models, London Modelling Rate Card — March 2026, page 15: Defining Unrecognisable Cropping.

5 May 2026

NEW WORK

Nyome Nicholas-Williams for The Flat Lay Co.

A summer campaign for a brand that gets it right.

We represent Nyome for hand modelling, body modelling, and full commercial work. This is what good casting looks like when brand and talent

Campaign credits

🌺 Brand: The Flat Lay Co.

🎬 Director: Bronwyn Wade

🛠️ Production: Jasmin Manzano, Libby Walshe

👋 Talent: Nyome Nicholas-Williams, represented by Hired Hands Models

🔗 Nyome's full portfolio

🔗 The Flat Lay Co.share the same point of view.

5 May 2026

AGENCY UPDATES

Authentic Representation & Inclusive Casting in Commercial Modelling | HHM

We have been doing this for a long time

One was Origin, representing talent from a wide range of ethnic backgrounds.

Another was Role Models, built around real working people — the builder, the gardener, the person who looks like an actual customer rather than an aspiration.

A third, Suits, covered corporate talent.

So when we say HHM has championed inclusive casting for decades, it isn't a positioning line written to suit the moment. It's a matter of record: we even have a book to prove it.

***An Editorial note on past language used***

We share that history honestly, which means being straight about the parts of it that haven't aged well.

Why we back commercial modelling over fashion

Repeatable, recognisable, real people — which is exactly what Role Models was built on.

Why inclusive casting works

We make the point here for a straightforward reason: building a roster around real, varied people is what HHM has done since long before the wider market treated it as a priority.

What does the data say

Size — curve, plus and body positivity

Age — classic and older talent

Ethnicity — woven through, not partitioned

On volume, the industry has largely caught up for several groups — Mirror on the Industry found Black representation sustained above population share, for instance.

Gender and orientation

Disability and visible differences

The opportunity is wide open, too: Mirror on the Industry put disabled people in just 4% of ads and 2% of lead roles, against roughly 18% of the UK population.

It was never a trend for us

Sources

- Channel 4 & Tapestry (2025). Mirror on the Industry. https://www.channel4.com/press/news/how-representative-are-adverts-british-population-channel-4s-mirror-industry-audit

- Cossu, M., Estes, Z. & Vosgerau, J. (2026). Beyond Visibility: The Disability Inclusion Effect in Advertising. Journal of Marketing (in press). https://openaccess.city.ac.uk/id/eprint/37335/

- Eisend, M. (2022). Older People in Advertising. Journal of Advertising, 51(3), 308–322. https://www.tandfonline.com/doi/full/10.1080/00913367.2022.2027300

- Vogue Business (2026). Size Inclusivity Report: Fall/Winter 2026. https://www.vogue.com/article/the-vogue-business-fall-winter-2026-size-inclusivity-report

- GLAAD & P&G (2019). LGBTQ Inclusion in Advertising & Media (US survey). https://assets.glaad.org/m/30c92ca3257ffc4c/original/2019-LGBTQ-Inclusion-in-Advertising-Media.pdf

For talent: If you would like to be considered for representation for any of these divisions of our agency then please see our applications page - HHM charges no upfront fees to join our agency.

4 June 2026

NEW WORK

Timex for J Crew, with Stuart Reed

Campaigns like this come together when everyone is working to the same standard. Produced by Common Image, shot by Sam Nicklin, with Stuart on hand.

CREDITS

Creative Concepts by Sam Nicklin @sakegrni

Photographer Sam Nicklin @sakegrni

Production by Common Image @commonimage__

Producer & Agent Tom Burns @tombburns

Props Stylist Katherine Pickup @katherinepickup

1st Lighting Assistant Connor Egan @connortimothyy

2nd Lighting Assistant Sarah Wilson @sarah.wilso.n

Digi-op Anna-Sophia John @annasophiajohn

Groomer India Rawlings @facesbyindia_

Wardrobe Stylist Jessica Harris @nationalltreasure

Home Economist Maricella Espinosa-Blohm @maricellacelinedion

Props Assistant Lucia Barsegian @luciabarsegian

Runner Misa Mlambo @misamlambo

Hand Model Stuart Reed @stuartreedmodel

Retouching Sam Nicklin @sakegrni

2 June 2026

NEW WORK

Jonathan Kogan and Claudia Cole on the latest Hellmann's campaign

Two of our hand models, Jonathan Kogan and Claudia Cole, have featured in the new Hellmann's campaign for Unilever — shot by Robert Billington for Ogilvy, produced by Twenty Twenty Agency.

Casting hand or detail work for a food or product campaign? Their full portfolios are linked above, and the wider HHM hand modelling roster sits here.

Credits

- Client: Hellmann's (Unilever)

- Agency: Ogilvy UK

- Photographer: Robert Billington

- 1st Assistant: Jack Storer

- Digi Tech: Liam Prior

- Food Stylist: Livia Abraham, Salt Spoon Ltd

- Food Stylist Assistants: Sophie Sibbald, Olha Diachenko

- Manicurist: Christie Huseyin (Eighteen Management)

- Talent: Claudia Cole and Jonathan Kogan (Hired Hands Models)

- Production Company: Twenty Twenty Agency

- Exec Producer: Tom Gallagher

- Producer: Jodie Simms

- Retoucher: Barry Craig

3 May 2026

AGENCY UPDATES

What the Avatar lawsuit asks the industry

The question the case puts to the industry is a simple one: is the convention you have been pricing against the same framework you have collectively committed to?

What the audience actually saw

Recognisability and consent: separate axes, agreed framework

The 2011 IPA / Equity Agreed Document on Definitions of Artists in Commercials defines a Featured Artist by a functional test. From Glossary 1:

Consent is anchored just as firmly. The BCAP Code, Rule 6.1, governing UK broadcast advertising:

"Living persons must not be featured… without their permission."

How the rest of the commercial visual industry handles this

Two of the largest commercial stock photography platforms have already operationalised the consent principle, on slightly different standards.

Two principles, one pricing convention

- Principle 6: "AI should not be used in a manner that is likely to undermine the rights of individuals."

- Principle 8: "AI should be additive and an enabler — helping rather than replacing people."

What this means for AI

The norm and the framework

Whatever the court decides about Kilcher, the case has made that gap visible to anyone reading the framework on its own terms. We will be watching.

Sources

- 2011 IPA / Equity / APA / ISBA Agreed Document on Definitions of Artists in Commercials. Available via Equity and IPA member resources.

- CAP Code (UK Code of Non-broadcast Advertising and Direct & Promotional Marketing), Rule 6.1 — Privacy. https://www.asa.org.uk/codes-and-rulings/advertising-codes/non-broadcast-code.html

- BCAP Code (UK Code of Broadcast Advertising), Rule 6.1 — Privacy. https://www.asa.org.uk/codes-and-rulings/advertising-codes.html

- IPA / ISBA Twelve Guiding Principles for the Use of Generative AI in Advertising (November 2023). https://ipa.co.uk/news/industry-principles-for-generative-ai

- SAG-AFTRA 2025 Commercials Contract (effective 1 April 2025). https://www.sagaftra.org/contracts-industry-resources/commercials/2025-commercials-contracts

- Getty Images — Rights & Clearance / contributor guidance on model releases. https://www.gettyimages.com/rights-and-clearance

- Alamy — Model and property releases explained. https://www.alamy.com/help/what-is-a-property-and-model-release/

Hired Hands Models, London Modelling Rate Card — March 2026, page 15: Defining Unrecognisable Cropping.

5 May 2026

NEW WORK

Nyome Nicholas-Williams for The Flat Lay Co.

A summer campaign for a brand that gets it right.

We represent Nyome for hand modelling, body modelling, and full commercial work. This is what good casting looks like when brand and talent

Campaign credits

🌺 Brand: The Flat Lay Co.

🎬 Director: Bronwyn Wade

🛠️ Production: Jasmin Manzano, Libby Walshe

👋 Talent: Nyome Nicholas-Williams, represented by Hired Hands Models

🔗 Nyome's full portfolio

🔗 The Flat Lay Co.share the same point of view.

5 May 2026

NEW WORK

Jonathan Kogan on Michelob Ultra's 'Step Into Superior Access'

Behind the camera and in front of it.

When Copa90 needed a hand model who could also be the camera, they came to us. Michelob Ultra's 'Step Into Superior Access' campaign — the brand's FIFA-sponsor activation for Argentina and wider Latin America — was built around first-person POV: dropping the viewer inside the velvet rope of championship stadium access.

The creative challenge was making that POV feel both immersive and cinematic. The technical answer was a single performer playing two roles at once.

Jonathan Kogan went on set wearing a Cyclops POV helmet rig — a lens mounted at eye height, his hands free below. Every product moment in the spot is shot from his own viewpoint. The pour, the pick-up, the trophy lift at the close — all filmed by Jonathan, of Jonathan's hands, in a single continuous performance.

One performer, two crafts, simultaneously. The hero of the film is the OG Ronaldo — R9, Ronaldo Luís Nazário. The hands, the POV, and the trophy moment are Jonathan's.

The closing beat is the Michelob Ultra Superior Player of the Match trophy — a stainless steel sculpted piece with crystal accents in red, white, and blue — held aloft by Jonathan's hands at the spot's payoff. Engineered as a product, performed as a moment.

This is what specialist hand modelling at this level actually is. Patient on set. Technical on take. Hands that know exactly what the shot wants — and, in this case, hands that also know exactly where the camera is.

Campaign credits

🏆 Client: Michelob Ultra

🎬 Agency & Production: Copa90

🎯 Director: Dominic O'Riordan

📷 DOP: Thomas Tyson-Hole

🥽 POV rig: Cyclops POV

🎨 Post: Black Kite Studios

⚽ Hero talent: The OG Ronaldo (R9, Ronaldo Luís Nazário)

👋 Hand model: Jonathan Kogan

5 May 2026

NEW WORK

Micah Barnes for OPI x Scratch Magazine — September 2025 Cover

Micah Barnes on the September 2025 cover of Scratch Magazine, photographed for OPI's FY26 Q1 editorial at Wella World Studios. The OPI brief asked for two distinct registers in a single morning shoot — and Micah covered both.

The editorial cover work was the Y2K-led hero: multi-colour ombre nails on coffin-shaped tips paired with high-shine vampy lip work, styled with chunky silver jewellery and a brick phone, lit and cropped to the macro standard a magazine cover demands. Body parts modelling at editorial level is its own discipline — stillness, position-holding, and the precision to keep a complicated nail look intact frame after frame across a long shoot day. Lucy Price on nails for this register; Chloe Palmer on the 90s-inspired vampy lip and iridescent eyelid work.

The commercial register followed in the same morning. Recognisable lifestyle frames featuring OPI's Nature Strong Cuticle Serum, the new Repair Mode, and Infinite Shine in It's a Girl — fresh, dewy, with the warmth and natural expressiveness that reads as authentic in lifestyle product work. Charlotte Lowe took the nail register down for the ecomm changeover. Madeline Dungar styled across both looks. Photography and lighting by Leo Hoang.

Micah is HHM-represented across body parts and recognisable commercial modelling — the OPI shoot was a working example of why both columns matter on a single talent's record.

The cover ran in Scratch Magazine's September 2025 issue.

Credits

Model: Micah Barnes at Hired Hands

Photographer: Leo Hoang

Nail Artists: Lucy Price (editorial cover), Charlotte Lowe (ecomm)

Stylist: Madeline Dungar

MUA: Chloe Palmer

Brand: OPI / Wella

Project Management: Mei Posso (OPI Brand Manager), Charlotte Lowe (OPI Education Brand Manager)

Publication: Scratch Magazine, September 2025

Studio: Wella World Studios

See more of Micah Barnes' work in her portfolio.

4 April 2026

THE TOTAL COST OF A SPECIALIST BODY PARTS MODEL BOOKING

The day rate is the visible cost. It sits on the quote, line by line, alongside the rest of the production budget. A producer comparing two agencies on a single page will see specialist rates sit higher than general agency rates and, at the point of comparison, may conclude that the cheaper option is the better-value option. The numbers are right there. The decision feels rational.

The trouble is what the spreadsheet does not yet see.

There is a second column to every booking — costs that do not appear on the quote, but consistently appear after. Retouching. Reshoots. Overruns. Admin time. None of these show up at the point of comparison. All of them show up in the post-production budget, after the shoot has wrapped and the bill is in.This article is about the second column.

The Visible Cost

A specialist hand model day rate sits, indicatively, around £600. A general agency hand model can be sourced for as little as £250. The £350 day rate gap is real, and at the point of quote comparison it is the most legible thing on the page.

Producers reviewing budgets are doing the right thing when they question that gap. The pressure on production budgets in 2026 is real. Margins are tighter than they were five years ago. Clients are asking for more usable assets per shoot day, and the maths of what fits inside the day rate matters.

The honest acknowledgement is this: the day rate gap is the right question to ask. It just isn't the whole question. A producer who only asks about day rates is comparing the visible cost of two bookings — not the total cost. The total cost is what the post-production budget reveals, and by the time it reveals itself, the booking has already happened.

The Four Hidden Costs

There are four costs that consistently appear in the post-production phase of a shoot, and which directly trace back to the casting decision made before the shoot.

Retouching. When the body part on screen does not hold up under a macro lens — nail beds, cuticle line, knuckle definition, foot arch, toenail shape, hair regrowth or strand integrity, skin tone uniformity, freckle pattern, scar visibility — the post-production hour absorbs the difference. The typical retouching cost on a usable image, when the talent on the day was not selected for macro performance in their specific discipline, runs £400 to £800 per image. On a campaign delivering ten finished assets, that is £4,000 to £8,000 in retouching that did not need to exist.

Reshoots. When the talent struggles to hit the position the brief actually needed — a specific hand grip, a foot angle, a body line, a hair flick — takes get repeated. Sometimes the day extends. Occasionally a second shoot day is required. Reshoots are the most expensive of the hidden costs because they multiply across crew, location, and post-production rather than sitting in one budget line.

Overruns. When a half-day booking becomes a full day because the talent took longer than expected to settle into the work, the cost of the additional half-day is real and recoverable to no one.

Admin time. When bookings, releases, model details, and invoices arrive in pieces from an agency that has not standardised the process, the production team absorbs the time cost. It rarely shows up as a budget line, but it shows up.

The maths of the comparison

A £350 day rate saving against a £400–£800 retouching cost per usable image is not a close call. The maths sits openly on the page once both columns are written down.

Consider a campaign delivering six finished assets — whether the brief is hands holding product, feet for footwear, hair in motion, or body in apparel. The day rate saving on a general agency booking, against a specialist rate, is around £350. The retouching cost on those six assets, when the talent on the day was not selected for macro performance, sits between £2,400 and £4,800. The net cost difference is between £2,050 and £4,450 — not in the cheaper agency's favour.

Add a single reshoot day at standard production cost, and the maths flips by an order of magnitude. Add the cost of a second editor's day on the post-production timeline, and the gap widens further.

The decision the producer is making is not which agency is more expensive. It is which set of costs the producer would prefer — the visible cost, paid on the quote, or the hidden cost, paid in post.

What specialist selection actually buys

Specialist body parts model selection is a process, not a product. The vast majority of HHM models are selected for how they perform in their specific discipline under macro scrutiny — the structural characteristics that hold up at extreme close-range, the precision of position-holding under direction, the discipline of staying on-brief frame after frame across a long shoot day.

For hand models, that means nail bed condition, knuckle definition, finger length and proportion, and the muscle control to hold a single grip for forty consecutive frames. For foot models, it means arch, toe alignment, skin tone uniformity, and the stillness to hold an angle through a long lighting setup. For hair models, it means strand integrity, line, and the flick-and-recovery discipline that makes the same motion repeatable take after take. Every discipline has its own selection criteria, and the selection is what produces the cost recovery.

The specialist day rate is paying for the hours of post-production work that do not need to happen. It is paying for the shoot days that do not need to be re-booked. It is paying for the certainty that the asset coming back from set is already most of the way there.

Standardised rates confirmed in advance are part of the same operational thinking. No invoice surprises. No half-day-becomes-full-day. The rate quoted is the rate paid, and the second column stays empty.

A producer doing the maths once is an unusual producer. A producer doing the maths every time is a producer whose post-production budgets stay where they were planned to stay.

Family-run since 1991. 250+ vetted models across 10+ specialist disciplines — hands, feet, body, hair, and the rest of the work that lives at the macro end of every campaign.

The day rate is the visible cost. The total cost is what the spreadsheet sees once both columns are written down — and the second column is always there, whether anyone added it up at the point of booking or not.

3 April 2026

NEW WORK

Five HHM hands on Tony's Chocolonely's new Filled bar range

Live this week: Tony's Chocolonely's new Filled bar range — three flavours, a global launch across the UK, US, and Netherlands, and a shoot that needed hand work across every frame.

Salted caramel, hazelnut praline, chocolate truffle. Three bars. Five of our models across the campaign: Anesu Mande, Stacey Hannant, Danny Rahim, Axel Nu, and Liliana Way.

Credit to the full Hoodare team: ECD Sachini Fernando. Senior Project Manager Golden Girls. Art Directors Rachel Laws and Lauren Cheung. Shoot Producer Marissa Keating. Photographer Ellis Parrinder, assisted by Isaak Hest. Food Stylist Tanya Sadourian at Salt & Spoon, assisted by Megan Lambert. Production Assistant Jordan Edwards. Nail Artist Jada Ellize. Retoucher Frost. Studios Yes Please Studios and Food Studio Hire.

The range is available exclusively at Waitrose in the UK.

3 April 2026

AGENCY UPDATES

35 Years In: Still Here. Still Evolving. Still Getting the Job Done.

In 1991, Steve Barker was made redundant from his role as a copywriter in the advertising industry. Rather than stepping back from the world he knew, he stepped closer to it — and saw something others were missing.

Commercial productions were routinely relying on hands, body parts and precision physical performance to sell products. Yet there was almost no specialist agency providing that talent to a professional standard. Steve identified the gap, enlisted his wife Judi — whose background in theatre casting and production made her a natural partner — and Hired Hands Models was born, operating initially from their home in North London.

It was not an easy moment to launch a business. The UK was in the grip of a recession. Budgets were under pressure, confidence was low, and every creative decision had to earn its place. In that climate, there was no room for anything other than exceptional talent and dependable service.

Thirty-five years later, those founding conditions feel remarkably familiar.

We didn't start in a time of plenty. We started in a time where every frame had to be perfect, every budget had to be justified, and every hand had to be the best in the business.

Built in a Recession. Shaped by Change

The industry Hired Hands entered in 1991 was analogue, niche, and largely manual. What the agency built in those early years was a reputation — for finding the right talent, managing productions properly, and delivering results that clients could rely on.

That reputation proved durable. Over three and a half decades, Hired Hands has navigated multiple economic cycles, the shift from film to digital, the fragmentation of broadcast into social-first and platform-specific content, the globalisation of usage rights, and most recently, the emergence of artificial intelligence as a force reshaping image-making itself.

The agency has evolved alongside those changes — expanding from specialist hand modelling into body parts, commercial and ecommerce talent, representing more than 200 vetted, production-ready professionals today. Judi and Steve stepped back in 2019, with their daughter Chloe and her partner Thomas taking the agency forward. Chloe brought deep production experience from Creative Lead and Head of Post Production roles at BBH, Maverick and The Mill. Thomas joined from Publicis Groupe, where he had reached Director level in performance media. Between them, they brought more than 20 years of direct experience inside the advertising and production industry — not adjacent to it.

Two generations. The same founding principle: find the people who can genuinely do the job, and represent them properly.

The Reality of Today's Market

Hired Hands is not going to pretend the current landscape is straightforward. It is not.

Budgets are tighter than they have been in years. Procurement structures are increasingly rigid. Creative teams are being asked to produce more assets, across more channels, with less time and smaller resources. At the same time, the expectations placed on professional talent — in terms of presentation, availability, and performance — have never been higher.

The agency is also aware that pricing is a genuine conversation. In a market where cost is often the first filter, we know that our rates can place us outside initial consideration. We understand that pressure — and we respect the reality of procurement constraints.

But we also understand something else: when rates fall while expectations rise, skilled professionals cannot sustain a career in the creative industries. The talent that makes productions run smoothly, that gets the shot in one take, that holds a position for forty minutes under a macro lens — that talent has to be able to make a living. Our responsibility as an agency is to hold that line, while remaining as commercially flexible as we can within it.

Our rates are a starting point — a clear baseline designed to create transparency, not inflexibility.

What Our Rates Actually Represent

The HHM rate structure reflects four things consistently.

Specialist skill - Hand modelling, body parts work, and precision commercial performance are technical disciplines. Maintaining skin condition, nail presentation, steadiness under a macro lens, and the ability to repeat an exact movement across forty takes — these are professional capabilities, not incidental qualities.

Production reliability - HHM models are experienced, camera-ready professionals. They understand lighting, framing, product handling and creative direction. They arrive prepared. On a shoot costing thousands of pounds per hour, that preparation has a direct commercial value — fewer retakes, less retouching, shoots that stay on schedule.

Transparent usage - Our rate card sets out usage clearly and proportionately — by media type, duration and territory. That transparency exists to protect clients as much as talent. Licensing disputes that arise after a shoot, because usage was unclear at the point of booking, cost everyone more than a well-structured rate card ever would.

Ethical representation - The creative industries only remain viable if the professionals within them can sustain careers. HHM has always believed that. It was part of the founding purpose in 1991, and it remains central to how the agency operates today.

Value Is Not One-Size-Fits-All

What has shifted in recent years is not the value of specialist talent — it is how that value can be packaged and delivered.

Experience in commercial production teaches you how to think about scope differently. A hybrid shoot that captures motion and stills simultaneously across multiple usage contexts can deliver significantly more value per shoot day. Advising on how to frame a shot so the model remains unrecognisable can reduce usage costs substantially. Supplying talent experienced enough to get the result in one or two takes saves studio time that quickly offsets a day rate.

This is where 35 years of doing this properly becomes useful to clients — not as heritage for its own sake, but as practical knowledge applied to real production problems.

We are open to conversations about how work is structured, scoped and delivered. We would always rather talk through a brief than be ruled out before a conversation has happened.

The Technology Will Change. The Requirement for Reliability Won't

Every generation of this industry has had its disruptor.

In the early 1990s, it was the move from analogue to digital — the same shift that was reshaping the advertising world Steve Barker had just left when he founded Hired Hands. Later came desktop retouching, CGI, and the increasingly complex post-production workflows that followed. Today, artificial intelligence is the newest force reshaping how images and moving content are created.

AI has a genuine place in this industry. It can be powerful, efficient and creatively useful in the right contexts. But it also introduces uncertainty — particularly where precision, physical realism, product interaction, or continuity across a campaign are critical to the brief.

When a production requires accuracy of movement, consistency across multiple shot days, a hand interacting with a real product, or the confidence that the result will be right the first time — real, skilled people remain irreplaceable.

Thirty-five years ago, Hired Hands built its reputation by representing individuals who could do a highly specialised job better than anyone else. That has not changed. The talent we represent today — across hand modelling, body parts, commercial and specialist disciplines — are professionals whose skill, discipline and reliability bring peace of mind to productions under pressure.

In an industry increasingly shaped by automation, our role has stayed the same: representing people who can be relied upon when the result truly matters.

Still Here. Still Evolving

At 35 years in, Hired Hands Models is not trying to be the cheapest option in the market — and we don't believe that serves our clients or our talent in the long run.

What we are is experienced, commercially aware, ethically grounded, and committed to finding solutions that work — for clients navigating tighter briefs and smaller budgets, and for the skilled professionals who make those briefs deliverable on set.

We remain an independent family-run agency, and that matters in ways that are easy to understate. There is no account management layer between clients and decision-makers. Accountability is direct. Relationships are long-term. And the agency's reputation — built across two generations — is tied to the outcome of every production we support.

We represent a diverse, inclusive roster of more than 200 professional models across every specialist and commercial discipline. Not just hands — models for every need. We remain invested in precision, reliability and transparent practice. And we are proud to still represent talent who have been with the agency since its earliest days — a fact that says something, we think, about how this agency has always operated.

Thirty-five years is not something an agency achieves alone. It is the result of clients who kept coming back, models who maintained their craft and their standards across decades, and a team that believed the work was worth doing properly. We are grateful to all of them — and that gratitude is, in many ways, the most honest thing we can say about how we got here.

If you are working through tighter budgets, more complex briefs, or evolving production demands, get in touch. Tell us what you are trying to achieve and we will find an approach that works. Because when the pressure is on, the right hands still make the difference

To discuss a project, request our current rate card, or explore how we can structure a brief to fit your budget:

- Email - bookings@hiredhandsmodels.com
- Phone - 0207 267 9212

Hired Hands Models

Independent & Dependable Family-Run Agency Since 1991

4 March 2026

NEW WORK

Subway's Baguette Ring — and the Model Who Did Both Jobs

Some campaigns earn their press coverage. Subway's Baguette Ring — a real, wearable gold ring shaped like a baguette, set with red, green and yellow stones, launched as a Valentine's Day competition — earned plenty.

The brief called for close-up jewellery and food handling shots alongside wider commercial lifestyle imagery. HHM's Karolina delivered both: hand model for the ring work, commercial model for the portrait frames. The nail look — a green French tip on a nude base, pre-applied before the shoot — echoed the brand palette and held up across every shot.

It's the kind of dual-specialism casting that collapses what could be two separate bookings into one. The campaign ran nationally and the coverage followed.

Congratulations to the whole team.

Production Credits

Photographer — Will Ireland @pinpep

Food Stylist — Dom Alexander

Production — Taylor Herring

Hand & Commercial Model — Karolina @hiredhandsmodels

4 March 2026

NEW WORK

Saturday Night Live UK — When the Brief Is Written on the Nails

Some briefs arrive fully formed. For Sky's launch campaign for Saturday Night Live UK, the concept was right there in the tagline: British Comedy. Nailed.

Photographer Will Cooper was behind the lens, and the visual he and the team created is exactly as bold as the show deserves — four fingers, four nails, four words: Saturday. Night. Live. UK. The kind of image that works at every scale, from a phone screen to a bus stop panel in the rain.

That last point matters more than it might seem. Images shot for nationwide out-of-home campaigns face a level of scrutiny that most photography never encounters. At billboard scale, under street lighting, viewed in passing — everything is visible. The skin tone, the nail finish, the tension in a hand held open and angled just so. There is no post-production fix generous enough to rescue an image that wasn't right in the studio.

For the hero hand, HHM's Kateryna Pavlovska delivered the nail and hand modelling. Nail artist Megan Thomas of Brixton Klaws produced the lettered finish — the kind of precise, repeatable work that has to survive not just the shoot day but reproduction across an entire national media buy. Prop styling was handled by Lucy Cooper.

The campaign is live across the UK now. The image of it running on a Bauer Media digital panel — a dark street, the blue glow of a bus shelter, those four nails glowing against a deep navy background — says everything about what the right casting decision looks like when it meets scale.

Congratulations to the whole team.

Production Credits

Photographer — Will Cooper @will.cooper.photography

Prop Stylist — Lucy Cooper @lucycooperlucy

Assistant — Jenna Hinton @jennahintonphotography

Digi Operator — Sam Reeves @sam.peter.reeves

Nail Artist — Megan Thomas @brixton_klaws

Food Stylist — Johnny Bentham @johnny__bentham

Food Stylist Assistant — Tanya Skillen

Hand Model — Kateryna Pavlovska @hiredhandsmodels

Photographer's Agent — At Rare @atrare.co

3 March 2026

NEW WORK

Bringing B&Q’s “You Can Do It” Campaign to Life

Bright orange backgrounds. Real tools. Real hands. Real moments of making.

Earlier this year, several of our specialist hand models were on set in London helping bring B&Q’s latest creative campaign to life — a bold, energetic series of images celebrating the spirit of DIY.

Shot at Big Sky Studios in London, and produced by Publicis Production for Leo Burnett, the campaign captures a simple but powerful message: you don’t have to be a professional to make something great.

And that’s exactly where specialist modelling comes in.

The Power of Hands in Advertising

When brands want to communicate action — fixing, building, planting or creating — the story is often told through hands.

In the B&Q visuals, each frame focuses on a simple moment:

- A scraper breaking through old paint

- A drill ready to start a new project

- A shower head and tape mid-installation

- A trowel lifting soil for a new plant

These images may look effortless, but capturing them requires precision casting, careful styling and experienced talent who know how to hold tools naturally on camera.

Small details make a huge difference: grip, finger positioning, tension, movement and even how light reflects off skin.

That’s where specialist hand models earn their place.

Casting for Authenticity

For this shoot, the creative team wanted hands that felt real and relatable, representing the everyday DIYer.

Across the two shoot days, multiple HHM models were booked to perform different tasks on camera, each chosen for a specific look and skillset.

Some of the factors considered during casting included:

- Skin tone diversity

- Nail condition and grooming

- Hand shape and proportions

- Ability to work confidently with tools and materials

- Natural movement and grip

When a campaign focuses this closely on hands, every detail becomes visible — which is why experienced hand models are essential.

What Happens on a Specialist Shoot

While the final campaign images look simple and graphic, the production behind them is anything but.

A typical specialist shoot involves:

- Dedicated manicure and SFX teams preparing hands for camera

- Tool styling and prop adjustments between shots

- Precise lighting setups to highlight texture and shape

- Multiple grip variations for each action

- Close collaboration with the photographer and creative team

The result is imagery that feels spontaneous, but is actually the product of careful collaboration between creatives, stylists, photographers and specialist talent.

Talent Credits

We were proud to supply several of the specialist hand models featured in the campaign.

Models

- Adam S

Campaign Credits

- Client - B&Q

- Agency - Leo Burnett

- Production - Publicis Production (Prodigious)

- Photographer - Victoria Ling

- Location - Big Sky Studios, London

4 March 2026

AGENCY UPDATES

A Family Affair: New Play by Hired Hands Co-Founder Steve Barker Premieres in March

A Family Story on Stage: New Play by Hired Hands Co-Founder Steve Barker Opens in March

At Hired Hands Models, creativity has always been a family affair: and next month, that legacy takes centre stage.

We’re proud to share that Steve Barker, co-founder of Hired Hands Models, has written a new play, Arthur & Marilyn, which premieres at the Lion & Unicorn Theatre in Kentish Town, running from 17–21 March 2026.

The production is not only written by Steve, but also supported by the next generation of the Barker family. Steve’s daughter Polly Barker - who some may remember as a former model with the agency at one point - joins the creative team as Production Assistant, reinforcing the long-standing crossover between Hired Hands and the wider creative industries.

From Advertising Copy to the Theatre Stage

Before co-founding Hired Hands Models in 1991, Steve built his career as a copywriter in advertising, working at leading agencies including TBWA - which is where he first came across hand modelling and realised the potential available in creating a decided hand modelling agency.

Storytelling, structure and character have always been at the heart of Steve’s professional life, so it feels fitting that Arthur & Marilyn marks a return to long form narrative - this time on stage.

A Theatre Heritage That Runs Deep

Behind every creative partnership, there’s usually another story — and in this case, it’s theatrical.

Steve co-founded Hired Hands alongside his wife Judi Barker, whose background is firmly rooted in theatre production and casting. Judi grew up immersed in fringe theatre, with her parents widely regarded as fringe theatre royalty, having founded both the New End Theatre and Offstage Theatre.

Judi’s mother, Buddy Dalton, was deeply involved in the London fringe scene and, fittingly, also worked with Hired Hands Models during the agency’s early years — further blurring the line between theatre, performance and representation.

That shared history of working with performers, managing talent and nurturing creative careers remains embedded in the agency’s DNA today.

Arthur & Marilyn

Love match or mismatch?

Set in 1950s America, Arthur & Marilyn explores the turbulent relationship between Marilyn Monroe and Arthur Miller; at a moment when celebrity, politics and personal ambition collided.

Determined to be taken seriously as an actress, Marilyn moves to New York and enrols at the Actors Studio, where she begins an affair with playwright Arthur Miller. As Miller is summoned before the House of Un-American Activities Committee, Marilyn publicly supports him, jeopardising her own career in the process.

What follows is an intense portrait of love, insecurity, addiction and emotional withdrawal — from their early optimism to the breakdown of their marriage during the making of The Misfits.

A story of sex, drink and drugs before the age of rock ’n’ roll, Arthur & Marilyn offers a raw, human look at two icons under immense pressure.

Production Details

Written by: Steve Barker

Directed by: Sarah Paterson

Cast: Daisy Snelson, Marcus Churchill

Assistant Director & Producer: Amy Cash

Production Assistant: Polly Barker

Running time: 90 minutes (no interval)

Content advisory: Adult themes, strong language, alcohol and drug use

Box Office & Venue

Tickets: £15 | Concessions £13

Venue: The Lion & Unicorn Theatre, Kentish Town

Address: 42-44 Gaisford St, London NW5 2ED

Tucked away behind Kentish Town High Street, the Lion & Unicorn is a much loved North London theatre / pub, known for its seasonal British food, award winning garden and vibrant fringe programme - the perfect setting for an intimate, character driven production.

For Hired Hands Models, Arthur & Marilyn is more than a theatre recommendation. It’s a reflection of who we are: a family run agency shaped by decades of creative work across advertising, theatre and performance.

We’re incredibly proud of Steve, Judi and Polly, and we warmly encourage our clients, models and friends of the agency to go along and support this special production.

🎭 Arthur & Marilyn runs from 17–21 March 2026 at the Lion & Unicorn Theatre, Kentish Town.

6 February 2026

NEW TALENT

Welcoming Ashley Young to Hired Hands Models

At Hired Hands Models, we are proud to represent talent that reflects the breadth, depth and individuality of modern creative work. With this in mind, we are delighted to welcome Ashley Young to the agency.

Ashley is a multi-talented model, performer and media contributor whose career spans fashion, television, film and digital platforms. She brings a strong on-screen presence, natural confidence and a thoughtful approach to storytelling, making her a compelling choice for a wide range of creative briefs.

She first came to wider public attention through her television work, where her intelligence, composure and authenticity resonated strongly with audiences. Since then, she has continued to build an impressive and varied portfolio across broadcast media, film projects and online content. Her growing IMDb credits reflect a performer who is increasingly in demand for both factual and creative productions.

Ashley’s work is defined by versatility and professionalism. She approaches each project with care, preparation and adaptability, whether working in front of the camera, on set for filmed productions, or contributing to branded and digital campaigns. This breadth of experience aligns closely with our commitment to precision casting, reliability and high professional standards.

As part of her wider creative identity, Ashley is open about her limb difference, which forms one aspect of her lived experience and perspective. It does not define her career or limit her creative range; rather, it contributes to a distinctive presence that adds depth and authenticity to visual storytelling when represented thoughtfully and with intent.

Beyond modelling and performance, Ashley is also a confident communicator and public speaker, engaging audiences through media appearances, talks and digital platforms. Her ability to connect meaningfully with people reflects our belief in supporting talent development and enabling artists to build sustainable, multi-faceted careers within the creative industries.

As a family-run agency with over 35 years of industry experience, we are proud to represent talent who embody both our legacy and our progressive outlook. Ashley’s professionalism, range and creative integrity sit naturally within that tradition.

We are excited to support Ashley as her career continues to evolve and look forward to collaborating with clients and creatives who value authentic representation, thoughtful casting and modern storytelling.

For booking enquiries or further information about working with Ashley Young, please contact the Hired Hands Models team.

6 February 2026

NEW WORK

Karolina for The Draper with Here Design & Colab Associated

The Draper Building

Model

Karolina Cochet

Agencies:

Here Design

The Colab Association

Crew / Talent:

Here Design

- Connor Davey — Design Director

- Hazel Oguz — Senior Designer

- Alicia Spratley — Senior Account Manager

Shoot Team

- Ellen Hancock — Photographer

- Anjali Gupta — Photography Assistant

Styling

- Zan Morley — Prop Stylist

- Thea Carter — Prop Assistant

- Jack Mills — Stylist

- Lily Mendoza — Stylist Assistant

- Olivia Cochrane — Hair & Make-Up

Colab Associates (Production)

- Emma Modler — Executive Producer

- Ester Viana — Production Manager

Talent

- Karolina Conchet — Female Model

- Joren Brook — Male Model

- Humphrey — Dog

- Gill — Dog Owner

- Rachel — Vet

2 February 2026

NEW WORK

Zoha and Maena for ASOS with Rituals Cosmetics

Brands

ASOS
Rituals Cosmetics

Hand Models

Zoha Rahman
Maena Jean-Marie

Crew

Producer: Daisy Eakins
Creative: Jonathan Neal
Photographer: Luke Weller
Digi Op: Olivia Wright
Senior Photographer: Sophie Lankester

Prop Stylist: Tiffany Rine
Fashion: Danielle Wilson
Social: Yssiss McKen

Partnership Manager: Tilly Rushton

2 February 2026

NEW WORK

Toni-Marie with Jessica Ennis-Hill for Mindful Chef for The Telegraph

Publication

The Telegraph

Talent

Jessica Ennis-Hill

Hand Model: Toni-M

The Telegraph Team

Head of Video & Photography: Alex Kelly

Project Manager: Alex Rose

Creative Director: Jonathan Clayton-Jones

Commissioning Editor: Rebecca Denne

Director: Edward Emsley

Client Director Food, Drink & Retail: Fleur Rollet Manus

Crew

DOP: Ben Halford

Focus Puller: Kieran Coyne

Gaffer: Harrison Newman

2nd AC: Indro Forconi

Sound: Nikos Nikolalaios

Photographer: Chris Terry

Digi Tech: Elliott Lacey

Food Stylist: Natalie Thomson

Food Stylist Assistant: Lauren Wall

Wardrobe: Anna Woodham

Hair and Make-Up Artist: Alison Dunwell

Props Stylist: Paige Macmillan

Props Assistant: Olivia Rose Dobson

Talent Management / JCCM UK Director: Jane Cowmedow

1 February 2026

What Is Hand Modelling — and Why Is It a Specialist Discipline?

Written by Hired Hands Models

If most people picture hand modelling at all, they picture a close-up of manicured nails in a nail polish ad. That image is not wrong — but it accounts for a small fraction of what professional hand modelling actually involves. The discipline is broader, more technically demanding, and more commercially significant than the public perception suggests.

Hand modelling is one of the oldest specialist disciplines in commercial advertising. HHM has represented professional hand models since the agency was founded in 1991, and this guide draws on more than 35 years of working directly in the discipline.

What Is Hand Modelling?

Hand modelling is a specialist form of commercial work where a model's hands — rather than their overall appearance — are the primary subject of the final imagery. The model appears in frame only from the wrist down, or sometimes from the elbow down, with no other part of the body or any identifiable features visible.

The hands are engaged to handle, hold, demonstrate or interact with a product, or to provide the human element in a composition where a hand is required in frame. In every case, the hands are what the production has booked — selected for their physical quality, their condition on the day, and the model's ability to use them precisely under camera.

This is a fundamentally different engagement from commercial modelling, where the talent's whole appearance is the subject of the booking. A hand model's overall appearance is irrelevant to the work. What matters is the quality of the hands and the professional capability of the model to deliver them consistently under camera.

What Makes Hand Modelling a Specialist Discipline?

The word specialist is used deliberately. Hand modelling is not commercial modelling with a different body part in frame. It is a technically distinct discipline with its own physical requirements, its own preparation standards, its own rate structure, and its own casting criteria. Understanding why means understanding what close-up and macro photography actually demands.

In a standard commercial shoot, the camera captures an overall impression — a person, a scene, a product in context. Small imperfections in appearance are either not visible at standard shooting distances, or can be handled in post-production without significant cost. The talent is assessed and managed at the level of overall commercial suitability.

In close-up and macro hand model photography, the camera is often within inches of the skin. A single hand can fill the entire frame. Under those conditions, skin texture, nail condition, the evenness of tone across the knuckles, the moisture level of the cuticles, the steadiness of the hand in position and the symmetry of movement between takes are all visible, and all critical to the usability of the imagery. A tremor, a dry cuticle, a nail imperfection or an inconsistency in position between takes can mean a reshoot.

That level of scrutiny demands an equivalent level of ongoing physical maintenance between bookings, technical precision on set, and professional capability that goes beyond appearance alone. That is why hand modelling is a specialist discipline — not because hands are inherently more interesting than faces, but because producing usable imagery at macro scale is fundamentally more exacting.

What Types of Productions Use Hand Models?

The commercial applications for hand model talent are wider than most people expect. The nail polish close-up exists, but it sits alongside a range of other brief types where specialist hand talent is required.

Beauty and cosmetics is the most immediately recognisable category — nail care products, hand cream and skincare, cosmetic application imagery where fingers apply product, fragrance and jewellery campaigns where hands are the primary subject. The demands of macro photography are at their most exacting here: skin must be in strong condition, nails presented precisely, and every detail of the composition repeatable across multiple takes.
Jewellery and accessories represents one of the largest categories of hand model bookings. Rings, bracelets, watches and cuffs are all photographed on hands — and the relationship between the piece, the skin tone, the nail finish and the overall composition of the shot is entirely dependent on the quality of the hands in frame.
Food and drink is a significant and growing category. The hands that pour the wine, break the chocolate, fold the pastry, chop the vegetables or hold the takeaway cup in a coffee brand's advertising are specialist hand models in the majority of professional productions. The combination of physical dexterity required and the appearance standards demanded under close-up food photography makes this a genuinely skilled brief.
Technology and product photography covers a wide range of work — the hands that hold the phone in a handset campaign, operate the laptop keyboard in a software ad, interact with the smart home device or demonstrate the power tool. Wherever a hand interacts with a product in advertising imagery, a specialist hand model is the appropriate casting choice.
Pharmaceutical and healthcare advertising regularly requires close-up hand work — the application of a topical cream, the administration of a medication, the demonstration of a medical device. These productions carry the same technical demands as beauty campaigns, with the added requirement that the imagery conveys reassurance and clinical precision.
Financial services and legal advertising uses hand imagery for the symbolic — the handshake, the signature, the exchange of documents — in ways that require both the professional quality of a specialist hand model and, often, specific demonstrable precision in executing these actions on camera.

What Distinguishes a Professional Hand Model?

Not everyone with attractive hands is a hand model. The physical attributes required are one part of the qualification. The professional capability to use them under production conditions is the other.

Physical attributes include overall skin quality and condition — even skin tone, no visible blemishes or marks in the shooting area, well-moisturised and healthy-looking skin across the full hand including knuckles and cuticles. Nail condition is equally central — nails that are well-shaped, maintained and appropriate to the brief. Hand shape, proportion and the overall aesthetic of the hands in frame are casting variables that vary from brief to brief.
Technical precision is what distinguishes a working hand model from someone who merely has good hands. This means the ability to hold an exact position for extended periods without movement, to execute a repeated action — pouring, folding, applying, holding — with identical precision across multiple takes, to take fine directional adjustments quickly and accurately, and to maintain the required grip, pressure and positioning under the sustained scrutiny of a macro lens. It is a physical skill that develops through practice and experience on set.
Maintenance discipline is the ongoing professional commitment that makes all of it possible. A hand model maintains their hands to a production-ready standard year-round, not just on the morning of a shoot. That means daily skincare, careful management of nail condition between bookings, avoidance of activities that risk marking or damaging the hands, and immediate notification to their agency of any change in condition that might affect an upcoming booking.

What Specialist Skills Do Some Hand Models Hold?

Beyond the core technical requirements of hand modelling, some bookings require the model to demonstrate a specific skill on camera. The hands must not only look the part — they must perform a particular action with genuine competence under a macro lens.

Cooking and food preparation techniques are among the most commonly required specialist skills — knife work, chopping and dicing, rolling pastry, folding dough, plating and garnishing. Calligraphy and hand lettering are required for stationery, luxury goods and heritage brand campaigns. Chopstick use, cocktail preparation, craft and artisan work, card handling and manipulation — each of these appears regularly in commercial briefs and requires a specific demonstrable capability that the right talent either has or does not.

These skills are not universal across the hand model roster and must be communicated at brief stage rather than discovered on shoot day. A hand model who cannot credibly execute a specific action under camera will cost a production far more in time and retakes than the right specialist talent cast at the outset.

What Is the Difference Between a Hand Model and a Nail Model?

The terms are sometimes used interchangeably, but they describe slightly different things in practice.

A nail model is a hand model whose primary booking context is nail care, nail art and beauty products focused specifically on the nails and the immediate surrounding skin. The booking is driven by the quality and condition of the nails above all else, and the brief is typically centred on the appearance of the nail finish — a specific colour, a specific nail art design, a product application.

A hand model encompasses all of that but extends considerably further — to product handling, food work, jewellery, technology, healthcare, and the other brief types described above, where the hands in their entirety are the subject rather than only the nails.

In practice, professional hand models at HHM are capable of both. The distinction matters primarily at brief stage — a nail-focused brief has different preparation requirements and different casting criteria from a food handling or jewellery brief, and knowing which type of work is involved lets the agency match talent accurately.

Male and Female Hand Modelling

Both male and female hand models work across the full range of hand model briefs, and demand exists for both across the commercial production industry.

Female hand models are the more commonly booked category for beauty, jewellery, cosmetics and nail-specific briefs, where the aesthetic requirements of the brief tend towards female hands. Male hand models are the primary booking choice for technology, automotive, financial services, food and drink, and many product handling briefs, where male hands in frame are specified by the brief.

The key practical difference between male and female hand modelling relates to nail presentation. Female hand models maintain their nails within a range of finishes and lengths that meet professional standards, and the nail brief is a significant part of the preparation process for any booking. Male hand models typically maintain a natural, unvarnished nail presentation as their year-round professional baseline — clean, well-shaped, moisturised — which suits the majority of male hand model briefs without requiring a specific nail preparation arrangement.

Why Use a Specialist Hand Model Agency?

The technical demands of hand modelling — the physical standards, the preparation requirements, the specialist skills, the ongoing maintenance obligations — mean the roster management and casting expertise of a specialist agency are materially different from those of a general commercial agency.

A specialist hand model agency maintains detailed records of each model's physical attributes — skin tone, nail shape, hand size, specialist skills — and actively manages the maintenance standards its models are contractually required to uphold between bookings. That means when a production team briefs for a specific hand type, skill or condition requirement, the agency can match talent accurately rather than presenting options and hoping the right one shows up on the day.

HHM has specialised in hand modelling since 1991. It is the discipline on which the agency was built, and the one in which it has the deepest roster and the longest track record. For productions needing specialist hand talent, that depth of specialism is often what makes the difference between a shoot that runs on schedule and one that doesn't.

→ Browse HHM's hand model roster

4 January 2026

AGENCY UPDATES

Hired Hands Models Named One of the Best Model Agencies in London by Smart Brit

We’re proud to share the news that Hired Hands Models has been officially featured in Smart Brit’s prestigious list of the Best Model Agencies in London.

Smart Brit is one of the UK’s leading platforms for reviewing top service providers, recently released their guide to the best modelling agencies in the capital.

We’re honoured to be recognised among such esteemed company and grateful for the acknowledgement of our hard work, talent, and continued dedication to excellence in the modelling industry.

You can view the full article and our feature here:

👉 https://www.smartbrit.co.uk/best-model-agencies-london/

We’d like to thank our wonderful clients for their continued support, for our model bookers with their great efforts and, of course, our talented models for their their hard work, professionalism and exceptional skill.

Stay tuned for more exciting updates from Hired Hands Models as we continue to grow and raise the bar in the UK modelling scene!

3 October 2025

NEW WORK

Clara for - ASICS

Talent:

Clara Sojung Tan@tanosaur@hiredhandsmodels

Jordan Aki-sawyerr@jordanakisawyerr

Client: @asics@asicsrunning

Creative Director & Photographer: Jay Sentrosi@sentrosifilm

Creative Producer: Adi Alfa @producedby_adi

Production:@mediaworxfilm

Production manager: Munashe Maswodza@munasheswod_

Production assistant: Rachel Ademidun @rachelade._

Location Manager: Jamie Jamieson

Digitech + grade: Richard Cook @richardcookza

Gaffer: Joe Nkadi @lightingbyjoe

Spark: Joey Philippe Dali @jonah_dali

Photographer assistant: Max Anderson @

_mando

Movement Director: Pierre Babbage@movementbypierre

Lead H/Mua: Mollie Merrifield@molliemerrifieldmua

Assistant Mua: Charis Smith-Halvorsen@makeup.bycharis

Manicurist / Nail tech: Janel Grant@janelgrantnails

Lead Sports Stylist: Rianna Faye @riannafaye_

Assistant sports stylist: Kyra Clarke @cc.sstyles

Runner: Samuel Jackson

Bts: Zephu Phuong@niftyzephu

2 June 2025

NEW WORK

MISSION MAGAZINE x VALENTINO BEAUTY?

" NEW beauty in collaboration with @valentino.beauty for @missionmagazineMission Magazine - LIPS"

Lip Models - Cara, Anesu, Alex G and Paige

Shot by Chantel King @photochantelkingphoto

Photo assistant @ravi.chandarana

Retoucher @stefanieschneeberger--

Make-Up @@joeyjoeychoy

2 June 2025

NEW WORK

Tara Sumner - new Durex Commercial

Tara Sumner stars in the new Durex Commercial

‘Durex Intense' - 30 sec

Production by ANOTHER

Directed by Alex Dunning

Cast: Tara Sunmner & Alan Hall

2 June 2025

NEW WORK

Lennon Gallagher and Izzy Richmond for British Vogue - Nails by Naima

Naima - Manicurist for: @lennongallagher and @izzy_richmond for @britishvogue

Nails @naimacoleman_

Photography: @fausto.elizalde

Styling @jessica_gerardi

Set Design: @haleimd

Hair @joeburwin

Makeup @siobhan_furlong

Nails @naimacoleman_ @hiredhandsmodels

Producer: @colesontoast

Entertainment Director: @dee_acharya

With thanks to @thegeorgetavern

2 June 2025

NEW WORK

Burger King launches new Menu!!!

Tom King and Shani for Burger King:

" BURGER KING UK DROPS A MAJOR MENU REFRESH: INCLUDING NEW KANSAS BBQ CHICKEN FRIES, A GOURMET KINGS CLASSIC AND A SPICY SUMMER FAVOURITE"

Photographer: Colin Ross

Academy PR x Burger King

2 June 2025

NEW WORK

New Work - Greg B - A GHOST IN YOUR EAR

A GHOST IN YOUR EAR - now booking @ Hampstead Theatre

WRITTEN AND DIRECTED BY JAMIE ARMITAGE

A COLLABORATION WITH BEN & MAX RINGHAM

"The ghost is not real, it is only in your ear…"

Model - Greg B

Photographer - Felicity McCabe @wrenagency

#hampsteadtheatre #newplay #model #commercialmodel

2 June 2025

NEW WORK

Anesu Mande – Face of “Viva Las Venice” at The Venetian Las Vegas

We’re proud to share that Anesu, represented by Hired Hands Models, features in “Viva Las Venice” — the vibrant new campaign from The Venetian Las Vegas.

This visually rich film blends Venetian opulence with high-gloss fantasy and dreamlike glamour, reimagining the luxury of Las Vegas through an editorial lens. Anesu’s powerful screen presence and striking beauty take centre stage in one of the campaign’s most surreal moments — a pearl-beaded bath scene that exudes confidence and modern decadence.

Model: Anesu Mande via Hired Hands Models
Client: The Venetian Las Vegas
Production Agency: Anonymous Content
Casting Director: Kharmel Cochrane

1 March 2025

NEW WORK

Rafael Mendes for Baileys with Food Hall London

Summer light meets smooth indulgence in Baileys’ Frozen Dalgona Coffee — and we’re proud to share that this spot features the hands of Rafael, represented by Hired Hands Models.

Shot in collaboration with Foodhall London and directed by Nassima Rothacker, the campaign blends creamy visuals, subtle movement, and satisfying texture — all elevated by Rafael’s confident hand performance.

Client: Baileys
Agency: VML Global
Director: Nassima Rothacker
Producer: Jason Underhill at Foodhall London
Production Manager: JRMW Productions
Assistant Director: Rory Charles Shaw
DOP: Scott Peters
1st AC: Pete Bateson
2nd AC: Shreya
Gaffer: Will Churchill
Editor: Gareth Paul Jones
Art Director: Catalogue Crepes
Food Stylist: Livia Abraham
Prop Stylist: Megan Thomson
Food Stylist Assistant: Sarah G
Wardrobe Stylist: Eyland Gentle
Runner: G.A. Georgiev
Hand Model: Rafael Mendes via Hired Hands Models

1 March 2025

NEW WORK

Naima Coleman – Manicurist for Nemzzz in British Vogue

We're proud to share that Naima Coleman, represented by Hired Hands Models, was the manicurist for Nemzzz in the April 2025 issue of British Vogue (https://www.vogue.co.uk/article/nemzzz-interview).

Naima provided a clean, understated nail look for the British rapper as part of his Vogue feature marking the release of his second mixtape, RENT’S DUE — a moment that captured both his rising influence and effortless personal style.

This feature is a celebration of Black British talent across disciplines — and we're pleased to see Naima’s work as part of a team that reflects the creative excellence and individuality we champion.

Photographed by Clay Stephen Gardner
Styled by Eniola Dare
Grooming by Nicolas Vensen
Nails by Naima Coleman via Hired Hands Models
Production by Chloe Medley
Published in British Vogue

1 March 2025

MEET THE MODELS

Meet The Models / Evans Nortey

In todays meet the models we are chatting to veteran talent Evans Nortey. He's been wit the agency for a least a decade. He's a versatile performer, fitness model, and strong pair of hands. We are lucky to have him.

Q&A with Model Evans Nortey:

1) How did you get into the industry, and what was your first job?

I was based in Germany at the time working a full time job but I was friends with a photographer who wanted to shoot me for his new coffee book.

My first paid hand model job was playing Mr T for a Snickers campaign.

2) What’s been your favourite campaign you have worked on and why?

My favourite campaign was for Pricewater House Coopers commercial. This was director by Noah Conopask, I had to play a champion weightlifter and we filmed this for two days in Prague where I was running around the city, which was fun, and then I had to lift heavy weights in this warehouse gym. The setup was incredible and best experience working as a model.

3) Any advice to new faces?

Be patient and stay focused.

4) Do you have a beauty routine?

I keep it simple by using cocoa butter for my beauty routine.

4) What is the strangest thing you’ve been asked to do on set?

Once I had to be fully naked on set with with 2 female models and another male model.

5) Do you have a dream brand or client you’d love to work with? A dream collaboration? And why?

My dream brand would be shooting for Emirates First Class - because it portrays the standard of Luxury.

6) Outside of modelling, what is your biggest passion, and what did you want to be when you grew up?

I love to travel and keep fit. When I was growing up I wanted to be an Olympic athlete.

7) If you weren’t a model what would you be instead?

A professional athlete.

8) If you could only take 3 things with you to a desert island, what would they be and why?

I would take jar of Vaseline because i can use it for my body and hair. I would take a large bottle so i can use to drink fresh water. i would take my portable shaver because i dont want to grow a beard or have hairy armpits

Evans Nortey's Sizing:

• Height - 6''

• Bust – 42''

• Waist - 34''

• Hips – 34”

• Shoe Size – 11

• Glove -9

To book Evans please Contact Us - or CLICK HERE to view his profile.

1 March 2025

NEW TALENT

New Signing / Meet The Models / Tara Sumner

Meet our new signing, Tara Sumner. Tara is a full time actor and model, with many years experience across TV ads, fashion & travel shoots, London Fashion Week, feature films, web series and short films. Tara is also screen combat trained and generally very athletic!

Q&A with New Signing Model Tara Sumner:

1) How did you get into the industry, and what was your first job?

A designer invited me to shoot for them so I decided to pursue further as a career. My first job was a designer lookbook.

2) What’s been your favourite campaign you have worked on and why?

I don’t have one campaign necessarily, I have done some great jobs, But travel ones are probably my favourite.

3) Do you have a dream brand or client you’d love to work with? A dream collaboration? And why?

Yes! - Lulu lemon! I love their clothing and I perform most of my sports in them. DREAM!

4) Have you ever been starstruck when meeting a celebrity or director on set?

No, not really, but It’s always cool to work with certain names, and inspirational people.

5) Outside of modelling, what is your biggest passion, and what did you want to be when you grew up?

My biggest passion outside of the industry... well I love sports and travel.

6) If you weren’t a model what would you be instead?

Probably a Psychologist.

7) What did you want to be when you grew up?

I think modelling and acting were always on my mind!

8) Any advice to new faces or anyone looking to get into the industry?

Yes. Remember that you are your own brand/ market yourself well and keep up good relationships with your agents.

Tara Sumner’s Sizing:

• Height - 5' 7.5''

• Bust – 32''

• Waist - 24''

• Hips – 35.5”

• Shoe Size – 4

• Dress– 8

• Glove -7

@tarasumner_

To book Tara please Contact Us - or CLICK HERE to view her profile.

1 March 2025

NEW TALENT

New Signing / Meet the Models / Mohamed Yahya

Meet our new signing, Mohamed Yahya, an experience dancer and performer now embarking on an exciting modelling career. We are proud to represent him as a hand, commercial, and specialist dance model. Chloe spotted into Mohamed on the tube and scouted him on the spot.

Q&A with New Signing Model Mohamed Yahya:

1) How did you get into the industry, and what was your first job?

I would say by dancing because I used to do model and catwalk work in college and university and hairdresser - but lots of directors love the way I dance and react with the camera. So I’m always adding a bit of acting and modelling to every dance routine, mixing it all up. My first job was a Bollywood project where I was such a Model and actor.

2) What’s been your favourite campaign you have worked on and why?

My favourite Campaign that I've worked on was the Samsung commercial I did. Because for me it was a big Challenge. It was in the O2 arena I had to Model with the outfit I have been given, dance with a partner in front of the people & I had to act by coming in and out. It was all filmed in one take and that was a big Challenge for me.

3) Do you have a dream brand or client you’d love to work with? A dream collaboration? And why?

I have always dreamed of collaborating with Coca-Cola, Asos, Puma, Jorden, Perfume 1Million to achieve my career goals.

4) Have you ever been starstruck when meeting a celebrity or director on set?

Yes, Fast X Vin, Diesel and Jason Momoa I had a conversation with them in the set and Vin Diesel saw me dancing in the set and he complimented me.

5) Outside of modelling, what is your biggest passion, and what did you want to be when you grew up?

My biggest passion it has to be Dancing and then Acting

6) If you could only take three things with you to a desert island, what would they be and why?

I would say Food, Book of the Quran, and a Female companion. The reason why I said this is because I'd like to make a family and to remembering Allah (GOD).

7) If you weren’t a model what would you be instead?

If I weren't be a model 100% would be a dancer or footballer, drawing Animation.

8) What did you want to be when you grew up?

I always wanted to be a football player that's what I really wanted when I grew up.

9) Any advice to new faces or anyone looking to get into the industry?

My advice is, don't network, find people who your vibe with, care about who care about you and just build help each other and work together.

Mohamed Yahya’ Sizing:

• Height - 5' 11.5''

• Chest – 35.5''

• Waist - 29''

• Hips – 34”

• Shoe Size – 8.5 - 9

• Gloves – 8.5

@modinho17

To book Mohamed please Contact Us - or CLICK HERE to view his profile.

1 March 2025

NEW WORK

“It’s time to enter your villain era"

STYLIST MAGAZINE // OUT NOW!!

“It’s time to enter your villain era: Why dark, bold beauty looks will dominate this season”

- Hanna Ibraheem for STYLIST

Hand Model: @mirabelhandmodel

Model Agency @hiredhandsmodels

Photography @pedersen_dp

Beauty @hannaibraheem

Nails @liga_nails @carolhayesmanagement

Read on Styist.com

#handmodel #modelagency #stylist #stylistmagazine #villians #makeup #beautytrends #londonmodels

4 February 2025

AGENCY UPDATES

HAPPY VALENTINE'S

We love love at Hired Hand Models

However you plan on celebrating tonight. Waitrose have some cracking offers.

Jeanette and Donald are getting handsy with the menu:

Out now across Out of Home Advertising, Social Media, and In Store

Art Direction Lead: @___james.davies / @waitrose

Photography: @matt_russell

Food Styling: @sianidfoodstylist

Prop Styling: @weitangstylist

Hand Models: @donald_sze & @jeanettehandmodel
Waitrose Creative: @fperticaro @brenkles
Production: @frankie_hill_ @harrupearson / Inspired Thinking Group (ITG)
Campaign Manager: @Saul Taylor-Deacon
Advertising Agency:@saatchiuk UK Advertising Manager: Vinay Patel Retouching: @theobservatorylondon
1st Option Locations Art Director: @corriehealle

LOVE REEL:

Shout out to our Model Couples.

Need Talent with real chemistry - then we got you covered!!

Happy Valentine’s!!

#notjusthands #modelagency #handmodel #hiredhandsmodels #londonmodels #fashion #londonmodelagency #valentines #love #romance

5 February 2025

NEW WORK

New Work - Nadia & Che for Tommy Hilfiger

Wrapping up warm to see out the winter on the Tommy Hilfiger Holiday 2024 shoot by Production Factory.

Models

Che Cassius Mason

Nadia Cumine

Credits / Links

Brand: Tommy Hilfiger
Production Company: Production Factory
Studio: Spring Studios
Photographers:

- Alexanndre Lamare @ Blanc Agency
- Charly Gosp @ MA World Group

5 February 2025

NEW WORK

New Work - Aliya H for END Clothing x TIMBERLAND

Aliya H in New work for END Clothing and TIMBERLAND

Shot by: Sophie Robson @saintsophie_

Creative Producer: Chelsay Morton @chelsayannmorton

Video By: @will_aitchison @rowanhodgson

Styled by: Lucy Davis @lucydavisx & Elliot Adams

Models: Aliya Hasan and Jed Gharbi

#modelagency #newfaces #fashion #winterboots #timberland #endclothing

3 November 2024

NEW WORK

New Work - Anesu for Vogue

Anesu for Vogue Mexico

Shot by photography duo Coppi Barbieri @coppibarbieri

In their own words “Drawing inspiration from the photographs of the hands of Georgia O’Keeffe photographed by Steiglitz we have created a new jewellery portfolio for @voguemexico “

Stylist: Valentina Collado @valecollado

Manicurist: Cherrie Snow @cherriesnow

Model: Anesu Mande @anesu.noelle

#VogueMexico #vogue #londonmodels #modelagency #fashionmodel #handmodel #partsmodel

3 November 2024

NEW WORK

New Signing / Meet the Model - Tom Markwick

Meet our new signing, Tom Markwick, a model embarking on an exciting new career. We are proud to represent him as a hand, commercial, and specialist tattoo model. Standing at 5'10" tall, with a UK size 8 shoe, a 30" waist, and a 37" chest, Tom’s measurements are ideal for e-commerce brands. Combined with his distinctive rock-and-roll attitude, he’s an excellent choice for clothing brands looking for an edge.

Tom is no stranger to the camera, regularly showcasing his talent as a tattoo artist on live streams and recordings. These broadcasts highlight his precision, artistry, and ability to perform under pressure in front of an audience. We’re confident he’ll bring the same dedication and high standards of professionalism to his modelling, and we know he’ll ‘leave his mark’ in the industry.

Q&A with Tattoo Model Tom Markwick

1) How did you get into the industry, and what was your first job?

I’ve always wanted to break into the modelling industry, so I researched agencies that represent models with tattoos and discovered Hired Hands in the process! My first experience was pretending to be a spectator for Lufthansa, which I really enjoyed. That experience made me want to do more—and here I am, making it happen.

2) Do you have a dream brand or client you’d love to work with? A dream collaboration? And why?

Definitely Live Fast Die Young—I love their branding and products. Also, The Great Frog. Their rings are amazing!

3) Do you have any beauty routines or preparation rituals before a shoot?

My routine is super simple. I use a good face wash and hand cream to keep my skin in top condition. For my hair, it’s clay and sea salt spray—nothing fancy, but it works.

4) Outside of modelling, what is your biggest passion, and what did you want to be when you grew up?

Tattooing! It’s my biggest passion, and I won’t stop until I’m physically unable to do it. I’ve already achieved my dream of becoming a tattoo artist, so now I’m giving modelling a shot as my next adventure.

5) If you could only take three things with you to a desert island, what would they be and why?

My tattoo machine, my phone, and my iPad—definitely the three things I can’t live without!

6) Any advice to new faces or anyone looking to get into the industry?

Be persistent, and don’t be afraid of rejection. It’s all part of the journey.

Tom Markwick's Sizing:

Height - 5' 10''
Chest - 37''
Waist - 30''
Hips - 36''
Shoe Size - 8
Gloves - 7

Click to view more of Tom Marwick's modelling portfolios.

4 November 2024

NEW TALENT

New Signing / Meet the Model - Ghost Chan

Meet our new signing, Ghost Chan, a creative spirit, whose talents span acting, dancing, and art. Ghost joins our agency as a commercial, hand, and fashion model, bringing a unique blend of artistry and individuality to the table. Meeting with Ghost, we were greatly impressed by the elegence and expression he could bring to his movements, including his hands, with his intricate finesse and undoubted artistry.

Q&A with Ghost Chan

1) How did you get into the industry?

I worked with Nhu Xuan Hua, a renowned photographer, on a performance art project. She later invited me to collaborate on a shoot - a Maison Margiela campaign - which included hand modelling. I was told I have beautiful hands, and that inspired me to actively seek representation as a hand model.

2) Do you have a dream brand or client you’d love to work with? A dream collaboration?

Definitely Issey Miyake. I love their concept of incorporating origami into clothing—it takes me back to my childhood growing up in Hong Kong.

3) Have you ever been starstruck when meeting a director or celebrity on set?

It wasn’t on a shoot, but I once performed as a dancer for BTS. I was completely starstruck when I bumped into Jungkook in the toilet—he was brushing his teeth!

4) What is the strangest thing you’ve been asked to do on set?

I once wore a green full-body suit that completely covered my face. I couldn’t see anything but was asked to jump. It was strange, but honestly, a lot of fun!

5) Do you have any beauty routines or preparation rituals before a shoot?

I drink Chinese herbal tea the day before to reduce internal ‘heat’ and prevent inflammation in my skin.

7) Outside of modelling, what is your biggest passion?

I have many interests—dancing, creating art, cooking for friends, designing and playing board games. But my biggest passion is plant-keeping. I have over a hundred houseplants in my London flat!

8) If you could only take 3 things with you to a desert island, what would they be and why?

A device to play music I can dance to, Wingspan (a board game I love), and friends to play it with—though they’re not technically things, ha!

9) If you weren’t a model what would you be instead and what did you want to be when you grew up?

I would stay as an artist and a creative technologist as I am now. When I was growing up, I wanted to be a Choreographer and pianist - I am now one of these at least!

10) Any advice to new faces or anyone looking to get into the industry?

Know yourself and your talent. Learn different skills and find ones that you are passionate in. Find out both your weakness and strength. Build and show your confidence. People in the industry will then see it and bring you into the industry.

Ghost's Sizing:

Height: 5'10''
Chest: 35''
Waist: 28''
Hips: 33''
Shoe Size: 9
Gloves: 8

Click to view more of Ghost Chan's modelling portfolios .

4 November 2024

NEW TALENT

New Signing / Meet the Model - Essie Boohene

Meet our new signing, Essie Boohene, a versatile petite model specialising in body parts and commercial modelling. With extensive experience in e-commerce, beauty, and fashion, Essie’s talent and energy bring every project to life, with her experience on set very apparent to us when given the task of posing for a few polas in the office. Being a size 4 UK shoe, she is a 'great fit' for most ecommerce brands, especially for those specialising in footwear.

Q&A with Essie Boohene

1) How did you get into the industry, and what was your first job?

When I was younger, I was scouted, but my mum wasn’t too keen on me doing child modelling. Later, when I was about 17, my friends would ask me to take pictures for their clothing brands or content creation projects. Being in front of the camera came so naturally to me that I realised, “This is actually a job—I can really do this!”

When I went to university, I decided to send some Polaroids to my first agency. They loved them and forwarded them to ASOS. I ended up landing my first job with ASOS when I was 19 or 20 years old, and everything moved quickly from there. I remember being so excited when I got the call back on the day of my first-ever casting. It felt surreal!

2) What’s been your favourite campaign you have worked on and why?

Lottie London because it was a really fun shoot. The team was lovely and the photos turned out amazing!!!

3) Do you have a dream brand or client you are yet to shoot for? A Dream Collaboration? And why?

My dream client would be MAC, Wizkid, Pat MacGrath, Maybelline or even Primark, for the following reasons:

MAC because I love their makeup and I can just envision myself modelling for them
Wizkid because I LOVE his music and I would love to work with him.
Pat MacGrath because I love her, her makeup and her brand. I think she is amazing and it would be a blessing to model for her.
Maybelline because I love their makeup too and it would be iconic to just say “maybe it’s maybelline”
Primark because I shop there a lot and it will be amazing for my mum to see me modelling for them.

4) Have you ever been starstruck when meeting a director or celebrity on set?

No not yet. There is probably 3 people in this world that will have me star struck and if I work with them I think I will be speechless.

5) Do you have any beauty routines, or preparation rituals, that you undertake before shooting?

I alwasy make sure I get my beauty sleep, drinking loads of water and pray before the shoot.

6) Outside of modelling, what is your biggest passion?

I would say my biggest passions are music and presenting. I love these two industries because they allow me to be creative and they are really fun!

7) If you could only take 3 things with you to a desert island, what would they be and why?

Phone with ultimate battery life so I can document my experience, keep myself entertained and also because it has everything on it. I can still speak to my family, read the Bible and google things.
Water filter soo I can always have a life time supply of water.
All purpose soap- I know it’s random but I need it to wash my hands, wash my body & face, clean anything around me. Even though no one is going to be around me I want to feel clean and fresh and everything around me to feel the same otherwise I will lose my mind lmao.

8) If you weren’t a model what would you be instead?

I would be a TV and radio presenter because it looks fun and I love entertaining and talking to people.

9) What did you want to be when you grew up?

I wanted to be an athlete, singer, fashion designer and ballerina. I don’t know how I was going to do all 5 jobs but in my 5 year old mind it was going to work haha.

10) Any advice to new faces or anyone looking to get into the industry?

Be confident and be yourself. Don’t overthink things, believe in yourself and just have loads of fun!! When you’re being yourself the right jobs will come to you and you will shine in front of the camera because you’re being authentically you. Also make sure you’re doing other creative fun things to keep you mentally stimulated especially when there are dry seasons.

Essie Boohene's Sizing:

Height - 5'3''
Bust - 30''
Waist - 26''
Hips - 36''
Dress - 6
Shoe Size - 4
Gloves - 7

Click to view more of Essie Bonhene's modelling portfolios.

4 November 2024

NEW WORK

New Work - Cim and Ché for Channel 4's Generation Z

New work for YouAreHere and Channel 4 for the upcoming comedy horror show GENERATION Z ?‍♀?‍♂

We were so excited to be a part of the promotional campaign, for this serioes which is coming soon to digital screens and billboards near you! Keep you eyes peeled!!

ZOMBIE HAND MODEL - Cim Ashton @hiredhandsmodels

GEN Z HAND MODEL - Ché-Cassius Mason @hiredhandsmodels

Credits

CLIENT // Channel 4

PHOTOGRAPHER // Jasmine de Silva

PRODUCTION COMPANY // You Are Here Productions

EXECUTIVE PRODUCER (YAH) // Jeremy Goold

PRODUCER (YAH) // Hannah Malpas

PRODUCTION ASSISTANT (YAH) // Christina Ankersen -

PRODUCTION DESIGNER // Nuha Mekki

STYLIST // Sian O’Donnell

BEAUTY MAKE UP // Marta Wozniak

SFX MAKE UP // Megan Biffin

HAIR // Judit Florenciano

MANICURIST // Jessica Ciesco

FOOD STYLIST // Mandy Thompson

FOOD STYLIST ASSISTANT // Valeria Soledad Russo

ZOMBIE HAND MODEL - Cim Ashton

GEN Z HAND MODEL - Ché-Cassius Mason

4 October 2024

NEW WORK

New Work - Renato for Heinz x Monster Munch Halloween!

Something spooky has hit this shelves this Halloween! ?

Feauting our very on Renato De Fazio for Heinz x Monster Munch

Is this your dream collab or worst nightmare? Pickled Onion Mayo! ?

Credits:

Client: Kraft Heinz

Agency - Hogarth Worldwide

Producer: Chuy Omo

Photographer / Image Capture: Rosin O'Hare

Food Stylist: Jess McIntosh

Set Dressing: Daisy Shayletr Webb

Make Up: Axel A D Brown

@heinz_uk @hogarthworldwide @walkers_crisps #handmodel #sfx #monsters #halloween #modelagency #londonmodels #spookyfood #foodphotography #pickledonion

4 October 2024

MEET THE MODELS

New Signing - Joey Maragakis

Joey Maragakis is a model and actor known for his strong screen presence and compelling portrayals. In recent years, he has taken on notable roles in independent films, showcasing his versatility across genres. In 2023, Joey played Marco in the short film Kingdom, while in First Impression (2022), he portrayed Alejandro. His 2019 role as Sam Preston in The Game Changer marked one of his earlier forays into the industry, helping to establish him as a promising talent in film.

With a balanced career across acting and high fashion modelling, Joey continues to build his profile, working with photographers and designers to bring his unique style and charisma to editorial shoots and campaigns. He joins us as a commercial, ecommerce and hand model.

To view the full portfolios of Joey, click here.

Joey's Sizing:

Height - 6' 1''

Chest - 38''

Waist - 30''

Shoe size - 8

Gloves - 8

4 October 2024

NEW TALENT

New Signing - Zoha Rahman

Zoha Rahman is an internationally recognised model and actress known for her groundbreaking work in film and fashion. Originally from Pakistan and raised in the UK, Zoha has brought unique and powerful representation to global audiences. She rose to prominence as the first hijabi character in the Marvel Cinematic Universe, making her mark in Spider-Man: Far From Home (2019). This role not only expanded the visibility of Muslim characters in mainstream media but also positioned Zoha as a role model and advocate for greater inclusivity and representation in Hollywood.

With a versatile portfolio spanning film, television, and high fashion, Zoha has seamlessly balanced her career between acting and modelling, working with brands like Dior, Fenty, and Unilever and gracing the pages of high-profile publications. Her modelling work reflects a blend of traditional elegance and contemporary style, often challenging norms and showcasing diversity. Beyond her screen appearances, she has built a significant presence as an influencer and advocate, using her platform to address issues like diversity, women’s rights, and representation in media.

Zoha’s passion for storytelling is at the core of her work; she believes in the power of authentic characters and diverse perspectives. Whether in front of the camera or collaborating behind the scenes, Zoha Rahman continues to shape a dynamic and inclusive future for entertainment and fashion, inspiring audiences around the world.

To see Zoha's full modelling portfolios, please click here.

Zoha Rahman's Sizing:

Height - 5' 6''
Bust - 34''
Waist - 29''
Hips- 36''
Dress- 8
Shoe Size - 5

4 October 2024

NEW TALENT

New Manicurist - Trish Lomax

We welcome to the Hired Hands Models family internationally acclaimed session manicurist Trish Lomax to our roster!

Trish Lomax is t known for her innovative and high-fashion nail artistry. Her journey began with a deep passion for art and beauty, which she seamlessly translated into the world of manicures. Over the years, she has cultivated a reputation for her precision, creativity, and unique ability to bring personality and style to each of her designs, making her a favorite among celebrities, designers, and photographers.

Lomax has worked on editorial shoots for top fashion magazines, including Vogue, Harper’s Bazaar, and Elle, where her work frequently graces the pages with elaborate nail designs that set trends worldwide. Her collaborations span across the fashion and entertainment industry, working with iconic brands and top-tier photographers. Known for her versatility, Trish has mastered everything from minimalist elegance to bold, avant-garde styles, making her a sought-after talent for high-profile campaigns and red-carpet events.

She often incorporates her love for current fashion trends, visual art, and contemporary culture into her nail art, ensuring her designs are both current and reflective of each client’s unique aesthetic. Lomax's influence has also extended to the product realm, where her insights have contributed to product launches and brand partnerships, offering the latest in nail technology and design to her followers.

To view the full portfolio of Celebrity Session Manicurist Trish Lomax, follow the link: https://hiredhandsmodels.com/portfolios/266-trish-lomax

4 October 2024

NEW TALENT

New Signing - Karolina Machova

Extending a warm welcome to our new signing Karolina Machova. After a brief hiatus while studying Karolina is back in the modelling game.

Her modelling and acting work has seen her featured in commercials for Weber, Quorn, Wolt, Krispy Creme, Cambridge university and Leffe. We can't wait to see what she does next.

To see Karolina's full selection of model books please click here

Karolina's Sizes are:

Height - 5' 5½''

Bust - 34''

Dress- 8

Shoe size - 6UK

5 September 2024

NEW TALENT

New Signing - Ramzan Miah

We are excited to announce that Ramzan Miah has joined us as a commercial and parts model. Raman's versatile look has seen him already booked with us on shoot for Aera Watches and on a cocktail shoot celebrating the 50th anniversary of the Pina Colada! Ramzan is an experienced performer and was featured in the Blockbuster Barbie movie. "Hey Ramzan".

Ramzan is a sample size8 for all you shoe brands out there. He is 5"10.

To see all of Ramzan's modelling portfolios, click here.

Ramzan's Measurements:

Height- 5' 10''

Chest -38''

Waist - 32''

Shoe size- 8UK

Glove - 8

5 September 2024

NEW TALENT

New Talent - Luke Boyden

We welcome to the Hired Hands family Luke Boyden, a model and photographer, who can work either side of the lens.

He has extensive experience as a commerical, hand and fitness model, with his sizing being ideal for ecommerce shoots with his athletic physique and chiseled jawline to boot.

Luke hails from Wolverhampton, but is not afraid to travel down to the Big Smoke (London), or North the Rainy City (Manchester) for work.

Luke's Measurements:

Height -5' 10½''

Chest -39½''

Waist -33''

Hips - 34''

Shoe size - 8 UK

See Luke's full portfolios here.

5 September 2024

NEW WORK

Natasha M for Grown Alchemist Product Shoot

Shoot: Grown Alchemist Product Shoot

Shoot: Grown Alchemist

Grown Alchemist are a new high perfomance biological beauty brand that utilizes plant technology and bioingrediants to work in harmony with your skin. For their key marketing visuals, across both their events and owned channels, we provided them with Natasha Murphy who was utilised as their brand hero across their digital platforms earlier in the year.

Photographer: Matthew Eades

Art Director: Chris Lowe

Stylist: Kate French

Studio: RIDA Studios

Model: Natasha Murphy @ Hired Hands Models

3 September 2024

NEW WORK

Brooke C with Gillian Anderson for The Guardian Saturday Magazine

Shoot: Editorial for Guardian Saturday Magazine with Gillian Anderson

Our very own Brooke Colman was brought on set to 'lend a hand' in producing some supporting editorial imagery with everyones favourite FBI Agent turned sex therapist Gillian Anderson, for various features supporting the launch of the book "Want: Sexual Fantasies by Anonymous: Gillian Anderson".

Publication: The Guardian - Saturday Magazine

Studio: Big Sky Studios

Photography: Sebastian Evols

Styling: Melaine Wilkinson

Styling assistant: @samdeaman

Hair: James Rowe @ Bryant Artists

Makeup: @amanda.grossman

Nails: @michelleclassnails

Prop stylist: @hannahcorkinteriorstylist

Editors: Merope Mills, @ruthlewy

Commissioning editor: @joestonebyjoestone

AD: @maggie_b_murphy

Picture editors: @lousiroy @kateedwa @huntforcaroline

Hand Model: Brooke Colman @ Hired Hands Models

3 September 2024

NEW TALENT

New Signing - Jason Davis

Jason Davis is a former footballer who had a professional contract with Premier League side Brighton & Hove Albion, now turned fashionista co-running the clothing label Fraternité with former team mate Ben White.

Along with his clear atheletic physique which would work well for both ecommerce and fitness modelling, Jason has numerous extensively detailed tattoos, even on his hands, which would easily lend great character and personality for client's looking for more unique edge from their hand models.

We came across Jason by chance when Thomas made a rare visit to the gym round the corner, with a quick conversation about modelling resulting in Jason coming on board with the agency. His measurements work very well for ecommerce also, as he is a UK size 8 shoe.

So, we will have to keep Thomas on an exercise regieme if it means meeting people like Jason!

Jason's measurements:

Height - 5' 10''

Chest: 42''

Waist: 32''

Shoe Size: 8

Gloves - 8.5

To see Jason's modelling portfolios, click here.

3 September 2024

MEET THE MODELS

Fatou M'Bow - Meet The Models

In this months Meet The Models we have been chatting to Fatou!

Hi Fatou, Thanks for sitting down with us to answer our questions:

1) How did you get into the industry?

When I lived in Belgium, I joined a casting agency that secured exciting roles for me. After relocating to the UK, I registered with an agency in Leeds as a supporting artist. In 2018, I was discovered by their modelling department. Since then, I have primarily focused on modelling and acting jobs.

2) Do you remember your first job?

In the UK, my first job was for a Legoland commercial, where I portrayed a supporting friend at a football table in a pub.

3) What’s been your favourite campaign you have worked on and why?

NEOM skincare has been my favourite campaign due to its dynamic nature, involving the application of creams and soaps on my body. Additionally, I already used their skincare products, which added to the experience.

4) Any advice to new faces?

Take ownership of your career and endeavour to steer it in a direction that aligns with your vision. Don't be afraid to ask questions and invest in building your portfolio.

5) Do you have a beauty routine?

Yes, I have a beauty routine. I drink fenugreek before I sleep and keep my skincare quite simple. In the morning, I apply vitamin C, and in the evening, I use retinol.

6) What is the strangest thing you’ve been asked to do on set?

Shooting in heavy rain.

7) Do you have a dream brand or client you are yet to shoot for? A Dream Collaboration? And why?

My dream is to break into the editorial market with Chanel during Fashion Week. When I first became interested in modelling, it was the era of Karl Lagerfeld that captivated me with his grace and elegance. In the commercial market, a dream collaboration would be with OhPolly. I frequently wear their clothes and find them to be body-positive and flattering to my hourglass body type. I believe this collaboration would be very rewarding as I genuinely adore the brand's clothing.

8) Outside of modelling, what is your biggest passion?

My biggest passion lies in water advocacy. Growing up in a developed country and visiting my country of origin in the developing world highlighted the stark contrast in water infrastructure. This stark contrast fuelled my passion from a young age. I wanted to address significant global challenges, and water management became a personal focus. I am currently the proud Founder of the African Youth Parliament for Water, where I collaborate with the United Nations and national governments to advance African Youth Policies within the water sector.

9) Have you ever been starstruck when meeting a director or celebrity on set?

Yes, during my first commercial work in the UK for Legoland, I was starstruck when meeting Thierry Henry and Marcus Rashford on set.

10) If you could only take 3 things with you to a desert island, what would they be and why?

If I could only take three things with me to a desert island, they would be a paint set, a lighter, and a Kindle. The paint set would allow me to unleash my creativity and express my thoughts through art. A lighter would be essential for cooking food and keeping warm at night. Lastly, the Kindle would provide me with an escape into different realities through books, giving me the feeling that I am constantly traveling around the world, despite being on a desert island.

11) What did you want to be when you grew up?

When I was growing up, I wanted to be a model. Despite sounding cliché, I was encouraged to explore the world of modelling, which sparked a keen interest in me. I was deeply fascinated with the latest modelling news and trends. However, at the age of 15, one of my parents advised me to focus on my studies, and so I put my modelling aspirations on hold until I came to the UK.

12) If you weren’t a model what would you be instead?

If I weren't a model, I would likely have pursued a career as a fashion designer, which was a dream during my early years. I still have drafts of designs that I created when I was around 10 years old. Later on, around the age of 15, my passion shifted towards water policy and engineering, which led me to come to the UK in the first place. Aside from my modelling career, I am actively involved in water engineering and advocacy. This work has provided me with a broader perspective on the world and instilled in me a sense of responsibility to utilize my modelling platform for positive change in the future.

To book Fatou please Contact Us - or CLICK HERE to view her profile.

@fatoudesign

3 July 2024

MEET THE MODELS

Chino Amaechi - Meet The Models

In this months Meet The Models we have been chatting to Chino!

Hi Chino, Thanks for sitting down with us to answer our questions:

1) How did you get into the industry?

I used to act and do interviews when I was a lot younger and got signed based on those clips and then when signed was asked if I would consider modelling also and then it’s been an adventure since.

2) Do you remember your first job?

Erm I believe it was an extra in a movie and then a commercial for a phone company.

3) What’s been your favourite campaign you have worked on and why?

I would say modelling for Mercedes as I have worked with them a few times and the team is lovely and warm and it always feel like a fun day more than actual work.

4) Any advice to new faces?

Show up on time be punctual, and professional and be kind, in my experience it will take you a lot further. You may find yourself with better opportunities you may not necessarily be the best person for but because people by into you they will encourage, support and champion you for a position or networking opportunity

5) Do you have a beauty routine?

Honestly I don’t but I try to drink a lot of water for healthier skin and try and get as much rest as I can, besides that it’s always moisturise.

6) What is the strangest thing you’ve been asked to do on set?

At one shoot I remember having to wear a crazy outfit and try and do ballet dances at the same time ( I’m not a trained dancer at all) basically being the opposite of what I’m dressed like.

7) Do you have a dream brand or client you are yet to shoot for? A Dream Collaboration? And why?

I would love to work with high end fashion brands preferably Balmain, Versace and Gucci brands as I love fashion and their lines in particular which I feel have some classic and iconic pieces. It would be a dream to do a campaign for them as I feel I could represent for the big boys/ curvier models like myself which may not get the spotlight like many slimmer models.

8) Outside of modelling, what is your biggest passion?

Biggest passions outside of modelling is music I literally can not go a day without it, coming from a musical family of singers and musicians, music has been instilled in me and I’d probably say it’s my first love. Other than that my passion is family I’m very family orientated you may not always have the best family but they’re yours and mine I hold dear.

9) Have you ever been starstruck when meeting a director or celebrity on set?

Not so much now probably due to pride and realising they’re still human beings but when I was younger most definitely. Recently I met Andy Cole at one Mo Gilligans after party and as Man United fan I will admit I was in awe because he is a man united legend but he was so chill and polite it made me feel at ease.

10) If you could only take 3 things with you to a desert island, what would they be and why?

A sound system where I could somehow play music by shear will and ingenuity think it might need to be solar powered lol , a beautiful companion and a multifaceted survival kit consisting of first aid items, tents , rope and knives I think cheated on my last idea lol

11) What did you want to be when you grew up?

I went through phases first was something in tech, then in media (tv/ radio presenter) which I have done stints of and a chef.

12) If you weren’t a model what would you be instead?

If honest probably a Tv or radio presenter I have experience in these fields and a good network system

To book Chino please Contact Us - or CLICK HERE to view his profile.

@iamchinomoney

3 July 2024

NEW TALENT

Manchester - New Signings!

It's been a busy few months at Hired Hand HQ!

We are super excited to announce we have just signed an new roster of Talent representing the Manchester area and The Midlands. The new members of the team will be casting alongside our exisiting talent base.

Welcome to Aailyah H, Aliya Grace, Audree, Chloe, Chantal, Denico, Fatou, Grace, Kaily, Leah and LLoyd. We are so pumped about repping this division!

Please contact us for bookings bookings@hiredhandsmodels.com

4 May 2024