How did you start casting? What was the path that led you there?
I started when I was 19, by interning for Ricky Michaels. I think I had gotten scouted by him, and then he had said, ‘I need an intern.’
I was like, cool, I'm gonna try this, and it just went from there. I started working with casting directors in New York and Paris, wherever I could get a gig, and make money, and I slowly started building my own clients.
What about the process do you find fulfilling?
I'm just a people-person, so getting to click with other people is fulfilling. I always hate when I see people in the industry treat people [as if they’re] super disposable, or forget about the human aspect, because, I'm like, why are you in this industry if you don't care about the human aspect?
When you get to do those really special projects, where it really is about storytelling and less just about filling a quota or a role or something like that, that's when it excites me, and it's worth it to me. Or when you get to put someone on, and have them share their voice, who normally wouldn't [have that platform], that's always still really super exciting to me.
You mentioned getting scouted. Do you model yourself?
I like to model if it's for Hedi Slimane or Lotta Volkova. Or if the check is really cute, then we can talk.
How does it compare to casting?
Well, the funny thing for me with modeling is that when I was 18 to 21, the ages where I would have been prime, that's when no one wanted me to model. Like, I was not cute back then.
I never could have been a traditional model. I was not female sample size, and couldn't have been with an agency. It wasn't really until I developed myself as a human and once I created a band, and started getting my career going, that I think people started booking me as Blair and not really as a model.
I think that made me value putting work into who I am instead of my appearance. I've never really cared about affirmation for my appearance, but way more about what I can bring out there.