I Modeled for Rouge Magazine. Let’s Talk About it.

Why Did I Do This?

I modeled for the Spring/Summer ’26 issue of Rouge Magazine without ever modeling a day in my life. Let’s talk about it.

The theme was power structures, and I was cast in the third shoot, titled “Overdrive.” The concept was designed to encapsulate abundance and consumption to the point of discomfort, raising questions about the line between taste and access. That being said, why did I even decide to do this? It was near the end of 2025, and like clockwork during the winter, I began falling into my annual slump. As the days become grayer, I start questioning my life goals, my existence and my purpose. Then, like a plant photosynthesizing in the spring, the sun comes out in March, and I become completely fine. When the model casting announcement came out in the winter, my mind wandered about the shortness of life. Deep, I know. I had lingering thoughts: What if I don’t try the things I’ve always wanted to do and end up an old grandma full of regrets? Living with regret always felt like an ultimate nightmare to me. I always wanted to try modeling, but I never had the guts to put myself out there. Ironically, the fear of living with regret was the exact push I needed to slip into my black heels, pull on an all-black outfit, and trek over to Dawson Hall for the casting.

The Casting

I assumed there were going to be about 20 people there. Instead, I walked in to find a line winding down the hallway. Surprisingly, I wasn’t as nervous as I expected. Because I viewed this as a “you only live once moment,” I had already prepared I wasn’t going to get cast, which took all the pressure off. The only thing that made me hesitate was that everyone knew each other already. They seemed to arrive in pairs or groups, floating through existing networks of other modeling agencies, while I sat on the little red couch. I found that the majority of people were signed with an agency due to the abundance of comp cards in the line. While everyone was talking about “I have this other photoshoot Friday,” and “Oh, I’m meeting with this photographer Saturday,” I stood there thinking: “I wonder what’s at Bolton Dining Hall?” The magazine also advertised a dance component for the issue, which solidified to me that this really was a “you only live once” kind of situation. When my turn came, I walked into the room to face a panel of Rouge executives. Although I see them almost every month, it felt daunting this time to go into the room where we usually hold our general body meetings. Despite the feeling, the process was actually very simple. I thought I was going to have to walk (no idea why, it’s a print magazine), dramatically pose and take facial close-ups. Instead, I wrote down my name, stood while they snapped a quick reference photo and heard “Thank you.” And just like that, it was over.

Meeting the Other Models

I was back in my hometown when the email arrived: I had been selected. I felt this rush of happiness that I did not expect. For someone who claimed she was going to be completely nonchalant about the outcome, the news brought an instant, overwhelming surge of adrenaline and surprise. Then reality set in. I was actually going to have to do a photoshoot with agency-signed models. On a cold February night, I arrived at an apartment on East Clayton Street (to this day, I have no idea whose apartment it was), but before that, we met at a Rouge executive’s apartment to get ready. I met the rest of the cast in the prep area for hair, makeup and wardrobe. I realized every single one of them was signed with UGA’s The Agency, meaning they were the ones carrying those comp cards from casting day. The only “modeling” on my resume was my high school senior photos. They were all deeply invested in fashion, photography and the creative direction of the project, which I greatly admired. The makeup artists kicked things off by showing us the visual mood boards. My look was inspired by John Galliano’s Fall/Winter 2009 collection with Pat McGrath. It wasn't what I had anticipated, especially when the makeup artist whipped out a tub of white face paint. But I reminded myself that I was here to step outside my bubble, so why not embrace it?

Photo/John Galliano’s Fall/Winter 2009 collection/Pinterest

My outfit was a light blue satin dress, a ruched Shakespeare-style blouse on top and silver cow-snout ballet flats. My hair was slicked back with heavy gel, a look my makeup artist jokingly noted was giving “Emo Eleven from Stranger Things.” Next came the set. The living room of the mystery apartment was transformed into an elaborate feast scene: a forest-green cloth was sprawled across the table, covered in chicken, cake, fruit and wine bottles. The decoration added to the ambiance with golden frames, tapestry and candles everywhere. I was worried the creative directors and photographers would expect me to start posing fluently the second I stepped onto the set. However, the photographers were incredibly helpful and supportive. They guided my posture, directed my movements and taught me subtle mechanics, like keeping my chin angled down rather than tilting it up. What caught me off guard was how intensely “locked in” everyone became. One moment, we were casually playing music during makeup, then the director would tell us to start and every model instantly snapped into an ice-cold "model face." I tried my best to “lock in” too, though I broke character a few times. Posing in complete silence with only the sound of shutter clicks and camera beeping can feel deeply awkward, but you still have to “serve.”

The End of the Shoot

Walking out of the apartment after the wrap, I was flooded with a strange mix of pride and disbelief. It was a post-adrenaline clarity where you pause and think, “I can’t believe I just did that.” If you had told high school me that I would show up to an open casting alone, collaborate with people I never knew before and execute an editorial shoot for a magazine, I would have said you were lying. I don't have a comp card, agency representation, formal training and it definitely didn’t come to me like a fish in water. But I did it anyway. I pushed way past my comfort zone and enjoyed the accomplishment. As a journalism major, I chose the field to force myself out of my shell. I wanted to practice public speaking, initiate meaningful conversations with strangers and navigate unfamiliar environments. Modeling for Rouge Magazine felt like an extension of that goal. If I had to define my college experience so far, it would be doing new things even when they’re intimidating, even when you doubt yourself and even when you feel silly. I'm glad I wore those black heels to Dawson Hall. It unlocked another side of me that I would have never known if I didn’t just try.

Editor: Sydney Annis

Graphic: Annie Gwinn