Episode 60

This week, Tessa is joined by Ellen Burton, an international beauty and fashion model whose career has taken her across fashion, beauty, editorial and commercial work in markets including Milan, Paris, LA and Australia. 

In this episode, Ellen looks back at starting out as a teenager in Norfolk, building confidence through modelling, and the moments that helped shape the direction of her career. She talks about the haircut that became a turning point, being introduced to top photographer Rankin, shooting for Hunger magazine, and working on major fashion and beauty projects including Prada and Dior. 

Ellen also discusses what she has learned from working across different markets, why adaptability and professionalism matter, and what she believes makes a strong model. Alongside this, she shares her thoughts on social media, AI, trusting your agent, and how the industry has changed to allow models to build longer and more varied careers. 

Ellen Burton on International Modelling, Rankin and Building a Career Across Fashion and Beauty 

Interview by Tessa Dewing for The Business of Modelling Podcast 

Ellen Burton is an international model who has worked across beauty, editorial and commercial campaigns with clients including Dior, Garnier, Tom Ford, Cartier and Galaxy. Her career has taken her into markets including London, Milan, Paris, LA and Australia, with an early breakthrough coming through a Hunger magazine cover story for Prada, shot by Rankin. 

In this episode, Ellen speaks to Tessa Dewing about starting out as a teenager in Norfolk, the experiences that helped build her confidence, and the moments that changed the direction of her career. She also reflects on the realities of working internationally, the importance of strong agency support, and what she believes makes a good model. 

Starting Out 

Ellen grew up in Cromer, Norfolk, and first came into modelling at a young age. She explains that she had very low confidence at school, and that a family friend who worked as a makeup artist encouraged her mum to put her forward. 

At the time, the modelling industry felt completely out of reach. “It seemed so out of my league,” Ellen says, reflecting on how little she and her family knew about the business when she first started. Her mum saw it as something that might help build Ellen’s confidence, and she joined Sandra Reynolds as a child model. 

Her first job was a local shopping centre shoot, and she remembers the experience clearly. “I remember being on that shoot as a kid, and I had a day off school, and I was getting my makeup done and my hair done. There were all these worldly people there, and it was such a good energy. I was like, this is amazing.” 

As Ellen got older, she began applying to London agencies. She was repeatedly told she was too short, but a visit to Profile Models changed the course of things. After leaving the agency, she was called almost immediately and told she had booked a job for the next day. “I didn’t think modelling could really be a career for me,” she says. “I was short, I was from Norfolk, and it just wasn’t the career path I thought I would have.” 

The Haircut That Changed Everything 

A major turning point came when Ellen accepted a hair job that involved cutting her hair to jaw length and dyeing it orange. At the time, she saw it as a practical decision. The fee was good, and she reminded herself that hair grows back. 

What followed became one of the defining moments of her career. “After that haircut, it just went from strength to strength,” Ellen explains. “That’s when I was introduced to Rankin, and he wanted to book me for the cover of Hunger magazine for a Prada issue. From that, I got a contract with Dior, and it just kept snowballing.” The haircut helped shift how people saw her. It led to fashion editorials, beauty work and international opportunities, including Milan, where she went on to work with clients including Vogue and Bulgari. 

Working with Rankin 

Ellen speaks warmly about working with Rankin, who became an important figure in her career. She first met him when she was 16, and the two developed a strong creative working relationship. 

“We just clicked,” Ellen says. “We shot really well together, we got on well, and he instantly said he wanted me on the front cover of Hunger magazine for a Prada story.” 

That shoot remains one of the standout moments of her career. She describes being on location on a farm, dressed in Prada, working with animals and filming a major fashion story. “It was amazing. It was so exciting, and it really felt like something new. It was so creative and just fun.” 

Ellen and Rankin have continued to work together over the years, and she describes that relationship as one built on trust, ease and shared creative energy. “It is just fun creating,” she says. “We both get excited about the ideas.” 

International Markets 

Ellen’s career took her into several major modelling markets, including Milan, Paris, LA and Australia. She talks honestly about the excitement of working internationally, but also the practical and emotional challenges that came with it, particularly as a young model. 

Milan was a major eye-opener. Ellen was 17, living in a model apartment and attending multiple castings each day. Before smartphones worked as they do now, she had to plan every route carefully using maps and notes. “You had to be on time, so you really had to prep for it,” she says. 

She also saw the tougher side of the industry. Sharing a model apartment with other young women showed her the pressures some models were under, particularly around size, showroom work and earning enough to support themselves or their families. 

At the same time, Ellen is clear that each market has its own identity and expectations. “Paris is one look, London is another look, LA is another look. You need to be a chameleon with them all.” 

Agency Support 

A strong theme in the episode is the importance of good management. Ellen has stayed with many of the same agencies throughout her career and speaks about the importance of feeling supported, believed in and properly looked after. 

She credits Profile Models, in particular, with investing in her and pushing for her internationally. When Paris agencies initially turned her down because of her height, her mother agent took her to Paris himself and arranged in-person meetings. 

“They really looked after me,” Ellen says. “They pushed me, they believed in me, they invested in me, and they cared about me.” 

What Makes a Good Model 

When Tessa asks what makes a good model, Ellen’s answer is direct. For her, the job is not just about appearance. It is about attitude, professionalism and being able to put the brief first. 

“Someone who makes a good model is someone who can completely take their ego out of it,” she says. “Most of the time, you’re not going to like what you look like, but that doesn’t matter. Your job is to make it work and portray what the client needs. You need to be a chameleon.” 

She talks about the importance of being able to move, take direction and commit to what the creative team is asking for, even when the styling, hair or makeup is not how you would personally choose to look. “You’ve got to throw your ego out the door, have fun and get on with it,” she says. 

Rejection and Resilience 

Ellen also offers practical advice for models coming into the industry. One of the most important lessons, she says, is not to take rejection personally. 

“Rejection isn’t personal,” Ellen says. “A lot of the time, clients have something very specific in mind and it just isn’t you, and that’s fine. You will be someone else’s cup of tea. You have to take the ego out of it.” 

It is a simple but important point. Modelling involves constant judgement, comparison and last-minute decision-making, and Ellen is clear that models need to understand that many casting outcomes are not about them as people. 

The Realities of the Job 

The episode also touches on the less polished side of modelling. Ellen talks about the difficulty of last-minute bookings, cancelled plans and the need to be constantly ready. She has missed family occasions and had to adjust her personal life around work, which she describes as one of the harder parts of the job. 

She also shares her experiences on set, including moments where she felt uncomfortable as a young model. Looking back, she is clear about the advice she would give to others. “Trust your gut and call your agent,” she says. “Don’t do anything you genuinely don’t want to do.” 

It is one of the strongest welfare points in the episode, and a reminder of the role agencies play in protecting and supporting models, especially when they are young or inexperienced. 

Social Media, AI and Industry Change 

Ellen has seen the industry change significantly since she started modelling. Social media, in particular, has become a much bigger part of the job. She describes it as useful but demanding, especially in markets like LA where models are expected to stay active, connected and visible online. 

“Social media is a full-time job,” she says, while also recognising it as a useful tool for building relationships with photographers, makeup artists, hair stylists and production teams. 

The conversation also touches on AI and the future of modelling. Ellen acknowledges the concern around creativity and image use, but also feels the industry will eventually find a balance. “I think you kind of have to embrace it,” she says. “I understand it is stealing the creativity, but it’s not going to last. It’s going to come back to human touch.” 

Career Longevity 

One of the more positive changes Ellen identifies is the longer career path now available to models. When she started, she expected modelling to have a much shorter lifespan. “When I first started, I thought I had maybe five years,” she says. “Now modelling has a really long lifeline.” 

Ellen is still actively modelling, but she also talks about wanting to move gradually into mentoring, scouting and helping other models develop. Having had strong support early in her own career, she is interested in giving that back. “I had such a good experience early on that I want to do that for other people,” she says. “To see someone succeed and grow in confidence, it’s a good feeling.” 

What Comes Through 

What comes through clearly in this episode is Ellen’s honesty about the modelling industry. Her career has included major international clients, creative collaborations and standout fashion moments, but she also speaks plainly about confidence, rejection, pressure, preparation and the importance of agency support. 

Her story is not only about being booked for the right jobs, but about adapting to different markets, learning how to work well with creative teams and understanding that longevity in modelling takes more than a good face. 

From Norfolk to Rankin, Prada, Dior and international beauty campaigns, Ellen’s career shows how instinct, support, professionalism and adaptability can shape a long-term path in the industry.