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Have you ever been told you’re “too commercial”? And what does that actually mean?
written by
Tessa Dewing
HAVE YOU EVER BEEN TOLD YOU'RE "TOO COMMERCIAL"? AND WHAT DOES THAT MEAN?
By Tessa Dewing, Managing Director of Sandra Reynolds and host of The Business of Modelling podcast
For a long time in this industry, commercial really was treated as a dirty word.
Years ago, if a model wasn’t taken on by a large, fashion-led agency, the explanation was often simple and final: too commercial. It became a catch-all phrase that closed the conversation without ever really explaining it. No detail or nuance was given, just a label that suggested there was a ceiling you’d already hit.
Being “commercial” was positioned as the opposite of being credible. Fashion approval was the benchmark, and anything outside of that was quietly treated as lesser. If you weren’t walking shows or shooting editorials, you weren’t considered a “real” model, even if you were working consistently and earning well.
What’s often overlooked now is why that language was used so widely.
As an agent, turning people down is one of the hardest parts of the job. Most people putting themselves forward are hopeful, vulnerable, and offering something deeply personal. Being honest about why someone isn’t right for representation, or why their look won’t work in a particular market, can very quickly drift into territory that feels personal, even when it isn’t intended that way.
Saying “your face isn’t right”, “this look won’t work at the level you’re aiming for”, or “you’re not suited to this market” can be deeply hurtful, however carefully it’s phrased. Over time, “too commercial” became a way of softening that moment. It allowed agents to decline without making it about attractiveness, worth, or personal judgment. In that context, it’s easy to see why the phrase was used.
Fast forward to now, and models are still being told they’re “too commercial” or “not commercial enough”, but often in ways that are even less clear. These phrases sound definitive, but they’re some of the vaguest feedback a model can receive.
When someone says a model is “too commercial” today, it can mean many different things. That the look feels familiar, the model's look is more advertising-led than editorial. That they don’t align with the aesthetic a brand wants right now, and sometimes it simply means “not right for this job”.
On the flip side, “not commercial enough” might mean the model doesn’t match a brand’s current customer, feels too fashion-forward for a mass-market product, or doesn’t sit comfortably within a loosely defined brief. In many cases, the feedback is standing in for uncertainty rather than clarity.
None of this is a judgment on a model’s value or ability. The problem is that it’s often delivered as if it is, and this is where the old hierarchy still lingers. Commercial models are often still looked down on by parts of the fashion set, despite the fact that commercial work is where much of the industry’s money, longevity, and real-world visibility actually sit.
This divide has come up on The Business of Modelling podcast.
In my conversation with Sophie Tataryn, who has worked extensively across both sides of the industry at Sandra Reynolds, Milk Management and now The Hive, she speaks openly about the contrast between fashion and commercial, and how differently those worlds are valued:
“Editorial is your Vogue, your real high-end fashion… whereas commercial is the things you see on the TV, images in M&S for example. I prefer it personally because high fashion is quite intense… whereas commercial is more money and you meet a lot of different characters.”
Similarly, Anna Shillinglaw has reflected on an era where fashion approval dominated the definition of success. In her episode, she talks about a time when being aligned with fashion was treated as the ultimate validation, and where commercial work was often positioned as secondary, regardless of how viable or lucrative it was for models.
“Commercial used to be a dirty word. If you were commercial, you weren’t really considered a proper model. It was looked down on. Fashion was the only thing that was seen as valid, even though commercial work is where most models actually earn a living.”
That context matters, because it explains why phrases like “too commercial” still carry weight today. They aren’t neutral descriptions. They’re loaded with decades of hierarchy, status anxiety, and outdated ideas about what constitutes a successful modelling career.
This kind of language often benefits the system more than the individual. It allows castings to move quickly without going into detail, avoids more uncomfortable conversations about budgets, risk, or conservative brand decisions, and quietly puts the weight back onto the model. In reality, “commercial” isn’t a fixed category at all.
In tighter economic climates, brands tend to fall back on what feels familiar and low risk. That then gets labelled as “commercial”, when it’s often more about playing safe than reflecting real consumers.
For models, the key thing is not to treat this kind of feedback as a final judgement. Instead, it’s worth asking clearer questions. Is this about the product, the audience, or the platform? Is it specific to this client, or about broader positioning? Is it the look itself, or how that look is currently being presented?
This is where good agency guidance really matters. Feedback like this should be explained and put into context, not passed on word-for-word. From the agency side, it’s also worth being honest about how often “commercial” is used. Sometimes there’s one space and ten strong options. Sometimes the decision comes down to something small and unchangeable. “Commercial” becomes the polite way of closing the loop.
The real risk is when models start trying to reshape themselves around a loose idea of what “commercial” is meant to be. That usually leads to dilution rather than clarity. The truth is, being commercial is a strength. Commercial models make up the majority of the industry - they are the ones working regularly, building long-term client relationships, and being trusted by brands with serious budgets. That’s where most of the work sits, and where careers tend to last.
So if you’ve ever been told you’re “too commercial” or “not commercial enough”, don’t hear it as a full answer. Commercial is cool!
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written by Tessa Dewing
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