This interview was originally featured in Issue No. 5 Vol. 2 — Fashion.

ANDREA BLANCH: Tell me a little about yourself.

JED ROOT: I’m originally from Canada. I went to high school in Alabama, met Kevin [Aucoin], and then went to LSU. I didn’t really go to any classes at all, and Kevin wanted to move to New York, so we moved there in ‘82. I got introduced to the business, pretended to be Kevin’s agent for a while, started working with [Steven] Meisel and doing Vogue covers, and then I joined Art + Commerce…I started my company in 1989.

ANDREA: Tell me about your photography collection. When did you start collecting?

JED: Back in the late 1980’s, early 1990’s. I started collecting at benefit auctions. Back then, at the benefit auctions, people gave really good stuff. Now, I think most people give secondary work for the most part. You certainly don’t see great, iconic Irving Penn images and [Richard] Avedon and Helmut Newton at benefit auctions anymore.

ANDREA: What other collections do you have?

JED: For a while, I was into Southeast Asian art, and I still have a big collection of photography books, in addition to photography prints. My most recent [collection] is wine, because I can use it up. It doesn’t hang around forever.

AB: What is the profile of the client that Jed Root likes to represent?

JR: I’m not sure we have a specific profile. It’s a big mix between what we’d call legitimate actors as well as reality show people, as well as alternative people, like fashion bloggers. Condé Nast is starting their own Google Premium channel. There’s going to be a Glamour channel, there’s going to be a Vogue Channel, and so we’re representing those people in that respect.

AB: Oh really? Like who?

JR: Like Elessa Vovan, who has a [fashion] blog called Purse Buzz. She has a big presence on the internet.

AB: How do you represent somebody like that?

JR: These are people who we don’t necessarily have any- thing to do with their blogs or what they’re doing. For instance, Google now has Google Premium, which is basically YouTube, but people are giving money to have their own defined space and make it a channel and create original, professional programming. Everyone’s idea with Google Premium is it’s a great way to get an idea for a television show out there — it gets a big following, then you can sell it to a real network and have it broadcast for even more money…When I say “blogger”, you may be thinking specifically of writing, but there are also video bloggers, people who have developed their own style and on-camera persona, and who have developed a big following.

AB: So how does this translate into representation?

JR: Well, for example, say Lancôme wants to do a series of how-to makeup videos. They would contact one of these makeup artist video bloggers who teach people how to use products. And FCC rules are involved, so they have to say “this is sponsored by Lancôme”, for instance, and then the person may get a million views for that video. But nobody likes advertising anymore. It has to be mixed with entertainment or information or something in that respect.

AB: What do you mean by “nobody likes advertising”?

JR: People become immune to anything that screams ‘advertising’. It doesn’t necessarily sell specific products anymore, and if you want to push those products specifically, you’ve got to work more into an entertainment or informational sort of programming to really be able to grab people’s attention.

AB: Name one characteristic of a Jed Root artist.

JR: Keep your clients.

AB: That’s not a characteristic! That’s advice.

JR: Well you have to have the right sensibility and the right kind of personality to be able to keep your clients. That is the most frustrating thing. As an agent, all you can do is get someone a client for the first time. You can put their work in front of the right people, you can advise them as to what direction their work should be going, you can edit their work, and if you’ve really got a lot of weight in the business you can convince someone to try them out for the first time. After that, it’s up to the artist. There are a limited number of clients out there, so if you can’t hold onto the clients you actually get, your career is going to be limited. It’s a lot of work to get that first person in with the client for the first time — a lot of work for the agent. If you’ve got to look for a new client every single time, it’s just not cost-effective.

AB: What are your hobbies?

JR: I’d say cooking is probably number one. I tend to skew towards French, some Italian, I don’t really cook Japanese but I’ll incorporate some Japanese elements into things.

AB: Does your photography collection hang on your walls?

JR: It’s either on the walls or against the walls, never in storage. I only buy stuff that I want in my house. I don’t buy stuff speculatively, as is: “I don’t really like that picture, but it may be worth something down the line.”

AB: When I say the word “fashion,” what comes to mind?

JR: Work! [laughs]

AB: Has the internet made it easier or harder to find talented people?

JR: Easier. Way easier.

AB: Do you go to bat for the photographer if there’s an issue with the client?

JR: Normally I stand for the photographer, unless the photographer’s wrong. In the end, the client is paying us, so it really depends on the situation. It’s hard. Oftentimes I do side with the photographer, but in practicality, I’m more of a referee. I may tell the photographer “Yes, they’re wrong, but we want to get paid — is it really worth this fight?” You need to pick and choose your battles.

AB: Is there any deal you really wanted to happen that didn’t work out?

JR: Haven’t done the Pirelli calendar yet. We need to hurry up and do that, because pretty much nobody uses a calendar anymore.

AB: What’s your morning routine?

JR: A lot of coffee, a half a pack of cigarettes, and the New York Times. Then, I’m ready to take a shower and head to work.