Rosie Anderson has only been modelling professionally for 3 years, but in that time she has carved out an impressive career, appearing in national fashion week runways, TVC’s and advertising campaigns. Rosie has also begun to change the narrative on what we as a whole see represented on the runway. Rosie’s iconic auburn locks, graceful gliding movements, sophistication and grace, coupled with her ethereal aura makes her a shining light of unique talent. Bringing her own personality and positive presence to catwalks, campaigns and TVC’s, Rosie is proving there is always more to a disabled person than meets the eye. Bringing awareness and advocacy of the disabled community, as well as her own journey as an ambulatory wheelchair user, Rosie is a strong supporter of the fashion industry being accessible to all.

Lara Antonelli-Leorke chatted to Rosie about her modelling career, disability advocacy, and the need for visibility and accessibility across the fashion and beauty gamut.

You have been a professional model for over 3 years now. What is your model scout story and how did it feel to be scouted as a model with an international inclusive talent agency like ZBD?

I thought it was a scam! I was scouted on Instagram at a time when I’d decided to start getting out of my comfort zone, adopting the ‘be afraid and do it anyway’ approach. I was touched my agency ZBD saw something in me, even when I couldn’t see it in myself. I was hesitant at first. I had a mentor from the Rollettes in Los Angeles; someone who understood the tug-of-war between tokenism and genuine representation – feeling like she was hired to simply tick an accessibility box. She said something that stuck with me: do a good job and next time they’ll hire you for Rosie, not for the wheelchair. She was right.

What was your first modelling job and what was it like being on set as the talent? Did you find the client was well equipped or was it an eye opener on what the industry was lacking in terms of accessibility for disabled talent?

My first job after signing was also my first runway – an event for the Australian Retailers Association. I had no idea what to expect going into the day. I arrived to see a room full of traditionally stunning models and immediately wanted to melt into a corner, trying to stay out of the way during backstage photos. I’ve found Melbourne’s runway scene is often more accessible than other types of sets. On this day, it allowed me to focus on my job instead of the logistics of accessibility. The pieces they put me in were stunning, especially a green dress by L’idée. I was terrified and completely out of my depth, but expected to do my job just like anyone else – and that’s the way it should be. However, the only reason I could do my job was because it was accessible. 

You also have a career in marketing as a Social Media Manager. Was modelling something you always wanted to pursue or were you convinced it would be the corporate life instead?

I never imagined myself falling into the category of corporate life or modelling. The truth is, I’ve never been someone who knows what they want to do with their life. I still don’t. When I left high school, I considered being an art curator, got rejected from Melbourne School of Arts, graduated with distinctions in my Bachelor of Psychological Science, started my honours degree and then transferred to a Master of Social Work before unexpectedly falling into marketing and modelling. I think we fall into the trap of pigeonholing ourselves too young. I’m okay staying curious about the opportunities out there and being open to change.

So far in your impressive modelling career, you have appeared in fashion week runways, national TVC’s and digital campaigns. You always shine as a unique talent, not because of your wheelchair but perhaps in spite of it, with your iconic auburn locks, graceful movements and positive attitude. 

That is truly humbling to hear! I’m much too pale and Irish not to have a red flair in my hair (thanks to my hairdresser, Heather!). I won’t shy away from the fact that anxiety has been a lifelong battle, but I’ve found that focusing on the good things, God and grounding myself helps a lot, and a positive attitude gets you much further than you think. 

Have you reached that point now where you know you’ve been hired because of your looks and talent as opposed to the tokenism that may come with being an ambulatory wheelchair user? Or is there still a sense of being ticked off a checklist?

It depends on the job! Returning to events like Melbourne Fashion Week and working with stylists from previous years is affirming. I think tokenism can still be seen in the typecasting of disabled talent, often as the ‘laughing friend’ or ‘smiling auntie’. It’s not inherently bad, but it is a pattern I’ve noticed. The industry seems to think disability fits on the outskirts of a scene, rather than a feature. A laughing guest at a dinner party, but not a campaign for a clothing line. Seen, but not ‘sexy’.

I think this stems from a societal disconnect with the reality that people with disabilities have regular jobs, go on adventures, get married, have children. It’s not inspiring to do these things, no more than an able-bodied person. I think as society bridges this gap between the perception and reality of disabled people, the gap in the industry will change too. 

Perhaps more so than able-bodied models, did you feel you really had to ‘prove’ yourself to the industry? That you belonged, that you were worthy of the accolade, that you were a professional model? How do you reflect on your career now, after the many successful shows and campaigns? 

Absolutely! To tell you the truth, I still don’t feel like I belong in this industry or am worthy of accolade. I struggle to tell people one of my careers is modelling or, when I do tell them, I downplay it. Modelling is an art. It takes practice, refining and overcoming your fears. I’m not a traditional model; I’m thin but not sculptured, my teeth aren’t perfect, and I’ve got scars. These are the aspects I’m more nervous about in campaigns rather than my wheelchair. There’s something beautifully ironic that what once would have been the biggest barrier to modelling – my wheelchair – became the catalyst. 

I love being a model. When I reflect on my career, I am proud of the anxieties and self-doubt I put aside to achieve what I have. One day, I hope I won’t shy away from saying, “I’m a model”.

Living with a Connective Tissue Disorder (CTD), Gastroparesis and Dysautonomia is often referred to as an ‘invisible disability’, due to many of the significant symptoms not outwardly visible. In particular, CTD affects the entire body’s connective tissue, leading to a range of internal problems that profoundly impact a person’s ability to function. CTD can mean struggling with tasks that appear manageable to others, and although you are an ambulatory wheelchair user that can stand, do you find there are judgments or assumptions when it comes your disability and how do you try to educate people to choose empathy over apathy?

People often forget my disabilities affect me daily because I present well. I can’t hide my wheelchair, but I do try to keep the invisible parts of my disability under wraps – especially in the corporate world. There is a fear that if people know the full extent, they will underestimate your ability to do the job. You just have to hope that people will give you the opportunity to prove yourself. My last manager was absolutely fantastic! Once trust was established, there were no issues in being open with him about my health because he knew I could do my job. 

It’s empathy and understanding, not sympathy, that the disabled community wants and needs in order to succeed.

This year for you marks a decade of being an ambulatory wheelchair user. What motivates you daily and how do you stay positive when life throws a metaphorical and literal spoke in your wheel? How do you challenge yourself and push the envelope whilst staying true to your core and ensuring you leave behind a legacy you can be proud of?

I still can’t believe it’s been a decade! My transition to become a wheelchair user wasn’t an immediate injury but a slow, gradual shift. I felt that accepting this was my new reality was a form of giving up. Eventually, I realised my wheelchair is what allowed me to live again – it’s simply a tool for movement. My faith in Jesus is at the core of who I am. It’s what motivates me daily and enables me to continue having hope when things are tough, and joy beyond my circumstances. 

In terms of legacy, it won’t be my modelling or marketing career, or anything I achieve that I want to be my life’s impact. If I spend my life loving and helping others by sharing my story and joy, then I couldn’t ask for anything more. However, I’m glad my kids will have photos to look back at one day and realise my husband and I were once cool!

As a forerunner of disability advocacy within the fashion industry, you’ve articulated that, “Accessibility is always a good business decision.” This gap between disability visibility and genuine opportunity for us to have a seat at the table, starts with us being able to get in the door.” How do you begin to educate and discuss opportunities for disabled models in an industry known for its exclusivity? 

It often feels like an uphill battle in regard to educating the industry. There aren’t many forums to give feedback, especially without feeling as if you’re ‘difficult’ or ‘complaining’. These discussions aren’t meant just to benefit disabled models, but for the betterment of the industry.  I’m certainly not the first model in a wheelchair. Those who came before me, especially international models Bri Scalesse and Zucki, helped me to experiment with my chair and grow in confidence.

The industry needs to approach mobility aids as accessories, not inhibitors. I’m just sitting down. People sit in clothes. It’s really not that deep.

Has your outlook on accessibility and fashion evolved over the years and what changes would you like to see implemented in the industry?

I’ve realised how easily fashion, both industry and retail, could become accessible with genuine conversations followed by action. It’s important to note what is accessible for one won’t be accessible for all.  The primary change I would like to see is more variety in the styling and jobs for which disabled talent get cast. I feel we are often typecast as the ‘laughing friend’ in an advertisement scene, but rarely put in the strongly silhouetted, stylistic clothes during a shoot.

Do you have any tips for designers and stylists when working with disabled models, especially wheelchair users?

My top tip would be that we live with our disabilities and mobility aids every day – we know what works and what doesn’t, so don’t be afraid to ask. At a runway, the stylist wanted me to wear a bag on my shoulder, which doesn’t work as it falls off while I wheel. Instead of scrapping it from the outfit, I demonstrated how I would normally wear a bag – by hanging it off my knee. If a dress is too long and will get caught under my wheels, then a classy tuck will bring it up to just the right height. Majority of the time, there is a way. 

What do you love about being in the fashion industry?

The creativity, artistry and passion! When you go to a set or backstage, there is a tangible electricity in the air. People want to be there. They want to practice their craft. There is a camaraderie in coming together to create the best photos or the best runway possible. Modelling permits me to be a different, more confident version of myself; considering in my everyday life I’m more reserved and play it safe with my style (well, most of the time). 

What has been the highlight of your modelling career thus far?

Melbourne Fashion Week 2024 is one I look back on very fondly, as it was my first runway season where I arrived feeling confident. But truthfully, each job has a highlight or a unique moment that sticks with you. 

Do you have a favourite Australian designer and who would you love to work with (Aussie and/or international)?

I’ve always adored Mariam Seddiq’s pieces, as well as Jason Grech and Sean Rentero. There’s something about the structure and strong silhouettes that I’ve always admired! I’ve never worked directly with a clothing brand outside of runways. As much as I would be thrilled to work with any brand, the three aforementioned are the ones who would be my “I’ve made it” moment. 

And finally, what is next for Rosie Anderson: the model, the advocate, the change-maker?

That’s the hardest question! There’s still so much I want to try. Dive into content creation, get casted for Australian Fashion Week, do editorial work, write a children’s book, become a mother and learn how to cook! Ultimately, your guess is as good as mine.