Katherine Mateo started her life as a competition dancer in Orange, New Jersey — think Ballet, Tap, Jazz and a life reminiscent of Lil Romeo in the 2003 film Honey starring Jessica Alba. The Afro-Latina, who always makes sure to represent both the Dominican and Black sides of her heritage, has since turned into one of the new generation’s coolest casting directors. Styling was always her number one love, but pursuing an art degree at FIT didn’t quite provide her with the safety net she sought. She turned to William Paterson University, where she graduated with her Bachelor’s degree in Business Marketing. Her dance teacher was one of her biggest supporters and motivators and always left Katherine with the words, “How bad do you want it.” It was that dance teacher and mantra that taught her what hard work and dedication were.

Those same words linger in her head daily as she seeks to transform an industry that she never saw herself represented in as a teen growing up reading W and Vogue. ” “Sure,” she said, “I loved the clothes, but there was never anyone who looked like me wearing them. Seeing people of color and people who aren’t a size 0 in these magazines today is a ‘wow’ moment.” With us, she talks about being thrown into the world of casting and how helping others serves as constant satisfaction.

When did you first become interested in casting, and how does one exactly find their way into such a role?

Everything began with me interning at Pyer Moss while I was a Sophomore in College. After around three weeks of being a helping hand, I landed the brand’s social media role. I was running Instagram and creating presentation decks for upcoming projects, and forecasting what our next imagery should look like for social. Kerby [Jean-Raymond] strolled into the office one day and told me I would be casting the next show “this is how you do it and I want to have a casting on this particular day.” I said, “I’ve never done this,” and he said, “you’ll be fine.” I survived that show, and then the next season rolled around and everyone was like, “you know what time it is. ” So, it all basically fell into my lap and stuck with me, and I enjoy doing it.

What are you looking for when casting a model, and does it vary between women and men?

First, it depends on who the client is, and it really changes when I’m working with a client who does both men’s and women’s clothing, which actually allows me more room to play around. There are several factors from what the collection is and what’s trying to be communicated through the said collection…who will fit the clothes really well, who’s new that I can introduce? This can completely change who we’re looking for from season to season.

You’ve cast many shoots and campaigns. Tell me about some of your favorite and most stressful projects.

[Laughs] Anything Pyer Moss related because we are always producing shows and hosting castings in huge numbers. For our last show at the Kings Theater in Brooklyn, we saw about 600 people in two days, and that’s quite unbelievable when you think about it. We call back about 60 to 100 of those people, and we book about 40 to 45 of them for a show. From there, it’s having to keep up with all those people to have them come in for fittings, rehearsals, and making sure all invoices are submitted. We do open studios, so many of these individuals aren’t really trained on what goes into what they have to do to pull the show off.

How do you decide which clients to work with?

I’ve been honored in the way that I haven’t had to turn down a lot—the majority of the clients that have come my way share similar values with me. The projects have been super cool, and I’ve been able to work with incredible individuals.

Tell me about some of your latest projects and how casting has changed since COVID became a reality?

Coronavirus has changed a great deal of things. There are laws now around the number of individuals that can be in a certain size room. We’ve been in situations where we have had to book two studios, which has obviously increased production cost, forcing many projects to go over budget, especially now that we have to have a COVID tester onsite. Catering is all packaged now, and castings have turned virtual instead of physical, so we spend a lot of time trying to gather personalities through Instagram.

How are you improving industry inclusivity through your work as a Casting Director?

We are all beautiful, and I love being able to include whomever in my work. I like breaking down the many barriers that once stood and still sort of stand in fashion. I have to give it to Kerby because he does what he wants and has no remorse about it. Being around a person that unapologetic has rubbed off on me in many ways, and taking that energy with me to my other clients has only paid off. It’s the best feeling to know that I’m helping people who would’ve been skipped over watch their dreams come true.

What pressures do you feel you subliminally face as an Afro-Latina casting director?

Honestly, I think it’s people questioning who I am. Are you Black enough to tell our stories? What was your upbringing like because aren’t you Dominican? And who in your family is Black? Those responses and challenging questions bother me because you don’t know how I grew up or who raised me.

What is it like trying to diversity a brand or client’s project when it comes to casting? Are you met with any resistance, or does it vary from project to project?

It differs from project to project because I’ve worked with brands that aren’t predominantly Black and brands that aren’t actually hyper-focused on diversity. I’m never trying to force them to cast more individuals of color in those cases, but I present them with various options. No, I can’t make you hire who you don’t want to hire, but this is the pool of women I’ve picked. I want you to see these Black, Hispanic, and Asian women, and I’ve never really faced pushback as they’ve all agreed thus far.

As a casting director, you hold a certain amount of power as it pertains to the individuals walking or appearing in different shows or campaigns; what do you make of this responsibility?

 In the beginning, it didn’t feel like a responsibility. I was eager to be working with somebody who was like-minded and that I stood behind. It felt like I was painting this picture that I couldn’t wait to finish until I realized that it was much bigger than that. It took me some time to recognize what I was helping to present to the world, and it was very Black. It makes you proud because these brands and magazines thought shows full of Black and Brown faces couldn’t be high fashion, but clearly, we can.

What do you feel is the most significant misconception people have about casting?

That it’s easy! Even some clients don’t understand what it is that goes into the art of casting. You can have three rounds of castings for one show, so the sheer measure of individuals seen in a day can be very overwhelming. From taking Polaroids to creating comp cards to presenting the selected models to the clients. It doesn’t happen overnight. It’s long hours and dedication! Here you are picking who’s opening and closing a show, and a lot of times, we’re hardly ever recognized. There may be a one-liner in the entire review that says, “the casting was great,” and it’s like, give flowers to the casting directors. We’re not doing it for applause, but it always feels good to receive recognition. 

Can you share any tips or websites for those with no formal training or agency behind them to find out about castings?

I suggest following your favorite brands on social media. Nowadays, many of them post when they have casting calls; the clients I work with always post it on their social. I would highly suggest following casting directors as a number of them blast open castings; I know I do. Many people are being scouted on Twitter nowadays, so if modeling is what you’re looking to do, I suggest making that apparent on the platform. Instagram and Twitter are the places for those with no agency behind them to find opportunities. Paying attention to who brands are tagging in their post and reaching out to those individuals is another excellent way because these people are clearly involved.

Since it is Black History Month, I would love to know what this month represents for you.

For me, Black History Month serves as a reminder of the Black magic that exists in our world and the barriers we continue to break. It always takes me back to my middle-high school days. The month was filled with activities and performances put on by my peers, highlighting the amazing things our people have done and contributed to society. It goes to show that many of our world’s greats are Black and Brown. There’s no denying we’re trailblazers, and this month is a reminder of that.

What are some of the things you think the CFDA should do to improve diversity and inclusion?

Your series is pushing the discussion forward and giving individuals a stage that allows them to show the world we exist and are here accomplishing great work.  It’s not always that easy to find us, and there has to be real research and effort put into making sure people go to the right extent. It often feels like it starts at the table and stays there once the people discussing the matter realize they don’t know anyone – but they can go on record saying they tried.

Are there any other Black casting directors that you would like to bring to the CFDA attention? What about Black Designers, known or unknown?

The first casting director that comes to mind is Nouri Hassan, who works with IMG and has her own casting agency, which is XYNE AGENCY. Yanii Gough, a model herself, is also the founder of YANII MODELS, a “Mother Agency” scouting, handling management, and helping models obtain worldwide placement. Trevor Swain, he used to work a lot with Hood By Air and is individually remarkable. Designer wise, obviously Pyer Moss! Christopher John Rogers, Edvin Thompson of Theophilio, Sunni Dixon of SUNNI SUNNI, Anifa Mvuembao of Hanifa, and Bianca Saunders – she just did some great work with Gucci.

What are some of the things you think the CFDA should do to improve diversity and inclusion?

Your series is pushing the discussion forward and giving individuals a stage that allows them to show the world we exist and are here accomplishing great work.  It’s not always that easy to find us, and there has to be real research and effort put into making sure people go to the right extent. It often feels like it starts at the table and stays there once the people discussing the matter realize they don’t know anyone – but they can go on record saying they tried.

Is there any ancestor of ours you wish you could’ve met and why?

Eartha Kitt. I mean, this proud Black woman was making every second count and on her own terms with no care of what others’ opinions about her were. Let’s not forget she was Catwoman. Definitely Eartha Kit – I can only imagine how it felt being around her!

Web:  Purrrr.com

IG: @purrrrdykat