Sunday, 27 January 2013


Born in Sweden, Hedvig Palm was discovered in 2010 at the age of 15, whilst eating at a local restaurant. Signing with Next Models the same year, Hedvig kicked off her modelling career in January 2011.


January 2011: Valentino Haute Couture

September 2011: Alexander Wang, Celine, Jil Sander, Jonathan Saunders and Valentino 

February 2012: Balenciaga, Cacharel, Chanel, House of Holland, Louis Vuitton, Mulberry and Topshop Unique.

September 2012: Miu Miu, Roland Mouret, Giambattista Valli, Alexander McQueen, Vanessa Bruno, Givenchy and Prada.

January 2013: Valentino Haute Couture


March 2012: Love S/S issue. ‘A Chorus Line’, photographed by Solve Sundsbo, this exquisitely choreographed editorial (based on 1930’s Hollywood musicals), also featured other new models including Caitlin Lomax, Ajak Deng, Lida Fox and Josephine Skriver.

June 2012: Prada Resort look book.

July 2012: Italian Vogue. ‘Collections’, photographed by Steven Meisel, featured groups of models wearing the headline-making pieces from the A/W collections, including Prada’s printed trouser-suits and Jil Sander’s cocoon coats. 

January 2013: Look books for Christopher Kane (Pre-Fall 2012) and COS (Spring / Summer 2013).

Traditionally used as a means of allowing wealthy clients to view haute couture collections, the look book’s purpose is being extended far beyond its high-society origins, and is now being deployed by high street titans.

The look book is joining the digital revolution, transforming into a smartly-produced video. The COS look book sits somewhere between catalogue and campaign, pausing on details in the clothing, showing both how the clothes move and sit on the body.

Campaigns have already made the leap to video, with the video acting as a companion piece to the more traditional print ad, and the concept brings together one of fashion’s oldest means of self-promotion and the latest technology to make a look book that’s about functionality and purpose. 

Hedvig enters the fashion industry at a tipping point heralding enormous change: how we buy and how we wear fashion has changed radically in the past five years and fashion has adapted accordingly. 

Even in a climate of change, there are still constants and faces like Hedvig are destined to thrive because they are an ‘easy sell’. Proving equally productive modelling haute couture as the best of the high street, Hedvig’s appeal puts her ahead of the pack.

The easy sell is becoming increasingly important, but selling a product in the first place has created a unique set of challenges especially for online fashion retailers. Selling fashion is rarely about combinations of fabric and fastenings, but selling an idea. For retailers, this means hiring models who are not only good all-rounders, but confident communicators, as they need to convey, in a matter of seconds, not only how an outfit looks but how it can make you feel.

The models then have to apply those skills across disciplines. A walk that would normally be employed for runway is now needed for a webpage (eg: ASOS, Net a Porter who both use moving images to show a garment). Editorial skills are no longer the preserve of high fashion: they are readily used for high street campaigns. Production values have increased because our raised expectations demand more. There are still easy sells, but they are hard won. Everyone has had to raise their game.

The good news for Hedvig is that she is already meeting the new requirements of the fashion industry. Strong in individual skills, she is already able to draw from runway and editorial experience and translate that into something that works on the screen as well as the page. It is the equivalent of a theatre actor learning how to act on film. Details become larger on the screen, movement seems more exaggerated. Making the performance more nuanced, but not making it smaller, is now part and parcel of the model’s job. The performance still has to have impact, and Hedvig’s role in the COS look book convinces. It is in the tiniest choices of movement that Hedvig communicates the feel of the collection. 

As the presentation of fashion becomes an increasingly virtual experience, making that emotional ‘must-have-it’ connection becomes ever more important. Access to fashion may be at an all-time high but seeing a dress on a screen will never be the same as walking into a shop, and seeing the dress in real time and real life. Technology can only give us so much information - the rest is inferred. To decide how we feel about the garment, and how it feels to wear it, only works on a non-virtual level. Therefore, the model becomes the intermediary. Communicating how the garment feels on the body, in both a physical and psychological way, has become the most crucial aspect of a model’s armoury. 

Two years into her career, Hedvig is already shaping up to be one of the industry’s go-to girls. Equally adept at haute couture, ready-to-wear and the best of the high street, Palm’s multi-platform CV is the calling card of a 21st-century model. Hedvig’s classic beauty and modern skills-set makes her one of 2013’s brightest prospects. She is a face to watch.


Sunday, 20 January 2013


Born on 26th March 1988, Finnish model Suvi Koponen began her career in 2005, when she won a televised contest to discover new modelling talent. Based on the concept of ‘America’s Next Top Model’, Suvi won the competition, giving the ANTM franchise one of its biggest success stories.

Moving into the real world of modelling, Suvi found herself in demand. In September 2006, she was chosen to both open and close the Prada Spring / Summer 2007 show, also walking in the Miu Miu show a month later as an exclusive.

Being picked to appear in a Prada show is big news, but getting both the opening and closing spots is phenomenal. Suvi’s ready-to-wear debut for Prada has since entered ANTM folklore, with Tyra Banks regularly referring to Suvi’s stunning debut. Suvi’s entrance into the fashion world defied the expectation that ANTM winners, and their international counterparts, can look forward to a frosty reception on entering the modelling world. Along with Australian competition winner Alice Burdeu, Suvi proves that a new face discovered by a television contest can be just as current and sought-after as a model discovered by scouting. Suvi’s early acceptance by the fashion industry at large was no fluke either: she was featured as one of’s Top Ten Models of the S/S 2007 season.

Spending the early part of 2007 on editorial work, including spreads for French Vogue, Suvi had her first blockbuster season that February. Opening shows for Jil Stuart, Marc by Marc Jacobs and Marni, she took part in a massive 63 shows. These included Anna Sui, Balenciaga, Chanel, Dior, Fendi, Jil Sander, Louis Vuitton, Prada, Sportmax, Versace and Zac Posen. These were not token bookings either, but bookings of the highest standard. Any lingering doubt over Suvi’s ability to, quite literally, walk to the walk, was swiftly dispelled.

2007 saw Suvi land several major campaigns as well; appearing in ads for Blumarine with Bette Franke; Mulberry photographed by Steven Meisel and Balenciaga with Anabela Belikova. Again, this was an incredible start to a new model’s career, and Koponen’s CV was fast filling up with top-drawer credits.
In September, she was back on the runway, matching the record she had set back in February. This time, she was selected to open eight shows: Jill Stuart, DKNY, Reem Acra, Carolina Herrera, Alberta Ferretti, Anna Molinari, Fendi and Just Cavalli. To be invited to open one show is an honour. To be requested for eight is a major achievement. 

Suvi’s exposure on the runway circuit meant that she became a must-have for print work, and between September and December 2007, she booked editorials for W, British and American Vogue. 

January 2008 saw Suvi take on her very first haute couture season in Paris, walking in S/S shows for Chanel, Dior, Christian Lacroix and Givenchy. Her runway skills were requested for ready-to-wear the following month, with an even bigger season. Walking in 65 shows overall, Koponen opened shows for Herve Leger and DKNY, also closing shows for Alexander Wang, Carolina Herrera, Paul Smith and Marni. 

All these hours spent on the catwalk made Suvi the focus of the fashion press. Not only did she land the cover of Numero, but in April 2008 she appeared in French Vogue, rated as a top model. The magazine also listed several other models including Catherine McNeil, Lara Stone, Kasia Struss, Raquel Zimmermann, Coco Rocha and Natasha Poly. Some were emerging talents (Struss, McNeil, Stone) alongside those who were already starting to make their presence felt (Rocha, Poly, Zimmermann). It is also a reminder of just how quickly career progression in the modelling world can move: in 2008, Lara Stone was a virtual newcomer, promoted by French Vogue in particular. Nearly five years on, she is one of fashion’s most recognisable faces.

Suvi rounded out 2008 with editorial work for key publications such as French Vogue and Interview. Regularly working around the world, Suvi was now fully established as an international model. 

After skipping Fashion Week in early 2009, Suvi returned to the industry having changed agencies. Leaving Supreme Management, Koponen chose to sign on with Next Models, an agency with a significant reputation for signing some of fashion’s most directional faces. Models on their books at the moment include Abbey Lee Kershaw, Caroline Trentini, Hailey Clauson, Meghan Collison and Zuzanna Bijoch.

In September 2010, Suvi had another good RTW season, closing the Versace show and walking for Proenza Schouler, Chloe, Louis Vuitton and YSL. It is after this point that Koponen’s career experienced a quieter phase. As every model moves through their career, the odds of booking a job fluctuate from time to time. This can be down to any number of factors, but the most obvious reason is that fashions change. If your look is a good fit with current trends, you will be extremely busy. If it doesn’t, you play the waiting game.
In 2012, Suvi came back with a bang, returning to the runway in February. Making show appearances for Alexander McQueen, Bottega Veneta, Celine, Gucci, Hermes, Reed Krakoff, Rick Owens and Valentino, Koponen was still more than capable of securing those big-name bookings.

In July, Suvi re-appeared in French Vogue. ‘Paris Mon Amour’, photographed by Mario Sorrenti and styled by editor Emmanuelle Alt, showcased the many faces of Parisian style. Koponen was joined by a stellar cast of models including Doutzen Kroes, Isabeli Fontana, Anais Mali, Arizona Muse and Kati Nescher. 

But Suvi was soon back on the campaign trail once more, this time with three major bookings. The first was for Alexander McQueen. Shot by David Sims, in a massive multi-image campaign, Suvi works the McQueen love of extreme shapes and bold textures with a lightness and playfulness that totally suit the direction that has been taken by Sarah Burton. Blending a sense of fun with serious craftsmanship, McQueen is in many ways a good fit for Suvi: high-fashion that doesn’t take itself too seriously. Next, Suvi worked on the Autumn / Winter campaign for Chloe. Working with Anja Rubik, both models show off Chloe’s mastery of chic, feminine tailoring. 

But Suvi’s biggest signing of 2012 was a solo spot in the Chloe fragrance campaign. Photographed by Fabien Baron, this is the campaign that will have the most immediate impact in terms of Suvi’s profile. A campaign that makes stars of models, this is the fragrance ad every model wants to get. The fragrance has inspired a campaign that has in turn created in its own iconography. The softly lit, retro-feminine look is quintessential Chloe. An instantly recognisable formula, it is proof that even in fashion, a great idea is sometimes worth repeating.

Eight years into her career, what is exciting is that Suvi’s 2012 comeback has seen her popularity soar – there is no indication that her career trajectory will start to slow down in 2013 – it looks to be doing just the opposite. 

Suvi really is the unexpected star of the ANTM franchise. She is the all-rounder that Tyra Banks envisaged when she created the show. Wanting to find a girl who could be equally strong in all areas of modelling: catwalk, editorial and campaigns, Banks’ idea has gone global and has produced some notable talent. Alice Burdeu (Australia’s Next Top Model winner) also wowed the fashion world, even booking a campaign with D&G. But for longevity, Koponen is very much the blueprint for any future contestants. 

She may be an inspirational example held up to aspiring contestants, but the reality is Suvi didn’t become a winner until after leaving the show. Her first booking with Prada could be attributed to good luck, but Suvi’s continuing success, her work in front of the camera, and on the catwalk, tells the story of a model that has excelled by taking nothing for granted. If you’re starting out on your own modelling career, and looking to be inspired, there’s no better place to start.


Sunday, 13 January 2013


Born in China in 1989, Fei Fei Sun has already become one of the breakthrough stars of 2013.

Aged 19, Sun represented her country in the Elite Models Look competition, eventually placing third. She began her modelling career in earnest one year later, featuring on the cover of Chinese Marie Claire in March, and debuting at Fashion Week that September. Walking in shows for Nathan Jenden and Mulberry, it was a strong start. 

Finishing 2009 with a stint in the Chanel pre-fall show, which took place in Shanghai, Fei signed with Muse Management in early 2010. 

In February 2010, Fei Fei experienced her breakthrough season, closing the Autumn / Winter show for Vivienne Westwood. Sun also scored runway bookings with Christopher Kane, Elie Saab, Issa, Jil Sander, Marios Schwab, Meadham Kirchoff, Sonia Rykiel and Thierry Mugler. It was a good spread of editorial talent, plus the high octane glamour offered by such labels as Elie Saab and Issa.

Deciding to move management again mid-year, Fei Fei left Muse Management, and signed with Women Management. In May, she appeared on the cover of China’s Harper’s Bazaar. Modelling alongside some of the key model talent emerging from Asia, including Shu Pei and Xiao Wen Ju, this was a bold, statement cover that just ten years ago, would have been impossible to compile. 

A few months later, Fei Fei landed the cover of Chinese Vogue, fronting its September issue. Sun shared the cover with models Ming Xi, Shu Pei, Tao Okamoto and Estee Lauder favourite, Liu Wen. Appearing for the magazine’s 5th anniversary edition, this was a watershed moment for both the magazine and China’s ability to make an impact on the world of high-fashion. 

In January 2011, Fei Fei started off the year by modelling in the Givenchy Couture presentation in Paris. The collection, modelled exclusively by Asian models, was a softly-lit rainbow of pastels which read especially well on camera. The striking textures made this collection a sure-thing for A-listers looking to find the perfect dress for Awards Season: many of the pieces made it onto the red carpet, most notably a lavender beaded gown worn by Cate Blanchett for her return to the Oscars.

January also proved a banner month for Fei Fei’s editorial career, when she landed a spot in an Italian Vogue editorial. Photographed by Steven Meisel, ‘The Power of Glamour’ played on the idea of candid, behind-the-scenes shots at a runway show. Also featuring top models Anais Mali, Arizona Muse and Freja Beha Erichsen, in terms of fashion editorial, Fei was now operating on a world stage.

In February, Fei Fei made her debut for American Vogue, featuring in a massive season preview, ‘Gangs of New York’. With models split into groups, each group profiling a key collection for that season, Sun modelled pieces by Proenza Schouler, working with fellow model Ming Xi.

Returning to the catwalk, Fei Fei’s bookings increased ten-fold, with Sun appearing in over 55 shows. The following month, she returned to her editorial work, appearing for American magazine V and Chinese Vogue. The latter saw Fei Fei appear in a beauty supplement, with Sun showing a growing talent for handling the up-and-close scrutiny of the beauty shot.

In April 2011, Sun fronted the cover of Japanese Vogue, which also featured models from Australia (Bambi Northwood-Blyth); the Netherlands (Milou van Groesen) and the U.S (Britt Maren). This was a truly international cover, with Japanese Vogue scouring every corner of the globe for the hottest new faces. Their ability to scout the latest talent proved right on the money, with Milou van Groesen becoming the face of Armani a year later.

June saw Fei Fei heading to Paris for her biggest couture season to date, with appearances for Chanel, Elie Saab, Giambattista Valli and Zuhair Murad. Her obvious flair for couture came in handy when she took to the pages of Italian Vogue again, this time for a haute couture spread, ‘Pret a Porter’.

With Fei Fei doing so well in runway and editorial, the requests to have her represent major brands came flooding in. Autumn 2011 saw Fei Fei’s campaign stock rise and rise with bookings for Chanel Cosmetics and Louis Vuitton. Sun’s standing in the industry had evolved from newcomer to must-hire.

In September, Sun had a second mammoth RTW season with 56 shows, including an opening spot for Rag & Bone. Forming a perfect blend of heritage, blockbuster and cutting-edge labels, Fei Fei walked in shows for Alexander Wang, Bottega Veneta, Chloe, Dolce & Gabbana, Givenchy, Marc Jacobs, Prada, Richard Nicoll, Rodarte , Tory Burch and Tom Ford. It was a well-rounded season, neatly illustrating just how indispensable Sun had become.

The next month saw Fei Fei hit another editorial high note, with a debut for French Vogue. Photographed by Hans Feurer, in a cross-cultural reference, Sun wore luxurious American labels including Ralph Lauren.
January 2012 saw Fei Fei return to the pages of American Vogue, this time appearing in an editorial tribute to Marc Jacobs. Photographed by Annie Leibowitz, ‘A Man for All Seasons’, the editorial was a fascinating look back through Jacobs’ greatest sartorial hits. It was, for any model, an editorial you wanted to be a part of.

Sun landed one of her biggest campaign signings in early Spring 2012, with a leading role in the Valentino Spring / Summer ad. Photographed by Deborah Turbeville, the campaign was soft, gracious and feminine – perfectly encapsulating the new direction taken by the Valentino team. Staying true to the grounding principles of the label founded by Valentino, this campaign showed the brand heading in a direction that was fresh and modern, but a direction that ultimately felt like a natural progression, rather than change for change’s sake.

Taking a break from the runway circuit, Fei Fei concentrated on print work during early 2012, re-emerging in June as the face of Giorgio Armani cosmetics. A real success story, with refined, elegant textures in sleek, modern packaging, the make-up has been a critical and commercial hit. True to form, the campaign is a triumph of discreet glamour. Fei Fei’s appearance is beautifully understated but deftly controlled; a master-class in how to model beauty in the 21st century, her performance is nothing short of stunning.

Making a strong return to the runway in September, Fei Fei walked in shows for designers including Miu Miu, Vanessa Bruno, Roberto Cavalli, Prabal Gurung, Derek Lam, Tommy Hilfiger and Jason Wu.
Sun modelled the big trend of A/W 2012 for Chinese Vogue when she featured in their editorial ‘Elegant Weaving’. Led by photographer Lachlan Bailey, Fei Fei modelled knitwear done the high-fashion way. Open weaves, high necks and big chunky textures such as cable knit, this was Sun proving she could do the big trends as well as the more nuanced work, as required by beauty campaigns.

In Autumn, Sun reprised her brilliant turn for Giorgio Armani cosmetics, this time working with Patricia van der Vliet and Elena Melnik. While Patricia and Elena worked the darker, more intense shades traditionally associated with autumn and winter make-up, Fei Fei modelled the ‘nude’ make-up look. A new take on A/W beauty, this pared-back look proved a perfect match for the ornate, highly-decorated clothes that made their way onto our style radar in late 2012. As this past season was a marriage of contrasts (wild, retro prints competing for our attention alongside muted tailoring), so S/S 2013 will continue this trend of not one, but many voices. Instead of one trend seeking dominance, high fashion is now seeing different ideas emerge as equals. For those who want variety, it’s very good news.

Against a backdrop of an industry that’s still moving forward, models that exhibit depth and range are doing particularly well. Just weeks into 2013, Fei Fei has emerged as a front runner, overnight becoming one of the hottest names in fashion. This January, Sun appeared on the cover of Italian Vogue. A major achievement, Fei Fei is the first Asian model to land this prestigious cover. Photographed by Steven Meisel, ‘Global Life’ not only makes history but makes direct reference to it. Channelling China Machado (1950’s model and muse to famed photographer Richard Avedon), Sun embodies retro elegance.  Putting that beauty-campaign face to good use, Meisel creates a series of images that showcase what an incredible model Sun really is. Acclaimed by both the fashion press and news agencies around the world, Sun’s glorious, confident performance has ensured that for 2013, all eyes will be on her.


Wednesday, 28 November 2012


Born in 1992, German model Franzi Mueller is part of a new wave of models that are wowing the industry with their ability to interpret the latest trends.

Whilst still at school, Franzi was advised by friends to become a model. Wanting to complete her education first, Mueller stayed on at school, finishing in summer 2011. She contacted a local modelling agency and was sent on go-sees for ready-to-wear shows. The bold approach by Franzi’s agency worked: in February 2012, Mueller was cast in several shows, including an opening spot for Calvin Klein.

Receiving this honour from one of fashion’s biggest names, Franzi immediately made a huge impact. It was all the more impressive when you consider that this was achieved with no pre-season buzz. Also walking in shows for Celine, Dries Van Noten, Givenchy, Valentino and Prada, all of Franzi’s star power was reserved for the runway.

Mueller made her editorial debut just a month later, appearing in Exit magazine. The editorial (‘Alice’), photographed by Paul Empson, showcased the new tailoring trend, especially focusing on peplum waists. Going from strictly couture to high-street staple in the space of five years, this trend is a perfect example of how quickly the fashion landscape can alter.

In May, Franzi make her first appearance for German Vogue. In ‘Klassenbeste’, photographed by Greg Kadel, Franzi modelled the Givenchy Couture jewellery featured in their January collection. Drawing on influences as diverse as Indian bridal jewellery and punk-rock, the large hanging earrings and nose-ring are not a look for the faint-hearted. Designed to create an impact that’s more editorial than ready-to-wear, Mueller models through a look that could easily dominate, making the photograph not just about spectacle. In this photograph, Franzi demands your attention, refusing to be overwhelmed by the massive jewellery pieces. For a newcomer, it was a significant achievement.

The following month, Franzi made her debut for Spanish V.  Appearing in ‘Electro’, photographed by Pierre Debusschere, the editorial lives up to its name, exploring neons and brights. The boldness of the colours is tempered by the super-strict tailoring of the jackets and peplum skirts. With the addition of post-production enhancement, Mueller beautifully balances the photograph; keeping her facial expressions soft and feminine to act as a neat counterpoint, making the bright colours even more appealing by making them look eminently wearable.

Packing in even more editorial commitments, in August Franzi made her inaugural appearance in Russian Vogue. Photographed by Emma Tempest, the self-titled editorial celebrated Franzi as a new and upcoming modelling talent. Along with Italian Vogue, the magazine remains a constant champion of modelling talent, regularly featuring new faces in key editorials and even on the cover. In a publishing world increasingly reliant on the pull of celebrities to boost sales, Russian Vogue remains proudly loyal to its high-fashion roots.

The glut of editorials over the summer paid off for Franzi as she managed to score two high-profile campaigns. Appearing for Louis Vuitton’s multi-model epic, Franzi joins other new names to populate what must be the most stylish train carriage in existence.

Mueller can also be seen in Hobbs’ Autumn / Winter campaign with models Karlina Caune, Emily Baker, Kinga Rajzak and Sojourner Morrell. Hobbs, along with many mid-priced high-street chains, has had to step up its game recently and along with stores like Zara, is providing great trend-led pieces for an increasingly fashion-literate audience. As well as the usual fare of tweeds and beautifully-cut coats in teals and oranges, 
Hobbs also dips its toes into winter florals – and comes up smelling of roses.

Squeezing in a few appearances for the Spring / Summer 2013 season (including Oscar de la Renta, Nina Ricci, Rodarte and Donna Karan), Mueller kicked off the autumn with a season preview with Dazed & Confused. Photographed by Sean and Seng, here Franzi appears in the S&M trend, reworked for this season as eveningwear.

September also saw Franzi hit the editorial jackpot with a spread for Italian Vogue. ‘Alta Moda: Dolce & Gabbana’ (photographed by Paolo Roversi), is a multi-page editorial dedicated to the Italian design duo. Featuring Ava Smith, Kate King, Suzie Bird and Bette Franke, Franzi has her own double-page story, working both black and white lace pieces. Mueller shows her versatility here, channelling the Dolce & Gabbana siren to perfection.

Mueller was back to her high-fashion beginnings in October with an editorial for Wall Street Journal. Shown exclusively online, ‘Austerity Measures’ featured Mueller working the more pronounced silhouettes of Autumn / Winter 2012. Deftly demonstrated through coats and jackets, it is testament to Franzi’s skill in front of the camera that every coat and jacket she models (though vastly different from each other), are anchored by her modelling style. Keeping it simple, she allows the designs to take centre stage. Exuding elegance and poise, Franzi shows off her knowledge of fashion history, channelling the original Dior models of the 1950’s.

Also in October, Franzi made her debut for i-D magazine. The editorial, ‘Being an icon is great but leaving a legacy is better’, Mueller is photographed modelling a leather dress by Celine. Mueller is also interviewed by the magazine, and cites model Mariacarla Boscono as one of her biggest fashion influences, and there are definite similarities in their modelling styles. As Boscono is one of fashion’s longest-serving models, this bodes well for Franzi’s longevity.

Appearing in November’s issue of Numero and a late 2012 appearance for W, Franzi’s editorial popularity has been not only enduring but wide-ranging. Mueller has already appeared in publications from Italy, China, Spain, Germany, Russia and the United States. Mueller’s status as a high-flyer is defined by her instinct for wearing modern design with intelligence and verve. Combine this with Franzi’s physical gifts – height, good proportion and bone-structure – and you arrive at a picture of a model that not only appreciates high fashion, but understands it as well.

Every great model knows that while their face graces an editorial, or fronts a campaign, it is the clothes that are the star. The best models working right now are the ones who have a genuine love of fashion. With high-fashion itself heading into the unknown, with ever-bolder shapes taking the lead, it is up to the industry’s interpreters (photographers, stylists, editors and models) to take the fear out of contemporary fashion and persuade us of its wearability.

Even at its most extreme, Franzi finds the beauty in high fashion, making it not just interesting but downright inspirational. These are big ideas, fashion at its most conceptual, but with the right interpretation, these are ideas we find ourselves wanting to explore.

Making that leap into wearing the next big idea takes courage and models like Franzi are going there first; showing us not only how these new trends can be worn, but how we can find a connection between the clothing and ourselves. Every regularly-worn piece in your wardrobe gets preference above others because you have a connection to it. Whether it’s a colour, or pattern, favourite pieces connect and that relationship can be deep-rooted. It explains why you end up buying one colour over and over, or variations of a jacket you have worn to death.

Making that connection is skilled work and this is why a model who loves fashion will always do well. Looking at Franzi’s CV, despite the fact her career is not even a year old; she is already shaping up to be one of high fashion’s most prolific advocates. Whether she’s channelling aspects of fashion’s history, or working the edgiest trends, the love is there for everyone to see.