Wednesday, 30 November 2011


Born in Buenos Aires on 31st October 1990, Tatiana began her modelling career by signing with NEXT Models in 2009.

She debuted at Fashion Week that September, walking in shows for Burberry, Jason Wu, Mark Fast, Rodarte and YSL. She also became a hit with legendary designer Vivienne Westwood. Picked to close both Westwood shows in London and Paris, Tatiana was also selected to appear in the brand’s latest campaign.

Forever rebellious, the label stems from punkish roots to form a fashion house underpinned by a couture sensibility. Like Alexander McQueen, Vivienne has taken her extensive knowledge of fashion history and translated it into a silhouette that’s become the Westwood signature.

With a career spanning 3 decades, Vivienne joins the likes of Karl Lagerfeld and Giorgio Armani in marrying old-school skill with new-world philosophy. All three designers are over 70 years old, but are as relevant today as they’ve ever been.

Tatiana’s ability to wow fashion’s elite became apparent when her runway breakthrough came in February 2010. She was picked to open the Autumn / Winter Marc Jacobs show. The staging provoked as much response as the clothes themselves and Tatiana got to open a show where models emerged from a large Perspex box to take to the runway. Unveiled by Marc himself, this was Jacobs tearing up the rulebook, presenting a collection filled with wear-now, love-forever pieces. It was a startling about-turn for Jacobs, but the show, as a concept and as a collection, was a hit.

With closing spots for Ungaro and Miu Miu, Cotliar also signed up to appear in over 50 shows. Tatiana was a feature in runways as diverse as Chanel, Missoni, Prada, Versace and Valentino. Her unique blend of edginess with real-girl likeability made her a shoo-in for this season where classic and contemporary came together to produce a spectacular season. Sure enough, the press took note. In March 2010, Tatiana was featured as a Top 10 Newcomer by A day later, she was ‘This Week’s Model’ for

Filling the summer months with editorial work for German and Chinese Vogue, Tatiana made a bold try at campaign domination, with appearances for Proenza Schouler and Valentino. It would be hard to find two labels more different, but Cotliar’s presence belies her experience, then barely totalling a year. Tatiana epitomised Proenza Schouler’s effortless, art house cool and mastered Valentino’s heritage elegance.

With another successful RTW season in September, Tatiana hit a genuine career high in early 2011 when it was revealed that she would become one of the faces of Prada’s S/S 11 campaign.

A now-landmark campaign of dizzying stripes and swirls, Tatiana joined models Arizona Muse, Zuzanna Bijoch and Kinga Rajzak; at the time all were new faces breaking into the industry. This campaign helped launch all of them onto the fashion circuit as serious industry contenders. A Prada campaign is a powerful calling card, and unsurprisingly, Tatiana’s link with the Italian powerhouse sent her career into overdrive.

The Prada effect was in full flow just a month later, when Tatiana opened shows for Giles Deacon, Isaac Mizrahi and Sonia Rykiel. Her charm offensive on the fashion industry was certainly working: in February she appeared in Russian Vogue for the first time, in March it was Japanese Vogue. In April, she appeared on the cover of i-D, in a series of multi-covers including models Shu Pei and Meghan Collison.

In August, Tatiana got to feature in a spread of self-named portraits, photographed by Rafael Stahelin for Wonderland magazine. Her ability to work avant-garde grew in earnest as she landed an editorial in Love magazine the following month.

Proving the reported demise of print media as somewhat premature, both magainzes have bucked the trend by adopting a multi-platform approach to exploring fashion. With the explosion of blogs and fansites peppering the internet came one very clear message: those outside the realm of glossy, aspirational fashion wanted their fair share of representation. Those with alternative views; those who didn’t find what they were looking for on the catwalks of Paris, wanted to be heard. But more than that, they wanted to be seen.

The answer was a type of new magazine that brought together the best of new media, art and fashion to make a hybrid fashion experience with an intelligent, inquiring spirit at its core. The natural heirs to magazines like Dazed & Confused, this latest generation are delivering high fashion to an audience who have often felt sidelined. This same audience is now at the forefront of driving forward how high fashion is presented online. Quite a reversal of fortune.

The spirit of individuality made its way to Fashion Week with designers taking the deliberate decision to move away from their usual point of view and explore new things. Christopher Kane veered off the neon path to present a collection blossoming with femininity; Rodarte explored Western chic, taking the theme to a whole new level. It’s evident that tough economic times have not made our designers timid, they have made them bold. This last season was a game-changer for many designers, taking them from left-field to centre-stage.

Against this backdrop, Tatiana’s individual beauty couldn’t help but score big, and this Autumn she did just that with a huge, multi-page campaign from Mulberry. Joined by Julia Saner, they modelled Mulberry’s satchels against a background of birds’ eggs and sleeping foxes.

One of fashion’s best at self-marketing, Mulberry’s semaphore is firmly embedded in the mythology of English country houses, evoking images of Hunter boots caked in mud, and jars of home-made preserves. It seems so instinctively old-school, it’s hard to get your head around the fact that Mulberry is barely 40 years old. Created in 1971, Mulberry is a classic example of writing the history you want.

In October, Tatiana came full circle with a cover and major editorial in the Argentinean edition of Harper’s Bazaar. Her editorial, ‘Diario de una Princesa’ represents a new direction for Tatiana as she works ladylike, regal fashion. It is somewhat surprising for someone who has built her career on appearances in fashion’s edgiest tomes, but as we have seen, a change of direction can often work in your favour. Tatiana’s ability to cross over into softer fashion is particularly well-timed with many designers showing work that would not look out of place in a princess’ wardrobe. The hit show of London Fashion Week, Jonathan Saunders, made Deco pastels and 50’s skirts thoroughly desirable. After years of urban chic reigning supreme, these new clothes are elegant, graceful but workhorse-like in their potential cost-per-wear. Feminine, but not fussy, will be the watchword for Spring 2012.

Where fashion moves, modelling must follow. One of Tatiana’s last editorial assignments of 2011 has been to appear in V, celebrating the achievements of NEXT agency. The catalogue of established and newer faces on their books shows that NEXT is not only great at compiling feminine faces, but promoting diversity within that brief. Compare the quirky, editorial stance of models such as Hailey Clauson or Suvi Koponen to the glossy, campaign regulars like Abbey Lee and Shu Pei, and it’s evident that Tatiana is neither one nor the other. She falls somewhere between, and that ambiguity has made her very successful.

The difficulty with putting any model in any category with an absolutely degree of confidence shows how fashion’s ideas of femininity have become all mixed up. A campaign favourite can equally convince in haute couture, and someone with tough, edgy credentials can plug into soft and graceful without missing a beat.

Tatiana’s evolving career is perhaps one of the best illustrations of how the fashion industry has relaxed the rules. It’s not just about maximising earning potential, but taking a closer (and better) look at models. No-one wants to be thought of as one-dimensional, and in today’s climate, if you want to be successful, you have to reveal a little more.

The idea of models as ‘types’ is slowly edging out into a space where models are seen as the sum of themselves: looks, personality, warts and all. At a time when models have Facebook pages and followers on Twitter, the idea of model as mannequin just feels wrong.

It’s no accident that some of today’s most successful models are also the most prolific: Coco Rocha and Sessilee Lopez may be seasoned at runway, but they are positively expert when it comes to working social media to their advantage. Being an active presence on Twitter bridges the gap left when the term ‘supermodel’ was downgraded to ‘model’. Few working now have the media clout of a Cindy or Christy, but today’s smartest models create their own reputation online – and on their own terms.

Cotliar’s ace is her likeability: placed somewhere between quirky and edgy, but with the potential for glamour, Tatiana ticks all the boxes but refuses to be fenced in. Her almost-girl next door look (but not quite) is what makes her such a find for designers. Tatiana may be hard to define but that’s entirely the point. Already armed with a career that’s determined to keep us guessing, Cotliar joins a generation set on selling beauty that’s anything but skin-deep.


Sunday, 20 November 2011


Born in China on January 27th 1988, Liu Wen is already on her way to becoming the face of international beauty.

After an appearance in the New Silk Road World Model Contest in summer 2005, she began modelling locally, aged 17. Her career began in earnest two years later, with editorial bookings for Chinese Vogue and Chinese Harper’s Bazaar. Scoring the cover of Chinese Marie Claire in December 2007, she made a pivotal decision in 2008, signing with Marilyn Agency in Paris.

The move to Marilyn proved crucial: in February 2008 she appeared in not one but four separate editorials for Chinese Vogue and made her international catwalk debut, walking in runway shows for Burberry, Chanel, Jean Paul Gaultier, Maison Martin Margiela and Trussardi.

March saw Wen make appearances on the cover of Chinese Elle and inside the pages of Chinese Vogue. Her impact on the ready-to-wear shows in February was discernible as she made her couture debut in July. Walking for both Jean Paul Gaultier and Chanel, Wen’s couture-perfect height made her a must-have booking.

Having put in the legwork, Liu reaped the rewards when she saw her ready-to-wear catwalk bookings rocket to 46 appearances. Her season was so successful named her one of their Top 10 Newcomers.

Rounding out an amazing year with two more editorials for Chinese Vogue, Liu began 2009 with a bang. Selected by French Vogue to appear in their calendar, to Wen the assignment was more than just the thrill of being a calendar girl. She was crossing boundaries, shooting daring images with fashion’s agent provocateur, Terry Richardson.

Her ability to head into uncharted territory was noted by ‘New York Look’ who featured her as a rising star. With January spent in Paris for couture season, Liu experienced a mammoth ready-to-wear season the following month with nearly 75 shows. In an industry where 40 shows are enough to get you noticed, over 70 put Wen in the big leagues.

She walked for designers such as Balenciaga, Carolina Herrera, Chloe, Derek Lam, Dries Van Noten, Gucci, Jason Wu, Lanvin, Marios Schwab, Michael Kors, Rag & Bone, Vera Wang and Wunderkind. It was an epic mix of ultra-editorial designers (Schwab, Rag & Bone) and classic, money-maker labels (Chloe, Gucci). This was a star-making season for Liu. If she wasn’t on your radar before, she was now.

Between April and June, Wen appeared in Italian Flair, i-D, Chinese Vogue and British Harper’s Bazaar. Her growing status within the industry saw her couture credits grow to include Dior when she took to the Parisian runway in July.

Undertaking her first editorial for British Vogue the same month, she began clocking up more blockbuster campaigns. Featuring in the Autumn / Winter campaign for DKNY, Wen also made her debut for Gap, Benetton and New York department store, Barney’s. She was becoming a triple threat, handling couture to commercial cool.

Most models consider themselves lucky to experience one amazing RTW season. Wen, after her amazing 75-show run in February, made the headlines again with over 70 appearances on the world’s catwalks in September. She added more designers to her CV, including Amanda Wakeley, Celine, Diane Von Furstenberg, Jonathan Saunders, Peter Pilotto, Rachel Roy and Prada.

In October, Liu went back to her roots, appearing again in Chinese Vogue. ‘Essence of Red’, photographed by Kai Z Feng, saw Liu in a series of red gowns, the editorial an avant-garde exploration of China’s primary colour. Daring and meaningful, the spread showcased everything Wen had learnt on the world stage.

With a career already filling with big moments, in November, Wen hit a high note when she became the first Asian model to walk in the Victoria’s Secret Fashion Show. Televised in America and broadcast on the internet, this was a major first for Liu. Putting Asian beauty on the map, she channelled elegance and charm: a debut perfect for the lingerie brand.

2010 showed no signs of Liu’s career slowing, as she signed up to become one of the faces of Calvin Klein’s clothing line. She undertook another successful RTW season in February, and in March, she appeared in her first editorial for American fashion bible, W.

The spread, ‘Chic Mystique’, portrayed Wen in a new light, as she became a sultry scene-stealer. Liu held her own against models that make these shoots their bread and butter: teaming up with Lara Stone, Shalom Harlow, Jessica Miller and Eniko Mihalik, Wen transforms into one of the girls.

In April, the news broke that Wen would be signed as a campaign regular for Estee Lauder. Also signed were Joan Smalls and Constance Jablonski. The news made headlines around the world, as Liu became the first Asian model to represent the iconic cosmetics brand.

By hiring French Jablonski, Puerto Rican Joan Smalls and Chinese Liu Wen, Estee Lauder made a very real and very meaningful attempt at a beauty campaign that spoke to as many women as possible. The campaign not only presented three women from different backgrounds, but three models that were equally matched in terms of runway, editorial and campaign experience. The casting was inspired with the three models working together to create campaign history. As an idea, it was powerful stuff. As a statement, it was undeniable.

In September, Liu undertook another blockbuster season with 44 shows including Balenciaga, D&G, Oscar de la Renta, Ralph Lauren, Stella McCartney and Tom Ford. The season was capped with a seminal cover of Chinese Vogue. Appearing with models Ming Xi, Shu Pei and Tao Okamoto, they were featured as the mega-stars behind the Asian modelling phenomenon. It was a feat made all the more incredible when you consider that as little as ten years ago, assembling this cover would have been impossible.

Liu appeared in three editorials of the same issue, with focus on everything from streamlined aesthetics to dreamy romanticism. Japan and China may be known for their love of sharp, clean lines; but one look at their love affair with ceramics tells us that ornate, decorative detail is in the blood. The perfect balance of economy and flourish on a Ming vase is a great metaphor for Asia’s take on fashion. As their influence is set to grow over the next decade, it’s not too far a stretch to imagine fashion following their lead: economy and flourish.

Ending 2010 with her second walk down Victoria’s Secret runway, Liu made her American Vogue debut in December, appearing in an editorial shot by Steven Meisel. ‘Asia Major’ was a rock and roll approach to haute couture, marrying the best of Parisian fashion with punk-kid street culture.

American Vogue is never one to let a trend slip by, and their celebration of Japan and China’s success in the modelling world is acknowledgement of the biggest phenomenon since the wave of talent from Eastern Europe. Like Natasha Poly, Sasha Pivovarova and Natalia Vodianova, expect to see Liu Wen, Emma Pei and Tao Okamoto become just as familiar as the bookings continue to stack up.

This year began with Liu adding Givenchy Couture to her CV, and renewing her contract with Calvin Klein. But the year was just getting started: in February she enjoyed her editorial debut with Italian Vogue. Photographed by Miles Aldridge, Liu played it straight, delivering a performance that was both polished and assured.

With a smattering of editorial work for both American and Chinese Vogue, Wen hit another career highlight in September with another magazine cover. Appearing for Chinese Vogue, Wen appeared with Du Juan, Shu Pei, Ming Xi, Sui He and Fei Fei Sun. With all the models dressed in gowns from Gucci’s A/W 11 collection, it was a true ‘East Meets West’ moment with Asia’s brightest talents wearing one of fashion’s leading labels.

The subtext was clear: for anyone who had missed it, this cover was telling the world that Asia is set to become the newest epicentre for high-fashion consumerism. The influence of fashion’s new high-spending fanbase is already starting to be seen with out-and-out luxury making a comeback. This season, quiet camels and muted browns make way for an effusion of colour. The detail is exuberant, projecting an optimism that felt like an impossibility two years ago. Asia’s enthusiasm for ready-to-wear and haute couture, and its willingness to invest in it, is giving the industry cause for hope. If not a fully-fledged solution to the economic downturn, it is, at the very least, a lifeline.

September was a busy month for Liu, working for Numero China, plus a substantial editorial with Dazed & Confused. The month came to a head when Liu made her campaign debut for Dolce & Gabbana. Joining Isabeli Fontana, Kate King and Constance Jablonski, it was the strongest indication yet that Liu was becoming one of those models who are able to work the campaign circuit at the very highest levels. Getting editorials and runway jobs are great, but for maximum visibility, campaigns are hard to beat. It is a fast-track system in turning a fashion girl into fashion’s IT girl.

Ending the year with an appearance in V magazine, Wen joined her agency stable-mates in celebrating the achievements of Marilyn.

With Wen on the books along with Caroline Brasch Nielsen, Eniko Mihalik, Lindsey Wixson and Nyasha Matanhodze, it is clear that Marilyn has a definite viewpoint on what kind of model they want to present. Maybe not as familiar a name as Elite or Storm, Marilyn has made its reputation on the calibre of high-fashion talent it represents. Caroline, Eniko and Lindsey are among fashion’s most sought-after stars, and Nyasha has just made her campaign debut with Louis Vuitton.

The models signed by Marilyn are unapologetically edgy: Wixson’s pout has made her a favourite with Miu Miu and Eniko’s curves have cornered the market in making sensuality part of the editorial experience.

Within this context, Liu fits perfectly as a Marilyn girl. Having a face that can project the core values of brands such as Victoria’s Secret and Calvin Klein makes Wen a valuable agency asset. Her ability to go out on a limb makes her one of fashion’s most exciting prospects.

Her career is filled with firsts: the first Asian model to walk in the Victoria’s Secret fashion show; the first model (other than Kate Moss) to front a premier issue of Numero and the first Chinese model to represent Estee Lauder. Just one of these accomplishments would be impressive: the fact that this is only the backbone of Wen’s CV is astonishing. Flesh it out with her wide range of editorial, runway and campaign work, and you get an idea of just how much this model has achieved. She is not only China’s most valuable player, but a versatile beauty that is rapidly on her way to becoming a global fashion icon.


Sunday, 13 November 2011


Born in Los Angeles in 1991, Ruby Aldridge joins a select group of models re-defining American beauty for a new generation.

Raised in California, Ruby was born into a family with serious fashion connections. She is sister to Lily Aldridge, who regularly models for Victoria’s Secret, and a half-sibling to Miles (fashion photographer) and Saffron (model).

Ruby was discovered in 2005 at the age of 14. A year later she was modelling for the DKNY autumn / winter campaign, shot by Peter Lindbergh. With a smattering of credits peaking in 2008, Ruby ended the year with the campaign for luxury accessory brand, Coach.

Ruby’s big break came in February 2010 when she made her international catwalk debut. Selected to open both the Marc Jacobs and Marc by Marc Jacobs shows, she was also picked to open shows for House of Holland and Erdem, closing the show for Lanvin.

Her other credits included Alberta Ferretti, Dior, Pucci, Missoni, Nina Ricci, Versace and Wunderkind. It was a quality debut. Getting the seal of approval from Marc Jacobs is hard to beat in terms of creating buzz. With Prada, Jacobs joins an elite group of designers who have the power to really launch a model’s career.

Aldridge’s affiliation with Jacobs continued in 2010 with Ruby becoming the face of Marc’s diffusion label. Photographed by Juergen Teller, these campaigns have become uber-familiar to fashion watchers, becoming the girlish, quirky hallmark of the Jacobs brand. A true fashion leader, Marc’s choices are always unexpected. The midi-hem, at one time considered unwearable by many, has found itself at the centre of fashion this autumn, worked in every way from soft pleats to metallic leather. The Jacobs ethos doesn’t live in big, showcase moments, but in the steady infiltration of new ideas. He made urban chic absolutely essential in 2009, and made classic silhouettes the cornerstone of autumn 2010.

The sartorial palette cleanser inspired across the board, moving fashion to think and operate in terms of editing rather than excess. It sparked a tide change that would quietly revolutionise the way we buy, wear and think about fashion. Volume buys gave way to considered purchases based on only one rule: love now, love forever.

Ruby’s connection with the best of design talent continued in September 2010, with a massive 46-show season, opening shows for Costume National and Erdem. Aldridge added Dries Van Noten, Haider Ackerman, Jason Wu, Jeremy Scott, Miu Miu, Reed Krakoff and Roberto Cavalli to her list of credits.

Ruby’s affinity with high fashion went to the next level in January 2011 when she undertook her first couture season in Paris. Standing at just over 5’ 8”, Aldridge is well under the prescribed height for couture models, but her bookings with Elie Saab and Valentino were an inspired casting choice. Her look, which can move from edgy to feminine, was more than able to take the intricate, detailed designs. When it comes to modelling couture, height helps but the right attitude can hide a multitude of sins.

In February, Ruby had her busiest RTW season to date with a massive 52 appearances, opening shows for Celine and Valentino, and closing shows for Miu Miu and Peter Som. More top designers got on board, with Alexander Wang, Chanel, Chloe, Dolce & Gabbana, Prada and YSL all booking Ruby. It was, by any definition, a very successful season, with Aldridge representing the A+ list of international design talent.

Making her first appearance in March’s edition of Italian Vogue, Ruby’s profile soared even further with a busy couture season in July, representing Valentino, Elie Saab and Giambattista Valli. In the same month, she also made her American Vogue debut, appearing in an accessories shoot photographed by Norman Jean Roy.

These editorials have always been part of a magazine’s repertoire, but are gaining in importance as fashion’s smaller status-symbols become the breadwinners. You may not be able to stretch to the price of a Lanvin dress, but the bag (sold at a third of the price) may be more within your reach. Designing that must-have accessory for the season, is rapidly becoming a priority again. Having moved away from the IT bag phenomenon, the challenge is to now make designs that are eye-catching but enduring. When it is getting harder to tell the difference between high-street and Bond Street, quality becomes the selling point. High-fashion has the best fabrics and finishings at its disposal, and giving consumers value for money is where it squeezes the competition.

Another plus for accessories is that they can adapt far quicker than clothes – the move from mini-skirt to midi-hem took the best part of five years. A bag or scarf can change at will – their ability to absorb any new trend puts them at a premium on the shop floor. High mobility and high volume makes accessories an easy sell even in hard times.

Ruby continued her editorial work with concurrent features for Interview in August and September. The second editorial, named ‘Uptight Urban’ and photographed by Craig McDean, is packed with directional detail. If last winter was about big, game-changing ideas, this winter has homed in on the little joys of fashion. Quilting, shearling and Fairisle jostle for pole position in our wardrobes, with texture becoming the headline story of the season. Whether you go for retro or forge ahead in directional shapes, there are no sleeper trends this year – everything is a go.

Ruby got to work with McDean again, shooting her second editorial for Italian Vogue. Titled ‘Chic-Gothic-Glam’, this spread was tailor made for Ruby’s look, making her an automatic stand-out. Working alongside top model Arizona Muse, Ruby’s work at couture level prepared her well for the demands of Italian Vogue, and the resulting editorial exudes a dark, gothic glamour that’s absolutely contemporary.

Aldridge took to the runway again in September with a prolific season of over 45 shows, adding designers such as Stella McCartney, Michael Kors, Tory Burch and Sportmax to her catwalk CV. Ruby’s campaign quota was filled with a starring role in the new Valentino ad. Working with Sara Blomqvist, Kim Dall Arni and Caroline Brasch Nielsen, the delicately feminine feel of the clothes combined with their high-fashion credentials played perfectly to Ruby’s strengths. A very modern success story, the newly-revamped Valentino label is fronted by creative team Maria Grazia Chiuri and Pier Paolo Piccioli who made their names through designing accessories.

In October, Ruby got to make work more personal, when she signed up to appear in a spread for New York Times magazine. Photographed by her half-brother, Miles Aldridge, the working relationship blossomed further in Ruby’s third Italian Vogue editorial, with Miles stepping in as the photographer. ‘Home Chic’ saw Ruby work blonde in a Stepford-Wives, neon-clad shoot. Bright, vibrant and confident, it showed Ruby and Miles clearly comfortable at working together: this accomplished editorial representing some of their best work to date.

Ruby’s latest editorial for 2011 sees her appear in V Magazine, in an article profiling her agency, NEXT. The spread features a selection of the agency’s stars and newcomers alike, including Anja Rubik, Hailey Clauson, Karlie Kloss, Tatiana Cotliar, Aline Weber, Shu Pei and Isabel Hickmann.

NEXT is one of the top five agencies in the world, and has settled its reputation on signing faces. It is noticeable when looking at some of their most popular models that they are all known for memorable features:

Arizona Muse – eyebrows

Hailey Clauson – hair

Abbey Lee Kershaw – pout

Karlie Kloss – eyes

In modelling, body shapes tend to come and go. The athletic, broad-shouldered beauties of the 80’s made way for gamine in the 90’s. Ten years later, the bombshell returned (Gisele, Lara Stone) and classically long-limbed models are now being sought out as a perfect accompaniment to fashion’s challenging silhouettes.

But faces seem to have a more lasting appeal. NEXT’s success seems to be linked to their ability to spot a good face. Some of their best known models - Rubik, Kloss, Kershaw – have all become campaign regulars, with clients ranging from H&M to Donna Karan.

However many models hold that position of campaign go-to girl, there is always more room at the top. No one face suits all. It explains agencies’ eagerness to find that next great face. No matter how business is doing, a good campaign face is always in demand.

Ruby’s potential, when played out against this background, is clear. Her features – pale skin, dark hair and doe-like eyes - are an example of how the All-American model ‘look’ has been extrapolated over the past two decades. She joins models like Chanel Iman and Dree Hemingway in showing how the American Model looks today: bold, editorial and always surprising.

Ruby’s strength is in her cross-continent appeal: long-limbed insouciance for Calvin Klein; gothic cool for Dries van Noten and high-octane glamour for Versace. What she offers the fashion industry is a different take on what it means to be American. American beauty has moved from its clean-cut roots to become multi-dimensional, from geek chic to glamour fit for Hollywood. Ruby’s finesse with editorial and couture makes her an integral part of the new-American club.

In learning to embrace its dark side, America has succeeded in persuading the rest of the world that it has more to offer. Representing a new kind of girl, Ruby is the face of modern Americana.