tag:blogger.com,1999:blog-72808315433087673962024-03-05T13:49:22.079-08:00Modelling agenciesThe place to find the best modeling agency reviews, Gossip about celebrity models and modeling agencies.Unknownnoreply@blogger.comBlogger135125tag:blogger.com,1999:blog-7280831543308767396.post-56813493258935022013-01-27T06:54:00.000-08:002013-01-27T06:54:20.372-08:00A FACE TO WATCH: HEDVIG PALM<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JcHBJarhFW4i3rgCRqWnrDNUAXgmauwXGKWbzV60kNK-u9uk-lVUCLMKjt7qM5YjaEjcFXGXVvgFoRweQDSGqg3X4Gqg-KMDBlrksmW_2sSwSvLzBxIm7Cfnl2evvCmG3c84fUmhzlsT/s1600/hedvig-palm-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JcHBJarhFW4i3rgCRqWnrDNUAXgmauwXGKWbzV60kNK-u9uk-lVUCLMKjt7qM5YjaEjcFXGXVvgFoRweQDSGqg3X4Gqg-KMDBlrksmW_2sSwSvLzBxIm7Cfnl2evvCmG3c84fUmhzlsT/s400/hedvig-palm-1.jpg" width="316" /></a></div>
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<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; line-height: 115%;">RUNWAY</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><b><i>January
2011</i></b>: Valentino Haute Couture</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>September
2011</b></i>: Alexander Wang, Celine, Jil Sander, Jonathan Saunders and Valentino </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>February
2012</b></i>: Balenciaga, Cacharel, Chanel, House of Holland, Louis Vuitton, Mulberry
and Topshop Unique.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>September
2012</b></i>: Miu Miu, Roland Mouret, Giambattista Valli, Alexander McQueen, Vanessa
Bruno, Givenchy and Prada.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>January
2013</b></i>: Valentino Haute Couture</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; line-height: 115%;">EDITORIALS / CAMPAIGNS</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>March 2012</b></i>: 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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>June 2012</b></i>:
Prada Resort look book.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>July 2012</b></i>: 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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><i><b>January
2013</b></i>: Look books for Christopher Kane (Pre-Fall 2012) and COS (Spring / Summer
2013).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">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 21<sup>st</sup>-century
model. Hedvig’s classic beauty and modern skills-set makes her one of 2013’s
brightest prospects. She is a face to watch.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;">HELEN TOPE </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-63248130897138901392013-01-20T06:08:00.000-08:002013-01-20T06:08:10.748-08:00MODEL PROFILES: SUVI KOPONEN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihPtrYZLBFSPuliKdoZHbj3F83OtFa-1CO9hSPr_1LRlSepzp3bW0XL883CqzSyZ0HXrL4svaoaVG2IpxjI3yEBGeYjZIVlUb-3y-PiL4yeE3RzjQV0wNqWbdJtrBfRdVzXFhIMHxHfr-B/s1600/Suvi+Koponen+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihPtrYZLBFSPuliKdoZHbj3F83OtFa-1CO9hSPr_1LRlSepzp3bW0XL883CqzSyZ0HXrL4svaoaVG2IpxjI3yEBGeYjZIVlUb-3y-PiL4yeE3RzjQV0wNqWbdJtrBfRdVzXFhIMHxHfr-B/s400/Suvi+Koponen+2.jpg" width="400" /></a></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Born on 26<sup>th</sup>
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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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 <a href="http://www.style.com's/">www.style.com’s</a>
Top Ten Models of the S/S 2007 season.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">HELEN TOPE </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-81309924886102898972013-01-13T07:32:00.000-08:002013-01-13T07:32:02.224-08:00MODEL PROFILES: FEI FEI SUN<div class="separator" style="clear: both; text-align: center;">
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<br />
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Born in
China in 1989, Fei Fei Sun has already become one of the breakthrough stars of
2013.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Finishing
2009 with a stint in the Chanel pre-fall show, which took place in Shanghai,
Fei signed with Muse Management in early 2010. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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 5<sup>th</sup> 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. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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’.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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 21<sup>st</sup>
century, her performance is nothing short of stunning.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">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. <span style="mso-spacerun: yes;"> </span>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.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">HELEN TOPE </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-85917463616290173132012-11-28T11:16:00.000-08:002012-11-28T11:16:18.175-08:00MODEL PROFILES - FRANZI MUELLER<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetn9Z2tcI4tR2o637pI1ZceYBREF2c2fNvaD7x9Supw7AsZXJkT-lpWdtoyusVlHng9yP2_i_YCNl3tWFs26wpRsTM_Qi4fWrJJ2lLKe_RZQSatsFqYP89qL8jsf1ooLW7P0LcdreTjo-/s1600/Franzi-Mueller1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetn9Z2tcI4tR2o637pI1ZceYBREF2c2fNvaD7x9Supw7AsZXJkT-lpWdtoyusVlHng9yP2_i_YCNl3tWFs26wpRsTM_Qi4fWrJJ2lLKe_RZQSatsFqYP89qL8jsf1ooLW7P0LcdreTjo-/s320/Franzi-Mueller1.jpg" width="240" /></a></div>
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<div class="MsoNormal">
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<div class="MsoNormal">
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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
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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.</div>
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<br /></div>
<div class="MsoNormal">
The following month, Franzi made her debut for Spanish V. <span style="mso-spacerun: yes;"> </span>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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
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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.</div>
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<br /></div>
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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, </div>
<div class="MsoNormal">
Hobbs also dips its
toes into winter florals – and comes up smelling of roses.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
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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.</div>
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<br /></div>
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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. </div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
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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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
<div class="MsoNormal">
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.</div>
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<br /></div>
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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.</div>
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<br /></div>
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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.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=7280831543308767396" name="_GoBack"></a></div>
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HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-86549524027482203642012-11-19T11:20:00.004-08:002012-11-19T11:20:44.491-08:00MODEL PROFILES: KARLINA CAUNE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oQs5b2S4ZT1_LB2o75gNNOKMe3O__3Jtd8fr2ucWyMudkthwJZvClJ3-ptO7xTRopCU6XyKr7pZHrusOSBDnOR7GBFbEqd0jg-c_eefZZ9Al2EM3RQze4kTgNbKgtxISvj7D495bReye/s1600/Karlina+Caune.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oQs5b2S4ZT1_LB2o75gNNOKMe3O__3Jtd8fr2ucWyMudkthwJZvClJ3-ptO7xTRopCU6XyKr7pZHrusOSBDnOR7GBFbEqd0jg-c_eefZZ9Al2EM3RQze4kTgNbKgtxISvj7D495bReye/s320/Karlina+Caune.jpg" width="242" /></a></div>
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<br />
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<span style="font-size: 12.0pt; line-height: 115%;">Born in
1993, Latvian model Karlina Caune shot to fame in 2010 when she won the Ford
Models Supermodel of the World competition. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">A global
search for fashion’s next superstars, the standards for this competition are fiercely
high. To even be selected to take part is a very strong indicator of real
modelling talent. While winning is not an automatic pass into the fashion
industry, it is enough to propel a model's career in the right direction. The winners
are selected by a panel of fashion insiders. They select
the next generation of faces they believe will have an impact and Caune’s classic features, with a hint of editorial, were deemed to be exactly what the industry was looking for.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In February
2010, Karlina debuted at Fashion Week, and proved a hit with a wide range of
designers including Marchesa, Behnaz Serafpour and Tory Burch. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Karlina broke
into editorial work the following month, with a spread in Nylon. This was a key
publication for Caune’s editorial debut: Nylon’s reputation for presenting
high-fashion in a refreshingly non-deferential way is well-founded, and a major
coup for any new model.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In June,
Karlina modelled in the resort show for Stella McCartney in New York, following
that with an editorial for British Marie Claire. Photographed by Yu Tsai,
‘Super Vixen’ fused classic beauty with the moody, evocative image of the silver-screen
siren. Using dark-haired Karlina, it was a deft response to the Hitchcock blonde.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Leaving Ford
Models and signing with New York Models in early 2011, Karlina returned to the
runway in February walking in ready-to-wear shows for Erdem, Louise Gray and
Meadham Kirchhoff.<span style="mso-spacerun: yes;"> </span>Landing the cover of
Russia’s L’Officiel in March, and appearing in the spring issue of Revue de
Modes, Caune’s list of runway bookings began to grow. Walking in the Spring /
Summer 2012 shows that September, she added Carven, Celine, Dries van Noten, Isabel Marant,
Julien MacDonald, Marios Schwab and YSL to her list of credits. With the
season’s emphasis on femininity, it was no surprise that Karlina did so well. On
the catwalk, every interpretation of femininity was represented, from Julien
MacDonald’s homage to old-school glamour to Meadham Kirchhoff’s subversive
exploration of sugar and spice.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Caune made
her first appearance in German Vogue in February, working with Kati Nescher,
Erjona Ala and Julia Frauche. In a series of soft-focus, modern portraits; this
editorial (‘WeiB wie Schwarz’) was all about striking a balance between being a
strong editorial presence and allowing the simplicity of the clothes to speak
for themselves. This type of modelling requires intelligence and subtlety:
Karlina delivered on both.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">February saw
Karlina’s runway CV expand with a massive 45 shows, walking for Dolce
& Gabbana, Hakaan, Jason Wu, Marni, Oscar de la Renta, Rag & Bone,
Sonia Rykiel and Viktor & Rolf. This was Karlina’s most comprehensive
season to date.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"></span>In March, Karlina appeared in the British
edition of Harper’s Bazaar. ‘The Shape of Things to Come’, photographed by Mark
Segal, saw Karlina model the bold new motifs for 2012. Her
ability to work fashion’s most challenging ideas was also demonstrated when
Caune was booked for Dazed & Confused’s season preview. Modelling
monochromatic tailoring, Karlina modelled one of fashion's most enduring and iconic looks without being overwhelmed.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">That same month, Karlina appeared in i-D. ‘Don’t Be a Drag, Just be a Queen’
(photographed by Amy Troost), saw Caune channel punk attitude with a Valentino
dress layered with a McQ pleated leather skirt. This ‘in-your-face’ fashion
doesn’t always mix well with classic faces, but Karlina handled i-D’s brief
with relish, working her angles to create that vital, editorial edge.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Returning to
the pages of German Vogue in May, Karlina got to work with photographer Greg
Kadel. ‘Klassenbeste’ (meaning ‘Best in Class’) saw Karlina modelling an
American Varsity jacket and an exquisitely-beaded haute couture corset. If you
ever needed proof of Karlina’s versatility, this shoot was Exhibit A.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Karlina’s
exhaustive round of editorial work culminated in May with an appearance in
Italian Vogue. Working for their supplement, ‘Suggestions’, the shoot and
accompanying video was a virtual moodboard for the perfect summer: warm, sunny
and light-hearted, this impeccably-styled supplement saw Italian Vogue in relaxed mode. The retro, laid-back feel saw Karlina and fellow model Monica
Sawicka recline in colourful pieces by Moschino, Giambattista Valli and Prada.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">August saw a
flurry of print work for Karlina, including Numero’s ‘Lunaire’ (an editorial
dedicated to exploring texture) and Turkish Vogue’s ‘Isiga Dogru’. The latter,
photographed by Jem Mitchell, explored dazzling, ornate bursts of colour with
clashing textures and finishes. A beautifully-shot editorial that made the most
of Karlina’s classic beauty, this was excess undertaken with perfect restraint.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">This
September, Karlina re-appeared on the RTW catwalks, walking for Giambattista
Valli, DSquared, Tom Ford, Christopher Kane, Thakoon and Helmut Lang. With her authority on the runway now clearly established, Caune’s career went
to the next level: campaigns.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">This winter,
you can see Karlina in four different campaigns: Akris (modern, sleek
sensuality); Jil Sander Eyewear; Hobbs with Emily Baker
and Kinga Rajzak and Sportmax (undergoing an image overhaul courtesy of
photographer Craig McDean).</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Looking at
Karlina’s varied body of work; it is obvious why she won the Ford Models
competition. Able to run the gamut of modern sophistication to rough-and-ready
punk, Caune is the epitome of the fashion multi-tasker. Despite
fashion’s current taste for models with a pre-defined look, there is always a
place (and economic necessity) for the versatile model. </span><span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: 12.0pt; line-height: 115%;">There is an advantage
in having a look that doesn’t lean too heavily in any direction – depending on
the styling; Karlina can be ultra-feminine or downright androgynous. </span>It also makes for a
more interesting career: so far Karlina has worked for publications
as diverse as Nylon, Harper’s Bazaar and Italian Vogue.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">There is
also longevity in being the versatile girl: the model with the strong,
headline-making look may be winning the top jobs one month, but fashion never
stays in one place for very long. Furthermore, any modelling agency will tell
you that a healthy bottom-line is dependent on models just like Karlina.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In winning a
big competition like Ford Models, there is always the risk of that victory,
that weight of expectation, marring a model’s progress. Enter the fashion
industry equipped with the title ‘Supermodel of the World’ and the pressure is
on to perform – and to do so to the highest of standards.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Karlina has
been brave in not chasing the obvious, big-money jobs. In debuting with a
small-but-strong RTW season, she developed a solid foundation, growing steadily each year, winning over more and more clients in the process. Caune’s long game strategy has
proved to be the smart choice and could well be copied by future winners of this
highly influential competition. In not bowing to pressure to become that
‘iconic’ supermodel, Karlina has engineered a career that’s not only exciting,
but buzzing with potential. The best is most definitely yet to come.</span></div>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">HELEN TOPE </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-58946408500059527612012-11-11T06:02:00.000-08:002012-11-11T06:02:17.007-08:00MODEL PROFILES: KATE UPTON<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Vpi1KnbCCFsDtd7Bm2er4xDPqIPGfmruPgpwflMZrk9DsQNR0e68ZRaunk9RMEsufNvFcYFvC46BBNO_SKeB_zDWLXx3EOalHeG9iYeZpCjZXWx6WxLQNhgeF2qOUD3en23lrKSHw4Uo/s1600/Kate+Upton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Vpi1KnbCCFsDtd7Bm2er4xDPqIPGfmruPgpwflMZrk9DsQNR0e68ZRaunk9RMEsufNvFcYFvC46BBNO_SKeB_zDWLXx3EOalHeG9iYeZpCjZXWx6WxLQNhgeF2qOUD3en23lrKSHw4Uo/s320/Kate+Upton.jpg" width="239" /></a></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Born on the
10<sup>th</sup> June 1992, Michigan-based model Kate Upton signed with Elite
Models in 2009. Just a year later, Upton made the pivotal decision to switch
agencies, moving to IMG in 2010. The decision to sign with this uber-agency,
that not only manages models, but works with stars from the worlds of music and
sport, was the key change Upton needed. IMG is an agency that specialises in
self-branding, tailoring their management strategies to an individual client’s
strengths and weaknesses. It is entirely plausible to attribute Upton’s current
success – and huge popularity – down to smart branding.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Upton
started in the sectors of the fashion industry where she would be
well-received. Her first campaign booking was with Guess Jeans. Becoming the
face of the brand at the age of 18, she stayed with Guess for two years.<span style="mso-spacerun: yes;"> </span>Also undertaking some modelling for the 2011
Victoria’s Secret catalogue, this was a classic case of Upton playing to her
strengths.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Then came
her big break. After appearing in the 2011 Sports Illustrated Swimsuit Issue,
she was invited back in January 2012 – to be their cover girl. An American
institution, this annual cover can be a star-making deal – recent cover girls
include Bar Refaeli and Brooklyn Decker. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It is not
just the preserve of swimwear / lingerie models either: Tyra Banks famously
graced the cover in 1996, during the height of her high-fashion career. Like
Victoria’s Secret, this magazine offers huge cross-over potential, and Kate’s
appearance on this year’s issue had the desired effect: she became a star overnight.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">With Upton
now on everyone’s radar, a new phase of her career kicked in: in early 2012,
she appeared on the Spring / Summer cover of Muse magazine. Photographed by
Sebastian Faena for both the cover and accompanying editorial, ‘Blonde
Bombshell’, this was Kate’s first foray into the world of high-fashion and she
proved herself more than capable of stepping up. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Upton also
appeared in the Spring / Summer issue of V. This was a crucial booking for
Kate, as V is an ultra-edgy, highly influential magazine. For Kate to appear in
this magazine indicated that, while popular opinion was still locked into
Upton’s triumphant turn for Sports Illustrated, the fashion industry was
already starting to look ahead and see a different kind of potential.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In May, Kate
appeared on two magazine covers: Esquire and Harper’s Bazaar. The latter was
photographed by Terry Richardson, along with the prophetically-titled editorial
‘The Shape of Things to Come’. Kate worked Hermes and other old-school labels,
channelling full-on glamour. Richardson proved to be an inspired choice of
photographer, being someone who is very comfortable at producing
highly-sexualised fashion images. Richardson’s photographs may provoke, but they
are always grounded in the world of high-fashion.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Upton’s
affiliation with Richardson continued into July, when they created the cover
for GQ magazine. Treading the line between appealing to men and adding that
all-important high fashion gloss, Richardson’s gift for translating sexuality
on film is self-evident here. The cover feels fun and spontaneous, a tricky
balance but Upton and Richardson get the tone just right.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">July was
also the month that Upton made her inaugural appearance in American Vogue.
‘Bringing Sexy Back’, an editorial photographed by Sebastian Kim, profiled
Kate’s career to date and her newly-unleashed charm offensive on the fashion
world. It was a significant nod to Upton: American Vogue’s success rate at
spotting the next big thing is unsurpassed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In a busy
month, Upton also appeared in the UK’s Sunday Times Style magazine. A
supplement that has become both influential and highly significant (editorials
were once presided over by stylist Isabella Blow), Upton is here sold as
America’s latest pin-up. She models traditionally ‘sexy’ clothes, but it is
styled sharply and cleanly – no sleaze, just fashion.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Kate’s final
booking for the summer was with Spanish Vogue. In ‘Fuego en el Cuerpo’ (Body
Heat), Upton gives a master-class in how to model swimwear. It is an
undervalued area of modelling, despite its profitability. To model swimwear requires
not just energy but focus; an awareness of angles and negative space. These
tend to be highly technical shoots, replying on just the right angle to create
that perfect shot. It is testament to what Upton has learnt in a short space of
time, in that she makes the job of modelling swimwear look unnervingly easy. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Kate
returned to American Vogue in September, appearing in ‘The Vogue 120’. Shot by
legendary photographer Norman Jean Roy, this mega-editorial featured every
current designer and model of note. Working in groups, Upton modelled with
Candice Swanepoel and Chanel Iman. Placed side by side, the two ‘glamour’
models meet Iman’s high-fashion experience head-on: there is no weak link in
this shot.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">This month,
Upton goes from cover girl to superstar. Coming of age in a Steven Meisel shoot
for American Vogue, Kate, as ‘The New Girl’, models sports-luxe inspired fashion
from some American greats:<span style="mso-spacerun: yes;"> </span>Calvin Klein,
Ralph Lauren, Jason Wu and Donna Karan. The editorial, aiming to sell Upton as
the new American sweetheart, directly draws a line between Kate, Jayne
Mansfield and Marilyn Monroe. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">As daunting
as this proclamation is, Upton’s giddy ascent to stardom does beg comparisons
to Mansfield and Monroe. But Upton’s own image is far from that of the ‘doomed
blonde’. Depicted as a youthful force of nature, Upton’s appeal is rooted in a
girl-next-door philosophy. Upton’s success stems from the fact that she is a
girl from Michigan who was smart about grabbing the opportunities that would
further her career.<span style="mso-spacerun: yes;"> </span>Her July cover for
GQ keenly lays out the reason for Upton’s popularity: along with her beauty is
an air of accessibility. This cover works because it never takes itself too
seriously. It may also be the reason for Kate’s success.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">This
November has seen Kate upgrade from swimwear and catalogue work to fashion’s
Holy Grail: the cover of Italian Vogue. Photographed by Steven Meisel, the
cover titled ‘Seductive’ has made headlines around the world. Styled as an 80’s
glamour girl, the magazine plays on old ideas of ‘sexy’ and ‘seduction’ by
presenting them with a new face. The cover has not received all positive press,
with lots of fashion fans being very vocal in their disapproval despite Kate’s stellar
performance. Never afraid to court controversy, Italian Vogue has hit a home
run with this cover.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Also
appearing in the leading editorial of November’s Italian Vogue, ‘Miss Kate
Upton’ is given the full Vogue Italia treatment. Kate works every angle here –
her previous experience working swimwear and lingerie proves the perfect base
for a shoot like this. Upton knows instinctively what works and what doesn’t:
‘Seduction’ may be a mind game, but Kate plays the game like a master. It is,
without doubt, one of the most extraordinary transformations the fashion
industry has seen. To go from modelling lingerie to the pages of Vogue in the
space of a year is incredible progress. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Upton’s next
challenge will be to keep the momentum going. As Kate has been accepted by the
flagship publications of the industry, it will be interesting to see if she
makes the next step from editorial to runway. While Upton has proved herself in
print, runway is notably missing from her CV. Although a catwalk-friendly 5’
10”, Upton has no high-fashion runway experience to date.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Right now,
the odds of Kate making that leap are not in her favour. Upton’s curves would
have placed her in good company during the Supermodel period – it is easy to
imagine Upton modelling with the likes of Cindy Crawford and Helena Christensen.
But for the moment, the emphasis is on tall, lean girls who can handle
fashion’s rapidly changing and increasingly-bold silhouettes. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It all hangs
on what will emerge from the collections next February. Prada’s curve-hugging
collection from Autumn 2010 is a great example of fashion doing the unexpected:
Miuccia Prada’s work begged for a different shape, and models such as Doutzen
Kroes and Lara Stone were hired to (literally) do the leg-work. All it takes is
another collection like this, or a trend that requires curves to do it justice,
and Kate could find herself a runway star as well.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">For now,
Kate must end 2012 with a huge sense of accomplishment. She started the year as
the cover girl for Sports Illustrated, and finished it as a cover star for Italian
Vogue. The fashion world was under no obligation to take to her the way they
did, but her versatility and ability to grow is what makes Kate that one in a
million. Whatever direction her career takes in 2013, Kate really is the shape
of things to come.</span></div>
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HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-87377433129524065482012-10-29T12:35:00.000-07:002012-10-29T12:35:47.810-07:00MODEL PROFILES: MACKENZIE DRAZAN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil9WkubobnHU5D9aQmfYt2QWvoxbTUS1ntOm9xBTnV9hp8C8Y-PppwCfR05xHlm6IyzYBPF2e42iSDXX82xBdsLpzJVJbJhyphenhyphenPclgKIDIaEb5CBe3Bjk2eapnq88gKP9jvBHZGe8CSZeJGE/s1600/Mackenzie+Drazan+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil9WkubobnHU5D9aQmfYt2QWvoxbTUS1ntOm9xBTnV9hp8C8Y-PppwCfR05xHlm6IyzYBPF2e42iSDXX82xBdsLpzJVJbJhyphenhyphenPclgKIDIaEb5CBe3Bjk2eapnq88gKP9jvBHZGe8CSZeJGE/s320/Mackenzie+Drazan+2.jpg" width="239" /></a></div>
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Born in Woodside, California, on the 10<sup>th</sup> August
1995, Mackenzie was discovered at the age of 14. A year later, she had been
named a newcomer to watch by <a href="http://www.models.com/">www.models.com</a>
,<span style="mso-spacerun: yes;"> </span>signing up with Elite Models. </div>
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In July 2010, a month shy of her 15<sup>th</sup> birthday,
Drazan debuted at the Autumn / Winter show for Valentino Couture. Mackenzie
then took a brief 6-month break from modelling, returning in February 2011.
Drazan made her ready-to-wear debut, including appearances for Jil Sander,
Calvin Klein and Louis Vuitton. </div>
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Drazan’s early start at the very highest levels of catwalk
modelling marked her out as a casting must-have. <span style="mso-spacerun: yes;"></span>Returning to the catwalk again that September,
Mackenzie added Alexander McQueen, Celine and Balenciaga to her growing list of
credits. Finishing the year with appearances in the pre-fall lookbook for
Narciso Rodriguez and the pre-fall collection show for Calvin Klein, Drazan was
already becoming a favourite with some of the world’s biggest labels. </div>
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Her growing list of credits certainly got Mackenzie noticed,
and in February 2012, she had her first blockbuster ready-to-wear season, walking
in over 65 shows. The Autumn / Winter 2012 season saw bolder, more expressive
designs making all the right moves, and the return of certain trends, such as
outsize and head-to-toe print, seen at Jil Sander and Prada respectively, was
tailor-made for a taller model like Drazan.<span style="mso-spacerun: yes;">
</span>This season was an important one for the still-teenage model, and her
stock soared as a result.</div>
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Mackenzie’s next assignment saw Drazan book an editorial for
Italian Vogue. Photographed by Emma Summerton for the beauty supplement cover,
Drazan worked the avant-garde look with total confidence. Italian Vogue’s
enthusiasm for editorial make-up has become a micro-trend, with the looks that
are accompanying this season’s fashion definitely moving into braver territory.
The traditional smoky eye has been transformed into a multi-coloured, peacock
eye, mimicking the explosion of colour that has been seen on the catwalks.
Follow that with the incredible growth in nail art: not only in terms of colour
but design and texture, and Italian Vogue’s take on beauty is right on the
pulse. Avant-garde looks are no longer the preserve of magazine editorials, but
real-life achievable.<span style="mso-spacerun: yes;"> </span>As our fashion
choices get a little riskier, make-up had no choice but to step up its game.</div>
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Drazan’s incredible run of catwalk success continued into
the summer, with appearances at the resort shows including Alberta Ferretti, Bottega
Veneta, Salvatore Ferragamo and Valentino. But Mackenzie’s biggest career
moment was just around the corner. </div>
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In July, Mackenzie made the cover of Italian Vogue.
Photographed by Steven Meisel, this was the autumn / winter preview issue.
Sharing the cover itself with Vanessa Axente, the fold-out, multi-model cover
also featured Lida Fox, Elena Bartels, Julia Nobis and Erjona Ala. Channelling
gothic glamour in the gowns from the Gucci collection, this was a new vision of
how glamour should look for the upcoming season. Dark, moody but achingly
covetable, this cover made everyone sit up and take notice.</div>
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Any appearance in Italian Vogue represents a huge turning
point in a model’s career, as the magazine often champions new modelling
talent, with fashion’s edgiest and most exciting faces often making their
editorial debut within those pages. By getting onto the actual cover, Mackenzie
had not only staked her claim to be one of those new, exciting faces, but to be
one of the future leading faces in the modelling industry. </div>
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Drazan returned to catwalk duty again in July, this time heading
to Paris for the couture shows. Walking in shows for Chanel, Elie Saab,
Giambattista Valli and Valentino, Mackenzie also appeared in Raf Simons’
inaugural show for Dior. </div>
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Mackenzie’s summer was filled with editorial commitments,
starting with a spread for Dazed & Confused. Following that with an
appearance in British Vogue, ‘Best in Show’ (photographed by Daniel Jackson),
saw Mackenzie working the textured trouser-suit, and Mackenzie’s debut for W
(‘Natural Selection’) saw her model the season’s texture theme with Laura
Kampman, Ondria Hardin, Ophelie Rupp and Franzi Mueller. </div>
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Even with that heavy workload, Mackenzie continued to be in
high demand, being booked for 55 shows in September. Including Marc Jacobs,
Chanel, Givenchy, Versus, Dries Van Noten and Proenza Schouler, Mackenzie’s mix of blue-blood delicacy and ambiguous androgyny has made her a perfect runway model.
The sheer range of design sensibilities that Drazan has modelled to date is dizzying:
her portfolio takes us from the full-on sex appeal of Versus, to the cerebral chic of Dries Van Noten.</div>
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Following her success in the very best of editorial and runway,
Drazan took her career to the next logical step this autumn with a campaign signing.
However, as typical of the rest of her career, Mackenzie did not start small.
She was booked for the Louis Vuitton Autumn / Winter campaign. An opinion
divider, the Louis Vuitton campaign goes for broke with the amount of modelling
talent on display. Working both in small teams and as part of a larger
narrative, the models had their work cut out for them. The challenge was to
perform as individuals but to impress as a collective. With something going on
in every corner of the frame, each image created by campaign photographer
Steven Meisel, is fascinating. Whether you liked the collection or not, the
campaign demands you take a second look.</div>
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As Drazan moves in ever more impressive circles, her success
is down to the fact that she is an American model with major cross-continent
appeal. Her looks, old-school beauty with a touch of the modern, make her a natural ‘fit’ for most editorials,
runways and covers. </div>
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Drazan’s success is also down to timing: during the 1980’s,
American models were historically locked into the commercial arena of the
fashion industry. Blockbuster names like Cindy Crawford were as well known by
the public as fashion insiders. The wide-ranging appeal of those faces hard-wired
that look into our minds: to be American was to, by extension, be commercial. </div>
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This continued long into the Nineties and it wasn’t until
recently that we learned to appreciate a whole new kind of American beauty.
Faces like Karlie Kloss, Charlotte Free, Chanel Iman and Lindsey Wixson have
tackled, head-on, the perception that Americans can’t do hard-core editorial.
Wixson, with her unusual features, has radically challenged the idea that American
models are commercial by definition. Wixson, currently the face of Mulberry and
Chanel, is spiky, bold and adaptable, covering cute and whimsical through to
ultra high-fashion.</div>
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Where Mackenzie fits is somewhere between Wixson’s edginess
and Karlie Kloss’ all-rounder appeal. Drazan’s success on the catwalk most
closely aligns her with Kloss – a model that rose to the top by clocking up a
serious amount of runway hours. Kloss succeeded by being visible, and this
strategy appears to be working for Drazan too.</div>
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But whereas Kloss has re-defined the term ‘all-American’,
Drazan differs by offering something more elusive. She may be a California
girl, but looking at Mackenzie, you can imagine her being a native of almost anywhere.<span style="mso-spacerun: yes;"> </span>Her lack of definability is what has
propelled Mackenzie to the top of the industry at break-neck speed, explaining
why she is as comfortable in Valentino Couture as Balenciaga’s ready-to-wear.
There is a phrase that to be a jack of all trades is to be master of none, but
this is certainly not true of modelling: a face that can lend itself to any
look is one that will undoubtedly prosper. </div>
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Already a favourite with fashion’s most influential
designers, Mackenzie Drazan is set to become America’s most exciting modelling
prospect in years. Once again challenging us to re-shape our ideas of what an
American model looks like, Drazan is the next stage in America’s endeavour to
become world-class at sourcing the best editorial talent. With Drazan already
on the rise, this may be a case of mission accomplished.</div>
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HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-18050080149405150272012-10-20T10:22:00.000-07:002012-10-20T10:22:15.065-07:00MODEL PROFILES: MADISON HEADRICK<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidMAClSk7AKjJ4uWazv_oowXg3IQepl9DTfImIMSkPj0dSJV8yCSQ_sQxL2srO-iWjY6g8GbphkN_IrLcC0H82sh3txeIuX3biD5p9-5KrYGXZLPdfuewbpfxhcdtZkYb9LcOKGQGh7j5r/s1600/Madison+Headrick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidMAClSk7AKjJ4uWazv_oowXg3IQepl9DTfImIMSkPj0dSJV8yCSQ_sQxL2srO-iWjY6g8GbphkN_IrLcC0H82sh3txeIuX3biD5p9-5KrYGXZLPdfuewbpfxhcdtZkYb9LcOKGQGh7j5r/s320/Madison+Headrick.jpg" width="320" /></a></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Born in South Carolina in 1994, Madison Headrick was
scouted by Vision agency at the age of 16. Squeezing assignments in and around
school commitments, as Madison neared graduation she had a choice to make. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Asked by her dad if she wanted to take modelling more
seriously (but only after graduating from school), Madison was given the
option of graduating a semester early, finishing high school in January 2012.
Travelling to New York to sign up with modelling agency Marilyn, the plan was
for Madison to ground herself in the basics such as casting, runway, and familiarising
herself with the fashion landscape including photographers, editors and
important designers.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">However, modelling boot camp was put on hold. Interest in
Madison was immediate, and she was asked to attend a casting session for the
Prada runway show. Meeting Ashley Brokaw in Milan – a casting director who also
works for Balenciaga, Miu Miu and Proenza Schouler – the South Carolina girl
flat-out impressed. She was not only booked for the show, but booked as an
exclusive. Headrick’s booking made headlines in the fashion industry. With her
all-American looks, and Prada usually going for European, directional faces, Madison
was a left-field choice for the label. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Prada’s long-held reputation for spotting new talent
remains unchallenged in the industry: previous models that have started their
careers as Prada exclusives include Lara Mullen, Patricia van der Vliet, Nimue
Smit and Iselin Steiro. Left-field or not, this phenomenal start put Madison on
the editorial fast-track, with bookings from Interview, Dazed & Confused,
Numero and British Vogue. Working with Caroline Brasch Nielsen in Numero, ‘The
Trainer’ was a daring S&M-themed shoot with both Caroline and Madison
working tailored glamour. Given the edgy Numero treatment, this type of
editorial can push established models: but here Madison is sleek, darkly
glamorous and in control.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">In August, she appeared in British Vogue’s editorial
‘Best in Show’. Playing on the British love of animals, this shoot featured
models posing with a pedigree pooch. With the editorial tone firmly
tongue-in-cheek, Madison gets it absolutely spot on, exuding charm and refusing
to be upstaged by her co-star. Mastering these types of editorial is essential:
despite rumours to the contrary, fashion definitely has a sense of humour.
Character editorials, like ‘Best in Show’ are particularly popular with
high-fashion magazines as they give the creative team (including the model)
room to explore and develop ideas within an existing framework of reference. We
all get the reference of a dog show; British Vogue just took it to its
high-fashion conclusion to create a fun and memorable editorial. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Madison then channelled the Eighties in an August shoot
for Oyster magazine. ‘Working Girl’ (taking its name from the famous 1988 film)
saw Madison transform into a high-fashion interpretation of leading lady Melanie
Griffith: coiffed, preened and styled to Eighties perfection. Book-ending the
summer with appearances in resort look-books for Donna Karan and </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Altuzarra,
Madison returned to the runway in the autumn, walking for Jill Stuart, Rag
& Bone and Edun. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">In September, Madison made her debut for V magazine. ‘The
New Girls’, photographed by Terry Tsiolis, was a clutch of simple black and
white portraits. Modelling with Julia Frauche, Lena Hardt, Moa Aberg and
Susannah Liguori, it is a beautiful editorial, with every model earning her
place at the ‘new girl’ table. But in looking at Headrick’s photos, what
becomes apparent is her gift for translating glamour into something fresh and modern. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">But Madison’s star-making moment came when it was
announced that she would appear in the new Prada Autumn / Winter campaign.
Photographed by Steven Meisel, Madison joined a raft of established talent
including Iselin</span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> Steiro and Magdalena Frackowiak, plus Vanessa
Axente and Versace campaign favourite, Elza Luijendijk. With their 1950’s
inspired campaign in Spring being a huge hit on YouTube with nearly 500,000
hits, Prada had a lot to live up to. The collection itself was not only hugely
popular but it made a star of out of models like Katryn Kruger. With Miuccia
Prada putting black back at the core of the colour palette, the campaign
focused on the retro mosaic print trouser-suits, studded with jewel accents. Worn
cropped at the ankle with Mary-Jane shoes, this collection was quintessential
Prada, transforming what we normally think of as ‘awkward’ and ‘ugly’ into a
thing of beauty. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The campaign deliberately avoided the heady qualities of the Spring
campaign, opting for a quieter feel. Subtly choreographed, the campaign gives us
the opportunity to look at the clothes in detail – it’s clear that for this
season, the clothes (quite literally) take centre stage. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Appearing in a Prada campaign always performs its magic
on a model’s career, and Madison, post-Prada, has been no exception. Following
the campaign’s release, she was booked for Italian Vogue’s September issue, appearing
with Constance Jablonski and Nicola Wincenc. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Rounding out the rest of this season with appearances for
Vision China and Bon, Headrick is rapidly becoming an editorial force to be
reckoned with. The shoot for Bon sees Madison wearing many of the clothes from
the Prada collection, making it clear the bond between model and label. What
started out as a chance trip to Milan has become a lasting and meaningful
association.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Looking at these latest photos of Madison, it becomes
clear what Prada saw in her last year: her talent for making glamour feel fresh
and youthful is no simple task. Of all fashion’s greatest ideas, glamour is the
one most heavily laden with ghosts of faces and images from the past. We all
have an idea of what constitutes glamour and it takes someone unique to make
room in that crowded concept for something new. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Prada, as always, may have been ahead of the pack in
hiring Headrick. After years of us getting comfortable with detail being the story,
glamour is finally making a comeback: big, bold and out there. This autumn, the
wealth of brocade and velvet alone tells us that this season is playing a very
different game. The subtle sparkle; embedded on a cardigan sleeve or on a heel
of a boot, has made way for a much more obvious look. Glamour isn’t hiding
anymore, but on display for all to see. What’s new about this re-interpretation
of glamour is that the glitz element is restrained: the excess is not in
sequins, but in the textures being used: this is glamour you can feel.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">This is why Prada’s selection of Madison was an act of genius:
still at the beginning of her career in real terms, she has an opportunity to
become the face of this glamour movement just as it’s taking off. This modern
take on glamour needs a new face to represent it: an entirely fresh approach is
required if glamour is to convince us to ditch our love of casual, and get
dressed up again. We’ve had hits of glamour in recent years, but the crucial
difference here is that this season isn’t locked into a previous era or decade.
You can’t boil it down to a Great Gatsby influence or the Mad Men power-chic.
This is glamour not leaning on its laurels, but attempting to persuade us of
its own value, for its own sake. Embracing the personal and the individual,
glamour is set to make a whole new impression. For a concept so heavily weighed
down with other people’s ideas, this is a chance to refresh our notions of what
glamour can mean; to make it relevant, make it new.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Now about to celebrate her first year in the modelling
industry, Headrick is not just the latest American face to dazzle the fashion
world. She has a chance to become that rarity: a fashion icon. Prada very
rarely gets it wrong, and to place such a model in their show is a statement
not only of what’s to come for that season, but a prediction that aims much
further ahead. The face of fashion’s future, Madison is glamour made modern.</span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">HELEN TOPE </span></div>
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<![endif]--><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-79044686953968049772012-10-17T01:47:00.002-07:002012-10-17T01:47:50.980-07:00MODEL PROFILES: LAURA KAMPMAN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6V1aQZ1_JNEFKBnSBoK9DrDMl8opgKd-RTkE21CmuR8vohzp-W_U9adY3eXHjNXfWxciBcItzJb4E8xxevekLYgEccoxJ73dNhkETNTAbcM6FAWVD-vwCH_vabdXVAcXpSrTXzmKR61Y1/s1600/Laura+Kampman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6V1aQZ1_JNEFKBnSBoK9DrDMl8opgKd-RTkE21CmuR8vohzp-W_U9adY3eXHjNXfWxciBcItzJb4E8xxevekLYgEccoxJ73dNhkETNTAbcM6FAWVD-vwCH_vabdXVAcXpSrTXzmKR61Y1/s320/Laura+Kampman.jpg" width="320" /></a></div>
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<div class="MsoNormal">
Dutch model Laura Kampman was born in 1994, signing with New
York Models in 2011 aged 17.</div>
<div class="MsoNormal">
Kampman made an impact early on in her career, debuting at
the S/S 2012 shows, walking for Calvin Klein and Balenciaga as an exclusive.
Her noteworthy appearances made her the focus of press attention, with <a href="http://www.models.com/">www.models.com</a> featuring her as one of their
season’s Top Ten newcomers. </div>
<div class="MsoNormal">
<br /></div>
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At just over 5’ 11”, Kampman’s affinity for the catwalk
developed in early 2012 when she was chosen to appear in couture shows for
Giambattista Valli and Valentino. Also appearing in that month’s British Vogue,
she hit a career highlight in February when she landed the cover of Italian
Vogue. Models often have to wait years for such an honour – Laura managed it within
months of arriving on the scene. The cover, titled ‘Surreal or Real’, aimed at creating a sophisticated glamour. Drawing on the film icons of the 1930’s and
1940’s, Laura embodies those screen sirens brilliantly, conveying confidence and
glamour. In Italian Vogue terms, this cover is almost minimal in its
styling – it all rests on Laura’s performance. Laura’s cover is a triumph: with
nothing to hide behind, all we see is Laura’s skill at being that bold,
beautiful enigma. Whether surreal or real, it just works.</div>
<div class="MsoNormal">
<br /></div>
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Following her stint at Italian Vogue, Laura had a strong
ready-to-wear season in February and March, walking for Balenciaga again, she
also walked for Alexander Wang, Christopher Kane, Giles, Helmut Lang, Marc
Jacobs, Missoni, Rag & Bone, Rodarte, Sonia Rykiel and Versus. Already a
theme was emerging in Laura’s bookings: these designers are not only at the top
of their game, but they are all designers who specialise in directional fashion
- Laura’s edgy look was a perfect match for their aesthetic.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Her early connection with Balenciaga went to the next level
when she was booked for their Spring campaign. Photographed by Steven Meisel,
Laura worked with Rosie Tapner, Juliane Gruner and Kirstin Lijegren. A
Balenciaga campaign represents the ultimate challenge for any model: working a
Balenciaga concept is remarkably tough as it relies on nuance. A label known
for playing around with ideas, Balenciaga is unusual in that it never makes the
same ad twice. Every season Balenciaga hits the refresh button coming up with
an image that is completely different to the one that came before; no common
factors, no familiar iconography. Every season, it’s like starting from
scratch. Tough work for any model, but guided by Meisel, Laura takes charge of
the campaign with an authority that is both astonishing and exhilarating.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The knock-on effect of the Balenciaga advert on Kampman’s
career was immediate: from June to August, Laura found herself fully booked. In
June she shot editorials for W and Japanese Vogue and in July, Laura travelled
to Kiev for Dazed and Confused to shoot an editorial with photographer Yelena Yemchuk. ‘Lady Grinning
Soul’ (taking its name from the song by David Bowie) saw Yelena return to her
hometown of Kiev to construct an editorial that celebrates the oddity and
perversity of high-fashion. Inspired by Bowie’s Seventies androgynous glamour<a href="http://www.blogger.com/blogger.g?blogID=7280831543308767396" name="_GoBack"></a>, Laura poses as the fish out of water in retro tailoring
from Prada and Miu Miu. At odds with her environment, the editorial becomes a
moving exploration of the bravery it takes to express identity through image:
dressed in these bold prints, Laura is at
once both armoured and exposed.</div>
<div class="MsoNormal">
<br /></div>
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Laura also appeared in the July edition of V magazine, this
time for a spread titled #Instaglam. Drawing on the huge popularity of
Instagram, the editorial features models including Franzi Mueller and Marte Mei
van Haaster wearing the A/W collections.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
August was an especially busy month for Kampman, with Laura
appearing in five magazines. Shooting an editorial for British Vogue, Kampman
appeared in ‘Best in Show’. Photographed by Daniel Jackson, this humorous
editorial trades on the adage of dogs resembling their owners. Featuring
military tailoring and rich, plum tones, the models have to work hard in order
to avoid being upstaged by their four-footed co-stars.</div>
<div class="MsoNormal">
Laura’s second editorial of the month was for Chinese Vogue.
‘Outer Limits’ explored the outsize trend that has returned after years of the
waist reigning supreme. Also featuring Codie Young, Tian Yi, Ondria Hardin and
Andie Arthur, the best trend pieces were featured, including the Jil Sander
blush coat and Marc Jacobs’ ragamuffin hats. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of August’s most interesting editorials was Laura’s work
for i-D. ‘Hold Hands Be Free Find the Real You’, shot by Amy Troost, was a
super-edgy exploration of colours and texture: all about freedom of expression,
it tests every rule we think we know about fashion, and by inverting them, we
look again at the individual pieces in terms of their worth and appreciate how
they can be put together in new ways. It is this envelope-pushing that has
informed Kampman’s career to date: more than just a face that fits, Kampman has
a connection to this type of fashion, making it not only interesting, but
finding the beauty within. It takes a certain kind of model to connect on this
level, and Kampman (not even a year into her career) already has it figured
out.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kampman’s reputation for great editorial work was cemented
this autumn, with Laura landing a spot in the A/W Topshop campaign.
Photographed by Alasdair McLellan, the campaign also features rising stars Ava
Smith, Moa Aberg and Melissa Stasiuk. Coupled with the great production values
we have come to expect of Topshop’s campaigns, the images lend high-street a
high-fashion gloss. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Laura returned to the catwalk this September with a RTW
season including appearances for Loewe, Maison Martin Margiela, Rick Owens,
Anteprima, Giorgio Armani, Rodarte, 3.1 Phillip Lim, Prabal Gurung, Peter Som
and MaxMara. With the notable addition of Armani, Kampman’s appeal for the
edgier design talents continues. With Maison Martin Margiela presenting a
collection for H&M this autumn, Kampman’s links with high-fashion and high-street
are as strong as ever.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kampman’s latest credit is an editorial for Pop magazine. ‘A
Chanel Moment’ sees Laura transform to become a glamour girl with
poker-straight hair, dressed head-to-toe in the latest Chanel collection.
Compare this to her work for Balenciaga, and it’s hard to recognise this as the
same model. Laura’s capacity to transform so dramatically is a definite asset,
and in light of her body of work with fashion’s directional core, is a surprise
that will challenge the industry to see her as someone with cross-over
potential.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In previous years, versatility was flagged as a model’s
ability to switch from commercial to editorial. Editorial was seen as the
ultimate challenge; a true test of a model’s abilities. Now it is seen as a
given: virtually every element of the fashion industry strives towards an
editorial sensibility. Topshop – the kingpin of the British high street – is
highly successful, but its campaigns denote a chain that sees itself as firmly leaning
towards editorial.<span style="mso-spacerun: yes;"> </span>Our love of editorial
presents itself in what we now choose to wear: high-fashion details such as the
peplum waist and studded slipper shoe, far from being ‘challenging’, are widely
available and highly coveted.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With high-fashion being embraced as something attainable, editorial
faces are becoming the norm and being able to flip to a more commercial look is
being seen as the unique selling point. Laura has entered an industry that has
changed significantly over the past five years; copying trends verbatim has
been replaced by individual expression: simply put, it’s not what you wear, but
how you wear it. A principle clearly demonstrated in i-D’s editorial, layering
and mixing textures has become the next step in wearing clothes in a way that
expresses individuality. With clothes so freely available both in store and
online, buying that one-off piece (without going fully retro) is virtually
impossible. The solution? Mix it up.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As fashion trends spark a global following, creating a
personal style and stepping away from head-to-toe looks is rapidly being seen
as the more modern way to wear clothes. Individuality is the new buzzword for
fashion, and as a result, the faces that represent high-fashion have to be just
as unique. Laura’s features are perfect for carrying off the cerebral chic of
Balenciaga, as well as translating those trends in editorial. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kampman’s success is all down to playing to her strengths:
it’s more than the sum of her features. Her ability to understand and interpret
directional looks is invaluable in today’s fashion industry. As fashion travels
ever closer to the edge, pushing us to be ever bolder in what we wear day to
day; talents like Kampman will be the best means of passing on the message. Be
brave, be individual – and do it now.</div>
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HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-70056419636297290272012-09-30T04:09:00.000-07:002012-09-30T04:09:11.662-07:00MODEL PROFILES: MARIA BRADLEY<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSFX6wBhJ2DO14hEAzw27DiRgep77RPhNghwlUevMRgvDm9V56aPLixlHo0DBcm5KJPr5qsdkxGSwFgaDKn_Ql8P1RjiQWLVpIJljNufi_hMunacPRRRYv182Gy3io5uhMVUPPZ1YbblR/s1600/Maria+Bradley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSFX6wBhJ2DO14hEAzw27DiRgep77RPhNghwlUevMRgvDm9V56aPLixlHo0DBcm5KJPr5qsdkxGSwFgaDKn_Ql8P1RjiQWLVpIJljNufi_hMunacPRRRYv182Gy3io5uhMVUPPZ1YbblR/s320/Maria+Bradley.jpg" width="236" /></a></div>
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<div class="MsoNormal">
Born on February 21 1994, Maria Bradley signed with
Chicago-based agency Factor Models in 2011. Aged 17, Bradley undertook her first major runway season
that September, with a select group of designers including Alexander Wang,
Balenciaga, Proenza Schouler, Tommy Hilfiger and Versace. </div>
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An individual booking with any of these designers would
represent a highly significant achievement for a new model. Collectively, this
debut of less than 10 shows may be small, but it’s perfectly formed. Maria
walked in the Balenciaga and Versace shows as exclusives – an affirmative nod
from two of the biggest, most influential names in fashion.</div>
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Leaning more towards the edgier side of fashion’s spectrum,
Maria’s success with Balenciaga is understandable, but her booking with Versace
is perhaps more of a surprise. Traditionally aligned with high glamour, Versace
has recently undergone an image revolution, with its campaign this time last
year fronted by super-edgy model Saskia de Brauw. Taking the ultimate
glamour-girl label in a whole new direction, coupled with Christopher Kane’s effortlessly
cool work at Versus, this Italian powerhouse has toughened up. Compare its
campaigns of ten years ago to its latest signing, Elza Luijendijk and it shows
how a major label progresses and evolves.</div>
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In late 2011, Maria also signed with DNA Models, based in
New York. In January 2012, she made her debut for British magazine, ‘Dazed
& Confused’. Following that with an appearance in British Vogue, Bradley’s
editorial looks were already translating well.</div>
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<br /></div>
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In February 2012, Bradley experienced her first runway
season as a ‘must-have’ girl. Clocking up an amazing 50 shows, she worked with
heritage brands to blockbuster labels including Chanel, Donna Karan, Gareth
Pugh, Helmut Lang, Marc Jacobs, Michael Kors, Rag & Bone, Sportmax,
Valentino, Victoria Beckham and YSL. </div>
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This roster of bookings has all the hallmarks of belonging
to a long-established model. Virtually every design ‘niche’ is represented
here, and it’s partly down to Maria’s androgynous looks. Once considered a
niche in itself, androgynous models now have the advantage of working in a much
more fluid fashion industry. Her features make her ideal for all kinds of work
– with a bit of styling she is ready for the high-living glamour of a Michael
Kors show; stripped back, she is spot-on for the minimal aesthetic of Helmut
Lang.</div>
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In March, Maria returned to the editorial circuit again,
this time appearing in cult magazine, i-D.<span style="mso-spacerun: yes;">
</span>Photographed by Amy Troost, the spread was named ‘Don’t Be a Drag, Just
Be a Queen’. Taken directly from the lyrics of Lady Gaga’s single ‘Born This
Way’, Maria modelled warrior-woman, tough-as-nails fashion. </div>
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In May, Maria took to the runway, this time for resort
season. Appearing in resort (or cruise) shows for Jonathan Saunders, Reed
Krakoff, Narciso Rodriguez and Alexander Wang, the highlight of the Resort 2013
season was undoubtedly Chanel’s show held at Versailles. Maria modelled in this
show, in which Karl Lagerfeld indulged his taste for high-drama. With the
models styled in pastels and hi-top trainers, Lagerfeld worked with the classic
Chanel dichotomy of masculine and feminine. Scoring serious column inches for
its lavish production values, Chanel Cruise is as much an event as the main
ready-to-wear shows.</div>
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The following month, Bradley made her inaugural appearance for
W. Modelling for ‘City Slickers’, an editorial photographed by Craig McDean,
Maria modelled the summer trend, sports-luxe. Maria exuded confidence in this
shoot, no doubt explained by the fact that her hobbies include football,
ski-ing, cross-country running and basketball. In this shoot, Bradley does not
need to fake it: her enthusiasm for sport makes her a natural.</div>
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Repeated bookings with clients are one way of telling
whether you’re on the right track, and Bradley’s career is studded with
examples of clients coming back for more. Bradley returned again to the pages
of W in July, and in the same month, she returned to ‘Dazed & Confused’, modelling
with Prada’s latest it-girl, Katryn Kruger.</div>
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<br /></div>
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In August, Maria shot her third editorial for W magazine,
this time in a portrait series called ‘Natural Selection’. Focusing on
fashion’s new-season obsession with texture, Bradley worked with models Ophelie
Rupp, Ondria Hardin, Jeneil Williams and Laura Kampman.</div>
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<br /></div>
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September’s RTW season saw Maria return to the runway, this
time walking for Peter Som, Tommy Hilfiger, Thakoon, Alexander Wang, Prabal
Gurung, Belstaff, Vera Wang, Diesel, Michael Kors, Reed Krakoff, Proenza
Schouler and Christopher Kane. Look closely, and you’ll see just how many of
these names Bradley has already worked for. </div>
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<br /></div>
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Maria’s editorial career took a step up this month, with an
appearance scheduled for the October issue of Russian Vogue. ‘Dark Side’,
photographed by Ben Toms, sees Maria transform for a beauty shoot that
showcases the minimal make-up that’s bang on trend for this autumn. Re-writing
the rules on the berry tones usually favoured for this season, this neutral
take on autumn beauty is a breath of fresh air. A perfect complement to this
season’s decadence; this make-up is low on effort, but delivers full-on impact.
Bradley is an ideal choice for this type of shoot, with a very modern type of
beauty just right for modelling a very modern type of make-up.</div>
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With Bradley now celebrating a year in the modelling world,
a sign of just how far she has come in 12 months arrives in the form of
bona-fide industry approval. Bradley can now claim to be one of a very elite
group of new models, labelled as stars of the future by <a href="http://www.models.com/">www.models.com</a>.
She joins successful newcomers including current Prada campaign girl
Madison Headrick, British beauties Lara Mullen and Rosie Tapner and Givenchy
campaign favourite, Dutch model Stef van der Laan.</div>
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What is noticeable about the popular website’s list is just
how many of these new faces are unashamedly editorial. Having cross-over
potential used to be modelling’s Holy Grail; girls who could book Victoria’s
Secret as well as Chanel Couture. But, as ever, fashion loves to change its
mind. The new season campaign for Givenchy is a textbook case in point in that
it is 100% directional in tone. The bold, uncompromising image looks more like
a spread for Italian Vogue than a traditional campaign. This isn’t about maintaining
a consumer-friendly brand, rather more creating a strong, core identity. In
short, Givenchy is marking its territory. A strong, memorable campaign means a
boost in sales and good sales mean survival for another year. The face that has
to front this, of course, cannot be anything but extraordinary. Brands are
clamouring for these newer faces, the faces that aren’t the safe choice by any
definition.<span style="mso-spacerun: yes;"> </span>This new season is seeing a
tide change in how labels are representing themselves: out with familiarity, in
with beauty that’s as challenging as it is beguiling. </div>
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<br /></div>
<div class="MsoNormal">
Maria Bradley joins models such as Madison Headrick and Stef
van der Laan to become a ‘statement face’. Bradley can adapt, and brilliantly,
but at heart, she is a model squarely focused on the androgynous end of the
fashion market. It is here where the greatest revolutions are taking place:
androgyny is no longer limited to a fashion sidebar, but it has become the
modern industry’s greatest asset. In other words, true versatility.</div>
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<br /></div>
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Bradley’s great run of editorial and runway work is just the
precursor to a longer, even more successful career. Bradley is the ideal
candidate for future campaigns that will take their lead from
Givenchy. Faces that will not only sell, but persuade at a deeper level – it’s
only a matter of time before Maria becomes the rising star every label must
have.</div>
<br />
HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-72776821773967870902012-09-16T07:27:00.000-07:002012-09-16T07:27:28.613-07:00MODEL PROFILES - AVA SMITH<div class="separator" style="clear: both; text-align: center;">
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Born on
November 4<sup>th</sup> 1988, Chicago native Ava Smith signed with Elite New
York in 2005 aged 17. Boasting a
family history with connections to Ireland, France, Germany, England and
Lithuania, Ava’s career got off to a suitably global start with an editorial
for Russian Vogue. Following that with a British Vogue editorial in February
2006, and a Benetton campaign in 2007, Ava had an auspicious beginning to her modelling
career. But within a few years, the bookings began to taper off, and in 2009 Ava
decided to take a break from modelling, returning to education. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Two years
later, Ava returned to modelling in late 2011, with Smith signing with
Wilhelmina, a top American agency.<span style="mso-spacerun: yes;"> </span>Now
aged 23, Smith’s career hit the reset button. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Viewed by
clients as a ‘new girl’, even though she had previous editorial and campaign
experience, Smith played the new-girl card with great skill. Wowing designers
hiring for Fashion Week, Ava returned to the runway in September 2011, with
appearances for David Koma, DKNY, Erdem, Helmut Lang, Holly Fulton, Hussein
Chalayan, Mary Katrantzou, Ohne Titel, Peter Pilotto and Thierry Mugler. It was
a nice mix of big brands and niche designers, with Ava appearing in several notable
shows including Mary Katrantzou’s knockout show at London Fashion Week. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Ava filled
the next few months with editorial work, including a spread for ‘Black Book’,
focusing on work-wear. But in February 2012, Ava returned to the Fashion Week
circuit, this time making an incredible impact.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Appearing in
55 shows, Smith walked for Balmain, Burberry, Calvin Klein, Chanel, Celine,
Dolce & Gabbana, Dries Van Noten, Elie Saab, Fendi, Giambattista Valli,
Givenchy, Gucci, Hermes, Isabel Marant, Issa, Marchesa, Missoni, Nina Ricci,
Preen, Rochas, Thakoon, Valentino and YSL. A runway call sheet of this standard
would be a striking achievement for any model, but the triumph is made all the
more extraordinary by Ava’s years out of the spotlight. Smith may have been a returning
face, rather than a new one, but her youthful, feminine looks made her highly
covetable for a huge range of shows – and the fashion world just couldn’t get
enough.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In Spring
2012, Ava returned to campaign work with a lookbook for H&M’s Autumn /
Winter collection and a spread for </span><a href="http://www.amazon.com/"><span style="font-size: 12.0pt; line-height: 115%;">www.amazon.com</span></a><span style="font-size: 12.0pt; line-height: 115%;"> – a shoot photographed by Matthew
Rolston, a photographer who will be familiar to viewers of ‘America’s Next Top
Model’. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In June, Ava
booked another high-fashion editorial, this time with magazine ‘Dazed &
Confused’. Photographed by Daniel Jackson, and working with new models Codie
Young and Madison Headrick, ‘Through a Scanner Darkly’, saw Ava channel her
inner maverick in black and white face-paints. It is the sort of booking that
challenges newer models: these shoots demand work that colours outside the
lines, and there are no comforting frames of reference here: just bold strokes
of creativity. Ava’s early successes clearly gave her a confidence to tackle
these shoots: her performance here is cool, calm and directional. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Ava got another
opportunity to test her runway skills in July, appearing for Couture Week.
Walking for Armani Prive, Atelier Versace, Giambattista Valli and Valentino,
Ava returned to her high-fashion roots, proving why she was picked to appear in
Russian and British Vogue so early on in her career. Defying every industry
prediction, haute couture has only expanded over the past four years, and with
this, comes further opportunities for models to work at the highest levels in
fashion. If you can handle couture, you can handle anything.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Smith’s
affiliation with couture paid serious dividends with her first appearance in
Italian Vogue. Appearing in the August issue, Ava modelled with Kate King and
Jasmine Tookes. With all three models retro-styled in beehives and mauve
lipstick, the spread is a fun vibrant look at all the forthcoming trends. With
Ava also appearing in a behind-the-scenes video accompanying the shoot, this
was a great debut with the Italian heavyweight; setting the standard for Ava’s
future bookings.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">With August spent
working the Resort 2013 collections, Ava is now becoming a major player for the
Autumn / Winter season. Appearing in this month’s issue of Harper’s Bazaar, in
an editorial photographed by Sebastian Kim, she works this season’s bold androgyny.
Smith is transformed in trouser-suits and slicked-back hair. Trouser-suits have
been languishing in fashion’s back catalogue for a few years, but their
resurgence this season sees them take on a more colourful form. With geometric prints
from Prada and Louis Vuitton, the wildness of the print is tempered by the
severity of the cut. Fashion loves a dichotomy, and this year’s trouser-suits
may look joyfully decadent – but underneath, they’re all business.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Also scoring
a campaign with Burberry Black Label, Ava models the collection with Benjamin
Eidem. Wearing classic, highly wearable pieces, it’s clear that the big message
of the season is the return of femininity.<span style="mso-spacerun: yes;">
</span>With ornate, beautiful pieces getting all the limelight, if the fabrics
don’t seduce you, the styling will. Even urban-chic staples such as leather
leggings have got a feminine upgrade, with Michael Kors showing a muted version
of the urban classic, perfect for teaming up with knitwear or printed blouses. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Feminine may
be back, but it has edge: we saw an explosion of girlishness in the S/S
collections, but six months on, the initial idea has been refined. If you
couldn’t swallow the sugary-sweetness of Louis Vuitton’s broderie anglaise
dresses, going the feminine route this autumn is all about creating a decadent,
sensual experience. You really should look as good as you feel.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Ava’s next
campaign hiring comes courtesy of Topshop. The store, when selecting models for
its campaigns, usually hires up-and-comers. This year, Ava joins Laura Kampman
(fresh from her campaign triumph with Balenciaga); Melissa Stasiuk and Moa
Aberg. Despite having at least five years on most new models, Ava’s look reads
as youthful, vibrant and current. In other words, perfect for Topshop. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">With fashion
turning its attention from done-and-dusted Autumn, and onto Spring 2013, Ava
has already begun racking up the catwalk credits at New York Fashion Week. With
over 20 appearances including Jason Wu, Peter Som, Rag & Bone, Tommy
Hilfiger, Alexander Wang, Prabal Gurung, Victoria Beckham, Donna Karan,<span style="mso-spacerun: yes;"> </span>Tory Burch, Vera Wang, Oscar de la Renta,
Michael Kors and Calvin Klein, this catwalk season is already shaping up to be
one of Ava’s best. With appearances yet to come in London, Paris and Milan,
Smith looks set to beat her own record.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Ava’s continuing
success is testament to the virtue of waiting it out, playing the long game. First signed at
the age of 17, Smith’s early career gave every indication that she would work
solidly through the rest of her teens and into her twenties.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It is not
altogether clear why Smith’s look failed to resonate with other clients after
her bookings with Russian and British Vogue. It’s a sobering thought, but even if
you have all the right qualities to be a top model, your look may not be right
for the time, and there is no magic fix for that problem. But tastes change,
and fashion is by its nature, always changing. Ava did the smart thing by
taking a break from the modelling world and then trying her luck again two
years later. Those years made a huge difference: Ava hadn’t dramatically
changed – but the industry had.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In 2009, the
industry was still reeling from the economic meltdown of 2008. Simply put, the
industry had not yet devised a successful strategy to cope and fashion houses
went to their default positions. Easily relatable, recognisable faces were in
demand. Quirky, new, unfamiliar faces – not so much.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">By 2011, the
dust had settled and the coping strategy that was revealed to be most effective
was not to go with the familiar, that sartorial safety blanket, but to create
fashion that was creatively and commercially high-risk. Instead of sticking to
comfort-classics, fashion branched out. Whether it was experimentation with print,
colour or shape, fashion once more prided itself on its glorious failures as
much as its sure-fire hits. It turns out that we didn’t need familiar clothes
to reassure us: we wanted choice, talent and great design. We wanted to be
inspired.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It is this
new era that Ava now belongs to, and it explains why she is again at the top of
every designer’s wish list. She is a model who can work right at the heart of
high-fashion because her look corresponds so beautifully with what is being created.
A perfect blend of editorial femininity, Smith has had to be patient for her
big moment, but it’s been well worth the wait.</span></div>
<br />
HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-52027870169491491602012-09-09T04:36:00.001-07:002012-09-09T04:36:46.621-07:00MODEL PROFILES: ERJONA ALA<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7FbqFr1ZPjScc7ubs58wYy83xeVnujWyg7UESsTYhE2rdWyvsluOivIwMN2pSb2ruhUSCiZoFY0eVnsVWSkG0UDQixStoGq3CSZhTp-fbxqyYlAgeXSHwQcLilXmMOXoOW6aTTyJlqcj/s1600/Erjona-Ala-09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7FbqFr1ZPjScc7ubs58wYy83xeVnujWyg7UESsTYhE2rdWyvsluOivIwMN2pSb2ruhUSCiZoFY0eVnsVWSkG0UDQixStoGq3CSZhTp-fbxqyYlAgeXSHwQcLilXmMOXoOW6aTTyJlqcj/s320/Erjona-Ala-09.jpg" width="246" /></a></div>
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Born on 12<sup>th</sup> July 1995, Norwegian model Erjona
Ala made her debut in the modelling industry at the age of 15. Competing in the
International Elite Model Look contest in 2010, she narrowly missed out on
first place, coming in as the runner-up. However, Erjona still caught the
attention of the industry, signing with Ford Models the following year. </div>
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She made her catwalk debut in March 2011, walking in the
Balenciaga show as an exclusive – an incredible honour for a newcomer. Her spot
in the Balenciaga show made her an automatic standout: <a href="http://www.models.com/">www.models.com</a> featured Ala as their ‘model of
the week’ as a result.</div>
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In June, Erjona modelled in resort shows for Marc Jacobs,
Alexander Wang, Louis Vuitton and Proenza Schouler. She made her couture debut the
following month, walking in the Autumn / Winter show for Alaia Couture. But her
big runway moment came in September, when she appeared in a mammoth 65 shows.
She opened shows for Monique Lhuillier, Cynthia Rowley, Clements Riberio,
Margaret Howell, Marios Schwab, Temperley and Haider Ackermann. She also scored
closing spots with Sonia Rykiel and Thakoon.</div>
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For a model just months into her career, a season of this
magnitude is still a rarity in an industry where a reputation can take years to
build. Not only did Erjona walk in some of the biggest shows of the season, she
was selected to open and close several high-prestige shows. Erjona’s look
proved a winner on the runway circuit, neither leaning too strongly in either
direction of editorial edge or mainstream glamour. It helps explain why Erjona
would appeal to designers with aesthetic viewpoints as different as Monique
Lhuillier and Marios Schwab. When a model’s look ‘connects’ with designers on
this level, the effect tends to be incendiary. Like her peers Lara Mullen and
Romee Strijd, Erjona has made her reputation, not through covers or campaigns,
but the catwalk. Even in an increasingly digital age, the continuing importance
of the catwalk should not be overlooked. </div>
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With fashion undergoing a virtual reset every six months, a
successful show creates its own momentum: the fabulous Gucci collection for
Autumn / Winter 2012 created a huge stir on its debut in February, and its
profile has been steadily growing over the past few months, culminating in an
amazing cover spread for Italian Vogue. The catwalk still sets the pace: with campaigns,
editorials and blogs relying on what comes down the runway. The magic of seeing
a great collection coming down a runway in real time hasn’t lost its appeal. </div>
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Erjona’s career then bridged out into editorial work, with a
major spread in W magazine’s October issue. ‘Sects and the City’, photographed
by Craig McDean, was a series of group shots featuring different fashion ‘sects’.
Erjona modelled with Milou van Groesen, Ming Xi, Jess Gold and Cole Mohr in
Twenties-style glamour, pre-empting the launch of Baz Luhrmann’s film The Great
Gatsby’ (due for release next year). Erjona becomes a dead ringer for screen
siren Louise Brooks, in a severe bob, floor-length gown and pearls. </div>
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In March 2012, Erjona scooped the cover of British magazine
‘Dazed & Confused’. Photographed by Roe Ethridge, the ‘2012: if it’s not
exciting, you’re not doing it properly’ issue, featured Erjona surrounded by
banks of flowers, channelling 1980’s androgyny in washed denim. Erjona also
appeared in their Spring / Summer season preview. Modelling luxury sportswear,
Erjona worked the trend that, after two summers spent on the sidelines, is now feeling
the love. With Team GB grabbing the golds, sportswear feels less niche and more
on-trend. Erjona proved ahead of the curve, giving the sportswear a sleek
sophistication; moving it away from its track and field associations to a more
urban, fashion-led look. </div>
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Erjona went ultra high-fashion in June with a spread for Bon
magazine. Photographed by Marcus Ohlsson, ‘Television / Night Vision’, is right
at fashion’s sharp end, establishing Erjona’s ability to work a complex shoot
where themes are densely-layered and the model’s performance has to respond in
kind. Erjona proved a brilliant choice for this shoot, with her looks easily
lending themselves to such a premise. It often takes years for a model to be
able to perform at this level – Erjona coolly handled the pressure, proving she
could even take on fashion’s toughest assignments.</div>
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Her CV of edgy editorial and catwalk bookings paid off in
June when it was announced that she would form part of the Autumn / Winter Louis
Vuitton campaign. Photographed by Steven Meisel, Erjona joined Elena Bartels,
Hedvig Palm, Julia Nobis, Marie Piovesan and Ros Georgiou. Posing in a train carriage,
the models manage the blend of retro and modern that sums up the look of
Vuitton.</div>
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<br /></div>
<div class="MsoNormal">
Moving on from his blockbuster Spring / Summer collection, Vuitton
creative director Marc Jacobs returns to his quirky roots this winter with
clothes trimmed in burgundy, with models clutching leopard-print totes. They
are classic colours and prints, but given the Jacobs treatment: everything is
fringed, furred or otherwise embellished. The idea of excess is at the centre
of the Autumn / Winter season. Taking on a more-is-more approach, designers are
adopting decadent fabrics such as velvet, fur and brocade to suggest wealth and
a feeling of plenty. While some commentators have given the Louis Vuitton
collection (and campaign) mixed reviews, this ad represents the core values for
the coming season. The collection may be divisive, but in terms of what it says
about fashion for the rest of 2012, it is impossible to ignore. For Erjona, the
booking was nothing less than a stunning coup.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The most recent booking on Erjona’s CV rivals the Vuitton ad
in terms of covetability, with Ala appearing on the July cover of Italian
Vogue. If this wasn't enough of a score, the July issue also features a first look at the international
collections - and Erjona was invited to the party. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How Italian Vogue presents the collections for the upcoming
season sets the bar for the rest of the fashion industry: much imitated, but
never bettered, Italian Vogue still remains the benchmark in terms of
editorial: it is an important and highly prized booking for any model to get.
Photographed again by Steven Meisel, Erjona takes to the cover with Julia
Nobis, Lida Fox, Mackenzie Drazan and Vanessa Axente. All dressed in dark
chiffon gowns from Gucci, this fold-out cover has a supernatural, gothic theme
at its heart. Italian Vogue’s message is clear: embellishment and luxury may be
the focus, but they are not the same animals they were five years ago. This
time, the playground of luxury has a macabre feel: the models are ‘at play’: on
swings, on bikes, but the effect is anything but playful. Here, luxury is not
something easy-going and uncomplicated: the right to continue making this kind of
fashion has been hard-won. Fashion has come through the eye of a financial
storm, but emerges as a different industry. The ideas are back, but our notions
of decadence and glamour have changed and matured. Gucci’s darkly seductive
collection is glamour with a twist, and has made a major impact, both in terms
of editorial and appearances on the red-carpet. But Gucci is not this season’s
lone wolf: every designer this season has contributed to the new breed of
glamour – still beautiful, just a little older and a little wiser. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.blogger.com/blogger.g?blogID=7280831543308767396" name="_GoBack"></a></div>
<div class="MsoNormal">
Gucci deftly taps into the zeitgeist this season, and for a
model, there’s no better collection to hitch your wagon to. Erjona’s
association with Gucci – and the cover of Italian Vogue – has cemented her
reputation as one of fashion’s rising stars. A choice booking for both catwalk
and editorial, Erjona’s star is not just on the ascent, superstardom is within
touching distance. In the space of just two years, Erjona has gone from
runner-up to fashion’s front runner. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
HELEN TOPE </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-29974533297464023002012-06-26T11:28:00.000-07:002012-06-26T11:28:57.422-07:00MODEL PROFILES: BAMBI NORTHWOOD-BLYTH<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRVm9o-55QEcRSaEkg1dAsasKrA92lK9SEbmld79tDw0XpJE1wJJ0Tsci44YGgI7Qatnwquo7DCq74cTeqomExRw3LrUvIB_tNH-dFwQtJRXGst4qRwQvNkQUvZcjb5D_SFMNOqrJkxMV/s1600/Bambi+Northwood+Blyth+2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRVm9o-55QEcRSaEkg1dAsasKrA92lK9SEbmld79tDw0XpJE1wJJ0Tsci44YGgI7Qatnwquo7DCq74cTeqomExRw3LrUvIB_tNH-dFwQtJRXGst4qRwQvNkQUvZcjb5D_SFMNOqrJkxMV/s320/Bambi+Northwood+Blyth+2.jpeg" width="320" /></a></div>
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<br />
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<span style="font-size: 12.0pt; line-height: 115%;">Born in
1991, Stephanie Bambi Northwood-Blythe began modelling locally in Australia at
the age of 18. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Signing with
Elite in 2010, and adopting her middle name, Bambi scored her first
international editorial with RUSSH that April. Photographed by Beau Grealy,
‘Stoned’ was a series of neutral-toned portraits.<span style="mso-spacerun: yes;"> </span>Styled with distressed edging and rough
textures, Bambi gave an astonishingly accomplished performance, adding a layer
of sophistication entirely in keeping with the tone of the shoot.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Landing the
cover of Australian Harper’s Bazaar in June, Bambi took to the runway in
September. Walking for Chanel, Balenciaga, Rag & Bone, Topshop Unique and
Kenzo, Bambi defied the legend that shorter models can’t do runway.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Following a
ready-to-wear debut with a pre-Fall show for Chanel in December, this was a
very interesting booking. Bambi’s look could easily be classified as very
‘Chanel’ – her strongly defined eyebrows make her memorable, much like Alice
Dellal and Vanessa Paradis, <span style="mso-spacerun: yes;"> </span>two of
Lagerfeld’s most recent campaign girls. Chanel, despite its image beyond the
fashion world, is not merely a wardrobe go-to for Park Avenue princesses. Every Chanel girl has had an
edge, an intelligence that communicates a brand more intrigued by character
than beauty alone. Bambi’s inclusion in the show, at such an early point in her
career, was more than Lagerfeld latching onto the face of the moment; Bambi was
being touted as a star of the future.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In January
2011, Bambi landed in a ‘new faces’ spread for V magazine. All hand-picked by model,
stylist and photographer Natalie Joos, Bambi is joined in the editorial by
now-familiar names such as Arizona Muse, Ashley Smith, Carola Remer, Caroline
Brasch Nielsen, Julia Saner and Daphne Groeneveld. Joos scored highly with her
predictions: all these models are not only working regularly but impressing at
the very highest levels of the fashion industry.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Featuring in
the February issue of RUSSH, Bambi worked with photographer Benny Horne in an
editorial called ‘Babes’. Also including Lisanne di Jong, Hannah Holman and
Meag West, the group shots are a lovely example of working together for the
greater good. Every model here has star potential, but they put star-billing
aside to create group shots that are harmonious and beautiful.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">February
also saw Bambi head back to the runway, this time walking in A/W shows for
Chanel, Jill Stuart, Giles and Topshop Unique. Her ability to command attention
paid off in early 2011 when she became one of the faces representing the ck one
fragrance by Calvin Klein. Photographed by Steven Meisel, the mega campaign
featured Lara Stone, Abbey Lee Kershaw, Alice Dellal plus newer names including
Samantha Gradoville, fresh from her runway triumph at Prada. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Proving her
versatility, Bambi then booked her first editorial with W. ‘The Change Agent’,
photographed by Steven Meisel, sees Bambi work punk chic with Eliza Cummings
and Saskia de Brauw. Between the gentle sensuality of ‘Babes’ and the
fierceness of ‘The Change Agent’, Bambi proved herself a perfect fit for every
concept. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Stepping it
up a gear, Bambi joined a slew of rising stars for the April cover of Japanese
Vogue. Bambi is joined here by Britt Maren, Fei Fei Sun and Milou van Groesen.
The cover, called ‘Next Wave’ is pretty accurate, its selection including Milou
who would, within a year, become the face of Giorgio Armani.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The model
was on home turf again in June, with a cover try for Australian Harper’s
Bazaar. In ‘Bambi Turns up the Heat’, the model is featured topless – her
modesty preserved by male model Jack Vanderhart’s arm placed across her torso.
Bambi’s ability to do the sultrier shoots was also beautifully realised in the
August issue of Australian GQ. Modelling with Tyson Ballou, Bambi models retro
1950’s glamour in ‘Before Night Falls’. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">After a
highly successful year, Bambi finished 2011 by appearing on the cover of V,
photographed by Terry Richardson. ‘Let’s Go Cruising’ features Bambi and
Lindsey Wixson playfully posing in Louis Vuitton. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Heading back
to V in March 2012, Bambi channelled the darker side of sexuality in ‘Playing
the Field’. An edgy shoot that sees Bambi play the scheming WAG-in-training, it
is clear to see that her wealth of editorial experience has made her a highly
valuable player. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bambi’s
latest booking has been to appear in the resort lookbook for Marc by Marc
Jacobs. Working looks designed for launch in Spring 2013, Bambi models
alongside new model Ondria Hardin. The collection, reputedly inspired by
Portland, refers back to ‘old classics’: nautical stripes, muted blues, polka
dots and florals – all are thrown into the mix and given the Marc Jacobs
treatment. Even the famous mouse-ear flats get a makeover, returning next year
as clogs. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Still barely
two years into her career, Bambi has excelled at finding a diverse range of
work. Rather than finding a comfort zone, and playing that to perfection, Bambi
has actively sought different experiences; her CV charts the progress of a
model determined to do it all.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Her bold
approach to assignments has seen her star rise quickly and steadily: in the
space of a few months, Bambi booked a Chanel show, a campaign for Calvin Klein
and the cover of Japanese Vogue. Individually, these credits are impressive.
Together, they form a picture of someone who is absolutely fearless in taking
on those high-pressure jobs. It’s a good quality to have as a model –
especially if you want to go further. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bambi’s
ascent can also be plotted against a larger success for Australia. Along with
fellow Australians Krystal Glynn and Julia Nobis (not to mention newcomers
Ollie Henderson and Emily Wake), Bambi forms part of a collective that channel
and champion directional fashion. Australia’s role in high-fashion has gathered
pace since the discovery of Abbey Lee Kershaw and Catherine McNeill,
challenging the idea that Australia only has one type of beauty to offer. The
long-limbed, athletic type has been superseded by a variety of fashion-friendly
looks, dating from Abbey’s star-making turn for Gucci right up to Julia Nobis’
supporting role in the Louis Vuitton campaign for Autumn 2012.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">At 5’7”,
Bambi is considerably shorter than most of her peers. But her blossoming
editorial and campaign career is a reminder that the modelling world can be
flexible – as long as you have something extra to give. Bambi’s extraordinary
face, capable of going from punk to pastels, is that something extra. It works
for editorial and it works for campaigns – when your photographic presence is
as strong as hers, being on the short side can easily be forgiven.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bambi is a
brilliant example of turning potential negatives into something supremely
positive. Her face, with those Hilary Rhoda-style eyebrows, could at best draw
comparisons, but Bambi has been smart in her choices, slowly building a body of
work that’s very different to Hilary’s clutch of campaign regulars. Beating
your own path in modelling is essential: as much as fashion likes to
categorise, it likes individuals better. It explains why quirky faces often triumph
over more conventionally attractive ones. Knowing your strengths, your
weaknesses and crucially what you have to offer, is half the battle in becoming
a model. Bambi proves that the true mark of success is not in the pursuit of
perfection but in acknowledging one’s flaws. She is a better model for it, and
will go on to ever greater heights. In fashion, what really counts is not fitting
in – it’s standing out.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">HELEN TOPE </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-20437063993638457812012-06-17T08:13:00.000-07:002012-06-17T08:13:35.099-07:00MODEL PROFILES: ANAIS MALI<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs7d2LNhCHzS8gl8e1pYI3kh7wmYNGmVJhRkHC8_f_TMduV_UVl7N6pdvxeJLxgUhik4UjmKFHUAicAqk3fNKYkcChWzP_vb-47YCAepa8TDmQcI61j_lOz0SmUKGbi4HBTBOtIYl3sm1R/s1600/Anais+Mali+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs7d2LNhCHzS8gl8e1pYI3kh7wmYNGmVJhRkHC8_f_TMduV_UVl7N6pdvxeJLxgUhik4UjmKFHUAicAqk3fNKYkcChWzP_vb-47YCAepa8TDmQcI61j_lOz0SmUKGbi4HBTBOtIYl3sm1R/s320/Anais+Mali+3.jpg" width="320" /></a></div>
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<br />
<div class="MsoNormal">
Born on 22<sup>nd</sup> January 1991, French model Anais
Mali signed with agency Wilhelmina in 2009. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mali took to the runway that September, modelling for Betsey
Johnson, Vivienne Westwood and Sophie Theallet. Adding Catherine Malandrino and
Rachel Roy to her credits the following February, Anais was dubbed a face to
watch by both <a href="http://www.style.it/">www.style.it</a> and <a href="http://www.models.com/">www.models.com</a>. A regular post-show feature, these
announcements go a long way to upgrading a model’s status. In an industry
crowded with talent, any publicity is good publicity.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Filling 2010 with a campaign for Levi’s and a stint modelling
for J Crew’s catalogue, Anais took to the runway in September. This time, her
booking sheet showed that Mali was proving a hit across the Atlantic, with
Anais appearing in shows for Marc Jacobs, Vera Wang, Derek Lam, Cynthia Rowley
and Carolina Herrera. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anais’ early (and ongoing) success in America can be quickly
attributed to her look. Possessing the same kind of appeal as Joan Smalls,
Anais has elegance that appeals to the old-school designers such as Carolina Herrera,
but with enough character to handle high-fashion editorial. These strengths
typify what the U.S fashion market looks for: enough beauty to make the clothes
covetable, but with enough edge to give the collection some bite. The very best
American designers dominate the field because they have learned to create that
perfect balance between marketability and creative vision.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In a pivotal move, Anais left Wilhelmina and signed with
Ford Models in late 2010. In December, she featured in an editorial for
Interview magazine, working with Melodie Monrose. Each model a mirror image of
each other, both furiously channel the glamour and energy of Twenties’ fashion
icon, Josephine Baker.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The beginning of Mali’s long-standing association with
American Vogue began in February 2011, with an appearance in the February issue.
Featuring as part of their season preview, ‘Gangs of New York’, Anais was
photographed by Mario Testino. Teams of models were paired up to showcase the
major collections of the season. Anais got Rodarte, working with Ajak Deng,
Jourdan Dunn and Joan Smalls.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Her recent spate of editorial successes meant that Anais
could add Rag & Bone, Thakoon, Chloe, Dior, Stella McCartney and Tom Ford
to her runway CV. As success often breeds success, Anais found herself in high
demand in March, appearing in three major publications: V, American Vogue and
Harper’s Bazaar. The US Vogue shoot, ‘Rebel Rebel’ saw Anais model Gucci’s
show-stopping bronze jumpsuit, plus a high-energy shoot with Arlenis Sosa,
photographed by Norman Jean Roy. </div>
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<br /></div>
<div class="MsoNormal">
Anais then took to the campaign trail again, this time
getting signed by American fashion behemoth, GAP. Photographed by Craig McDean,
‘The Modern Design’ takes us away from the preconception of GAP just being a
one-stop location for casual basics. Tailored, neutral pieces are pushed to the
forefront in this campaign, sold as the essentials you would end up reaching
for again and again. GAP has already become a go-to destination for jeans, with
designer-worthy cuts being offered at high-street prices. Not resting on its
former glories, GAP continues to revise its image and what it can offer to an
increasingly sophisticated consumer base. Some of its experiments have worked
better than others, but the store’s commitment to endure and progress should
ensure its long-term survival.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anais returned to American Vogue for the Spring, appearing
in a bridal-themed editorial in their April issue. ‘Across the Aisle’,
photographed by legend Arthur Elgort, is a fun, studio-based spread. Her first
solo shoot with the magazine came in August 2011, with ‘Mixed Media’. Shot by
Raymond Meier, Anais models the season’s best accessories. Textures and colours
clash exuberantly, and Anais wears these difficult prints and colours
effortlessly.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In September, Anais built up her runway experience with
bookings from Matthew Williamson, D&G, Bottega Veneta, Ralph Lauren, Peter
Som, Nina Ricci, Diane Von Furstenberg and regular client, Jason Wu. Sparking
the interest of British and Italian designers, Anais was already becoming an
international name, beguiling the brightest design talent.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Proving her ability to switch things up, Anais got hired for
an editorial for Love magazine. Photographed by Solve Sundsbo, ‘Strangelove’ is
a series of darkly provocative portraits including Sui He, Jessica Hart,
Lindsey Wixson, Hannah Noble and Charlotte Free. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Returning to more traditional fare in September, Anais
signed on for an editorial with V. ‘You Can’t Possess Radiance, You can only
Admire It’ features Anais in chic, Fifth Avenue-style fashion including Celine,
Ralph Lauren and Valentino. Anais (and V) give the classics a fresh edge.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Clocking up even more editorial hours at the end of the
year, Mali appeared in American fashion magazine W and French Vogue. In W’s
‘Poster Girls’, Anais was hired to model a bold, fearless mix of clashing
prints and accessories. Anais’ beauty shines through the editorial. The clothes
and accessories are the focus, but Mali remains a calming, steadying force, a
point where the eye can rest in what is a very busy set of photographs.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mail’s career got a major boost in November when she was
selected to appear in the 2011 Victoria’s Secret Fashion Show. Joining fellow
VS newbie Karlie Kloss, the two catwalk regulars brought a touch of
high-fashion glamour to the proceedings. Anais’ inclusion was squarely down to having
a type of beauty that is able to appeal to the mainstream. Despite being a
Vogue favourite, Mali looked comfortable on the VS runway, but working a very
different kind of audience. With the lingerie brand eager to feature more
diverse types of beauty, Mali embraced this opportunity with obvious enthusiasm
and it would be surprising if she doesn’t reprise her appearance this November.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In January 2012, Anais made her editorial debut for the year
with V magazine. In what is far more usual territory for V, ‘The Queen of Hip
Hop’ is a fun, energetic editorial photographed by Sebastian Faena. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Channelling Nicki Minaj in a day-glo wig, Anais brings the
necessary attitude to make this editorial work. So good at ‘faking it’, this
spread becomes uncanny in its authenticity. V excels at bringing a high-fashion
twist to existing cultural codes. Even if not a fan of the music, everyone can
visualise the clothes, the make-up and body language adopted by superstars of
that world. Anais brilliantly mimics the queens of hip-hop but never letting us
forget that the clothes come first.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
February saw Anais scoop another major campaign, this time
with J Crew. The iconic label has had a major injection of cool since the
revelation that is has become one of Michelle Obama’s fashion go-to’s. The
booking must have represented a special moment for Mali, who had one of her
earliest signings with the American brand.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The following month saw Mali become hot property, with
appearances in W, W Korea and Madame Figaro. The spread for the American
magazine, ‘Feminine Mystique’, saw Anais team up with Jourdan Dunn and new
girl, Jasmine Tookes. The three models are identically groomed and model ethnic
prints with a strong theme of sophistication running through. Going beyond its
clichéd treatment in previous years, tribal here is worked so it becomes
something new, contemporary and eminently wearable.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anais’ biggest editorial splash was with Korean W. Featuring
on the cover as well as the leading spread; Anais shares cover honours with Hyoni
Kang and Julia Nobis. ‘Birthday Girls’ – their mega-model editorial – also
includes Hanne Gaby Odiele, Crystal Renn and Maryna Linchuk. With all the models
wearing pieces from the highly popular Louis Vuitton collection, the
sugary-sweetness of the designs are off-set by an understated sensuality. This
is all relatively new territory for a magazine that is not yet 10 years old.
After its publisher, Conde Nast, launched men’s style magazine GQ in South Korea
in 2001, its success paved the way for other magazines to follow. Now South
Korea has its own version of W, it has been keen to develop its own sense of
style, and the March issue featuring Anais has created significant interest across
the world. It may be new, but W Korea is already making its editorial presence
felt. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With her biggest campaign signing to date, Anais can
currently be seen in H&M’s global ‘Fresh Start’ adverts. Anais joins other
heavy-hitters such as Natasha Poly, Sasha Pivovarova and Isabeli Fontana. Featuring
models from Russia, France, Brazil and Sweden, this campaign represents what
brands like H&M have known for years: international beauty sells. Appealing
to the most people possible makes sense as fashion is rapidly becoming a global
language with new pockets of wealth being discovered. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Having diversity on campaigns, covers and editorials is
essential if a particular market is not to feel marginalised. A face that can
appeal to many countries is especially in demand, and Anais is one of the lucky
few that can work with European, American and Asian markets and convince at
every turn. The face of the money-making model is changing, and with her
adaptable beauty, Anais is right at the forefront of this new fashion
phenomenon.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
HELEN TOPE </div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-73446290259460683782012-06-10T06:46:00.000-07:002012-06-10T06:46:49.611-07:00MODEL PROFILES: LARA MULLEN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_PSY8grEI99tq1LL-KLKB4kUXQqvKwVf91Tn5VWU4QIIENlsnKPyC_VpeUj6w2vwv6VaBWt5aKvxGgVTqT8ZnVGwSG4nUmAgu8WLX1MOqb8VLp1zqX58mMGWMCgmF377npGJwNbs0Vcf/s1600/Lara+Mullen+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_PSY8grEI99tq1LL-KLKB4kUXQqvKwVf91Tn5VWU4QIIENlsnKPyC_VpeUj6w2vwv6VaBWt5aKvxGgVTqT8ZnVGwSG4nUmAgu8WLX1MOqb8VLp1zqX58mMGWMCgmF377npGJwNbs0Vcf/s320/Lara+Mullen+1.jpg" width="213" /></a></div>
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<br />
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Born in
1994, Northampton native Lara Mullen was discovered in August 2011. Scouted
by agency Premier Management, Mullen was spotted just two weeks before the
start of New York Fashion Week. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Premier
submitted Lara for castings, and in September the student-turned-model found
herself on the catwalk, walking for Alexander Wang, Jonathan Saunders, Celine,
Chloe, Richard Nicoll, Givenchy and Dries Van Noten. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">If this
wasn’t exciting enough, Lara got booked for the Prada show as an exclusive.
Mullen had the good fortune to be in one of Prada’s best shows in years. A show
is only as good as its collection, and the S/S 12 collection was very, very
good. With Mullen as one of their star turns (newbies selected by Prada tend to
get the lion’s share of attention), this was a career-making moment for Lara.
The achievement is made all the more extraordinary when you consider that just
weeks prior to her Prada booking, Lara was a complete unknown.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Labelled by </span><a href="http://www.vogue.com/"><span style="font-size: 12.0pt; line-height: 115%;">www.vogue.com</span></a><span style="font-size: 12.0pt; line-height: 115%;"> as ‘one to watch’, Lara began to
book editorials in earnest, landing the cover of i-D magazine in February 2012.
Also appearing in a multi-page spread, Lara modelled with Matt Ardell, working
looks from the key S/S collections.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In February
and March, Lara experienced the effect of being a Prada exclusive. When it came
to booking shows for the Autumn / Winter collections, Mullen was a red-hot
favourite, appearing in over 45 shows.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The season
was a real triumph for Mullen, a bold mix of design talent including Valentino,
Balmain, Gareth Pugh, Versace, Marc Jacobs, Marchesa, Calvin Klein, Rodarte,
Oscar de la Renta and Prada once more. A bona fide success at every Fashion
Week, Lara modelled for the best in the business. To muster bookings from the
biggest; Versace, Prada, Marc Jacobs, Valentino, is incredible. But more
crucially for Mullen, her booking sheet tells a story of a model who has
connected with cutting-edge talent such as Gareth Pugh, Prabal Gurung,
Alexander Wang and Christopher Kane. It is this relationship with fashion’s
most directional labels that has both shaped and defined Lara’s career over
2012.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">March saw
Lara take to the cover of British hard-hitter, Dazed & Confused. Named
‘2012: If it’s not exciting, you’re not doing it properly’, the cover heralds
the start of a summer that’s all about Britain. From the recent Diamond Jubilee
celebrations to the Olympics starting in July, Britain, and all things British,
are garnering a lot of attention. On the cover, Lara models a coat and
one-piece from Prada’s show-stopping S/S 12 collection, echoing her inaugural
runway moment with the Italian label. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Mullen also
appeared in an editorial for the magazine, a major logistical operation
requiring an army of photographers and stylists. Wearing Burberry, Balenciaga
and YSL, Lara joins models Julia Nobis, Emily Baker, Erjona Ala and the latest
Marc Jacobs campaign girl, Marte Mei van Haaster.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Lara’s success
has not just been confined to editorials and runway. Preparing to take on bigger
challenges, Lara was booked for the new Spring / Summer Topshop campaign.
Photographed by Josh Olins and styled by the store’s creative director, Kate
Phelan, the campaign also features new up-and-coming faces including Magda
Laguinge, Nadine Ponce and Marihenny Pasible. As Lara models Topshop’s
on-the-money pieces, including floral silk bomber jackets and printed band T’s,
the campaign is almost indistinguishable from those of high-end brands. Topshop
certainly doesn’t believe in skimping on the editorial detail: its genius lies
in treating high-street design with respect. Its lightning-quick turnover,
supplying must-have pieces at a furious pace, means that Topshop can
legitimately claim to having its finger on the fashion pulse. Now a key
destination for everyone, regardless of budget, scoring the campaign means
being a visible presence in hundreds of stores dotted across the globe.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Following an
editorial for POP magazine, Mullen also featured in a self-titled feature for AnOther.
Photographed by Martina Hoogland Ivanow, Lara appears in a series of
editorials, reminiscent of Egon Schiele’s nervy, sensuous sketches. Having an
editorial named after you is normally a mark of respect given to a model with
more runway hours under her belt. The fact that Lara is already being perceived
as worthy is testament to how quickly she has taken to modelling. Some new
talents are carefully dipped into the fashion world, a small season to start
with and then a few low-key editorials to test the waters. With Mullen, Premier
Management made the right call in making a big splash. The clamour for her time
at Fashion Week proves that when you’re ready, you’re ready.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Lara made
her debut appearance for British Vogue in April, with an editorial called ‘The
White Album’. Photographed again by Josh Olins, Lara models an array of white
pieces from Marc Jacobs, Jil Sander, Yohji Yamamoto and Chanel. From
laser-cutting by Marc Jacobs to the starched, architectural cottons of Raf
Simons’ last collection for Jil Sander, the deceptively simple theme displays
how complex one colour can be when in the hands of masters. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Mullen
returned to the pages of British Vogue this June, with a high-fashion take on
the Olympic theme. ‘Paper Plates’, photographed by Tim Gutt, sees Lara
attempting weight-lifting, archery and diving. Blending the beauty and strength
of professional sport, this type of high-concept editorial is what British
Vogue excels at.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">With the
world now watching the UK for the next few months, Lara joins a new generation
of British models lighting up the world stage. Along with Jourdan Dunn and
Nyasha Matonhodze, Lara is flying the flag for not only British design, but
British beauty as well. In recent years, most of fashion’s most popular faces
have come from other corners of the globe: Lara and her peers are helping to
buck that trend.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Lara and
Nyasha are especially in demand, with both models this season appearing in
major campaigns. Nyasha, a favourite with Louis Vuitton and Balenciaga, is a
sure-fire editorial pick and Lara is carving out a career that leans on her
individuality, and that’s a very British concept.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">We have
recently excelled at providing fashion with its newest, edgiest faces. We can
also do real, show stopping beauty too: just think of the monumental rise of
Rosie Huntington-Whiteley and Cara Delevingne. Ever since the discovery of Kate
Moss, the UK has had a point to prove: the problem with striking gold is that
expectations circulate and gather pace – can you repeat your own success?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">While the
face of modelling has altered over the past 20 years – the definition of what
constitutes a top model now looks totally different – the desire to scout those
new, boundary-pushing faces is as intense as ever.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Premier
Management’s lucky find is also Britain’s good fortune. Lara, just months into
her career, is already creating waves of interest around the world. She is the
rare combination of editorial and commercial: it is just as easy to imagine her
fronting a perfume campaign as it is to see her in Italian Vogue. Mullen’s run
of success hints at a future that’s there for the taking. Whether she wants to
explore those high-fashion roots further, or look at how her unique features
can work set against those big-money campaigns, Lara has the potential to
trail-blaze a new kind of beauty, already seen in the individual successes of
Milou van Groesen, Saskia de Brauw and Marie Piovesan. Against a backdrop of uncertainty,
a beauty that can be edgy one moment and then traditional the next, is exactly
what the fashion industry appears to be responding to right now. Even newer
faces than Lara – Erjona Ala, Elza Luijendijk, Marte Mei van Haaster – are in
that very vein: not exclusively editorial, not completely commercial. A true
fashion hybrid, it is a formula that looks like it will define the look of the next
generation of top models.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">However Lara
chooses to play her next hand, what’s for certain is that she remains a great
ambassador, reminding everyone that whatever we do, Britain does it in style.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">HELEN TOPE </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-83467866110178824712012-05-27T07:40:00.000-07:002012-05-27T07:40:11.273-07:00MODEL PROFILES: MARIE PIOVESAN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06EjmBZaI6bZsbJqqgJimA06DlE-mHIshI1AYXwNde7NTbWR4McgouqR1PmFjpUd9zuvtnE5nasI6ElrwVbgWX2Ghz0GFMPtBo8SjN_oynZcjkcX_v5RF3lk2Fb_CQsgACdOAw795DQ6P/s1600/Marie+Piovesan+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06EjmBZaI6bZsbJqqgJimA06DlE-mHIshI1AYXwNde7NTbWR4McgouqR1PmFjpUd9zuvtnE5nasI6ElrwVbgWX2Ghz0GFMPtBo8SjN_oynZcjkcX_v5RF3lk2Fb_CQsgACdOAw795DQ6P/s320/Marie+Piovesan+1.jpg" width="320" /></a></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Born in France in 1985, Marie Piovesan signed with Marilyn Agency in
2011, at the age of 26. She debuted at Fashion Week in October the same year,
appearing for YSL and Miu Miu, also opening the Celine show. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">In December, she finished her inaugural year with an editorial for
Interview magazine. ‘Reed Krakoff’ was a profile piece, exploring the new
American must-have label. A recent addition to the international fashion scene,
it has been typified as an alternative to Michael Kors and Ralph Lauren’s
vision of high-end luxury. Reed Krakoff explores luxurious textures but in a
postmodern way, defying the expectation that ‘luxury’ fashion can’t be edgy or
daring. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marie made her couture debut in January 2012, walking in the Spring /
Summer Valentino show. Within the space of a few months, Piovesan would prove
that couture, either by label or by attitude, would be her true comfort zone.
Having a face that lends itself readily to directional fashion, Marie comes
equipped with the skills necessary to embody and translate that most difficult
of sartorial genres.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">In February, Marie conquered RTW, with a massive season of 40 shows. All
the biggest labels booked Marie including Marc Jacobs, Louis Vuitton and
Valentino. Piovesan was also a ready favourite with newer labels such as Haider
Ackermann. Autumn 2012 looks set to be a season celebrating the dark arts, with
artisan touches from Marc Jacobs and Valentino in particular, with Jacobs’
models trawling the catwalk in huge Dr.Seuss-style hats courtesy of milliner
Stephen Jones. The palette for A/W 2012: black, grey with splashes of dark
green and maroon may be perfect for a money-spinner season, but its heart is
rooted in something bigger. The best collections combined wearability with
broad strokes of creativity, again, disproving the theory that the two have to
be mutually exclusive. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marie’s association with high fashion’s quirky side continued with an
editorial for ‘Love’ magazine.<span style="mso-spacerun: yes;"> </span>Shot in
video format, ‘Fan Club’ (directed by Ruth Hogben), pays homage to the chorus
lines of 1940’s Hollywood musicals. Featuring Ajak Deng, Kati Nescher, Hye Park
and Aymeline Valade, the video profiles the Louis Vuitton blockbuster
collection. Love it or hate it, its range of influence this summer is
everywhere. </span></div>
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<span style="font-size: 12pt; line-height: 115%;">Deceptively coy, but full of charm, the collection is rapidly
coming to define Spring / Summer 2012.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marie’s skills in ‘real time’ modelling continued into February with an
editorial for </span><a href="http://www.models.com/"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">www.models.com</span></a><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">. The
short film, ‘Committed’, acts as a showcase for new talent including Codie
Young, Isabelle Melo and Kelly Mittendorf. Showing that you can model in ‘real
time’ is becoming as important as how you perform in still photographs. As
fashion employs new media to promote itself, moving well on camera is now a key
skill for any new model. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">In March, Piovesan made her Italian Vogue debut, not only getting a
leading editorial but the cover of its famous couture supplement. The
intersection where art and fashion meet, this is justifiably what Italian Vogue
is known for. Its international reputation for translating couture and showing it
at its best is well-established. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">The editorial, ‘The Lady in Spring’, is Vogue Italia’s interpretation of
the ladylike trend. Featuring epic, pleated gowns from Dior; Valentino’s
obsession with lace and Armani Prive’s smart play on textures, this is an
editorial designed to stimulate thought as much as desire. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">While some editorials let themselves wash over you, others pointedly
make you stop and demand you look closer.<span style="mso-spacerun: yes;">
</span>The complexity of the styling insists that we take a moment to ‘read’
the clothes the way we would read a book; taking in every detail and nuance.
Italian Vogue not only respects haute couture, it knows that in order to
appreciate it, you must understand it. Sometimes criticised for being
inscrutable, haute couture is only too willing to offer up its secrets if you
give it a chance. Couture may be complex, but it can also be immensely
rewarding; it isn’t about indulgence, but exploration. The recent innovations
reaching the red carpet at Cannes Film Festival – diaphanous skirts attached to
beaded bodices; daring cutaways and beautifully evocative prints – every one of
those concepts started life as a couture design. What once seemed outlandish now
seems both covetable and beautiful.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marie’s performance in the Italian Vogue editorial is extraordinary, but
not obtrusive; it adds another layer of meaning to the image rather than
distract us from the clothes. Sometimes couture demands drama from its model,
at other times, it needs a more subtle finish. Marie provides the latter with a
sophistication that only really comes from ‘getting’ what the designer is
trying to say. Knowing photographers and editors is all part of a model’s job,
but if you don’t engage with what you’re being asked to wear, the resulting performance
might be good, but it won’t be great.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Squeezing in a conceptual beauty editorial for the March edition of
Interview, Marie then got her moment in the spotlight when she was hired to
represent Celine in their Spring / Summer campaign.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Photographed by Juergen Teller, the campaign plays against the label’s
previous incarnation under Michael Kors, whose creative directorship steered
the brand into becoming a byword for super-luxurious glamour. When Phoebe Philo
took over the reins in 2008, after her highly successful stint at Chloe, the
label became a very different animal. Since Phoebe’s signing, Celine has
evolved into an exercise in studied luxury. It was a radical switch from the
Kors-esque glamour to a more loosely-drawn, modern interpretation of what
luxury means.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marie in this campaign wears the white shirt-dress that is the kingpin
of the entire collection. The simple shape, the impeccable tailoring are by
definition luxurious (the shirt-dress doesn’t come cheap), but it is a very new
way of wearing high-end fashion. Celine is still about luxury; as much as it
ever was, but now, the genius is not on show, but behind-the-scenes. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Piovesan’s affiliation with ground-breaking fashion continues with an
incredible multi-page shoot for the April issue of Interview. Photographed by
Fabien Baron, ‘Goya’, is an unapologetically epic shoot featuring the very best
of this season’s RTW and couture. Styled to the <i style="mso-bidi-font-style: normal;">nth</i> degree with grand silhouettes and supersized jewellery, the
editorial is named after the Spanish artist who made his name exploring the
grotesque and disturbing. Goya’s unsettling but intimate portraits, including
‘The Mourning of the Duchess of Alba’ (1797), are clearly the inspiration for
the editorial. With the Duchess wearing metres of black Spanish lace, she is
poised, self-assured with plenty of attitude – an early example of what’s
required when modelling couture. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Tracing its roots back through 18<sup>th</sup> and 19<sup>th</sup>
century art, couture has been the status symbol of choice for art’s wealthy patrons.
With ready-to-wear clothing not available until the 1920’s, society portraits painted
by Thomas Gainsborough and later John Singer Sargent, made the clothes the main
event. Gainsborough made his fortune by conveying the delicate nature of lace
and silk – committing these fabrics to canvas provided the ultimate challenge for
the ambitious painter. John Singer Sargent, who painted portraits of New York’s
emerging elite, also made light work of the new fashions being worn. The velvet
sensuality of his ‘Portrait of Madame X’ (1884) compared to the cotton
pinafores of ‘The Daughters of Edward Darley Bolt’ (1882), are prime examples
of how fashion has always been in the spotlight. The sitters may draw you in,
but the real work is in the fabric: getting brushstrokes to resemble silk can
only be done by a master. Nearly 90 years after Sargent’s death, the brush has
been replaced by a camera and the likes of Meisel, Testino and Demarchelier are
continuing to carry the torch. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">What is evident from looking at the Goya editorial is that Marie
Piovesan understands that she is the sitter, and the dress the star. She
injects a sense of history into her work that gives her modelling, whether it
is on the runway or in front of a camera, a greater depth and substance.
Blessed with a face that is traditional as it is modern, Piovesan’s gift to the
fashion industry is in reminding it of where it came from. Once a pleasure for
the privileged few; dressing fashionably is now accessible for billions of
people. In the space of 200 years, we’ve viewed fashion from a painter’s
perspective to the global lens of YouTube: however it is interpreted, fashion
continues to thrive because it continues to learn from its past. The
never-ending narrative of fashion may be told differently, but the message is
always the same: a good model and photographer work the stage for our applause,
but ultimately it’s fashion that takes the encore.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">HELEN TOPE </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-62233270345767344612012-05-20T07:06:00.000-07:002012-05-20T07:06:16.393-07:00MODEL PROFILES: CODIE YOUNG<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4eMPsGeBYXuIyKIg9C32KOK5mkqqOiJne-c_bt1SUxeIT-QZ7g3n7E_dhzcR27SDZjS9oGSRihBlkI1otcVjYxAUnf7gIxRZJ9Tf7-6sr4X0BlltUfUUMJiks-pg7aiEcX7jEkVzz0z7/s1600/Codie+Young+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4eMPsGeBYXuIyKIg9C32KOK5mkqqOiJne-c_bt1SUxeIT-QZ7g3n7E_dhzcR27SDZjS9oGSRihBlkI1otcVjYxAUnf7gIxRZJ9Tf7-6sr4X0BlltUfUUMJiks-pg7aiEcX7jEkVzz0z7/s320/Codie+Young+1.jpg" width="240" /></a></div>
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<br />
<div class="MsoNormal">
Born on 1<sup>st</sup> November 1992, Australian model Codie
Young looks set to become one of the best-known faces of the year.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Discovered in 2010, Codie signed with DNA Models. In the
same year, she got her first significant booking courtesy of Australian Vogue.
Requested specifically by Vogue editor Kirstie Clements, the magazine has a
strong history of being loyal to its home-grown talent and eager to develop
them into world players. Their track record has produced some serious editorial
talent including Catherine McNeil, Abbey Lee Kershaw, Alice Burdeu and Julia
Nobis. </div>
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<br /></div>
<div class="MsoNormal">
That October, Codie featured on the cover of Australian
Vogue (photographed by Nicole Bentley). Young wore the purple Miu Miu dress du
jour, flanked by a stunning display of pink roses. Also scoring two leading
editorials in the same issue, this was a spectacular debut, launching Codie
into the world of international modelling.</div>
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<br /></div>
<div class="MsoNormal">
Codie made her catwalk introduction in February 2011,
securing the opening spot in the Marni show. Appearing in nearly 40 shows, she
appeared for Calvin Klein, Chanel, Chloe, Erdem, Halston, Lanvin, Marc Jacobs, Rick
Owens, Rodarte, Sonia Rykiel, Thakoon and Vanessa Bruno.</div>
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<br /></div>
<div class="MsoNormal">
Returning to Australian Vogue in April, she made her
inaugural appearance in Italian Vogue in August. Photographed by Phil Poynter,
the Beatnik-style shoot featured Codie playing a super-cool 60’s ingénue.
Capturing the era in detail, this was the point where starlets started becoming
fashion icons – you didn’t have to be as big a name as Elizabeth Taylor to make
an impact. If you loved fashion and knew how to wear it, your star could rise
and rise. The Sixties really cemented the link between fashion and film, with
new stars cultivating a style persona independent of their film roles. Names
such as Brigitte Bardot and Jean Seberg set the standard which starlets aim to
replicate today.</div>
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<br /></div>
<div class="MsoNormal">
Codie experienced her second big RTW season in September
with Young closing the S/S 12 Jill Stuart show. With her other appearances
including Carven, House of Holland, Just Cavalli, Mulberry, Peter Pilotto and
Tory Burch, Codie was making crucial links with the up and coming labels.</div>
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<br /></div>
<div class="MsoNormal">
Codie’s editorial work led to other high-profile bookings in
Autumn 2011, with a campaign signing for Orla Kiely. Born in Ireland but now
based in London, Orla Kiely gives retro English style a knowing, postmodern
twist. Kiely excels at prints – her famous leaf pattern has become a design
icon. Producing ethical fashion that has seduced everyone from Kirsten Dunst to
the Duchess of Cambridge, Codie’s intensity gives the clothing a youthful edge.
</div>
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<br /></div>
<div class="MsoNormal">
Codie finally became the main attraction when i-D magazine
invited her to participate in ‘Going for the Gold’, an editorial profiling new
talent. Featuring new faces such as Alice Cornish and Tian Yi, this editorial
highlighted a fresh group of models who are re-introducing the concept of
quirky beauty to an industry that has, in the recent economic turbulence, gone
with ‘safe’, familiar faces. However, as the recession continued, the fashion
industry realised that playing it safe was not the same as being safe. Hence
the explosion of new, interesting faces, with both Saskia de Brauw and Milou
van Groesen doing particularly well. </div>
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<br /></div>
<div class="MsoNormal">
The race to find that next great face is a continuous process.
The life-cycle of a model tends to be short, and those who were discovered
around 2008-09 are already contemplating the endgame of their careers. The
tussle between agencies to sign the next big thing is always present; making a
star can be a long-drawn-out process with some models needing a gradual
introduction into the fashion world. Others start out the gate much quicker,
their look usually finding favour with an influential editor, photographer or
designer. Finding that starry face – the one that makes their agency a fortune
– is a quick-draw business. Hesitate, and that lucky find goes to a rival
agency. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Proving her worth, Codie scored the cover of the December
beauty supplement for Italian Vogue. Photographed by Greg Lotus, Codie reprises
her role in the earlier Italian Vogue editorial, giving us perfectly-honed
Sixties elegance.</div>
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<br /></div>
<div class="MsoNormal">
Completing a shorter RTW season in February, including Oscar
de la Renta and Marchesa, Codie made her British Vogue debut with ‘Spring
Forward’. Featuring Emily Baker, Romee Strijd, Elise Crombez and Maria Bradley,
Codie makes her first editorial appearance sporting flame-red hair. Going from
mid-brown, this bold new look proved to be career-defining, with Codie being
snapped up for two major campaigns.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first, Rebecca Taylor, has been a lucky signing for
Codie. A regular on the fashion industry circuit, Taylor has just gone from
solid, dependable producer of feminine fashion, to one of the hottest names in
the business. Relaunching a vintage blue tweed suit recently worn by Kate
Middleton, the ‘Kate Effect’ has transformed Taylor’s fortunes. As face of the
brand, Codie benefits by association.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second signing is the stuff of dreams, with Codie
becoming the face of the latest fragrance to be launched by Marc Jacobs.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Following a tough act in the enormously popular ‘Lola’, the
new fragrance is named ‘Dot’. It promises to be a small dose of summer; boasting
a blend of red berries, dragon fruit, coconut water and jasmine. For many, a
new Marc Jacobs perfume is always cause for celebration, but for Codie, this new
signing represents a tipping point. Depending on how well-starred this
fragrance is in comparison to ‘Daisy’ and ‘Lola’; Young’s career could begin a
whole new chapter.</div>
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<br /></div>
<div class="MsoNormal">
The last big launch for Marc Jacobs fragrances was ‘Lola’ in
2009: a floral scent with an extravagant bottle design whose campaign was
fronted by Karlie Kloss. Already on her way to becoming a major name in the
fashion industry, the ‘Lola’ signing with Karlie attached had an extraordinary
effect on her career. As the fragrance became a hit with young women across the
globe, recognition of Karlie grew accordingly. In a matter of months, Karlie
went from new kid to the must-book model of the moment. Her fanbase grew from a
small band of fashion insiders to a wave of appreciative videos popping up all
over YouTube. Blogs were dedicated to the American model, and her work eagerly
discussed and dissected. The meteoric rise of Karlie occurred because the
campaign and fragrance were both equally strong. We’ve all been seduced into
trying a new scent by a glossy campaign but felt let down by the scent: on this
occasion, no detail had been overlooked: the perfume could not help but be a
smash.</div>
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<br /></div>
<div class="MsoNormal">
Deciding not to break up a winning formula, the ‘Dot’
campaign works on similar principles to the highly successful ‘Lola’ and ‘Daisy’.
Instead of giving us uber-glamour, Codie looks directly into the camera,
holding the bottle of perfume – and that’s it. It is what it is, the campaign
implies: no tricks or subliminal messaging required. The no-nonsense approach is
unique to Jacobs and a strategy that clearly works. The red and black bottle (looking
like a ladybird) is appealing and tactile; youthful but not juvenile.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The hiring of the campaign model is crucial to the success of
any fragrance: the faces used by Chloe to sell their perfume (including Anja
Rubik) were perfectly pitched because the models exuded a cool, modern
femininity that played right into the brand’s core values. Think of Chloe and
you think of those iconic adverts: Anja the epitome of modern beauty, sub-referencing
Chloe’s golden age. That same deep-rooted connection is what every
perfume-maker aims for. The right face really can change everything.</div>
<div class="MsoNormal">
<br /></div>
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Codie’s nonchalant air makes her just right for the latest
Marc Jacobs scent. Cool, but not distant; quirky but still relatable; Codie
sums up what appeals to the generation who will buy the perfume. Old-school
glamour, normally a go-to for many perfumes, would not be right for this campaign;
pared-down, fresh-faced beauty will strike a nerve with girls<a href="" name="_GoBack"></a>
who enjoy fashion, but cultivate their own personal style. The individual, the girl
less understood, is who Marc Jacobs really sells to. It is no accident that one
of his muses is film-maker Sofia Coppola. Her celebration of new faces
including Dakota Fanning and Imogen Poots neatly dovetails with Jacobs’ vision:
neither is speaking to the girl who loves her fake tan and hair extensions.
This is for the outsider, the girl who is aware of trends, knows fashion, but
does it her way.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As the perfume nears its launch date in August, it is
entirely reasonable to expect that the campaign will have the same catalyst
effect for Codie as it did for Karlie. The perfect, quirky face for a boldly
individual generation, Codie Young could be this year’s breakout star.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
HELEN TOPE </div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-700505480363332002012-05-13T07:47:00.000-07:002012-05-13T07:47:32.410-07:00MODEL PROFILES: BETTE FRANKE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3vOgrpRxVLug0dJuH7Rs4pgjuAAH42-qan0FAUb1pg_9iOp9aPe3uVfiou8Fs-G_HFBw9lE1LRbKsQMpcQ1B5qQfup0eDra-3vMjALYyn7V14javVNeKuSW_RPfMpuOnNffEUuXUQ25O/s1600/Bette+Franke+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo3vOgrpRxVLug0dJuH7Rs4pgjuAAH42-qan0FAUb1pg_9iOp9aPe3uVfiou8Fs-G_HFBw9lE1LRbKsQMpcQ1B5qQfup0eDra-3vMjALYyn7V14javVNeKuSW_RPfMpuOnNffEUuXUQ25O/s320/Bette+Franke+1.jpg" width="214" /></a></div>
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<br />
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<span style="font-size: 12.0pt; line-height: 115%;">Born in the
Netherlands on December 3<sup>rd</sup> 1989, Bette Franke was discovered at the
age of 14. Whilst out shopping with her mum in Amsterdam, Franke was spotted by
Dutch modelling agent Wilma Wakker. </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Franke made
her international catwalk debut two years later, opening and closing the Jil
Sander show in October 2005. Also appearing for Dries Van Noten, Hermes and
Emanuel Ungaro, she was named ‘this year’s model’ by WWD. </span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Bette’s rise
was meteoric, with two contracts signed in early 2006: one for the new Stella
McCartney fragrance ‘Stella in Two’, and a cosmetics fragrance with YSL. Franke
had signed for two of the biggest brands just a year into her career. Her
distinctive face – an intense gaze coupled with the classic sexbomb pout –
helped to separate her from the slew of European models flooding the industry.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Returning to
the runway in February 2006, Franke added Alexander McQueen, Balenciaga, Chloe,
Givenchy, Lanvin, Marc Jacobs and Prada to her list of credits. She was dubbed
a rising star by <a href="http://www.style.com/">www.style.com</a> and scored a role
in the new Dolce & Gabbana campaign. <span style="mso-spacerun: yes;"> </span>Her big-money signings kept coming with a solo
campaign for Oscar de la Renta and appearances for Calvin Klein and Hugo Boss.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Franke’s
look leant itself so deftly to campaign work, it wasn’t until August 2006 that
her talents were applied to major magazine editorials. Appearing for the first
time in French Vogue, Bette modelled with Jessica Stam and Han Jin. Bette was a
shoo-in for French Vogue, at the time still under the directorship of Carine
Roitfeld. Her sultry looks were perfect for French Vogue’s penchant for paying
homage to icons such as Bardot and more recent faces such as Emmanuelle Beart
and Isabelle Adjani. Described by designer Anna Molinari as having a ‘strong
personality and harmonious curves’, Bette’s charm cast a spell that was clearly
hard to resist.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Bette had
her big runway moment in September 2006, with a mammoth 62-show season. Franke
booked shows with Alberta Ferretti, Balmain, Chanel, Jonathan Saunders, Marni,
Missoni, Roberto Cavalli, Vera Wang and Versace. A year and a half into her
modelling career, Franke was becoming a favourite with the biggest designers in
the world.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Shooting her
second French Vogue editorial in October, in 2007 she continued to make
in-roads with her campaign CV, becoming the face for Blumarine and Celine. Her
career hit another high point in October with her very first appearance in
Italian Vogue. Photographed by Nathaniel Goldberg, ‘Morning Beauty’ saw Bette
modelling exquisitely detailed eveningwear. Beautifully nuanced, Franke gave a
performance that lacked for nothing.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bette’s
career moved up another notch with a cover try for Japanese Numero in November.
Appearing in the ready-to-wear season in February 2008, Bette booked shows with
Anna Sui, Derek Lam, Hussein Chalayan, Michael Kors and Rue du Mail. It was one
of her most aesthetically-diverse seasons to date, with Bette working the
austere chic of Chalayan with Michael Kors’ Park Avenue glamour. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bette’s next
RTW season saw her opening shows for Erin Fetherston and Jenny Packham in
February 2009 (long before Packham had the Royal seal of approval). Franke’s
ability to get picked by up-and-coming designers continued later in the year
with Bette walking in shows for Todd Lynn and Mary Katrantzou. Franke ended the
year with consecutive editorials for Italian Marie Claire, by photographed by
Thierry Le Goues. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Normally a
regular on the catwalk, Bette did not return to the runway until September 2011,
but her timing was impeccable. Making her comeback in style, Bette appeared in
54 shows including Alexander Wang, Burberry, Isabel Marant, Nina Ricci, Tom
Ford and Valentino. She returned on top form in a season that was all about
celebrating the feminine. Spring 2012 has already made its presence known, with
pastel colours and delicate fabrics dominating the high-street. This look was just
tailor made to make the most of Franke’s features. While some models offer quiet
consistency, others shine when the mood of the moment coincides beautifully
with what they have to offer. Franke was uniquely placed to take advantage of
fashion’s softer season.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bette ended
the year with an appearance in V magazine. Profiling her agency, ‘DNA
Powerhouse’ Franke joined current face of Armani, Milou van Groesen, Lindsay
Ellingson, and Victoria’s Secret regulars Doutzen Kroes and Alessandra
Ambrosio.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bette’s
return to fashion included her biggest couture season to date in January 2012.
Walking for Chanel, Dior, Elie Saab, Giambattista Valli and Valentino, Franke’s
love affair with the runway continued with another huge RTW season of over 50
shows. Franke’s
standing in the industry had lost none of its power, with Bette appearing
alongside new modelling talents in a piece for British Vogue. ‘Spring Forward’
featured the best of the S/S collections, including new faces Romee Strijd,
Kati Nescher and Codie Young.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Her
editorial credits kept coming, with a spread in February’s Harper’s Bazaar and
an editorial for Spanish Vogue in March. ‘Uno, Dos, Tres...Mambo!’ saw Bette
mastering classically fiery prints from Pucci, plus sultry picks from D&G
and Sonia Rykiel.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Then came
Franke’s biggest signing to date. Shot in Mexico by Deborah Turbeville, Bette
was the latest name to become the face of Valentino. Working with Zuzanna
Bijoch, Fei Fei Sun and Maud Welzen, Franke modelled the delicately-worked lace
pieces against the backdrop of ancient ruins. Romanticism writ large, this was
a perfect collision of model and campaign, celebrating Valentino’s new (and
highly successful) exploration of soft, feminine fashion.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Spring 2012
has been Bette’s most prolific season in years, with an amazing 5 campaigns in
circulation. Working with male model Harry Gilliam in the new Hermes campaign,
Bette joins Anna de Rijk for Hogan and is photographed by Mikael Jansson for
Dior Eyewear. Her laser-beam stare comes into its own here, with Bette’s beauty
shining through the ad. In an age of laser surgery and contact lenses, eyewear
is a tough sell. Bette’s performance in this campaign will have you reaching
for your specs.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">With two
high-fashion editorials in April’s Dazed & Confused and Dutch Vogue, Bette
has never been in higher demand. Modelling Twenties-inspired flapper fashion
from Gucci, Ralph Lauren and Etro for Vogue and channelling psychedelic pin-up
meets Marie Antoinette for Dazed & Confused, Franke is at the top of her
game. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It’s no
surprise that this has been Bette’s season. Her looks lend themselves so
perfectly to the big trend of the moment that she couldn’t help but clean up.
No-one can deny that Bette’s career has been strong, packed with editorial and
runway credits, but to get to that next level, a little luck can go a long way.
As fashion turned to its more feminine side, Franke grabbed onto that
opportunity, and in the process became one of the most popular models of the
past 12 months. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">To be a career
veteran at the age of 22 is only something that could happen in the modelling world,
but Franke finds herself with a career that has never looked better, at a point
where other models are contemplating their Plan B. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Bette’s steady
stream of editorial and runway work has ensured that she is now as hotly
pursued as a newcomer fresh from their first season. Nine years after her remarkable
discovery, Bette’s career is still managing to defy the odds and astonish us
all.<span style="mso-spacerun: yes;"> </span>A perfect marriage of skill and
instinct, Bette Franke is proof that is never too late to be what you might
have been. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">HELEN TOPE </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-30919580870809893072012-04-29T06:42:00.000-07:002012-04-29T06:42:05.660-07:00MODEL PROFILES: KATIE FOGARTY<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3KTEwILviYS39JbUtKtEqlmIWiy7q66pqvNqHzli50-FQ-ygeIGyqytm6wo_UG5fDl0sJOzyeV1_cCD7iDB9Tbkwkysj-nZH33NAJd30ywiZbUT7BBGA7YCivkkjUpMc7hBmHsfcO-5c9/s1600/Katie+Fogarty+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3KTEwILviYS39JbUtKtEqlmIWiy7q66pqvNqHzli50-FQ-ygeIGyqytm6wo_UG5fDl0sJOzyeV1_cCD7iDB9Tbkwkysj-nZH33NAJd30ywiZbUT7BBGA7YCivkkjUpMc7hBmHsfcO-5c9/s320/Katie+Fogarty+1.jpg" width="238" /></a></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Born on
August 6<sup>th</sup> 1992, Missouri native Katie Fogarty signed with NEXT
Management at the age of 16. Having joined the blockbuster agency, Fogarty made
her catwalk debut that September with appearances for Jill Stuart, Kenzo, Marc
by Marc Jacobs, Ohne Titel, Philosophy di Alberta Ferretti and Prada.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The Prada
show proved to be memorable, with Fogarty tripping up on the runway. The show,
featuring the now-notorious 6” snakeskin heels, saw not only Fogarty struggle
but several other models as well. Fogarty was helped to her feet by those in
the front row, but after another trip, Katie had no choice but to remove the
shoes and walk the rest of the circuit barefoot. It was a brave move for a new
model and the footage created headlines across the world. Far from being a
disaster for Katie, the moment scored her extra press attention, with both </span><a href="http://www.models.com/"><span style="font-size: 12.0pt; line-height: 115%;">www.models.com</span></a><span style="font-size: 12.0pt; line-height: 115%;"> and </span><a href="http://www.coacd.com/"><span style="font-size: 12.0pt; line-height: 115%;">www.COACD.com</span></a><span style="font-size: 12.0pt; line-height: 115%;"> featuring her as a top newcomer of
the season.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Fogarty’s
moment in the spotlight quickly translated into big-money campaigns with Balenciaga
and Prada’s sister label, Miu Miu. The latter saw Katie model the Italian
label’s beautiful pleated dresses – a trend that continues to have fashion
momentum today. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Appearing in
editorials for Wonderland and Dazed & Confused, Katie’s next runway season
grew to 44 shows including Brian Reyes, Chloe, Christopher Kane, Herve Leger,
Jason Wu, Karl Lagerfeld, Missoni, Peter Jensen, Rebecca Taylor, Richard Nicoll
and Valentino. As well as getting that all-important kudos from some of the
biggest names in the business, Katie was a hit with fashion’s young talent,
with Kane, Nicoll and Jensen all vying for her time.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Her
successful season saw Fogarty lauded as a rising star by </span><a href="http://www.style.com/"><span style="font-size: 12.0pt; line-height: 115%;">www.style.com</span></a><span style="font-size: 12.0pt; line-height: 115%;"> and move into major editorial
territory with appearances in V and Japanese Vogue. Katie made her couture
debut in July, walking for Valentino. Her delicate features acted as the
perfect complement to Valentino’s finely-spun take on femininity.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Katie landed
another huge campaign in the autumn, this time for D&G. Photographed by
Mario Testino, this was classic territory for Dolce & Gabbana’s diffusion
label. Fun, exuberantly-styled clothes modelled against an opulent, stately
home backdrop. With the off-setting of ‘old’ style language (headscarves,
quilted jackets) on young models, D&G anticipated the trend for
vintage-feel clothes several years before it became the norm. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Katie’s
stock rose even further in September with a massive 64-show season including
the closing spot for the Roberto Cavalli show. Modelling for Chanel, DKNY,
Erdem, Jonathan Saunders, Nina Ricci, Peter Pilotto and Thakoon, Katie was
featured in some of the biggest collections of the season. Getting recognition
from the American fashion press, Fogarty landed her first editorial for W in
January 2010. Photographed by Craig McDean, ‘Run of Show’ included Elsa Sylvan,
Frida Gustavsson and Hanne Gaby Odiele in a massive shoot featuring the
season-defining looks from the best shows.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Now a runway
regular, Katie appeared in the Autumn 2010 shows in February, in a smaller
33-show season. It was smaller for Katie, but of course, in the big picture, it
was still a substantial total. Walking for Dolce & Gabbana, Giambattista
Valli and Sonia Rykiel, it was a more niche season than the one before, with
lots of newer designers in the mix including Prabal Gurung and Olsen sisters’
passion project, The Row.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Katie’s
ability to take on the biggest campaigns continued in Autumn 2010, with an
appearance in the Sonia Rykiel campaign with Anna de Rijk. Rykiel, a stalwart
of the French fashion scene, shows the flip side of groomed Parisian chic.
Rykiel takes her lead from the seamier aspects of Paris: it is not too big a
leap to imagine the Sonia Rykiel woman in the Montmartre of Renoir, Van Gogh
and Picasso. The feel of the brand is left-wing, artistic and free-wheeling,
with a thread of naughtiness running through it. Katie and Anna get the tone of
the campaign absolutely right with Rykiel sticking closely to her brand’s core
values, proving that a successful campaign doesn’t necessarily need bells and
whistles to grab our attention. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In
September, Katie returned to the runway with another massive RTW season
including appearances for Balenciaga, Giorgio Armani, Peter Som and Reed
Krakoff. Included in her list of new credits was a coveted spot in the runway
line-up for designer Mary Katrantzou. This collection saw Mary go from
hotly-tipped newcomer to fashion’s <i style="mso-bidi-font-style: normal;">grande
amour</i>. Just three years ago, Mary was operating on the sidelines of
high-fashion, but her fearless exploration of print has made Katrantzou a star.
Her success is incredibly well-timed, as we’re all getting a little braver with
our fashion choices, Mary’s way of seeing the world – a kaleidoscopic, joyful
collision of pattern and colour – is not only deemed beautiful, but downright
covetable.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Katie
continued her association with fashion’s biggest names in early 2011 with a
campaign for Barney’s department store. With stores dotted across the USA, the
store has become a go-to destination for fashion’s brightest and boldest
designs. The campaign follows suit, photographed by Juergen Teller, Nan Goldin and
William Klein. Doing everything on a grand scale, Katie joined a slew of top
models including Ming Xi, Mirte Maas, Karlie Kloss and Anja Rubik. Staged to
look like a series of candid shots taken backstage at a runway show, the
campaign makes itself the connecting link between runway and customer. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Following a
challenging editorial for Chinese Harper’s Bazaar in February, Katie added
beauty to her CV with a shoot in the March edition of Allure. ‘Spring Fling’,
photographed by Greg Kadel, also features Ariel Meredith, Hannah Holman and
Kate Spade’s newest campaign star, Anna Speckhart. Katie had already mastered
fashion, but beauty can test even the most seasoned of runway girls. In this
shoot, Katie looks cool, calm and totally on-game.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In
September, Katie’s career went long haul with a trip to Australia. Working for
Australian Vogue, she appeared in a major editorial plus the cover. The spread,
‘Night Watch’ saw Katie model sleekly gothic eveningwear. Each Vogue has its
own personality, and Australia has a penchant for classic glamour. It might be
surprising, coming from the country that as defined beach chic, but a lot of
Aussie success stories are all in the field of glamour: Alex Perry, Colette
Dinnigan, Alice McCall and Rachel Gilbert. Just like her long-standing
association with Valentino, Katie is perfect for designers who deal in
high-octane glamour. It’s a deceptively hard area to master: high-end modelling
requires a subtlety that often takes years to get right. Glamour at this level
is all about aspiration and creating that from scratch is no mean feat. Modelling
glamour with a light touch to keep it sophisticated is a balancing act that
requires confidence, poise and precision. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Katie
returned again to Australian Vogue in December with another editorial.
‘L’Afrique, c’est chic’ was an epic, multi-page shoot, featuring the tribal
trend. Teeming with Aztec prints and vibrant colours, the shoot anticipates the
surprise hit of the season. Shaking off its gap-year associations, tribal
fashion has at last scored with consumers by playing up its adaptability: worn
diluted (D&G, Stella McCartney) or in a more literal way (Kenzo), tribal
fashion can be worn in endless translations. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Its
versatility makes tribal a core modern trend. The many ways it can be worn
(even just an accessory can transform a neutral outfit) makes tribal a very
contemporary way of exploring a trend. Its complex prints and colour palette
put many off trying it for years, but its dilution on the high-street worked
wonders, with consumers at last seeing its true potential. Tribal could well
lead the way in how we digest fashion in the future: a trend that contracts or
expands to suit us, but loses none of its impact however it’s worn, is nothing
short of revolutionary. As we get choosier about where our fashion spend goes,
a trend that offers serious mileage in terms of cost-per-wear is going to get
our attention. Tribal may have started off as a micro trend, but its impact has
been phenomenal. In making adaptability the focus of our fashion desires,
thinking small could soon become the next big thing.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">As Katie
enters the next phase of her career, her ability to sell difficult trends puts
her ahead of the pack. As fashion exits its ‘safe’ era and heads into new
territories, boldly exploring print, colour and shape, the demand for models
who can take the fear out of these designs will sky-rocket. Katie not only
makes classic, familiar shapes look good, but can also work newer silhouettes
in such a way that we feel we know them. Fashion that feels (and looks) like a
friend is key to getting consumers to spend, when disposable income is at a
low. The big surprise of the recession has been that fashion consumers don’t only
want comfort, they want innovation. Individual pieces and limited editions have
soared in popularity with new designers doing particularly well. The fact that
we are buying these designs is empowering the fashion industry to create fashion
that is bigger, better, stronger. Challenging the limits of what we wear, the
future of fashion’s creative edge has never looked so good. </span></div>
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<span style="font-size: 12pt; line-height: 115%;">HELEN TOPE </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-80593137234526363002012-04-15T07:17:00.005-07:002012-04-15T07:27:11.892-07:00MODEL PROFILES: KATRYN KRUGER<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdc-jhAapT4o91cvuA2gcOId6RaURidFExNwcpO1pbZff7lIigtl958CtGs0wbt4En-wk9zoz_97jfKdOBqdj8WHnF7S0EkHfITmvEPZHOw53tFBTmCHBQPmA70EMXrz2Ewe8dOhFd21fi/s1600/Katryn+Kruger+1.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 296px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdc-jhAapT4o91cvuA2gcOId6RaURidFExNwcpO1pbZff7lIigtl958CtGs0wbt4En-wk9zoz_97jfKdOBqdj8WHnF7S0EkHfITmvEPZHOw53tFBTmCHBQPmA70EMXrz2Ewe8dOhFd21fi/s400/Katryn+Kruger+1.jpg" alt="" id="BLOGGER_PHOTO_ID_5731631608708854130" border="0" /></a><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> 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mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif""><br />Born in Cape Town in 1995, South-African model Katryn Kruger may be a newcomer to the fashion industry, but she is already setting a new standard.</span> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Katryn’s first introduction into modelling came courtesy of Prada in early 2011 modelling for their resort look-book. Kruger made her runway debut in October with an appearance for Givenchy. Walking for the French label as an exclusive, Kruger went on to work for Jalouse magazine with two consecutive editorials.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">The first, ‘Top 8’ profiled new model talent including Caitlin Lomax, Isabella Melo and Anouk de Heer. The second, ‘Block Beauty’, saw Katryn take centre stage with a high-end beauty shoot. The theme was faces and themes of cinema: Katryn modelled looks that took inspiration from sources as diverse as Greta Garbo, Blade Runner and Bambi. The Garbo photo is a particular success with Kruger channelling the German star’s reluctant celebrity.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Taking on haute couture in January 2012, Kruger modelled for Elie Saab, Valentino, Giambattista Valli and Zuhair Muraud. With the obvious exception of Valentino, all the other couture houses are recent additions to the select group of couturiers working in Paris. Now with the appointment of Raf Simons to the post of artistic director at Dior, couture looks set to enter a new age of strong and fearless design. Simons, who up till recently worked as the creative director at Jil Sander, transformed a minimalist label into a byword for postmodern elegance. Taking on fashion’s toughest challenges, he gave minimal fashion the push it needed to move on from its Nineties roots. Neon cashmere and moulded hems, under Simons’ tutelage, became must-have items. Using new fabrics and techniques, Simons made the Jil Sander brand an esoteric delight: fashion packed with intelligent choices. His ability to take fashion to the forefront of innovation makes him a very exciting prospect when it comes to taking on Dior Couture. With its extensive history, the temptation to stay in the retro comfort zone is understandable. But with the hiring of Simons, the only logical progression for Dior is forward. With Simons’ first couture collection due in July, the small world of haute couture is about to get a whole lot bigger.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Katryn hit the ready-to-wear catwalks in February, with numerous appearances for some of the world’s biggest names. Walking for Louis Vuitton, Chloe, Roland Mouret, Dolce & Gabbana, Prada, Ralph Lauren and Donna Karan, Kruger’s first major season was a virtually perfect template of a top model’s booking sheet: all the must-book labels are accounted for, with edgier new talent also included. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">In March, Katryn made her first appearance for V magazine, working with photographer Benny Horne. The spread, ‘Trophy Club’, sees Kruger model sportswear. A side-trend perfect for those not swayed by the girlish glamour served up by Louis Vuitton, this luxurious take on sportswear makes it an attainable look for those who like their fashion a little more casual. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Kruger’s next booking was anything but casual – following her earlier work with the Italian label, Kruger (still a relative newcomer to the industry) was hired to take part in both the campaign and video for Prada’s Spring / Summer collection.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Already a hit on the runway, the crowd-pleasing collection was represented by both established names and some less familiar. Working with photographer Steven Miesel were Natasha Poly and Guinevere van Seenus, along with newcomers Elise Crombez, Meghan Collison and Ymre Stiekema. The eclectic mix of beauty, from Natasha’s all-out glamour to Meghan’s quirky cool, was an unusual choice but a choice that turned out to be inspired casting. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">With everyone wearing the 50’s inspired pieces, the cohesive quality of the campaign draws you in. There is not a wasted moment in this campaign: every look and every gesture adds flavour and piquancy to an already well-received collection. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">The campaign video also works on the same principles, with the models coolly eyeing each others’ garb at a gas station. Packed with references to classic Americana, the video is a love-letter to everything great about retro-fashion. The duster coats, the have-to-look-twice printed dresses – all perfectly handled, but at the same time, nothing here feels dated. With the use of contemporary music including Sleigh Bells and Ariel Pink, Prada have hit a home run, with a campaign video that is proving to be extraordinarily popular. So far it has clocked up over 300,000 hits on YouTube. To put this in perspective, Prada’s campaign video for Spring / Summer 2011 has been viewed 32,000 times.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">In the video, Kruger gets the lion’s share of the camera’s attention, her classic features sitting perfectly in the retro feel of the campaign. Kruger is the main focus at the end of the video – as coveted as an opening or closing spot in a runway show, Kruger makes a lasting first impression, with a performance that is assured and confident. It would be an accomplished debut for any model, and a star-making move at that, but it is remarkable when watching Katryn to think that you are watching a 16-year-old with minimal modelling experience. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Kruger’s appearance for the Prada S/S 12 campaign has made her a name, not only among the hundreds of thousands of fans viewing on YouTube, but within the fashion industry itself. Her latest work, an editorial for Interview, again shows that Kruger may be young but has the potential to become an international star. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Wearing Stella McCartney’s latest collection, Kruger’s ease at modelling what is a challenging body of work invites us to draw direct comparisons with other models. Kruger’s phenomenal rise is down to more than just her perfectly-set classic features: no face, no matter how beautiful, would be enough to secure you a booking with Prada. The Italian powerhouse label regularly take chances on new models, but every one of those models ends up becoming a name because Prada know how to draw out talent. Looks are no longer enough in an industry where perfection is the norm: you have to have something else to offer. Recent success stories such as Karlie Kloss, Lindsey Wixson and Arizona Muse show exactly how modelling is not a game of luck, but a game of skill, and how some come to the table with a more defined skills-set than others.<span style="mso-spacerun:yes"> </span>Muse’s endlessly adaptable face; Lindsey’s unforced quirkiness and Karlie’s agility all make them one-of-a-kind. The things that should make them not ‘work’ are of course the reasons why Wixson, Kloss and Muse are so enormously successful. Karlie’s dance background, Muse’s statement eyebrows and Wixson’s dollhouse pout should, in theory, rule them out of modelling at the highest levels – but each of them has excelled without compromising what makes them unique.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%;font-family: "Arial","sans-serif"">Already on the ascent, Kruger’s unique selling point is easy to figure: a fearless approach to runway and campaigns with a commercially-friendly face. Equipped with these advantages, Katryn’s next career move could be in any direction. Just like Arizona Muse who made a huge impact on an unsuspecting fashion industry back in 2010, Kruger has the type of face that can apply itself to any type of design philosophy, and adaptability sells. With the potential to go anywhere from Italian Vogue to Victoria’s Secret (and everywhere in-between), Kruger is redefining the standards of what it takes to break away from the pack and become that rising star. With a stellar career in progress, the only direction for Katryn Kruger is up.</span></p> HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-11075669638224342102012-04-09T05:16:00.005-07:002012-04-09T05:22:50.376-07:00MODEL PROFILES: SARA BLOMQVIST<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0RmNz5D30fvc0Ulrqq_6E3IQUEwTO0puZqH_PALpm39oP5DRJgbco6fT1A2ThRh1EvqQukkro0GHzxjuImyPftC69cUwildaruQ6wU23zmN1BACQpDlsKqBKk925TiwMIuzju732BqElw/s1600/Sara+Blomqvist+2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0RmNz5D30fvc0Ulrqq_6E3IQUEwTO0puZqH_PALpm39oP5DRJgbco6fT1A2ThRh1EvqQukkro0GHzxjuImyPftC69cUwildaruQ6wU23zmN1BACQpDlsKqBKk925TiwMIuzju732BqElw/s400/Sara+Blomqvist+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5729373911247934738" border="0" /></a><br /><!--[if gte mso 9]><xml> <w:worddocument> 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mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="font-size:12.0pt;line-height:115%">Discovered whilst attending a horse show in 2007, Swedish-born Sara Blomqvist has been one of fashion’s stealth stars.</span> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Born April 8<sup>th</sup> 1989, Sara signed with agency Viva in Paris the same year. Debuting on the international runway circuit that September, Sara appeared for Aquascutum, Christopher Kane, Dries van Noten, Jonathan Saunders and Vanessa Bruno. A hit in both Paris and London, Sara made an even bigger impact in Milan, agreeing to walk in the Prada show as an exclusive.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The Prada connection was enough to get Sara started: booking a Philosophy di Alberta Ferretti campaign for early 2008 got her noticed by the fashion press, with </span><a href="http://www.hintmag.com/"><span style="font-size:12.0pt;line-height:115%">www.hintmag.com</span></a><span style="font-size:12.0pt;line-height:115%"> featuring her as a rising star.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In February 2008, Sara took to the runway again, this time opening shows for both Christopher Kane and Armand Basi. Website </span><a href="http://www.models.com/"><span style="font-size:12.0pt;line-height:115%">www.models.com</span></a><span style="font-size:12.0pt;line-height:115%"> featured Sara as a Top 10 Newcomer. A regular fixture of fashion weeks, making the list is as much a rite of passage as a cover of Vogue. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The internet has seen an explosion of interest in models, as runway clips and campaign shoots routinely get commented on and dissected. The freedom of expression brings fashion to a whole new audience, who can without censorship, discuss the hottest new face or that controversial cover choice. The influence of the internet is such that names can be made virtually overnight, with even the briefest of nods from the right website. Now an institution, </span><a href="http://www.models.com/"><span style="font-size:12.0pt;line-height:115%">www.models.com</span></a><span style="font-size:12.0pt;line-height:115%"> definitely falls into that category.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Sandwiching in some editorial work for Numero and Amica, Sara had her first booking with Interview magazine in September 2008. Working with Freja Beha Erichsen, and photographed by Mikael Jansson, it was a smart choice for Blomqvist.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Magazines like Interview, V and Numero have worked hard to separate themselves from the bigger names of Elle, Marie Claire and Vogue. Just as fashion needs diversity to grow and thrive, the publications it appears in need to be equally wide-ranging. The fact that there is such an appetite for alternative views on fashion puts magazines – and the models they choose to showcase – at a very strong advantage.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Blomqvist’s hold on fashion’s directional design houses was rapidly becoming a given, but Sara was still capable of surprising everyone. In 2009, she was announced as the new face of Armani Jeans. Photographed by Mert Alas and Marcus Piggott, Armani was already starting to think outside the box when it came to hiring models. Their experiment in using an edgy face to sell a blockbuster brand was a bold, game-changing strategy. Currently represented by Milou van Groesen, Armani has proved itself way ahead of its competitors, hiring Sara a whole two years before Versace booked face-of-the-moment, Saskia de Brauw.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">September 2009 saw Blomqvist step up in terms of her runway hits, including several opening and closing spots with Jonathan Saunders, Missoni, Christopher Kane, Sportmax and Miu Miu. Her other credits included Alexander McQueen, Burberry, Dolce & Gabbana, Jaegar, Lanvin, Mark Fast, Mulberry, Paul Smith, Prada, Richard Nicoll, Rue du Mail, Valentino and YSL. It was a curious mix of heritage labels plus early collections from Kane, Fast and Nicoll – the new names on the circuit that would become major industry players.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The high esteem in which Sara was held translated into further editorial bookings, including Russian Vogue in April, Japanese Numero and French Vogue in May and her first Italian Vogue shoot in June. Photographed by Steven Meisel, ‘All Tomorrow’s Parties’ was a heady, stylised vision of Euro nightlife featuring Meghan Collison, Anna de Rijk and Nimue Smit. Sara was rapidly becoming an international commodity.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In February 2010, Sara had her biggest ready-to-wear season to date with over 64 appearances.<span style="mso-spacerun:yes"> </span>The A/W collections were an important marker in fashion’s recent history, with Marc Jacobs producing his ‘back to neutral’ show; Burberry piloting aviator jackets and Prada and Louis Vuitton exploring the best of the 1950’s. It was a season that sold us on new winter textures and the beauty of retro shapes. Blomqvist appeared in some of the big shows of that season including Burberry, Prada and Louis Vuitton. If Blomqvist ever needed reassurance that she had made it, this was the season that proved her worth.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The mammoth RTW season in February saw Sara switch to Paris in July for her very first couture season. Walking for Valentino and Chanel, you simply could not wish for a better initiation in the world of haute couture.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Blomqvist expanded on her couture experience in January 2011 with further appearances for Chanel and Valentino, plus Elie Saab. Sara’s career also came full circle in Spring 2011 with an appearance in the Prada Fantasy lookbook. Sara found herself working with Prada alumni Mariacarla Boscono, plus Jessica Stam, Lindsey Wixson, Ginta Lapina and Jourdan Dunn. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">This was the ‘swirls and stripes’ collection – in theory, a ‘hard-sell’ collection, Prada smartly traded on its quirkiness. In its decision not to shy away from the collection’s complexity, Prada made difficult fashion feel fresh, modern and totally of the moment. It became the defining image of Spring / Summer 2011: playful, exuberant and full of natural energy. Enthusiasm can never be faked with any degree of success – the lookbook joins the accompanying campaign and video in being genuinely excited about new ways of wearing print. The stripes and swirls worn side by side were Prada’s nod to our growing confidence in trying new ways of wearing old favourites. Stripes are as perennial a Spring / Summer favourite as it’s possible to get, but paired with baroque swirls, they look anything but old hat.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Sara continued to be a great draw for both cutting-edge and more mainstream labels in September with a 57-show season, and then in Autumn, she made her campaign debut for Valentino.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Working with Ruby Aldridge, Kim Dall Arni and Caroline Brasch Nielsen, this collection sees Valentino return to its vintage roots, with high collars and long sleeves. Valentino’s career was kick-started when his early designs were picked up by a recently-widowed Jacqueline Kennedy, and it’s not hard to trace the lineage of this Italian luxury label to its recent collections: glamour with a sophisticated leading edge.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In December, Sara booked a special campaign with H&M, celebrating the release of ‘The Girl with the Dragon Tattoo’. The recent influence film has had on fashion has ranged from more casual attire (Bella, ‘Twilight’) to extreme body jewellery getting a mainstream boost. Rooney Mara in her role as Lisbeth Salander seems an unlikely style icon, but her uncompromising role has sparked a huge surge of interest in fashion’s darker persona. Body jewellery that was usually reserved for specialist shops can now be bought in the most prolific high-street stores. It seems that when it comes to our fashion choices, we’re not only getting braver, we’re getting a little darker too.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Sara finished the year with yet more runway work, this time appearing in the Pre-Fall show for Chanel. The resort / pre-fall collections are gaining in importance: as fashion moves ever faster, two main collections per year just aren’t enough to satisfy our appetite for newer, bolder designs. As well as being a pre-cursor, nudging us towards the upcoming trends, these smaller collections allow designers the space to explore their ideas on a different scale. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Jason Wu’s 2012 pre-fall collection, for example, was a wonderful extension of his previous ideas: his love for florals became an altogether different species when hung against the backdrop of sharp, gothic lines. Highly successful in its own right, Wu’s bold new vision was already claiming red-carpet space months before his A/W line was unveiled.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Sara began 2012 itself with another strong RTW season, perhaps her most eclectic season to date, with bohemian labels like Kenzo and Dries van Noten rubbing shoulders with the high-glamour vision of Dolce & Gabbana. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Also featuring in prolific editorials for Love and American Vogue, Blomqvist stretched herself even further with a beauty spread for ‘Another’ magazine. ‘Pastels and Metallics’ takes a look at the pastel super-trend, but in coming at it from the beauty perspective, tricky shades of lilac and peach become wearable, with delicate washes of colour on the eye, muted lips and brighter statements on the nails.<span style="mso-spacerun:yes"> </span>Editorials like this show how a fashion trend can be put within everyone’s reach.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The most recent editorial appearance made by Sara proves to be the most enlightening. Another niche publication, ‘The Last Magazine’, features Blomqvist in an article featuring behind-the-scenes photographs from New York Fashion Week. The twist is that Sara is the photographer, taking snaps of her fellow models including Kate King and Othila Simon. Sara, a keen photographer in her down-time, takes photos from rehearsals and backstage, adding comments, which neatly tell the story of the real experience of being a model at Fashion Week. It is a scenario that Blomqvist herself is extremely familiar with: lots of waiting around and crowded, frantic preparations. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Her interest in photography isn’t surprising: a good model needs to be a sharp-eyed observer; taking in detail and nuance for runway shows and complicated editorials. The fact that many models have gone behind the lens (famously including Helena Christensen and Tyra Banks) draws parallels between being observed and also the need to observe. Five years into what has been an incredible career, Blomqvist must also be thinking of her next move, and photography seems like the logical step for someone who has made her name on being both deeply intuitive and fiercely intelligent. Modern in both style and approach, Sara represents fashion’s next chapter: bravery, diversity and innovation.</span></p> HELEN TOPEUnknownnoreply@blogger.com1tag:blogger.com,1999:blog-7280831543308767396.post-33207525047677549192012-03-25T06:08:00.004-07:002012-03-25T06:17:53.432-07:00MODEL PROFILES: JOSEPHINE SKRIVER<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkVuzJ2dpVoLarVP0BrmPZpJ_Kiq5jJzBJxUU2xxH-iuDKFX991UzAcAPwyXR0ddLPR7_oL365zEq0YS2sRbqOSv5Sw2_sr_DiCNXJV0MrTpsKNp7ONvIwDYJo3Wt63v63-WPcVrv97sH/s1600/Josephine+Skriver+3crop.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 308px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkVuzJ2dpVoLarVP0BrmPZpJ_Kiq5jJzBJxUU2xxH-iuDKFX991UzAcAPwyXR0ddLPR7_oL365zEq0YS2sRbqOSv5Sw2_sr_DiCNXJV0MrTpsKNp7ONvIwDYJo3Wt63v63-WPcVrv97sH/s400/Josephine+Skriver+3crop.jpg" alt="" id="BLOGGER_PHOTO_ID_5723820970984624786" border="0" /></a><br /><!--[if gte mso 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unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; 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In October 2008, Skriver was featured by <a href="http://www.models.com/">www.models.com</a> as a newcomer, signing with Marilyn agency in 2010. <p class="MsoNormal">Skriver made her ready-to-wear debut in February 2011, making an early impact as she was picked to close the Prada show. Also walking for Chanel, Chloe, DKNY, Gucci, Haider Ackerman, Lanvin, Nina Ricci, Valentino and YSL, even without the Prada closer, this would be safely classed as a debut of significance. </p> <p class="MsoNormal"><a name="_GoBack"></a></p> <p class="MsoNormal">Locating the source of Skriver’s appeal isn't difficult: even in fashion, faces like Josephine’s don't come along that often. Like Sasha Pivovarova, Anais Pouliot and Anja Rubik, Skriver finds herself part of a small group of models who would be readily termed as ‘real-life pretty’ but still ‘high-fashion friendly’. It is, in terms of selling clothes, a tough combination to resist.</p> <p class="MsoNormal">Skriver channelled that beauty in May 2011 with an editorial for German Vogue. Photographed by Greg Kadel, ‘Uber Sinnlich’ was a series of black and white beauty portraits. It was a challenge Skriver was tailor-made for.</p> <p class="MsoNormal">In July, Josephine made her first appearance in Italian Vogue, photographed by Steven Meisel. ‘Pret a Porter’, featuring Emily Baker, Fei Fei Sun, Anais Pouliot and Juliane Gruner, covered some of the upcoming Autumn / Winter trends in a series of quirky, characterful portraits. Meisel, always a champion of new talent, makes light work of these portraits: getting the best out of each model, it is hard to believe that some of these models are only months into their career.</p> <p class="MsoNormal">Also in July, Skriver appeared for the first time on the couture runways of Paris. Walking for Azzedine Alaia, Dior, Giambattista Valli, Valentino and Zuhair Murad, these were classic and newer labels specialising in glamour. Valli and Murad are fast catching up to the more established names (Dior, Valentino) in providing high-profile clients with memorable one-of-a-kind looks: Murad already counts Jennifer Lopez as a red-carpet regular. </p> <p class="MsoNormal">The face of couture is changing: out-and-out creativity still rules, but the big statements of a decade ago are being steadily replaced by an interest in great craftsmanship and boundary pushing detail. There have been concerns that couture’s love-in with Hollywood’s A list could mean an end to bold, creative thinking, but this simply hasn’t happened. The series of space-age gowns from Armani Prive (Spring 2010), deemed only suitable for the catwalk, proved immensely wearable for Hollywood’s elite on Oscar night. Indeed, as Hollywood is becoming bolder in its sartorial choices, couture is proving uniquely able to meet the challenges in making one-of-a-kind, career-defining gowns.</p> <p class="MsoNormal">The expectation that couture would die a quick death during the economic depression has been proved wrong. Haute couture is in better shape than it was ten years ago; the designs haven’t got softer – the designers have got tougher in pushing couture detail not as blue-sky dressing, but real alternatives to the classic shapes we all know and love. Designers are more aware than ever of whom they are designing for, and it is this tightening of focus that has saved couture. Applying the lessons learnt from selling RTW in a tough economy has meant couture is still creative, but it is creativity smartly applied.</p> <p class="MsoNormal">Josephine’s popularity for catwalk hiring grew in September 2011 with a massive 68-show season. Opening shows for Jaegar and House of Holland, she also appeared for Balenciaga, Christopher Kane, Fendi, Jason Wu, Peter Som, Prabal Gurung, Rodarte and Versace.</p> <p class="MsoNormal">Ending the year with editorials with German Vogue and Dazed & Confused, Josephine made her inaugural appearance in American Vogue in January 2012 in the seminal feature ‘A Man for All Seasons’.</p> <p class="MsoNormal">Also in January, Josephine again proved a hit with couturiers, appearing for Armani Prive, Basil Soda, Elie Saab and Atelier Versace. Josephine’s universal type of beauty correlates particularly strongly with couture. Its experiments in creativity give the clothes a timeless quality beyond immediate trends. Couture has that space to think big and its resulting ideas can be predictors of trends to come, or just beautiful clothes that exist like satellites. Josephine’s face may be a rarity, but it is textbook for couture: not an extreme, not a distraction, but a perfect complement.</p> <p class="MsoNormal">Skriver’s stronghold on runway bookings continued in February with another blockbuster RTW season, featuring Gucci, Erdem, Tom Ford, Peter Pilotto, Marc Jacobs, Prabal Gurung and Michael Kors. A noticeable favourite with American super-brands (Kors, Jacobs, Ford), Josephine also impressed newer designers including Peter Pilotto and Prabal Gurung. Prabal in particular is a savvy booking for Josephine at this point in her career, as Gurung moves into the big-time. His gold cut-away gown worn by Jennifer Lawrence at the premiere for ‘Hunger Games’ has sealed his reputation on red-carpet wear that’s absolutely on the fashion pulse. Gurung’s profile is soaring as he is set to join the ranks of Jacobs and Ford as a must-book designer.</p> <p class="MsoNormal">Also hitting the cover of the S/S H&M magazine in February, March proved to be an epic editorial month with Josephine appearing in Dansk, Chinese Vogue and Mixte. Skriver’s campaign roster continued to build with campaign videos for Gucci Cruise and MaxMara Weekend plus an appearance in the multi-model campaign for Bulgari’s Omnia Coral fragrance.</p> <p class="MsoNormal">Featuring alongside Taryn Davidson and Carola Remer, this is the perfect summer fragrance campaign, with Bulgari gems and exotic flowers providing the accents. With some of the best fragrance campaigns, the personality of the perfume is so clearly delineated that you can almost smell the scent: this advert tells you very clearly what to expect.</p> <p class="MsoNormal">This month, Josephine hits the headlines featuring in an editorial for American Vogue. ‘Checking Out’, photographed by Tim Walker, is a multi-page showcase for veteran model Kate Moss. Posing in a Ritz Paris hotel suite, Moss proves she has lost none of her magic. Josephine joins Mirte Maas, Sigrid Agren and Patricia van der Vliet in Valentino Couture, posing as ‘ladies-in-waiting’.</p> <p class="MsoNormal">The question of who will take over from Moss as modelling’s next big star is still very much up for grabs. Some (Lara Stone, Gisele) have come close to replicating that star power, but Moss remains at the top of her profession two decades after her discovery. No-one wants to be the following act that always pales in comparison, but it is looking more and more likely that Kate is an isolated case of all the right factors coming together. From her early work with Corrine Day; the career-changing contract with Calvin Klein to her unrivalled domination of covers, campaigns and editorials, Kate has had an almost unblemished career.</p> <p class="MsoNormal">Her success is routinely traced back to her greatest asset: that face. At age 38, she photographs as well as she did for Corinne back in the early Nineties. Ever since Kate’s discovery, the search has been on for the next great face: versatile, universal and immensely photogenic.</p> <p class="MsoNormal">This, in tangent with her style, is Moss’ greatest gift to the modelling industry. Instead of turning up one face of note, the search has resulted in a renewed appreciation of great faces. Body types come and go, but there is a quality about beauty that enables it to both transcend and embody a trend. The type of beauty that everyone understands is still an unusual find even in the modelling industry, and for some time, its power has been greatly underestimated. </p> <p class="MsoNormal">The allure of a classic face is not simple, it is primal: we are programmed to respond to it, and in turn, it ticks every box. This is well illustrated in Josephine’s career to date, which spans credits from Bulgari to H&M. Her extraordinary popularity on the catwalk bears testament to just how adaptable this beauty can be. </p> <p class="MsoNormal">For all fashion likes to talk up bold, edgy talent, it’s hard to ignore the robust quality of Josephine’s career. Fashion’s love for universal beauty is laid bare in cases like Josephine where credits stack up one after another. As this season fashion celebrates the feminine in all its forms, Skriver looks set to enjoy an even rosier phase of her career. Pretty may be back – but did it really ever go away?</p> HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-58895152808601086782012-03-18T08:52:00.004-07:002012-03-18T09:21:56.869-07:00MODEL PROFILES: NYASHA MATONHODZE<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghCZnGA2lJCFJBSox5SAmkHPsXObG2bcom-rKJMSI1scnrCDETMsTUZbjhLs_RyHj5m8c9uBe40L-JVbwmBG9oxwWff0IexRtTBzgzHeUYtHfnAF_9xc3ysctlZ083IOBPjb6cg1p0S7Te/s1600/Nyasha+Matonhodze+by+S%25C3%25B8lve+Sundsb%25C3%25B8+for+Vogue+Japan+November+2011_4.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 311px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghCZnGA2lJCFJBSox5SAmkHPsXObG2bcom-rKJMSI1scnrCDETMsTUZbjhLs_RyHj5m8c9uBe40L-JVbwmBG9oxwWff0IexRtTBzgzHeUYtHfnAF_9xc3ysctlZ083IOBPjb6cg1p0S7Te/s400/Nyasha+Matonhodze+by+S%25C3%25B8lve+Sundsb%25C3%25B8+for+Vogue+Japan+November+2011_4.jpg" alt="" 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unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif][if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Born on the 31<sup>st</sup> July 1994, British model Nyasha Matonhodze is a home-grown talent making an impact on an international stage.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Raised in Northampton, Nyasha entered the Elite Model Look contest in 2009, ending up as a finalist in the World Final after winning the British heat. The Elite Model contest has an excellent track record: its alumni include Gisele, Cindy Crawford and Helena Christensen.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Readily compared to Naomi Campbell, Nyasha had big expectations placed on her at the age of 15. She signed up with Elite Models the same year, making her catwalk debut in September 2010.<br /></span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">She had her first major ready-to-wear season in February 2011, with a mass of bookings including Erdem, Lela Rose, Marc by Marc Jacobs. Mary Katrantzou, Rachel Roy, Sass & Bide. Following this a month later with editorials in Harper’s Bazaar and Teen Vogue, Nyasha was already building a career most models would envy.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Her appearance for Teen Vogue was a particularly good signing, as they featured Nyasha as a name to watch just a month later. The magazine has a history of spotting future stars including Karlie Kloss and Lindsey Wixson. Teen Vogue acts as a perfect launch pad for new models by giving editorial opportunities to up-and-comers. A crucial building block in a model's career, Teen Vogue represents an important step in getting those editorial bookings. The magazine, though targeted at teenagers, has become increasingly influential in the mainstream press as it schools a new generation in the how, where and why of high-fashion. Appear in Teen Vogue, and other bookings will follow.<br /></span></p> <p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Nyasha’s star soared with her first magazine cover. Photographed by Mert Alas and Marcus Piggott for the Spring issue of Love, Nyasha channelled fashion gothic in a self-titled ‘Supernatural’ issue. Her confidence in front of the camera prepared her for her biggest break so far. In Autumn 2011, Nyasha was hired to appear in the latest campaign for Louis Vuitton.<br /></span></p><p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Photographed by Steven Meisel, Louis Vuitton became a lone star in an Autumn / Winter season chiefly concerned with soft textures and cocoon shapes. A collection based on military chic stood out, and this played to Nyasha’s advantage as the images went global, both in print and online. Modelling with names such as Anais Pouliot, Nyasha’s performance was remarkable for its cool confidence. In these images, she looks every inch the supermodel-in-waiting, not allowing herself to be intimated by the enormity of the situation. A Vuitton campaign, photographed by one of the most famous fashion photographers in the world, would be enough to throw even an experienced model. Nyasha looks calm, assured and utterly at home. It was a debut not only promising a great deal, but delivering it too.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In her second campaign booking of the season, Nyasha got the chance to represent Britain in a campaign series for Topshop. In high-street terms, this is as good as it gets. Featuring Nyasha with Kate King and Hailey Clauson, Topshop has mastered the art of making high-street as covetable as high-fashion. Topshop, a uniquely British success story, excels because it refuses to pander to its audience. It sets high standards in terms of following and translating trends fit for retail, creating pieces as keenly valued as the high-fashion original. Topshop even starts micro-trends, from dalmatian print to skater dresses. It is a store with a strong sense of its own identity – and power. Topshop’s campaigns are notable for using the latest faces and Nyasha joins Kate and Hailey in a campaign that’s sleek as it is sophisticated.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Nyasha became even more in demand, with a 47—show season in September. Working the closing spot in the Balenciaga show, Nyasha’s other highlights included Givenchy, Elie Saab, Givenchy, Oscar de la Renta, Marchesa, Prabal Gurung, Tory Burch and YSL. This was the season of a model not just on the rise, but with very real potential to become a big star.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">With consecutive editorials in W, American Vogue and Numero, Nyasha rounded out her clutch of editorial bookings with a spot for Japanese Vogue in November. The feature, named ‘Movement and Shape’, was a dynamic solo shoot for Matonhodze, seeing Nyasha work epic fashion from the likes of Alexander McQueen. </span></p> <p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%;">Ending 2011 with an elegant mini-shoot for American Vogue, Nyasha began 2012 with another spread for the iconic magazine. ‘A Man for All<span style="mso-spacerun:yes"> </span>Seasons’ was a tribute to the work of Marc Jacobs. With models standing on a scaffold wearing his most prolific designs, the editorial ably demonstrated how large an impact Jacobs has had on the fashion industry. If there’s been any trend that’s sparked your imagination, chances are Jacobs started it first. Polka dots, midi-hems and grunge-luxe have all had an image reload on Jacobs’ watch.Even the classic items in your wardrobe got a high-fashion nod two years ago in a famously game-changing collection.<br /></span></p><p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Jacobs, along with Miuccia Prada and Karl Lagerfeld, is one of fashion’s great sartorial rebels. His collections rarely bear any resemblance to what else is going on that season. His designs always tend to be one step ahead, but his best collections always feature individual pieces that are perfect for now. American Vogue’s tribute to Jacobs could not be more aptly named: whatever else is going on in fashion, you can rely on Marc to be a man for all seasons. It’s rare to find a designer equally strong in both S/S and A/W collections – they often have a preference, whether that’s personal choice or the label's tendency to lean towards one season over the other. Matthew Williamson’s gift at mixing bright colours makes him an automatic stand-out for S/S where YSL’s austerely Parisian take on tailoring finds its natural home in the A/W collections.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">But Jacobs never feels like a designer we can pin down: his intoxicating, 70’s-inspired collection last year was just as talked-about as his bold, jazz-style riff on 40’s silhouettes. If Jacobs does have a preference, he keeps it well hidden.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Nyasha returned to Love magazine again this Spring with another show-stopping performance. ‘A Chorus Line’ photographed by Solve Sundsbo, Love explores fashion’s current love affair with all things vintage. Featuring Ajak Deng, Kati Nescher and Josephine Skriver, this is a tribute to the choreography seen in 1940’s Hollywood musicals. The military precision of the models pays homage to the steely eye of choreographer Busby Berkeley. Responsible for some of the most breathtaking dance sequences ever laid down on film, Sundsbo expertly mimics the razor-sharp lines of Berkeley’s famous chorus line. It is at once totally modern and wonderfully old-fashioned.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Nyasha returned to the runway in February, adding Zac Posen, Burberry, Rodarte and Richard Chai to her list of credits. Adding another major campaign to her CV this Spring, Nyasha took part in the resort campaign video for Balenciaga with Miranda Kerr, Milou van Groesen and Jamie Bochert. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The campaign video has gone from fashion curiosity to an established means of promoting a label in a very short space of time. It acts as a companion piece to the 2D campaign we’re more used to seeing, but more importantly, it provides a third dimension to the high-fashion experience. A 2D campaign can tell us how a collection looks, but the genius of the video is that it can give you a very good idea of how fashion fits, moves and feels. The latest must-see video from Prada’s S/S 12 collection is a masterclass in how to show off fashion to its best advantage. The swishing of the pleated skirts and the twinkle of the brocaded duster coats – they are all compelling arguments for the campaign video. Available to watch on YouTube well beyond the season they hail from, the video extends the life of a campaign, building a library of images that come together to form a richer, more detailed picture of a label’s history. It’s not just about fashion nostalgia but providing a label with the means of making a solid and formidable presence online. A glossy ad in the latest copy of Vogue is good, but no longer enough – success is now also measured by the number of hits your video gets. Success on the internet is a ripple effect: if one person shares your video with five friends, and they share it with five of theirs – the word about your label spreads remarkably quickly.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The internet has transformed the way we buy fashion, but now it is changing how we engage with fashion on an intellectual level. A label has not only got to win our hearts, but our minds as well. The video that makes a connection with both pays for itself several times over. If we like the video, we remember the label, and in a crowded marketplace, brand memory can be fickle. A stunning campaign video can hardwire itself into your memory and that’s exactly where every label wants to be. The campaign video is no longer a novelty, but a marketing tool of devastating effectiveness.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In reviewing Nyasha’s rise to the top, the question of whether fashion has learned to love diversity is one that can, for the moment, be put to rest. The Top 50 list on <a href="http://www.models.com/">www.models.com</a> features models from Japan, Holland, Australia, Brazil and Croatia, and these are all models working at the very highest levels of their industry. Just like the growth in new technology, diversity is also no longer a novelty, but a given. Nyasha has the good fortune to be entering the fashion world at a point where it is actively embracing every kind of beauty. Even just ten years ago, the face of modelling looked very different. Models from different backgrounds were present and working, but in numbers nowhere near comparable to today. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Unlikely as it seems, the source of this transformation can be located in fashion’s biggest challenge: the global recession. The pockets of fashion consumers didn’t, as predicted, dwindle into extinction – they just moved. The new high-rollers, keeping RTW and couture afloat, came from further afield, and the transfer of wealth spurred an appetite for not only new faces, but faces able to translate and sell fashion to a truly global audience.<br /></span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">This all places Nyasha in a strong position for the next five years of her career. Matonhodze is already working at an international level, and being an international model has never been more vital than it is right now. One of the first models to work in a climate where technology, diversity and globalisation are radically altering the way we buy, view and think about fashion, the girl from Northampton is becoming the standard for a new modelling age: smart, confident and boldly eclectic. </span></p> HELEN TOPEUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-7280831543308767396.post-59869453841799119752012-03-11T07:28:00.005-07:002012-03-11T07:38:30.415-07:00MODEL PROFILES: MILOU VAN GROESEN<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLM1yk4PBNk6dpiZ6aI-5tRWLeUsRsxVUOWJiEOj46uMpQvj37j5HGh902bu0Tw7yRbNZ6Bb0rSkDXBMRRwENEYWEVl302zW0TUF5okwcSTz54IAyUAexdzs1N_s0nG86N4W5_I_q40xUv/s1600/Milou+van+Groesen+3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 312px;" 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mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height: normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Born in the Netherlands on April 8<sup>th</sup> 1988, Milou van Groesen signed with Women Management in 2008. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Making an immediate impact, Milou was named ‘model of the week’ by <a href="http://www.models.com/"><span style="color:blue">www.models.com</span></a> in April 2008. Switching to Supreme Management in mid-2008, she made her ready-to-wear debut that September, walking for designers such as Vera Wang. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">2009 began with editorial work for Japanese Numero and Dazed & Confused, and Milou made her third agency move, signing up with NEXT Models. In the same year, Milou made her big campaign debut, appearing in the Autumn / Winter H&M campaign, appearing with her friend (and emerging new talent), Tao Okamoto. H&M has been one of the first (and best) at embracing fashion’s new international age. Featuring models of numerous nationalities are H&M’s calling card, making each campaign series feel vibrant and current. High-fashion’s drive to woo their newest, affluent customers from around the globe follows on from what retail chains like H&M and Benetton have known for years: diversity sells.</span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">In early 2010, Milou made what would become a career-changing decision. Bleaching her hair and chopping it into a mullet, van Groesen completely transformed. Stepping away from the comfort zone of her long, blonde hair was a brave move for a model that could still be ranked as a newcomer. The change was significant: google any pre-2010 shots of Milou and she is hard to recognise. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">The idea of personal transformation as a route to success is still potent within the modelling industry. Fifty years after Twiggy’s gamine crop made her a legend, the idea that a simple change of style can have a seismic effect on your career remains beguiling, and every now and then, another model is added to that very select list. Milou joins the likes of Agyness Deyn who form a small band of models that transformed their prospects virtually overnight. Van Groesen re-emerged in October 2010 to Paris Fashion Week acclaim, opening the S/S Balenciaga show. A new image and agency DNA propelled van Groesen onto the fast track. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">In February 2011, Milou was photographed for French Vogue, appearing on the cover of i-D as well. She made her debut for Italian Vogue in March, photographed by Steven Meisel. The editorial, ‘Wasted Luxury’ proved to be a career-defining moment not only for van Groesen but newcomer Saskia de Brauw. Eccentrically styled, this was a shoot designed to make waves. The beautiful detailing of the clothes paired with the element of whimsy in the accessories was quintessential Italian Vogue: daring, unconventional but beautiful. Van Groesen, also appearing in the March issue’s beauty supplement with Julia Nobis, was now one of fashion’s hottest names.</span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Van Groesen nailed her first Vogue cover a month later, appearing for Japanese Vogue. Modelling with Bambi Northwood Blyth and Fei Fei Sun, this cover was a celebration of fashion’s newest and greatest talents. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">The heady pace of Milou’s ascent continued through 2011 with an appearance in i-D and Chinese Vogue. The credits grew even weightier in Autumn, with the announcement that Milou would join Carla Gebhart, Liya Kebede and Juliane Gruner to become the face of Balenciaga’s latest campaign. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Finishing the year with editorials for W and Interview, Milou again reprised her star turn for H&M’s series of winter campaigns. The last editorial of 2011 for Milou was also one of the most meaningful. Photographed by V magazine, van Groesen posed with models also signed by DNA Models. Appearing alongside Anna de Riyk, Dree Hemingway, Emily Baker, Raquel Zimmermann and Siri Tollerod, it was quite clear why van Groesen had found a home with this agency. An agency that houses an eclectic mix of faces from the ultra-feminine Zimmermann to the super-edgy de Brauw, it is clear that DNA has no limits when it comes to beauty: DNA’s refusal to define itself as an ‘editorial’ or ‘classic beauty’ agency has been wholly to Milou’s advantage. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">The backing of her agency, and their ability to see van Groesen not just as an edgy, editorial face, is one of the factors contributing to Milou’s biggest signing to date. This Spring, Milou becomes the face of Giorgio Armani. Already having made waves with its previous campaign face, Nimue Smit, the Italian label decided to defy convention again and go with someone entirely unexpected. In this campaign, Milou oozes a cool intelligence, becoming the essence of modern beauty. It is a great campaign that rewrites the rules on androgyny not being flexible enough to incorporate mainstream ideas of beauty. Milou, in this campaign, is very much her own woman but still exudes a sophistication that is pure Armani. Milou is by turns, seductive, enigmatic and feminine. She may have been a left-field choice, but this campaign has proved itself a definitive moment for both label and model.</span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Milou’s second big moment in this season’s rota of campaigns sees her appearing in Balenciaga’s Resort video. Directed by Steven Meisel, the video also features Jamie Bochert, Miranda Kerr, Zuzanna Bijoch and Louis Vuitton favourite, Nyasha Matonhodze. The repetitive theme of the video borrows from art-house cinema as readily as the pulsating music reminds us of Hitchcock’s nightmarish vision of modern America. A bold, off-centre choice in a season packed with girlish detail, this campaign confirms Balenciaga’s reputation as the thinking girl’s label.</span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Always dubbed as one of fashion’s androgynous girls, Milou’s career does not hang on a pivotal ‘what if?’ moment. If van Groesen had never gone for that bold haircut, she would still have made it to the highest levels of fashion. Watching her in the Balenciaga video and her confident performance for the Armani campaign, it is self-evident that van Groesen never lacked talent, and would have always become a success. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Her career speaks of a fashion industry that has learned to use beauty in a whole new way: androgyny is no longer permanent and fixed, but something that can break away and move into other areas of fashion. Milou’s work for Armani is a compelling argument of how androgyny can be not only flexible, but influential. The latest campaign invites us to rewire our opinions on a much-loved label. It remains a byword for tailored elegance, but the decision to hire Milou means that Armani now competes on an ideological level with the big hitters of fashion’s avant-garde.</span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">The idea of transformation – the almost fairytale like way in which a model can change overnight from unknown to ingénue – is still one that captivates us. But Milou’s dazzling career is attributable not to a haircut, but to her growing sense of self-belief. Her haircut made have left her with nowhere to hide (it’s hard to imagine anything more visible than a peroxide crop), but this gave van Groesen the freedom to become the kind of model she always wanted to be. The act of transformation which should have pigeon-holed Milou into a career with purely edgy, editorial credits – has widened her horizons with campaigns and editorials that are defiantly, gloriously at odds with her image. </span></p> <p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; line-height:normal"><span style="font-size:12.0pt;font-family:"Arial","sans-serif"; mso-fareast-font-family:"Times New Roman";mso-fareast-language:EN-GB">Milou’s transformation did not take place in the salon chair, but at a much earlier point. Her refusal to let her image dictate her career has made her a star: a career rich with credits from every corner of the industry was clearly always Milou’s intention. 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Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="font-size:12.0pt;line-height:115%">Born in Canada on the 2<sup>nd</sup> February 1988, Meghan Collison won the Mode Model Search competition in 2006. Signing first with Supreme and then moving to Women Management in 2007, Meghan began making waves before she had even walked the runway. Touted by </span><a href="http://www.style.com/"><span style="font-size: 12.0pt;line-height:115%">www.style.com</span></a><span style="font-size:12.0pt; line-height:115%"> as a ‘girl to watch’ in June 2007, the next few days proved to be pivotal in launching Collison onto the global modelling circuit.</span> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Photographed by both Thierry Le Goues and Steven Klein, on the 21<sup>st</sup> of June, she was photographed for Italian Vogue; on the 24<sup>th</sup>, she was snapped for Japanese Vogue and on the 26<sup>th</sup> she was photographed for British Vogue by Mario Testino.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In just under seven days, Collison had the fashion world wanting more of her bold, new look. The fevered pace of her discovery led to a major career first in October ’07 with Meghan appearing on the cover of Italian Vogue.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Shot by Steven Meisel, the title of the cover was ‘Independent’. It could not have been more aptly named. It would become the calling card for not only Meghan’s type of beauty and also the career she would go on to have: uncompromising and fearless.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Just a month later, Collison appeared on her second Italian Vogue cover, this time modelling with Coco Rocha. Italian Vogue’s infatuation with Collison’s look became infectious with Meghan booking editorials with British, Russian and Japanese Vogue. Her look, unique and genuinely interesting, had just become the look of the moment.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In January 2008, Meghan began the year with a cover try for Russian Vogue, followed by a fashion spread for W magazine. In May, Collison appeared in a Chinese Vogue editorial, photographed by the late Corrine Day. Like Meisel, Day was a gifted photographer who helped launch new faces. Her early 90’s shot of Kate Moss helped change the course of fashion history, taking us from commercial faces with across-the-board sex appeal, to heavily directional faces and bodies built to show fashion at its most challenging. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In February 2009, Meghan took on her busiest runway season to date with appearances for Marc Jacobs, Prada, Givenchy, Anna Sui and Valentino. Impressive as these credits are, it was already becoming clear that Collison’s strength would be in editorial and campaign work. Following an editorial for German Vogue in April, Collison landed on the cover of Italian Vogue for a third time. The Pre-Fall edition, Meghan was styled somewhere between New Romantic and Goth. It looked – and felt – a perfect match for the confident model.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Following consecutive editorials for Russian Vogue and Dazed & Confused in September, Collison got to show off her skills in another spread for Italian Vogue. Named ‘Performance’ and photographed by Steven Meisel, it was an energetically grotesque take on glam rock excess featuring Jamie Bochert, Coco Rocha and Sessilee Lopez. Subtlety is more often in demand, but being fully committed in fashion’s ‘bigger’ moments takes bravery – and skill. ‘Performance’ has a strong element of humour running through it, but the poses, the way the clothes are showcased, is firmly rooted in high fashion.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Just to throw us a curveball, Meghan booked an A/W campaign with Thierry Mugler – she is almost unrecognisable in comparison to her work in ‘Performance’. Working classic elegance, the unusual planes and angles of her face become visibly softer. It was a transformation that put Meghan’s career on another level.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Moving to NEXT Models in late 2009, in 2010 Meghan became one of the faces of Balenciaga. It was an obvious signing for Collison. Loyal to its avant-garde roots, Nicolas Ghesquiere has revived the French brand to make it one of the most talked-about (and coveted) labels in the world. Combining an intellectual aesthetic with a French flair for elegance, Balenciaga joins Givenchy, Chanel and Dior as one of France’s most enduring success stories.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Collison’s journey continued in September 2010 with a spread for Turkish Vogue. Photographed by Arthur Elgort, Meghan is classically beautiful in designs by McQueen and Dries van Noten. Lots of photographers have their area of expertise: Terry Richardson pushes our buttons; Paolo Roversi makes fashion the focus against lavish backdrops, but Elgort joins Patrick Demarchelier in having a regal elegance which quickly identifies their work as theirs. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In March 2011, Meghan added another cover to her list of credits courtesy of Italian Marie Claire. A magazine that bridges the gap between high-fashion and more commercial interests, their choice to hire Meghan defies the conventional wisdom that strongly-editorial faces can’t be cover faces. Here, Meghan is edgy and high-fashion – but still very much a cover girl.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Meghan continued to rise through the ranks with self-titled editorials with magazines such as Grey and Jalouse. She was also picked as one of the select few to appear in the Pre-Fall lookbook for Jason Wu. Darkly dramatic with hints of exoticism, the Pre-Fall looks strongly prefigured Wu’s popular collection presented this February.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">In January 2012, Collison landed again in the pages of Russian Vogue. Photographed by Ben Toms, Meghan is picture-perfect in a series of 1950’s-style portraits. Meghan looks strikingly comfortable here, almost a precursor to one of the biggest bookings of her career to date.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Never a big runway star, but still a high-class draw, Meghan has been doing the Fashion Week circuit through February, with appearances for Oscar de la Renta, Jason Wu, Alexander Wang, Jonathan Saunders and Prada.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">This leads us to Meghan’s most influential booking of her career so far. Hired to appear in both the print campaign and video for Prada’s S/S 12 collection, she joins Natasha Poly, Elise Crombez, Guinevere van Seenus and newcomer Katryn Kruger.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">A star-making effort, photographed and filmed by Steven Meisel, it is a beautifully crafted campaign packed with retro detail that has massive commercial appeal. The video, already a huge hit on YouTube, may have Katryn Kruger as its main focus (another of Prada’s star finds), but Meghan claims her time in the spotlight with style, wearing a plum-coloured ¾ length coat. The collection is a win-win for Prada: quirky, feminine and cool. Inspiring copies across the high-street, this rave collection appeals to every corner of Prada’s fanbase.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Again, Meghan’s strong features act as a perfect counterbalance to the vintage cuts and colours. On Meghan, a 50’s duster-coat looks fresh and modern, making her the ideal muse for Prada.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">As fashion moves out of its palette-cleanser phase, and into a new era filled with exuberant colours and print, directional models are once again becoming the centre of attention. With Saskia de Brauw fronting ad campaigns for mainstream labels such as Chanel and Versace, the avant-garde has never felt more right.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The last time such faces were in vogue, they were called upon to model tricky minimalist fashion. Now, their faces seem the perfect foil for this brave new age of fashion. It’s not only models who are benefitting: everyone’s getting braver in their sartorial choices. Designer Mary Katrantzou’s complex designs have become cult buys – her beautifully balanced prints proving a hit with A-listers and the public alike. Her collection specially made for Topshop was a sell-out. These designs would have been thought unwearable just ten years ago. Now we’re clamouring for a piece to call our own. The concept of what is deemed ‘wearable’ and desirable has been turned on its head in recent years. The assumption that bold new cuts and clashing colours only belong on the runway is being shunted aside; if fashion wanted a more adventurous clientele, they finally got their wish.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Normally, tough economic times make people more cautious, more likely to go with the tried-and-trusted option. But our knowledge that things are tough makes us want to be not safe but daring: the desire for detail overrides the big picture. We want those details – the small print – because that’s what adds joy to life. A fashion basic may always be on your to-get list, but a rare beauty, something by Katrantzou or Jonathan Saunders – that’s what gets the pulse racing. You may not be able to control larger forces around you, but the decision to go with a fuchsia dress, rather than a black one, is easily done. Small acts of sartorial bravery are transforming the fashion industry on a massive scale. </span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">The source of our new-found courage isn’t hard to track down. With the influx of runway footage and campaign videos online, a lot of the fear has been taken out of high-fashion. As it moves ever closer to us (access to the biggest labels is literally only a click away), fashion becomes no longer an abstract, but a reality. Not only are the big guns out to get our attention, but freelance stylists and talented amateurs are putting together their own lookbooks; with guides on how to wear the latest must-haves flooding the internet. It’s the positive side of peer pressure, and the knock-on effect has been meteoric.</span></p> <p class="MsoNormal"><span style="font-size:12.0pt;line-height:115%">Meghan looks set to make large gains from this, as her face reads perfectly against strong shapes and punchy colours. Fashion’s new lust for life goes beyond mere detail, being smartly articulated by models such as Collison. It taps into something much deeper, a courage in the face of genuine adversity. Fashion does this the only way it knows how: by reminding us of what we love and why we love it. Fashion has rediscovered its sense of fun, but this time the thrill is real. </span></p> HELEN TOPEUnknownnoreply@blogger.com0