Modelling agencies

MODEL PROFILES: NIMUE SMIT

2012-01-22T07:31:00.001-08:00

Born in Holland on the 14^th January 1992, Nimue Smit is one of fashion’s best-kept secrets. A familiar face in campaigns from Chloe and Prada to Marc Jacobs and Topshop, Nimue joins a new wave of models who are changing the way we look at fashion.

Nimue signed with Women Management in 2008, debuting in Fashion Week that September. She made waves when Miu Miu signed her to walk in their show as an exclusive, and her only other bookings were with Marni and Miu Miu’s mother label, Prada. It may have been a very select season, but the quality of Nimue’s first bookings were strong indicators of where her career would lead.

Smit’s small but perfectly formed debut got the attention of the fashion press when that October she was profiled by www.models.com as a Top 10 Newcomer. Nimue went from small start to huge impact in early 2009 when it was announced that she would become one of the faces of the newest Prada campaign. A play on the theme of evolution, the images featured tons of snakeskin and those notoriously difficult 6” heels that challenged even the most practised runway model; it was one of Prada’s best collections. Nimue featured alongside Sigrid Agren, Viktoriya Sasonkina and Toni Garrn to make light work of Prada’s densely cerebral concept.

Also booking the Spring / Summer campaign for Topshop, Nimue had another big moment in January when she appeared in her first editorial for Italian Vogue. ‘Form Function’ takes Prada’s collection as a springboard to examine the concept of layering – in a way that only Italian Vogue can do. Nimue joined fellow newbies Karlie Kloss and Sessilee Lopez in tackling the magazine’s unique viewpoint. All three models excelled – and it is no surprise that both Lopez and Kloss have gone on to become major names within the industry.

Nimue’s editorial debut sent her career into overdrive, with three more editorial appearances in February. Modelling for Numero, Dazed & Confused and British Vogue, the snowball effect continued, with Nimue having her first major RTW season in February. Walking in 39 shows, the following month www.style.com labelled Smit a rising star.

In March, Nimue took to the pages of Italian Vogue again with an editorial photographed by Paolo Roversi. ‘The Power of White’ was an all-couture shoot, featuring nothing but white designs. The hazy, dream-like images are at the very highest level of high-fashion, and Nimue’s performance in this editorial is nothing short of extraordinary.

Smit’s clear ability to model haute couture led to her first couture season in July, walking for Valentino. Starts in couture don’t get much better, and Nimue’s delicate features proved the perfect foil for Valentino’s ultra-feminine designs.

Landing two high-profile Autumn / Winter campaigns (Alberta Ferretti and See by Chloe), Nimue’s star was rising fast. Her appearance in Italian Vogue’s September issue saw her develop even further. ‘Dream of a Dress’, with Paolo Roversi as photographer, was a special, one-of-a-kind couture shoot featuring Toni Garrn, Heidi Mount, Jourdan Dunn and Rose Cordero.

Using newly-revamped labels such as Givenchy Couture, this shoot is the type that Italian Vogue excels at; putting couture at the centre of the fashion experience - not portrayed as something merely exclusive. Showing grand clothes in creative, exciting ways, Italian Vogue goes a long way in terms of taking the fear out of couture, encouraging us to appreciate it without feeling automatically excluded.

Ending 2009 with another successful RTW show, Nimue’s standing within the fashion industry took a giant step up in early 2010 when she became the face of Giorgio Armani. Wearing a blue satin dress and black, bobbed hair, Nimue ushers in the new era of Armani. The label, previously seen as the cornerstone of conservative elegance, has undergone a revitalisation thanks to Giorgio’s launch of couture line, Armani Prive. Initially a scheme that was to be Armani’s pet project, Prive has become a tour de force in the world of haute couture, with that element of unbridled creativity that so neatly defines couture actively creeping into the Armani RTW lines. The label’s once predictable nature has given way to a freshness and vitality that makes us feel like we are seeing Armani for the very first time. Nimue’s edgy, high-fashion face would have once seemed out of step with Armani, but now her hiring seems like the obvious choice.

Nimue’s hard-to-ignore booking with Armani got her noticed all over again, and in September 2010 she appeared in over 50 shows, appearing for designers such as Lanvin, Sonia Rykiel, Calvin Klein, Jason Wu and Rodarte.

2011 saw Nimue switch from Parisian greats to London icons when she was signed by British label Mulberry to appear in their latest campaign. Working with Lindsey Wixson, the ‘indoor garden’ campaign was one of Mulberry’s strongest. Achingly pretty with chrysanthemums in shades of pastel, Mulberry’s theme of using oversized props started here – and is still regularly used, up to and including this current season.

Returning to Paris in January for couture season, Nimue made her editorial debut for American Vogue the following month. ‘Gangs of New York’ was a mammoth preview of Spring / Summer trends with Nimue appearing in modern neutrals by Donna Karan.

With two years’ experience behind her, Nimue continued to be a strong runway hire with a 45-show season in February. Filling the body of the year with editorial work for Spanish Vogue, Numero and Harper’s Bazaar, in late 2011 Nimue decided to switch agencies and move to NEXT Models. Already housing top names such as Anja Rubik, Caroline Brasch Nielsen and Kendra Spears, Nimue’s move to NEXT was the precursor to another great runway season in September, with Smit walking in 50 shows. Appearing in some of the most important shows of the season – Marc Jacobs, Rodarte, Jonathan Saunders – Nimue is securing her position as one of fashion’s go-to girls when it comes to interpreting the avant-garde. Although fashion may be exploring its softer side this season, there is still plenty of room for left-field thinking. Mary Katrantzou continued to impress with a collection based on ancient porcelain patterns and Rodarte brought a new poignancy and depth to prairie chic.

Contemporary fashion isn’t stuck for ideas and to present these new concepts as clearly as possible, designers need models who can translate. Nimue, as a regular fixture on the world’s runways, has become one of the industry’s most relied-upon models when it comes to fashion on the front line.

Even during the recession, where commercial faces flourished, Nimue has actively progressed from newcomer to rising star. Armed with a face that sits her squarely in the edgy category, Nimue has modelled for some of the largest brands in the business, transforming the way we think about them. Just as her game-changing appearance for Armani showed the Italian label’s willingness to explore its darker side, her softly winsome role for Mulberry injected the campaign with warmth and verve that has since become its signature.

The idea of matching a model’s look to a particular aspect of fashion is slowly giving way to a more democratic selection process. In short, if you have the skills, you get the job. It is this that may have inspired Armani to hire Smit in the first place – and the knock-on effect has seen the label branch out in terms of who it hires for campaigns. Their latest signing, Milou van Groesen, is another surprising choice. She doesn’t automatically suggest Italian relaxed elegance, but the sharp tailoring and blunted lines of the campaign turn a classic fashion concept on its head, bringing Armani bang up to date.

As we move into 2012, Nimue’s progress will be fascinating to watch. A front-runner at the S/S shows in September, it’s clear that designers consider her not only relevant, but downright exciting. Nimue’s status as a model that can help transform the way we look at long-established brands will make her well-placed to take advantage of fashion’s rapidly shifting landscape. As Armani comes into sleek, edgy focus and Mulberry trades on its sense of fun, the face of fashion increasingly alters as new designers join the party. Nimue’s ability to help us see old labels in a new light, makes Smit not only contemporary, but a completely new type of model altogether.

HELEN TOPE

MODEL PROFILES: DARIA STROKOUS

2012-01-15T08:07:00.000-08:00

Born in Russia on the 25^th of September 1990, Daria Strokous signed with IMG in 2007. She made her catwalk debut the same year, appearing in shows for Prada and Marni.

Joining names such as Natasha Poly and Natalia Vodianova, Daria became the latest in a group of Eastern-European models who were taking the fashion industry by storm. Dubbed by www.models.com as one of the ‘IMG Power Generation’, this modelling cartel emerged at the same time as new pockets of wealth began to appear across the globe. Including Daria’s native Russia, while others talked of recession, the new leagues of super-rich were consuming high-fashion in seriously high numbers.

This new group of fashion consumers would not only prove important in years to come, but downright crucial in maintaining high-fashion’s survival. Daria, by association, saw her star begin to rise.

Appearing for Prada Sport in 2008, Strokous began what would become a long-standing relationship with the label Jil Sander when she closed their Autumn / Winter show in February.

In March 2008, she landed on the cover of Russian Harper’s Bazaar. Appearing with other Russian models, the cover celebrated what was already an established phenomenon. Its effect is felt even now, with groups of models still making it big: France, Holland, America and Australia have all seen their home-grown talent succeed on the international stage.

Daria began carving a multi-platform career, with her first couture show in July. Walking for Givenchy, it was a perfect first move into the world of haute couture, and within a year, she was able to add Elie Saab, Armani Prive and Valentino to her CV.

Leaving IMG in 2009 and signing with Women Management, Strokous moved into the next phase of her career with a huge ready-to-wear season that September. Closing the Spring / Summer Marni show, she also walked for Bottega Veneta, Louise Goldin, Nina Ricci and Versus. Appearing in shows for several new designers, Strokous made important – and lasting – connections.

Her runway success translated into campaign bookings, and in early 2010, Strokous was announced as one of the faces of D&G. Daria also appeared in her first editorial for Italian Vogue, appearing in the now-famous Steven Meisel shoot, ‘Runway’. Featuring every model of note, Strokous worked alongside established faces, echoing Meisel’s philosophy of giving new talents extraordinary opportunities to excel.

The Italian Vogue effect showed in Daria’s next RTW season, which added Gareth Pugh, Fendi, Jason Wu, Marc Jacobs and Prabal Gurung to Strokous’ list of credits. Mixing the classic labels with the avant-garde, Strokous had clearly staked her claim to be noticed.

May 2010 saw Daria take to the cover of Italian Vogue. Sharing the honours with Kirsi Pyrhonen, the cover, ‘Top Glam’, was a show-stopper. Choosing to frame the models off-centre and in profile, photographer Steven Meisel broke the cardinal rules of magazine covers, but the result was visually arresting. Quite literally a sideways glance at how high-fashion interprets glamour, this cover put Daria in a different league.

Sure enough, in Autumn 2010, Daria became one of the faces of the latest Prada campaign. If ever there was a good time to become a Prada girl, this was it. The headline-grabbing collection was designed for (and required) a whole new kind of woman. The retro look, with curve-enhancing dresses and cats-eye glasses, got everyone’s attention. For a label that does sensuality in a minor key, this look threw the fashion world a serious curveball. If you thought you knew Prada, this collection challenged you on every point.

Following the campaigns with a slew of editorial work, 2011 began on a high for Daria as she became the face for Jil Sander. The Spring / Summer campaign was quintessential Jil Sander: bright, modern and clean. Strokous proved perfect for this campaign, as this fashion requires a studied calm which Daria visibly masters. The skill in mastering this fashion genre is in recognising that even simple designs have large intent. High fashion trades on big ideas and in minimalist fashion, what’s left out is just as important as what remains. For the model that has to take this look and pique our interest, the crucial factor is in realising that on the page, lack of action does not mean lack of energy.

Opening the A/W show for Jil Sander in February, Daria had one of her busiest seasons to date with over 50 shows. Her status as one of fashion’s brightest was confirmed in August when she took the cover of Russian Vogue. Daria modelled the feathered Prada coat from the latest collection, showing Russia’s undiluted taste for glamour was as buoyant as ever, even in the face of economic freefall.

In September, Daria undertook her biggest season to date with a mammoth 62 shows. Opening and closing the show for Jil Sander and appearing for many of the world’s most recognisable labels, Daria had now evolved into the modern definition of a top model.

The following month, Strokous appeared in the magazine ‘Interview’. Paying homage to the high-voltage A/W collection from Dolce & Gabbana, the featured pieces paid reverence to glamour, even referring to D&G’s roots in the process. Interview’s editorial, however, asked you to look closer. Even the famous emerald shift dress, packed with sequins, has an element of restraint (the long sleeves, the high neck) that hints at a new perspective on glamour. Everything is designed with a softness and subtlety: the colour offsets the sequins (in previous seasons almost exclusively shown in black), and texture balances luxurious finishes – feathers replacing fur. Dolce & Gabbana wasn’t alone in their pursuit of a softer elegance: Prada’s densely-feathered coat worn by Daria on the cover of Russian Vogue shouldn’t have read as luxe fashion – but it did. Even at Marc Jacobs, the skirts covered in huge pailettes are about celebrating design, not wealth. When Dolce & Gabbana rewrite their rules on glamour, larger forces are at work.

Daria moved into 2012 on a strong footing, with her second cover of Italian Vogue. Working again with Steven Meisel, the cover used shopping channel QVC as its inspiration. Playing off the slow-burn craftsmanship of couture against the rapid, eager consumption of fashion trends, the cover (and accompanying editorial) is a supremely witty take on fashion’s nose-to-tail attitude. This type of bold, satirical work could be well be the future for 2012 with Meisel displaying an impressive talent for pastiche.

Daria’s career in 2012 continues to see her at the forefront of high-fashion, with not one but three major campaigns for Spring. Appearing for Louis Vuitton, Jil Sander and Alberta Ferretti, Strokous moves deftly from the curiously noir-ish feel of the Jil Sander campaign to the gorgeous, pastel-infused confection of Louis Vuitton. An integral part of S/S 12 and within touching distance of the Top 10 in www.models.com list of Top 50 Women, Daria is finally having her moment. A workhorse on the runway, she has steadily built an armoury of credits that make her not only well-respected, but unique.

Daria’s strength is her very modern versatility. Her latest run of campaigns allude to just how completely Strokous is able to transform. The Jil Sander and Louis Vuitton adverts couldn’t be more different, but she stars in both. A blue-eyed blonde that doesn’t fit the mould is always interesting; Daria is neither athletic amazon nor downright glamourpuss – but she has worked for Prada Sport and Russian Vogue. Her work with Juicy Couture shows that she isn’t strictly editorial either. With a substantial pedigree in couture, Strokous manages to be a fashion all-rounder, but still firmly individual.

Daria’s fluidity makes her a true asset in today’s industry where no-one quite knows what to expect next. The transition from urban warrior to sugar and space at Louis Vuitton has been fast enough to make your head spin. As times have got tougher, fashion has got sweeter: an outcome no-one was expecting.

Daria in theory should have joined the likes of Natasha Poly and Natalia Vodianova: Slavic icons that ooze glamour and sophistication. In every group of models that has come to dominate the industry, there has always been one that doesn’t quite fit. Alice Burdeu’s Pre-Raphaelite beauty looks out of place when compared to her sunkissed Australian peers; Charlotte Free is the odd-one-out in the group of young, clean-cut American models taking over the catwalk.

It’s Daria’s outsider quality that has finally brought her to the attention of fashion’s inner circle. There were some – like Jil Sander – who always knew it, but finally Strokous has clicked.

Models like Daria are becoming more visible, because they are able to work without being defined. Geography is always important but it does not have the last word. Minus the neat packaging, fashion has to rely on what a model has to offer beyond their place of birth: Daria is a prime example of what happens when a model is taken not on her proximity to greatness, but on the merits she achieves herself. The fashion industry is finally coming round to the idea of talents that may not be media heavyweights, but can pack a punch on the runway.

As ostentation in fashion gives way to something more meaningful, the transition from fevered accumulation to considered appreciation goes right across the board: leaving fashion with models that are not examples of exotica, but genuine rare finds.

HELEN TOPE

MODEL PROFILES: FACES OF 2012

2011-12-29T11:17:00.001-08:00

Charlotte Free

Born in California, Charlotte has beaten the odds to become one of fashion’s most sought-after new faces. Standing at only 5’ 7”, Free was signed up by agency IMG and has gone on to challenge the perception that height remains a barrier to success on the runway.

Part of that myth-busting comes down to Charlotte’s hard-to-ignore look – again, defying the commonly-held belief that a model must be a blank canvas in order to succeed. With neon-pink hair and a personal style that is already creating significant buzz, Free comes to the fashion industry not as a blank slate, but as a ready-made muse.

Featured by Japanese Vogue as their ‘Model of the Month’ in February 2011, Charlotte went on to walk in the Chanel Autumn / Winter show in March and feature in the Spring / Summer campaign for Uniqlo.

Following Charlotte’s much-discussed appearance on the Chanel catwalk, Free took to the runway again in September, this time walking for designers such as Jeremy Scott, PPQ and Marchesa. Scott championed Free from the beginning of her career – her bold, traffic-stopping looks proving a perfect match for his edgy, streetwise vision. What is more of a surprise is Charlotte’s work with Marchesa. With all great models, there’s never just one angle, and Marchesa’s demand for classic glamour challenged Charlotte to up the ante. With her trademark pink hair pulled back, what becomes clear is that Free possesses great bone structure and highly marketable features. Her strong individual style is increasingly winning fans both in the industry and beyond, but couple that with genuine versatility, and the fashion world is finding itself powerless to resist.

Ending this year with editorials in American and British Vogue, and campaigns for Pamela Love and Topshop, Charlotte looks set to conquer every aspect of the fashion industry in 2012. Rewriting the rules of how a new model should look, Charlotte is a true maverick and can expect her career to act accordingly. From cool to couture, when it comes to Charlotte Free, it’s safe to expect the unexpected.

Most likely to: do anything

Kati Nescher

Born in Germany on the 12^th December 1984, Kati began her modelling career at an age where most models are considering their Plan B.

Aged 27, Nescher made her debut on the catwalk this year. Appearing in Autumn / Winter couture shows for Armani Prive, Basil Soda and Zuhair Murad, she then went on to have a blockbuster RTW season in September. Her bookings included Jil Sander, Marni, Rochas, Dries Van Noten, Givenchy, Celine, YSL, Valentino, Miu Miu, Prada, Alexander McQueen and Louis Vuitton. This one mega season translated into big-money campaign wins. The impact of Kati’s presence on the runway was immediate.

This Spring, you will see her in not one, but three, leading campaigns: Louis Vuitton, Pringle of Scotland and Prada. The Vuitton ad (photographed by Steven Meisel) sees Nescher join forces with Daria Strokous. In a sugary-sweet confection of a campaign, the Louis Vuitton ad sets the style agenda for Spring / Summer 2012.

On its own, scoring the Vuitton ad would be impressive. Coupled with an appearance for Prada, it puts Kati in a different league.

The Prada look for Spring is very much 1950’s chic: pin-up meets Kerouac. This is Prada’s comfort zone – retro meets neo. It is not only a strong principal image, but a campaign filled with star names including Natasha Poly, Meghan Collison, Elise Crombez and Katryn Kruger. Nescher’s performance in this campaign is neck-and-neck with the more experienced models, and a strong indication that Prada has once again picked a newcomer who has the ability to go supernova.

Kati is still in fashion terms an unknown quantity, but with three big campaigns already in the bag for 2012, it is a positive sign that the fashion world is undergoing a radical re-think when it comes to standards of beauty. As little as ten years ago, the idea of a new model entering the industry aged over 25 would have been virtually unthinkable. Now it seems like a natural progression, with modelling veterans such as Claudia Schiffer and Kristen McMenamy routinely scooping some seriously high-prestige jobs. Kati’s debut into the fashion world couldn’t have been better timed: when it comes to age, all bets are off.

Most likely to: be the next big thing

HELEN TOPE

MODEL PROFILES: JULIA NOBIS

2011-12-18T08:17:00.000-08:00

Born on June 27^th 1992, Australian native Julia Nobis began modelling locally in 2009 at the age of 17. A year later, Julia went international when she signed with top agency Elite Models.

In February 2010, Julia debuted at Fashion Week, walking in the Calvin Klein show as an exclusive. The American label was, in hiring Nobis, continuing its tradition of championing new faces. From Kate Moss, to Lara Stone and now Daphne Groeneveld, Calvin Klein has been responsible for introducing new definitions of beauty to the world stage. Julia’s long-limbed look made her an obvious choice for the label’s no-frills aesthetic.

The influence of the Calvin Klein exclusive was immediate, with Julia’s runway CV including bookings from Topshop, Richard Nicoll, Prada, Dolce & Gabbana, Louis Vuitton and Miu Miu. She was subsequently featured by www.models.com as one of their Top 10 Newcomers.

In May, Julia appeared in editorials for both Italian and British Vogue. Nobis proved a natural at editorial, and her spread in Italian Vogue ramped up the pressure with photographer Steven Meisel behind the lens. ‘Bathing Beauties’ was Italian Vogue’s spin on a retro swimwear shoot. Classic shapes met with of-the-moment styling – it was a typical feature from the magazine, but Julia showed no sign of beginner’s nerves.

Julia got to make her couture debut in July when she appeared for Valentino. At 5’ 11”, Nobis is couture-perfect, and it put her in a select group of models who are runway all-rounders: equally at home in ready-to-wear as they are handling the demands of haute couture. Having made the move up to couture, Julia was now getting attention from labels already looking to hire for their Autumn / Winter campaigns.

Julia’s affinity with high fashion was spotted by design duo Proenza Schouler who chose her to take part in their new campaign. It was a signing that was totally in keeping with Nobis’ career to date. Working a little sportswear influence with geek chic, Proenza Schouler has been one of the most original labels to emerge in recent years. Julia’s calm, assured performance in a pared-down, nowhere-to-hide campaign went a long way in selling Proenza Schouler to the next fashion-buying generation.

With a 41-show season in September, including an opening and closing slot with Proenza Schouler, Julia was becoming the favourite of many of fashion’s best avant-garde talents, including Peter Pilotto, Jonathan Saunders and Alexander Wang. Julia’s booking sheet was depicting a model that was making a serious impact with fashion’s A-list.

Julia’s editorial experience grew in September and October with back-to-back appearances for Dazed & Confused. In September’s issue, she appeared as a street punk with a scraped-back ponytail and winged eyeliner. The following month, she had a solo beauty shoot, creating a modern take on the Pre-Raphaelite look. Both appealed to Julia’s creativity: editorials at this level require a model that isn’t afraid of presenting beauty that’s outside the box, and Julia came ready to work.

2011 began with Julia reaching new heights in couture, walking for both Elie Saab and Chanel. Her high-fashion kudos took her home again, as Julia modelled for Australian Vogue. ‘The Rules of Attraction’, photographed by Max Doyle, showed Julia working old-school glamour, from goddess gowns to YSL’s Le Tuxedo. Nobis proved disarmingly good at transforming into the glamour girl. Considering Australia’s background in producing good eveningwear designers it is perhaps not so surprising. Think of Australian fashion and one tends to think in terms of swimwear. But it also has talent to boast of in the glamour department, with Alex Perry providing classic elegance and red-carpet heavy-hitter, Colette Dinnigan. It may not be as prolific as Milan or Paris, but Australian fashion holds its own, staying relevant by remaining individual.

Racking up an impressive 54 ready-to-wear shows in February, Julia returned to her left-field roots in March with an Italian Vogue beauty shoot. Photographed by Emma Summerton, Nobis features in a spread inspired by 70’s glam rock icon Joan Jett.

She appeared again in Australian Vogue in April, this time in an editorial showcasing Giorgio Armani’s eveningwear collection. But the magazine, in recognition of Julia’s achievements, then featured her on their May cover plus a leading editorial. Here we see Julia in more familiar territory, working a teal feathered dress with red and yellow hair. It was exuberant, joyful and thoroughly individual, and perfect working material for Julia who aced both cover and editorial. The spread, ‘I Want Candy’, was a pitch-perfect review of every major Spring / Summer collection from Valentino to Prada.

Julia’s great run of editorial and runway work brought her more big-money campaigns, including a notable appearance for heritage label, Balenciaga. Working alongside models Liya Kebede and Milou Van Groesen, the campaign works on the element of surprise, presenting us with two standard fashion images, but distorting the fashion metaphor by placing them side by side.

The first sees the models against the dramatic arches of Spanish architecture from Gaudi. Grand, epic and beautiful, it is a familiar image for high-fashion, marrying the work of a great artist with the craftsmanship of the clothes. The second image is another well-known fashion image, this time back in the studio, featuring the collection against a graphic, pop-art background. Playing on our expectations and inverting them, the two images are complete opposites and shouldn’t work when side by side but the uniting factor, the thing that binds them together, is the clothes. The campaign, like many of Balenciaga’s strongest adverts, succeeds for the very reasons it should fail.

Julia headed back to the runway in September and had a mammoth season, with over 72 shows. Opening shows for Peter Som, Rebecca Taylor, Dries Van Noten and Alexander McQueen, Nobis’ strengths as a blue-chip catwalk model are finally being recognised. It is rare, even in today’s industry, to find a model that is so adept at working the most avant-garde designs as well as the more traditional work of money-making labels such as Gucci and Chanel. But the breadth of runway work Julia has undertaken focuses in on why Julia has become so in demand: with this model, there are no limits.

In October, Julia made her editorial debut for American fashion bible, W. Photographed by Craig McDean, Julia featured with Ming Xi and Jess Gold in fashion ’groups’, ranging from high-octane glamour to hippie luxe. Julia expanded her editorial CV again in November with a double appearance in V magazine. Appearing in ‘Faces of Now’ and ‘New Models, New York’, Julia was photographed in a series of beautiful black and white portraits. The stillness and concentration required for this type of work is evident in Julia’s unwavering focus. The resulting photographs are undeniably high-fashion, but gorgeous in their simplicity.

Julia is set to finish 2011 with even more runway work. This time she has made appearances for pre-fall shows from Michael Kors and Calvin Klein. An appetiser to the main Autumn / Winter shows arriving in February 2012, these mini pre-collections form a bridge between the main ready-to-wear seasons. A relatively new innovation, the pre-collections are getting as much attention as the main shows, giving us a preview to what we’ll be wearing next. Graphic, Sixties lines are already in the frame for Autumn 2012, with Michael Kors showing bold, funnel-neck coats. With fashion consumption moving at an ever-faster pace, the return of familiar shapes acts as an anchor for the consumer – a token of the expected in a fashion landscape where the rules are continually shifting.

In her work with fashion’s edgiest designers, photographers and magazines, Nobis has also been busy defying the stereotype of bronzed, Aussie beauty, along with her peers Catherine McNeil, Alice Burdeu and Abbey Lee Kershaw. Just as Elle McPherson pioneered a wave of athletically-shaped models in the late 1980’s, Nobis, Kershaw, McNeil and Burdeu are persuading the fashion industry that if they thought to know what to expect from Australian models, they were wrong.

From Alice Burdeu’s alabaster skin, to Abbey with her career that defies the idea that money-makers can’t be high-fashion, the wave of talent emerging from Australia is proving to be one of the most exciting in decades. Julia is the latest model to join this group, but her look, just as unexpectedly Australian, makes her unique even among these girls. Where McNeil and Kershaw wow in big-money campaigns, Nobis becomes Australia’s latest editorial hit: a truly brilliant model, across the board. As fashion continues to operate in a rapidly expanding universe, and the role of models continues to grow within it, Julia’s skill in every aspect of fashion will make her highly coveted. In 2012, Nobis is set to become not only a respected name on the runway, but that versatile face, the anchor that makes you look twice. As bets on fashion’s next superstar go, this will be the safest one you’ll make all year.

HELEN TOPE

MODEL PROFILES: DAPHNE GROENEVELD

2011-12-11T07:45:00.001-08:00

Born on Christmas Eve 1994, Dutch model Daphne Groeneveld has gone from niche phenomena to a model with massive global appeal.

Signing with Women Management in 2010, she was featured by www.models.com in January as a face to watch. The following month, she debuted at Fashion Week, walking in shows for Versus, Giorgio Armani and Hogan.

Her modest runway debut started a catalyst effect with Daphne scoring one of the most coveted campaigns in the business. She signed up to appear in the Spring / Summer campaign for Miu Miu, modelling with Siri Tollerod, Lindsey Wixson and Ginta Lapina.

The campaign proved to be one of the brand’s strongest images, moving away from recent celebrity endorsement to undiluted retro cool. Looking back as much as it looks ahead, Miu Miu is the leader of the pack when it comes to producing strong diffusion ranges. Building its own identity independent of its mother brand, Prada, Miu Miu has led the way in thinking about diffusion ranges not as a lucrative add-on, but a range in its own right. The brand’s decision in 2010 to hire two relatively unknown faces (Wixson and Groeneveld) was a stunning coup. Daphne’s self-assured performance in the campaign led to a flurry of high-profile work including a spot in the Givenchy Couture show.

Her second ready-to-wear season in September saw Daphne score opening spots with Calvin Klein and Max Mara, also closing the show for Marni. Walking for Bottega Veneta, Dolce & Gabbana, Fendi, Jil Sander, Prada and Versace, her appearance at the Prada show caused a stir. Appearing in the heady swirls and stripes collection, this was a year after a slew of Dutch models including Mirte Maas and Lisanne di Jong became a media sensation in cropped jackets low-slung ponytails. Daphne, along with Prada newbies Zuzanna Bijoch and Arizona Muse, made a similar impression modelling a collection that combined Josephine Baker waves with brothel creepers. Prada has a reputation for finding original talent to match its original designs – for two years running, it scored big.

September also saw Daphne appear in her first major editorial. Booked by French Vogue, her debut with the magazine was not altogether surprising. A publication that actively champions ‘new’ faces in every sense of the word, it has helped boost careers of models such as Isabeli Fontana and Lara Stone.

The following month saw Daphne do duty for French Vogue again, this time working with Mariacarla Boscono, Crystal Renn and Freja Beha Erichsen. ‘Bal Masque’ was S&M inspired, but high-fashion generated. Daring and original, Daphne was already performing at the very highest levels of editorial. The year ended with a resounding vote of confidence from French Vogue, as she joined designer Tom Ford on December’s cover.

Moving to Supreme Management in early 2011, Daphne returned to Paris in January, walking in couture shows for Dior and Valentino. She also returned to the pages of French Vogue, featuring in their Spring. / Summer preview. Photographed by Mario Sorrenti, Daphne wore a large string of daisies around her head. It was to be a high-fashion image that inspired copies across the high-street, culminating in flowery headbands becoming the accessory of choice for festival-goers.

She hit the ready-to-wear runway in February with a 40-show season including opening honours for Calvin Klein, Herve Leger, Jason Wu and Rick Owens. Adding Chanel, Chloe, Marc Jacobs and Tom Ford to her catwalk credits, Daphne’s avant-garde look was translating across the board.

Daphne undertook another modelling rite of passage in April, when she appeared in Italian Vogue for the first time. ‘Personal Best’ was an editorial photographed by Steven Meisel, and celebrated off-beauties in a series of simple but quirky portraits. Daphne worked with Kristina Salinovic, and then solo for a Vermeer-inspired photo, plus a stunning transformation into a red-headed 60’s party girl. It was a perfect marriage of old-school technique and new generation styling – quintessential Italian Vogue.

Undertaking her second Italian Vogue editorial in September, Daphne experienced her biggest RTW season to date with 42 shows. Her runway work lead to more campaign signings, this time Daphne appeared in the Autumn / Winter ad for Louis Vuitton. Working with Zuzanna Bijoch, Fei Fei Sun and Anais Pouliot, this advert saw Vuitton become a lone voice for the military look this winter. But the message of the campaign was all in the detail: texture, texture, texture.

Also appearing in the Versace for H&M campaign and runway show, November saw Daphne in great demand. Appearing on the cover of V with Saskia de Brauw, she also appeared in two major editorials within the same issue.

The magazine profiled Daphne’s agency, Supreme Management. Featuring Daphne’s stable mates (including Iris Egbers, Jacquelyn Jablonski and Sessilee Lopez), Supreme is an agency that thrives on the thrill of the new. Part of an agency’s remit to scout talent that not only caters to what’s happening now, but to find faces that will hit a nerve. Supreme pre-empted new glamour, bringing in Jacquelyn and Daphne joins a new generation of ambiguous, highly individual faces that could never be described as middle-of-the-road.

Daphne’s ready affiliation with labels such as Miu Miu, Givenchy and Versace indicates that her comfort zone is with designers that live for change. Miuccia Prada routinely switches things up at Miu Miu; while Riccardo Tisci has transformed Givenchy Couture into a 21^st century powerhouse. Donatella’s vision for Versace has evolved from socialite glamazon to fashion for the people, with her highly successful collaboration with H&M.

No label stays the same, but these three are particularly good examples of how a design philosophy can alter and how important it is to have models who can go with the flow. Already in her career, Daphne has moved from quirky Italian retro to Parisian haute couture. Her unusual face should make her strictly an editorial girl, but Daphne’s latest campaign for Spring / Summer 2012 will prove that she is no-one's safe bet.

One of her last assignments for 2011 has been a portrait shoot for V. Featuring with other new faces, Daphne took her place alongside Ruby Aldridge, Emily Baker and Charlotte Free, refuting the old idea of the ‘one size fits all’ model. All defiantly different, these models escape definition but harness all disciplines of the fashion industry. It speaks of a wider trend moving away from groups of models (such as the wave of Eastern-European talent or the fresh batch of American girls) and into a place where individuals come forward to create a modelling landscape that’s unique as it is hard to predict. With fashion making big changes, it’s only fair to expect modelling to follow the same pattern.

The models beginning to emerge as potential stars of 2012, such as Codie Young and Frida Aasen, are faces that are suggestive of strength in editorial and the top layers of ready-to-wear, but they could just as easily surprise us and become campaign stars with the very biggest names in fashion.

As if to prove the point, Daphne’s first assignment of the New Year will be her most unexpected move yet. Featuring as the face of Calvin Klein’s new fragrance, Sheer Beauty, Daphne’s campaign photo has already been shown online. The image is startlingly romantic, ethereal and modern. Almost unrecognisable from her earlier avant-garde persona, Daphne transforms here to become the absolute Calvin Klein girl.

With this major campaign, Daphne prepares to enter the mainstream, making the transition from edgy fashion girl to an on-the-rise model, equipped with a bag of tricks honed from working on the world’s best runways and appearing in some of the world’s top fashion magazines. The campaign is a resounding counter to anyone who doubted Daphne’s ability to cross-over into more commercial projects. With the perfume’s launch in January 2012, this campaign is set to make Daphne an international name.

Celebrating her second year in modelling next February, Daphne’s career, like her look, will continue to be anything but ordinary.

HELEN TOPE

MODEL PROFILES: TATIANA COTLIAR

2011-11-30T08:03:00.001-08:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: LIU WEN

2011-11-20T07:54:00.001-08:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: RUBY ALDRIDGE

2011-11-13T07:45:00.000-08:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Arizona Muse – eyebrows

Hailey Clauson – hair

Abbey Lee Kershaw – pout

Karlie Kloss – eyes

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: ANNA SELEZNEVA

2011-10-30T08:17:00.001-07:00

Anna Selezneva was born on July 29^th 1990. At 21 years old, Anna is already one of fashion’s most-established names.

Russian-born Anna signed with Silent Management in 2007, making her runway debut that October, walking for labels such as Dries Van Noten.

Her impact on the industry grew rapidly, with Anna scoring opening and closing honours in her next ready-to-wear season, opening shows for Balmain and closing for YSL. A huge hit in Paris, Selezneva also walked for Hermes, Lanvin and Louis Vuitton.

Anna’s fresh-faced classic beauty got her noticed by the magazine industry too, with V ranking her one of the Top 10 Models of Autumn / Winter 2008. Also signing a fragrance contract representing the new Vera Wang fragrance, ‘Look’, Selezneva began to create a serious stir, with consecutive magazine covers in September for both French and Russian Vogue.

The French Vogue cover, photographed by Mert Alas and Marcus Piggott, became a contemporary classic. Anna, evoking supermodels of the Eighties, faced the camera head-on to make an unforgettable impression. Three years later, it has become an image closely affiliated with brand Selezneva: cool, modern glamour.

Anna’s stock began to rise even further, walking in the September shows for Calvin Klein as an exclusive. Her popularity among the world’s designers soared as she was chosen to open S/S shows for Alberta Ferretti, Balmain, Ungaro, plus closing shows for Valentino and Rue du Mail. A slew of editorials followed Anna’s success on the runway, with appearances in V, French Vogue and Russian Vogue.

2009 saw Anna take on even bigger challenges, starting with a shoot with Terry Richardson for the French Vogue calendar. She also made the cover of Italian Vogue in January, working alongside Anna Jagodzinska and Viktoriya Sasonkina. In a cover called ‘Revolution 2009’, Italian Vogue celebrated the explosion of Russian modelling talent with all three models featuring in a high-fashion beauty shot. Wearing flesh-coloured skull-caps, the models worked their Slavic beauty to make a highly original and striking cover.

February saw Anna enjoy her busiest runway season to date, with over 40 appearances on the world’s catwalks. Again opening the show for Balmain (a label gaining in popularity through its revival of the Eighties bold shoulder), Anna also closed shows for Herve Leger, Rodarte and Etro.

She undertook cover duty again in March, this time for Japanese Vogue. Her standing within the modelling industry was cemented when she signed up to front YSL’s fragrance ‘Elle Shocking’. Photographed wearing the famous YSL Le Smoking jacket, Anna’s unique mix of classic beauty and je ne sais quoi helped the fragrance become one of YSL’s biggest success stories.

Filling the next few months with editorials for V, i-D and French Vogue, Anna had her first couture season in July with shows for Elie Saab and Valentino Couture. Her connection with Valentino continued into the autumn, with the opening slot for the RTW show going to Selezneva. Also closing the show for Burberry, Anna was continuing to charm designers from season to season.

Anna ended 2009 with a bang, appearing in a now-famous Italian Vogue editorial, photographed by Steven Meisel. ‘Meiselpic’ was a Twitter-inspired spread featuring top models, past and present. Selezneva’s status moved from newcomer to established, as she took her place among models such as Gisele, Jamie Bochert, Lara Stone and Christy Turlington.

Selezneva began 2010 undertaking another editorial with Italian Vogue. Steven Meisel’s ‘Runway’, took the backstage scenes at Fashion Week and turned them into high-fashion montages. Meisel again used the cream of the fashion crop, hiring new faces such as Gwen Loos and Jac Jagaciak who both got their big break on this epic editorial.

Busier than ever, Anna took on campaign duty for Emporio Armani and appeared in back-to-back editorials for French Vogue, Japanese Vogue, Numero and Harper’s Bazaar. With her credits growing month to month, Selezneva returned to Paris in July to appear in the couture shows, adding Dior and Chanel to her CV.

Autumn 2010 saw Anna take on two massive campaigns for two of the biggest labels in fashion: Ralph Lauren and Versace. An obvious choice for Lauren’s classic palette of Americana, Selezneva was a surprise hit in the Versace ad, working with models such as Iselin Steiro and Valerija Kelava. The ad eschewed the hyper-groomed Versace siren look, favouring a youthful, street-style glamour. It was the start of a new era for the Italian label, working hard to win over a new generation of fans, with the brand going full circle in its reinvention with the hiring of Saskia de Brauw in 2011.

Anna renewed both her contracts with Emporio Armani and Ralph Lauren in 2011, beginning the year with more couture shows (Armani Prive, Valentino and Chanel). Selezneva continued the year with cover and editorial credits, working for French, Russian and Japanese Vogue. The editorials ranged from high-fashion shoots with Hedi Slimane for Japanese Vogue to opulent, fine jewellery spreads for Russian Vogue.

With a strong call-sheet for Spring / Summer 2012, Anna is still proving an irresistible force for many of fashion’s biggest names. Walking for labels such as Chanel, Dior, Isabel Marant and Gareth Pugh, Selezneva remains at the top of her game four years into her career.

The reason for Anna’s ongoing success isn’t hard to figure. Even in an industry built around beauty, faces like Anna’s simply don’t come around that often. Beautiful by any standard, Selezneva has become an established figure in modelling because her perfect proportions make her able to sell virtually any product to anyone. Regardless of whether it’s diamonds to the Russian elite or American style for the devotees of Ralph Lauren and Michael Kors, Anna’s face is a perfect fit every time.

Anna has not only survived in this industry, but excelled because her beauty can handle fashion’s trickier aspects. The prospect of modelling for left-field labels such as Lanvin and Balmain can often mean classic beauty being a liability rather than an asset. Anna is a favourite with these designers because she understands what their label demands, and delivers every time. Her edgier editorials with magazines like Numero and V should by rights belong to quirky, off-beat beauties, but Selezneva convinces because she can play against the commercial aspect of her beauty.

Not afraid to get ugly is what has made Anna not just another beauty, but a true fashion superstar. Challenging, avant-garde work courtesy of Japanese Vogue works a different set of fashion muscles compared to a campaign with Calvin Klein, but mastering both requires genuine insight. Anna’s intelligent approach to each assignment has made her consistently in-demand across the world. She tailors her beauty to every new editorial, campaign or cover, as some will require it takes centre stage, while other bookings will insist that her features be played down.

Success stories like Anna’s are unusual because classic beauty hasn’t been in vogue for some time. We have seen doll-like, Pre-Raphaelite beauty; streetwise androgynous beauty and quirky faces that are all about that one killer feature. Between Lindsey Wixson’s pout and Arizona Muse’s strong, determined brows, conventional beauty hasn’t had much time in the spotlight. Seen as inflexible or even dated, designers have chosen to side-step classic beauty in favour of edgy faces that offer themselves up as a blank canvas. Anna is no blank canvas, but her adaptability in front of the lens has meant that fashion has had to take a fresh look at what was once termed ‘commercial beauty’. With newer faces such as Joan Smalls and Emily Di Donato scooping major campaigns, the line that was once drawn, clearly marking the territory between commercial and high-fashion has now been blurred. It isn’t a case of taking preference of one type of beauty over another: now there is room for both.

Selezneva has succeeded where others have failed because her modern, custom-made approach has made her perfect for high-fashion. Even with a face most would consider essential for working in the fashion industry, Anna comes equipped with the knowledge and awareness that beauty isn’t always enough. Fashion is consistent in its need for change, and being a one-note performer will ensure a career that expires before its time. Anna’s willingness to embrace an aesthetic that plays against her beauty has made her not only relevant, but a contemporary tour-de-force. Anna’s career is a great example of playing the hand you’re dealt. Beauty is a great place to start, but fashion will always ask for something more.

HELEN TOPE

MODEL PROFILES: MIRTE MAAS

2011-10-23T07:42:00.000-07:00

Born on July 16^th 1991, Dutch model Mirte Maas has in two short years turned a niche look into a career that’s anything but narrow.

Signing with Women Management in 2009, Mirte’s career started quickly with an editorial for Russian Vogue in August. She made her international catwalk debut in September, opening shows for Alexander Wang, Donna Karan and YSL.

It was the type of season that most models work years developing. Mirte walked for every major designer including a blockbuster moment at the Prada show in Milan. Also booked by Prada were Lisanne di Jong and Patricia van der Vliet, both from the Netherlands.

Bringing a cool new aesthetic to the catwalk, the three models created a stir. Everything in the Spring / Summer 2010 collection was either cropped or heavily embellished – silk Hawaiian-print jackets were paired with sandals loaded with crystals. It was a very new type of summertime glamour, and Mirte, Lisanne and Patricia seemed the perfect girls to sell it. After a few shaky seasons, Prada was back on form, producing highly-covetable pieces, destined to be reproduced across the high-street. The prints were the most popular, showering the high-street with retro panoramic views of Italy and France. Offering a serious alternative to florals, Miuccia’s hunch that there was an appetite for print proved to be right on the money. It was Prada’s most influential collection in years.

Mirte’s career was launched on the back of this appearance at the Prada show. She along, with Lisanne and Patricia, became fashion’s latest obsession. In October 2009, www.style.com featured Mirte as a Top 10 Newcomer.

Her status was confirmed in early 2010 when she was announced as one of the new faces in Balenciaga’s S/S campaign. Also featuring running mates Lisanne and Patricia with established model Iselin Steiro, the ad was shot by Steven Meisel.

The now-famous ‘Photoshop’ ad, packed with colour and energy, made a huge impression. While other campaigns were peddling pastels and neutrals, Balenciaga’s left-field palette of green, orange and yellow packed a punch. Playing with proportions, the startling visuals made the advert bold and contemporary. Whether you loved it or loathed it, there was no ignoring it. Like Prada, Balenciaga is a label that takes the road less travelled, and being associated with such a label did Mirte’s career no harm as her campaign debut set the tone for the rest of the year.

Following a campaign for Calvin Klein, Mirte’s career took another step up when she featured in her first Italian Vogue editorial. She appeared in ‘Runway’, a multi-page editorial and tons of behind-the-scenes footage intercut with runway shots. It was all a construct, with Meisel pulling the strings to create an editorial with an authentic, documentary feel.

Meisel’s choice to explore this subject proved him to be ahead of the curve. Those candid shots you see in magazines of models waiting to take to the catwalk have gained massively in value. The energy, sometimes frenetic, but always exciting, is perfect drama for a photographer’s lens. Meisel saw the potential of this kind of photograph, and now these photos are as commonplace as the runway stills.

Following her first couture season in Paris, Mirte had her first magazine cover in February, landing the front page of Chinese Vogue with model Shu Pei. It was a significant move, with the importance of breaking into new fashion territories becoming ever more crucial. China has a genuine appreciation for luxury goods and high-fashion is right at the top of that list. Playing to this fashion-hungry crowd could signal real mobility for Mirte’s career within the next few years.

Mirte’s runway season in February was another success, opening shows for Sonia Rykiel and Balenciaga. She also walked for designers who represented the best of mainstream and avant-garde: Chanel, Derek Lam, Elie Saab, Marc Jacobs, Marni, Nina Ricci, Preen, Rag & Bone, The Row, Valentino and YSL.

With a smattering of editorial work for W, Japanese Vogue and Numero over the next few months, Mirte booked another slot with American Vogue in May. Photographed by David Sims, ‘American Experience’ was the great American novel in fashion form. It was a truly epic editorial, featuring Edith Wharton-style debutantes in Oscar de la Renta gowns to celebrating the classic white shirt from Calvin Klein. It explored the minutiae of American experience through its fashion, showcasing not only the big names but demonstrating how diverse American fashion has now become.

Compared to the glittering excesses of Paris and the sleek chic of Milan, America has at times struggled to find its voice. But its willingness to embrace new cultures through years of immigration has led to a range of exciting new designers that are offering a view of American fashion that’s anything but apple pie. Thakoon, publicly supported by US Vogue editor, Anna Wintour, has a design sensibility that merges street style with razor-sharp directional tailoring. Jason Wu and Derek Lam are the heirs to old-school designers such as Oscar de la Renta, reinventing glamour for a new generation. Some editorials go further than just showcasing new trends – this one demonstrated how far America has come in letting its voice be heard.

Renewing her campaign contract with Balenciaga in the autumn, Mirte once again wowed on the A/W runway with a 44-show season. Modelling for many of the same designers who had booked her as a new face just one year ago, she was proving that the ‘Dutch fad’ was anything but a passing phase.

Ending the year with back-to-back editorials for Chinese and Spanish Vogue, 2011 began with Mirte making a splash in American Vogue. Appearing in ‘New Order’, an introduction of the year’s big-hitters, Maas also appeared in the Spring / Summer preview featured in the magazine’s February edition. ‘Gangs of New York’, shot by Mario Testino, hired every top model available to appear in fashion tribes in a mega editorial. Mirte appeared in the section featuring designs from Donna Karan.

Mirte experienced her best ready-to-wear season in February with 52 shows. Maas appeared in every show of note including Burberry, Chanel, Hakaan, Jil Sander, Marc Jacobs, Prabal Gurung and Versace.

She also built up her couture CV in July, with shows for Armani Prive, Valentino, Chanel, Elie Saab and Giambattista Valli. 2011is turning out to be a golden age for haute couture, with the couture houses proving surprisingly resilient at keeping up with the changes in the fashion market. Creativity has been fashion’s chief response to the recession and it seems to be working, with the best designers continuing to flourish. The desire for fashion hasn’t gone away – we just want more bang for our buck, and that’s exactly what they’re giving us.

With a Valentino campaign lined up for Autumn / Winter 2011, Mirte had a knockout season in September with 41 shows, including appearances in some of the best shows of a particularly strong season. Walking for Christopher Kane, Valentino and Rodarte, Mirte has settled her reputation as a runway and editorial stalwart.

Outliving the initial buzz surrounding her first season, Mirte has emerged two years later with a career that shows real promise of enduring at the very top levels of the industry.

Her impeccable runway credentials point to just how important catwalk remains. Now streamed live on the internet, shows are viewed by millions, rather than a select industry few. In the trifecta of runway-editorial-campaign, runway remains the quickest route to industry approval.

It is often the first glimpse of a new collection, making the hiring of models absolutely crucial. The right dress on the wrong model can spell disaster. Whether the collection is well-received on the catwalk will then have a deciding factor on whether the pieces are used for editorials. A prolific presence in the world’s fashion magazines then gives the campaign serious selling power. Success at this level determines sales on the shop floor, ranging from actual collection items to add-ons such as bags, shoes and fragrance. The push at the start of the season can determine a label’s financial momentum for the rest of the year. Mirte’s ability to command attention on the runway is a skill that puts her at a premium.

The trajectory of Mirte’s career shows that what is beginning to emerge in this decade is not one new interpretation of the term ‘supermodel’, but several. You have campaign regulars – such as Anja Rubik, Karlie Kloss and Jacquelyn Jablonski – and then you have the models who command attention on the world’s runways and in the pages of top magazines.

But one isn’t taking precedence over the other – their level of success and standing within the industry is impossible to separate. It’s a move away from the polarisation that occurred in the Eighties, setting editorial / runway girls against the models who scooped the campaigns and magazine covers. Those who did covers were rarely seen as editorial stock, and vice versa.

With the following decade came a need for compromise. As finances became squeezed, choices had to be made, and suddenly the idea of a small band of supermodels having a monopoly on all the good jobs seemed not only unfair but not particularly good for business. The high prices requested by the Eighties supermodels could not continue, and widening the market meant new models offering more for less. It was a pivotal move, and has resulted in the modelling industry we see today. By rejecting the old rules, the diversity that allows an editorial model to get campaign bookings with mainstream clients such as Calvin Klein, makes modelling a more even playing field - it also makes it more interesting

Mirte’s fortunes have taken her from being a niche model on Prada’s runway to scoring the kind of editorials and campaigns that are spelling out a highly successful future. The age of the Supers may have gone, but Mirte’s achievements make her no less impressive. Her ability to do it all, from mainstream to the cutting edge of fashion, makes Mirte a very modern interpretation of supermodel. While the term is getting redefined for a new age, the strengths required remain the same.

HELEN TOPE

MODEL PROFILES: NATALIA VODIANOVA

2011-10-16T07:40:00.001-07:00

Born in Russia on February 28^th 1982, Natalia Vodianova is one of modelling’s most popular faces.

A campaign regular for Calvin Klein and Stella McCartney, Vodianova was first discovered at the age of 16 working on a market stall. That same year, Natalia moved to Paris and signed with Viva Management. After a flurry of early modelling bookings, Natalia took a year out after giving birth to her first son, Lucas, returning with a bang in 2002.

Natalia signed a fragrance contract with Gucci and in March opened the Autumn / Winter show for YSL in Paris. She also booked a campaign with Louis Vuitton and closed 2002 with the cover of Italian Vogue, photographed by Steven Meisel. Natalia’s success continued into 2003 and 2004 with a 49-show runway season and a slew of international Vogue covers.

Signing with Calvin Klein in 2005, Vodianova’s career went into overdrive. A bond that continues to this day, Natalia’s mix of edgy beauty and classic appeal made her an ideal fit for the American super-brand. The signing made Natalia a visible presence on an international level.

Nabbing her second Italian Vogue cover in May, Vodianova renewed her contract with Calvin Klein in 2006, including additional duties representing the label’s newest fragrance, ‘Euphoria’.

Calvin Klein has led the market in making the link between high-fashion and fragrance. A ubiquitous presence in the 80’s and 90’s with ‘Eternity’ and ‘Obsession’, Calvin Klein has succeeded where others have failed because of their ability to identify their customer-base. Every fragrance developed by the brand is individually targeted at a particular group of consumers, from the design of the bottle to the faces hired to carry the campaign. The brand’s clarity in focusing on who they’re selling to has made them one of the most successful perfume-makers in the world.

For Natalia, to not only scoop the initial campaign, but to still be representing the fragrance six years on, puts her in a highly select group of models. Clothing campaigns come and go, but there is something compelling about a good fragrance campaign. When the chemistry is right, the bond between the model and the fragrance can last a lifetime. Natalia’s long-standing affiliation with the scent has turned ‘Euphoria’ into a modern classic.

2007 saw Natalia return to the catwalk in February, opening the A/W show for Calvin Klein. Renewing her contract with the American label, her star-power was in evidence when she appeared on the cover of American Vogue. 2007 was clearly a year for cover-sharing, with Natalia being the only model to have a solo US Vogue cover that year. That charisma translated into serious cash, with Natalia being ranked by Forbes magazine as the 5^th highest-paid model in the world, earning an estimated $4.5 million in 2006.

As one of fashion’s biggest names, Natalie got to work on some incredible projects. In January 2008, Natalia was asked to both open and close Valentino’s final couture show in Paris. A true fashion event, the designer behind the Valentino label retired in 2008 with one final, glorious triumph.

The show was a love-letter to glamour, and the ending of the show saw every model take to the catwalk in identical Valentino-red gowns. From a career that started with dressing Jackie Kennedy in the Sixties, to transforming red-carpet dressing, Valentino remains shorthand for sophisticated, Italian glamour. Natalia’s role was pivotal as a long-time favourite of the designer, and she was able to pay tribute to a life’s work that continues to have a huge impact on fashion.

Natalia’s place within the fashion industry was confirmed with an editorial in May 2009’s edition of American Vogue. Titled ‘The Godfather’, US Vogue paid homage to the extraordinary career of Steven Meisel.

The photographer’s star-finding abilities were proudly celebrated, collating every top model that Meisel ever backed. It is fair to say that without Meisel’s unique eye for new talent, the landscape of the modelling world would look very different. Vodianova’s first Italian Vogue cover in 2002 was with Meisel and her ability to command top-dollar comes from those early positive experiences that gave her the confidence to take on those big-money assignments.

Natalia worked with Meisel again, collaborating on the December ’09 issue of Italian Vogue. The cover, ‘Meisel Pic’, and the accompanying editorial, ‘Following’, are a Twitter-esque parody, featuring a ‘friends list’ of some of the world’s best-known models. Gisele, Lara Stone and Christy Turlington all got their pose on, creating faux-profile pictures.

The result was a witty appraisal of the boom in self-portraiture featured on social media websites. Putting the spotlight on these technological developments which are continuing to evolve the way we consume and enjoy fashion, re-affirmed Meisel’s ability to examine the new and the next.

Natalia’s status continued to soar when she got an entire issue of Vogue to herself in May 2010. Featuring throughout Chinese Vogue, Natalia appeared in a range of editorials photographed by Paolo Roversi, Peter Lindbergh and Patrick Demarchelier. Comparable to Natasha Poly’s solo issue for Russian Vogue, this rare honour is only offered to the truly great models.

Natalia proved her worth again in July 2010, shooting an extensive editorial for American Vogue. Shot by Peter Lindbergh, Natalia was partnered with actor Ewan McGregor. In a spread that combined Hitchcock with domestic drama, it illustrated the type of narrative modelling that Natalia excels at.

In late 2010, Natalia joined Karen Elson and Christy Turlington in shooting one of the top campaigns of the season. Appearing for Louis Vuitton, this was one of the most striking images of the fashion year. Natalia, Christy and Karen showed off their fashion prowess in designs that were unapologetically feminine. From the cutting table to the pages of Vogue, this collection was a winner on every front.

Finishing the year with an opening slot in Roberto Cavalli’s 40^th anniversary show in Milan, Natalia began 2011 with more editorial work, including British Vogue’s bridal edition.

Released to coincide with the Royal Wedding, the multi-cover special featured Natalia in couture bridal-wear. With every aspect of bridal fashion covered as only Vogue can, it was a resounding counter to anyone who assumed that the British can’t do romance.

More editorial work followed, with a spread for US Vogue photographed by Mert Alas and Marcus Piggott. ‘My Generation’ was a retro-styled shoot with references to the novel ‘Brighton Rock’ to give it some bite. It was stylish, coded rebellion, making the editorial look and feel absolutely authentic.

With over ten years in the business, Vodianova continues to book some of fashion’s most-coveted jobs. Scoring a place on the A/W Givenchy campaign with Mariacarla Boscono, Naomi Campbell and Kristen McMenamy, Givenchy went with bold casting choices, choosing experienced models all at the top of their game, proving that as far as high-fashion is concerned; age really is just a number.

Vodianova’s longevity is about more than sheer beauty. Having a face capable of producing looks from chocolate-box prettiness to haute couture complexity, Natalia has utilised her natural gifts to carve out a unique place in fashion history.

Being the prettiest girl in the room isn’t a guarantee of success, and Vodianova has achieved greatness by using that face with purpose. Natalia’s genius is in generating intention behind every shot. Whether it’s conveying dramatic tension or wistful yearning, she is one of the best in the business.

Story-telling is at the heart of great fashion, whether that’s on the runway or in a blockbuster campaign. Drawing the consumer into the story is central to the high-fashion experience. Design and tailoring may make the clothes, but in order to sell them, you need a little magic. Our primitive need to create stories is what makes print work crucial to the success of the fashion industry, even when so much of the fashion experience is now online. If we identify with the story, the label can’t fail to make it big.

The A/W 2010 campaign for Louis Vuitton is a brilliant example of how this strategy works. The genius of this campaign was in persuading us that fashion had become a friendlier place for curves, with most of the pieces needing extra shape to fill them out correctly. The idea that high-fashion was just to be enjoyed in its abstract form was transformed overnight. The gap between ‘us’ and ‘them’ got narrower.

The fear that consumer power would stifle creativity hasn’t been realised. The latest A/W collections are eminently wearable but the touches of daring design are still present from Prada’s fur-covered trenches to Marc Jacobs’ bold, magnified touches of luxury. Persuading us to take these sartorial leaps of faith are models like Natalia who make us want to get involved. Fashion should never be a spectator sport; Vodianova’s ability to sell us not only the dream of high-fashion, but the actual day-to-day experience of wearing it, is what has kept her in such demand.

Her latest campaigns with Stella McCartney and Givenchy illustrate how fashion is learning to mould itself to its core customers. McCartney’s slip dress of the Nineties has given way to sophisticated nostalgia. On Natalia, Eighties polka-dots and sheer panels are not a hard sell.

As Natalia heads towards her thirties, she is becoming the poster-girl for a generation that is determined to grow up gracefully. The same group who were caught between grunge and girlie abandon are pushing the fashion industry into a new era where fashion literacy and high-expectations are the norm.

Natalia’s generation have grown up knowing not only the big-name labels, but the smaller, niche brands. Catering to this crowd requires an intelligent approach, making fashion that’s real-life applicable but audaciously creative. These consumers are prepared to give difficult clothes a go, even when other age-groups shy away from them, and that makes them one of the most-valued demographics in fashion today.

Selling to this age group requires a face they can trust. As their peer, Vodianova’s modelling style registers as cool, collected and seductive, but most of all, honest. Natalia’s charm is in her ability to quietly challenge our fashion perspectives, our most firmly-held sartorial beliefs.

Making light of fashion’s hardest task, Natalia’s soft approach to the hard-sell has made us powerless to resist. A gifted and subtle story-teller, Natalia’s way changes us by degrees. A quiet revolutionary, and still continuing to challenge the perceived wisdom, Natalia’s gentle persuasion has made her one of modelling’s truest pioneers.

HELEN TOPE

MODEL PROFILES: ZUZANNA BIJOCH

2011-09-25T08:19:00.000-07:00

Zuzanna Bijoch was born in Poland in 1994 and her connection with the modelling world began at an early age. Aged 13 years old, Zuzanna entered and won a D’vision modelling contest, signing with NEXT Models that same year.

The agency chose to develop their new talent, with Bijoch travelling to Tokyo in 2009 to accrue some modelling experience. In July 2010, Zuzanna made her couture runway debut, walking for Georges Chakra.

She made her ready-to-wear catwalk debut in September 2010, making a splash as an exclusive signing for Miu Miu. Favoured by the Italian label, her other bookings included Jason Wu, L’Wren Scott, Marchesa, Marni, Tory Burch and Prada.

The sign of approval from Prada was made official in early 2011 when it was announced that Zuzanna would be one of their faces for the Spring / Summer campaign. Working alongside Tatiana Cotliar, Arizona Muse, Mariacarla Boscono and Kinga Rajzak, Zuzanna participated in a campaign that was to define the look of S/S 11. Photographed by Steven Meisel, the mix of nautical stripes and baroque swirls in blue, green and yellow was decadence meets discipline. Counting as one of their most visually dynamic collections, it was cerebral fashion anarchy, and S/S 2011 was Prada’s season for the taking.

The effect of Bijoch’s inclusion in the Prada ads was immediate. In February 2011, she opened RTW shows for Rue du Mail, Thakoon and Victoria Beckham, closing shows for J. Mendel and Balenciaga. Zuzanna scored an amazing 58 show appearances, including Alexander McQueen, Chloe, Dior, Fendi, Givenchy, Gucci, Marc Jacobs, Michael Kors, Prada, Proenza Schouler, Ralph Lauren, Sonia Rykiel, Valentino, Versace and YSL.

Zuzanna had finally arrived on the fashion circuit, thanks to Prada’s patronage. The label’s star-spotting ability was right on the mark, with Bijoch working with a wide range of designers from feminine chic at Alberta Ferretti to sexing it up at Gucci. Appearing in every major show of the season, Zuzanna was a true fashion favourite.

Filling the next few months with editorial work for magazines such as Dazed & Confused, Bijoch travelled to Paris in July for couture season, walking for Dior, Givenchy and Valentino. At 5’ 9”, Bijoch is two inches shorter than most haute couture models, but her runway prowess marked her out as a natural.

The same month saw Zuzanna take centre stage as a cover girl, appearing in both an editorial and on the cover of Mexican Vogue. Her editorial, ‘Gracia Eterea’, is pure sun-swept elegance, showcasing classic fashion, from Ferragamo, Bottega Veneta and Halston.

Zuzanna visibly transforms in this editorial, wearing the classic pieces effortlessly. Hunched high-fashion poses have their place, but knowing how to work your body to create elegant, fluid lines is an art. Few get it right, but those that do, see their earning potential flourish.

Zuzanna’s next editorial, however, could not be more different. Working with photographers Mert Alas and Marcus Piggott, ‘Strict’, for Interview magazine was a fetish-themed editorial featuring Candice Swanepoel, Anais Pouliot, Emily Baker and Saskia de Brauw.

The theme of the shoot was a dark substitute for Autumn’s retro fantasies. In this series of provocative images, Zuzanna exudes a sultry softness that keeps the content fashion-forward, not top-shelf. With awkward camera angles and angular poses, the shoot was certainly button-pushing, but never exhibitionist. Bijoch’s strength and versatility in editorials was rewarded when she booked not only one, but three of the biggest campaigns of A/W 11: Chloe, Proenza Schouler and Louis Vuitton.

The Chloe ads, shot by David Sims, are the familiar sun-dappled vintage look that has become the visual shorthand for the label. Since its revival in the late 90’s under Stella McCartney’s directorship, Chloe has emerged as one of the labels most able to deliver what women want from their clothes. It takes the classic components of fashion – jackets, straight-leg trousers, bias-cut dresses – and re-works them into season must-haves. To model Chloe successfully, the fashion edge has to be softened, and in this campaign, Zuzanna joins forces with Sigrid Agren, Arizona Muse and Malgosia Bela to create images of women who are not slaves to fashion, but are freed by it.

Zuzanna’s second campaign is for Proenza Schouler. Bijoch carries the campaign solo, wearing the signature bright colours and geometric pattern blocking that forms the retro feel of the label. Famous for its ‘PS1’ satchels, defining its look on the runway and beyond has been crucial in creating a brand that’s developed, well-rounded and progressing ever forwards. Zuzanna demonstrates her easy affinity with high-fashion, wearing the campaign look as easily as a pair of jeans, making us not only appreciate Proenza Schouler, but covet it. The label needed a strong campaign identity; and with Zuzanna at the helm, it’s job done.

The last advert Zuzanna will appear in this year is one of the blockbuster campaigns of the season. Shot by Steven Meisel, the Louis Vuitton look is flying the flag for military chic.

Always popular during autumn and winter, the strong, body-defining tailoring of military-themed coats and jackets help in taking the sting out of cold winter days. The label is pinning its hopes on our love of perennial A/W classics, rather than fashion nostalgia.

As a collection, it is remarkable for being so different to other labels who are delving into fashion’s back catalogue. Vuitton’s creative director, Marc Jacobs, shows why he is a sure thing for the top job at Dior. Never afraid to be the first at heading in a new direction, after the pastels and sweetness forecast for Spring 2012, we may find ourselves in the mood for something a little tougher this time next year.

This September, Bijoch faces her third RTW season and so far has been seen in several shows. Scoring opening honours at Derek Lam and acting as the closer for Diane Von Furstenberg, to date Zuzanna has also appeared for Alexander Wang, Gucci, Versace, Calvin Klein, Marc Jacobs, Ralph Lauren, Donna Karan, D&G and Moschino.

The word from the front row already is a noticeable lean towards fashion’s gentler side. With pictures in from the New York, London and Milan Fashion Weeks, there is a studied softness in the colour palette with muted colours: duck egg blue, sage, primrose yellow and white all featuring heavily in numerous collections. Some of the biggest impressions have been made on our turf, with both Christopher Kane and Mary Katrantzou already jostling for show of the season.

After years of celebrating tough, urban fashion, the tide seems to be turning with many designers choosing to explore their softer side. Gentler fabrics and brighter colours are becoming the norm across the seasons. Burberry’s creative director Christopher Bailey was one of the chief exponents of the urban look, with head-to-toe black and bags covered in stud-work. But his newest collections are a complete about-turn, with 60’s inspired coats in every shade from cornflower blue to pumpkin.

The idea that a particular colour range can only be suitable for a particular season has been challenged by designers wanting to look at new ways of wearing colour. The usual colours for autumn (red, yellow, orange) have been augmented to include brights more usually associated with summer: pink, green and blue.

This widening of our perception has heralded an end to the reign of urban fashion. As ubiquitous as it was useful, the street uniform of leather leggings, hardware and lashings of black has served us well. It was a look that could be punctuated with texture – shearling was often featured – but the need for texture, for softness, eventually became too hard to resist.

The core of this change is embedded in our economical turmoil. If we dressed for battle during the early part of the recession, as we now do our best to ‘keep calm and carry on’, what we need is comfort.

The abundance of tweed, lace, calfskin and shearling on this year’s catwalks go a long way to explaining our desire to be cosseted. We want to be wrapped up in cosiness, with texture providing us with a fourth fashion dimension. The feel of clothes has been neglected over the past decade, with our attention focused on their visual impact. How clothes feel next to the skin is rapidly becoming one of fashion’s major steering factors.

The theme of softness continues beyond outerwear with chiffon and silk lending themselves brilliantly to the 70’s-style pussy-bow blouses seen at Chloe, and the star-spangled jumpsuits from Dolce & Gabbana. The lightness of the looks coming off the runway is about freedom, not constriction. It’s not only our range of movement that gets a break this winter: the capacious silhouettes of cocoon coats and capes give us room to relax and take stock. If you’re already feeling the pinch, the gentleness of a cocoon shape won’t fence you in. When we’re all feeling the pressure, fashion lightens the load with collections filled with airy, dreamy looks that reassure and comfort us.

It’s this fashion landscape that Zuzanna will inherit in 2012. With an already-proven track record as an interpreter of fashion’s softer side, Bijoch stands to make it big next year. Her ability to fuse strength with softness will prove invaluable as the fashion world moves its tough-guy act out of the spotlight in favour of a look that’s soft on the surface.

But don’t be fooled: fashion’s new affection for softness isn’t about denial; it’s right in the action, with a core of strength that’s there, even if you can’t see it. In times like these, fashion is far from being frivolous: it has something very profound to say about the art of survival. 2012 will be a quiet show of strength, but no matter what, fashion has our back.

HELEN TOPE

MODEL PROFILES - JULIA SANER

2011-09-18T06:29:00.001-07:00

Born on the 19^th February 1992, Swiss model Julia Saner entered the Elite Model contest in 2009. Winning first place, Julia signed with Elite’s agency in Paris that same year.

Her catwalk debut took place in September 2010, with Saner debuting at both Milan and Paris Fashion Week. She opened the Valentino show, and appeared in shows for Fendi, Roberto Cavalli, Alexander McQueen, Givenchy and Chanel.

Julia’s impact on the runway was immediate. At 5’11”, Saner was ideal catwalk material. Her win at Elite brought her to the attention of designers, but award or not, Saner still had to prove her abilities on the runway just like every other new model. Luckily for Julia, she and the runway appeared to be the perfect match.

In January 2011, she appeared in her first couture season, closing the Valentino show and walking in the Elie Saab, Chanel, Dior and Jean Paul Gaultier shows. Valentino’s infatuation with the new model was rubber-stamped in when it was announced that she would become the face of its newest campaign, along with Caroline Brasch Nielsen and Freja Beha Erichsen.

The revamp of the Italian label meant hiring fresh, new faces – faces that could lend themselves to the uber-feminine designs of the ready-to-wear line as well as the more challenging silhouettes of the couture collection. Julia proved to be particularly useful for Valentino, with strong features handling the camera beautifully, her memorable face making her both avant-garde and reassuringly classic.

Her runway success translated into editorial work, with spreads in Numero and American Vogue in February. Saner showed off her high-fashion skills in ‘Labyrinthe’, a typical Numero shoot with complex angles and challenging poses. It was a very technical shoot – photographing high-fashion this way can lean towards parody if care isn’t taken. The result was an editorial packed with bold ideas, but performed with subtlety. It was just right.

Her second editorial that month was the Spring / Summer preview in American Vogue. The ‘Gangs of New York’ spread featured every model of note, and Julia got the title page, a huge honour for any model, let alone one who had only been working for six months. With her first cover in March (Italian Marie Claire), Julia also scored another career high with an editorial for Italian Vogue, called ‘Wasted Luxury’.

The editorial saw Julia working with models Saskia de Brauw and Milou Van Groesen. Photographed by Steven Meisel, this editorial was a brilliant reminder of why everyone in the fashion industry looks to Italian Vogue.

Heavily ornate, eccentrically styled with kooky accessories and clashing prints, this was hyper-fashion at its best. It was all in the execution: with Meisel behind the lens, the shoot was kept restrained but purposeful. Looking at the images, you can’t help but rest on details: gold-leaf embossed on a pair of trousers, metallic pleated collars.

The focus is on the beauty of the individual pieces, making this editorial far more user-friendly than you might expect. This isn’t eccentricity for its own sake, but exploring ways of presenting beautiful things. Italian Vogue actively strives to find new solutions to this oldest of problems – keeping the desire alive for brave new fashion. The path more travelled can often seem like a lot less hassle. But it’s the job of Italian Vogue to keep us interested in what’s next; asking us to change our perceptions of what is fashionable and beautiful. No easy task, but when it comes to sartorial persuasion, no-one does it better than Italian Vogue.

With appearances in German and Japanese Vogue in May, Julia appeared in June’s Turkish Vogue, in an editorial named ‘Disniz Dan Biri’. Exuding colour and texture, Julia takes to the street markets to shoot a fashion travelogue that evokes the excitement and unfamiliarity of experiencing different cultures.

It is interesting to note just how many fashion shoots take place on location. It’s not just making the clothes look even better against a stunning backdrop: like travel, fashion broadens the mind. Seen from a fresh perspective, editorials push us to see fashion differently too, encouraging us to try a new shape, a new colour. Fashion has a habit of surprising us, but these editorials offer up the idea that sometimes we should take control, and surprise ourselves.

Julia’s career continues to go from strength to strength in the final months of 2011, with three campaign signings. The first, with Mulberry, sees Julia join forces with Taitana Cotliar in a series of typically bohemian and eccentric images. A success already, the bright leather satchels and pleated skirts featured are visibly making an impact on our buying habits for this autumn.

Mulberry remains one of the most influential labels working today. The ‘Alexa’ satchel saw copies spring up across the high street. Its success in re-defining vintage shapes has made Mulberry a highly competitive force in today’s fashion market. Its brand identity has rocketed in recent years, with the campaigns becoming the label’s calling card.

This season, Mulberry celebrates the British countryside with a series of images that are bold, quirky and unmistakable. Julia’s inclusion in this campaign has already raised her profile in the industry, taking her from runway favourite to campaign star.

Her next signing is with one of fashion’s newest – and hottest – names. Prabal Gurung has already been making waves, becoming a red-carpet must for stars who like their fashion served with an edge.

The last, with high-street chain Karen Millen, shows Julia’s ability to cross boundaries and defy definition. It’s an important asset for a model, but crucial for one who plans to become a fixture on the modern campaign circuit. Mulberry, Gurung and Millen represent three very different campaigns, but together they point to the career Julia will develop.

With a body that can handle the highest of high-fashion and a face built for mass appeal, Saner finds herself well-placed to offer the fashion industry the best of both worlds. She possesses a face that can make high-fashion look approachable, steering it to a new generation, but still satisfies the old-school, avant-garde leanings of the most edgy designers.

The idea that you can tailor a modelling approach to an individual brand or label is nothing new, but what is becoming clear is that it’s by no means set and dried as to which brand requires which approach. It’s not guaranteed that a high-street favourite will need a bright and breezy commercial face, no more than a high-fashion brand will require someone with serious fashion credentials.

With the gap closing between high-fashion and high-street, editorial and commercial modelling have come together to form a third approach, to answer a desire for a new level of sophistication that celebrates our growing fashion knowledge. Look at any of the large high-street stores, and their campaign images, dotted around the store and in the front window, are all using this new approach to create and generate sales.

H&M do minimal sophistication, keeping the clothes centre-stage; Topshop use fashion’s brightest new modelling talents to showcase their latest looks and Zara’s campaigns are a master-class in marketing, owing a debt to designers such as Jil Sander who work on the principle of keeping it simple.

What these brands have gained in sophistication they haven’t lost in populist appeal – many of them are more successful than ever. This shift isn’t just restricted to the British high street either: many high-fashion labels have been revising how they reach out to their customers. Mulberry’s campaigns have piqued mainstream interest, making their products as familiar as any high-street hit. Julia as the Mulberry girl is undeniably high-fashion, but there is an approachability in her performance that helps explain the label’s continuing success while its competitors falter.

While some labels thrive on the unfamiliar, and change their approach every season (such as Balenciaga), others have decided to stick to a formula that develops a sense of cohesion. Labels such as Chloe have streamlined their campaigns, making their dreamy, vintage-inspired images a trademark of their brand.

The idea of not taking yourself too seriously is also a winner for many brands, and has recently been adopted by French label Lanvin. With a campaign video available online, models Raquel Zimmermann and Karen Elson demonstrate some seriously camp dance moves, and the coup de theatre is Alber Elbaz himself joining in the fun. If Lanvin could ever be accused of being too serious, this video goes a long way to redressing the balance.

Just five years ago, these about-turns for such established labels would have seemed unthinkable, but in ensuring their survival, each brand is looking again at how it presents itself to the world. High-street and high-fashion are learning from each other, creating surprises and delights along the way.

What remains steadfast though, is the idea that a good campaign does the leg-work in developing a brand. It’s why designers and companies spend so much in creating that perfect first impression. Right now, fashion needs not just multi-taskers, but faces that go beyond trends; avant-garde, commercial and everything in-between. Breaking the rules in staging campaigns has resulted in a playing field where, quite frankly, anything is possible.

With a career still in its infancy, Julia has already demonstrated she can be that new kind of model that fashion so desperately needs. Her ability to cross boundaries is what will continue to define her career as fashion strives to prove it hasn’t lost its way, but is merely treading new ground. The path less travelled has never seemed so much fun.

HELEN TOPE

MODEL PROFILES: CAROLINE BRASCH NIELSEN

2011-09-11T08:16:00.000-07:00

Born in Denmark, 17-year-old Caroline Brasch Nielsen began her career in 2010, signing with Elite, one of the largest modelling agencies in the world.

Despite having a career that has yet to hit the two-year mark, Nielsen is a model who has already learned to think big. Debuting in Paris Fashion Week, she opened the Autumn / Winter 2010 show for Valentino, also walking for Balenciaga, Chanel, Givenchy, Miu Miu and YSL. Unsurprisingly, her impressive catwalk CV caught the eye of website www.models.com that featured her as a Top 10 Newcomer.

Two months later, Caroline was shooting an editorial for Italian Vogue. Working with photographer Steven Meisel, as far as modelling rites of passage go, this is the classic, star-making ritual. With Meisel’s ability to cherry-pick modelling talent, Caroline starting her editorial career with Italian Vogue was to prove a highly significant move.

A magazine also with a reputation for spotting great model potential, Nielsen’s next assignment was with French Vogue. Shooting ‘Country Club’, Nielsen experienced first-hand the magazine’s penchant for launching new models into the deep end of the editorial experience.

Her ability to remain cool under pressure placed her at an advantage when she undertook her first couture season in July. Closing the show for Valentino, Nielsen also appeared for Elie Saab and Chanel.

Caroline’s developing links with Valentino couldn’t have been better timed. After Valentino himself retired in 2008, its re-launch under new creative direction began somewhat shakily, but finally found its feet with Maria Grazia Chiuri and Pier Paolo Piccioli at the helm.

No-one has done glamour more perfectly than Valentino, and the handing over of the reins meant a rethink of the whole brand. Maria and Pier kept the sophistication, but brought in a girlish softness that has scored highly with young Hollywood. In previous years, Valentino was perceived a red-carpet label strictly for grown-ups. You rarely saw anyone under 30 wearing the gowns. If the label was to progress, it needed to address this oversight.

Valentino’s enthusiasm for Caroline is not accidental. Her delicate, fresh modernity makes her a perfect fit for the brand’s new look. Still catering to the glamour crowd, the label invites younger fashion fans to participate in the Valentino experience. Light-as-air tulle replaces silk-satin, polka dots instead of sequins; the intelligent application of modernity combined with a respect for the legacy Valentino created, has ensured that this label doesn’t become lost to a new generation of fashion-savvy girls.

Caroline’s affinity with luxury labels continued when she was selected to appear in the A/W Balenciaga ad campaign along with Meghan Collison, Mirte Maas, Stella Tennant and Karen Elson. The quietly-directional series of images is made all the more astonishing when you consider that up to this point, Caroline had been modelling for a period of months, not years.

In September, Nielsen got dual editorial honours for Russian Vogue and Dazed & Confused. With an eponymously-titled editorial in the mix, Caroline was hitting every standard required to make it from good model to great. That same month, she experienced her busiest season to date, clocking up appearances in 60 shows.

These were not just ordinary appearances, but Nielsen managed to open shows for Narciso Rodriguez, Thakoon, Alberta Ferretti and Nina Ricci. Closing the show for Herve Leger, Giambattista Valli, The Row and Valentino, Caroline’s runway celebrity has been well and truly established.

Nielsen walked in every show of note, including Marc Jacobs’ technicolour homage to Seventies New York, and Prada’s show of swirls and stripes that came to define the season. Nielsen’s start in the modelling industry wasn’t just about hype – her ability to command attention was rapidly becoming a highly-valued commodity. Caroline wasn’t only adapting at will, transforming into the perfect Prada girl, but she was immersing herself in every runway look and editorial. It is this quality that has taken Caroline so quickly from ingénue to star. The good model gets there too, but the model with potential for greatness, makes the transition at break-neck pace.

2010 ended with Nielsen emerging as one of the faces to watch. Still only 9 months into her career, Caroline had become one of fashion’s most bookable girls. Entering 2011, it was announced that Nielsen would be fronting campaigns for both Marc Jacobs and Valentino. The Marc Jacobs campaign represented a spectacular coup for Nielsen: it was one of the seminal looks of the Spring / Summer season, and Marc’s ‘Seventies Show’ was awash with tropical colour played out on an urban scale. It was flirty, playful, evocative and hard to miss.

In January, she scored more couture appearances, working in Paris for Elie Saab, Valentino, Dior and Chanel. It is not hard to figure why the couture houses took to Nielsen. Her adeptness at interpreting a look made her a natural at modelling couture. If ready-to-wear is all about the hard sell, what really counts in Paris is how couture makes you feel. Without that act of seduction on the runway, the collection will fail to have an impact on changing our dressing habits, whether it’s a new hem-length or a bold new colour.

Caroline took those lessons from couture and applied them to one of the most demanding shoots in the fashion repertoire: the beauty close-up. Shooting ‘A Vision of Colour’ for the March edition of Japanese Vogue, this was a postmodern exploration of summer brights. Modelling extreme beauty is a tricky business, as you run the risk of being overwhelmed by the sheer level of artistry involved. Caroline excelled in this editorial, bringing a depth to a subject that could very easily tip over into sugary confection. With no diversionary tactics in play, Caroline’s performance tempers the sweetness, making this shoot a multi-colour feast for the eyes.

Nielsen’s ability at handling challenging work was utilised throughout the year with editorials for W, Numero, Russian Vogue and Harper’s Bazaar. Each one was a test of Caroline’s skills, from W’s ‘Against Nature’ shoot to Harper Bazaar’s youthful, punky spin on ladylike pastels.

Her August shoot for Numero, ‘Cap d’Antibes’, saw Caroline take her interpretative skills to the next level. Moody, strong and sultry – the shoot is a potential game-changer for Nielsen, showing future clients that she is ready and willing to handle fashion’s darker hues. Followed by an editorial for i-d magazine, Caroline is capping the year as she started it: with high-profile campaigns.

Signed again for Valentino’s A/W ad, the campaign showcases texture from the snakeskin boots to the blurred camera tricks, giving the resulting images a dreamy, otherworldly quality. Bridging Valentino’s gift for elegance with modern production values, the label sells us exquisite fashion that is both timeless and contemporary.

As Nielsen’s affiliation with Valentino continues, her ability to exist in two camps, classic and editorial, endows her with that elusive quality; being all things to all designers. Whereas some models are blessed with genetics that place them squarely in one sector, Caroline joins the select list of models who work without limits.

Appearing in ads for fashion houses as diverse as Valentino and Balenciaga, Caroline’s talent for booking campaigns, good ones, at this early stage of her career, marks her out as a very modern money girl. The term refers to any model capable of transforming a label’s fortunes simply by association. If you can raise a brand’s profile from also-ran to must-have, you’re definitely a money girl.

Many of the money girls of the past have been some of modelling’s biggest names: Cindy Crawford, Claudia Schiffer, Kate Moss and Gisele Bundchen count among the industry’s most influential models: financially, artistically and globally.

The campaign faces of today – Arizona Muse, Raquel Zimmermann – may not be household names like Schiffer or Crawford, but the ‘money girl’ isn’t being phased out, just re-assessed for the 21st century. The persuasive selling techniques are just the same, but the sell isn’t about celebrity, but high-fashion prestige.

The campaign draws you in by stealth. The latest ads for Mulberry, for example, don't trade on big names, but the anonymity of the models make it much easier (and inviting) to imagine yourself in the gloriously eccentric world of Mulberry. They may not have fame on their side, but these new money girls definitely have the x-factor. Rather than relying on star draws, the latest campaigns are putting the fashion first. The model is, in the nicest possible sense, a placeholder for us, the consumer.

It makes our connection with high-fashion much more immediate. At a time where every sale counts, breaking down the barriers people feel when it comes to purchasing a big-ticket item is crucial. How the campaign does this is to remind us what makes the luxury brand so special: the design, the craftsmanship, the feeling that you own an original. That feeling of exclusivity is still high-fashion’s ace up its expertly-stitched sleeve. We are powerless to resist.

Driving this desire for uniqueness are models like Caroline, who will go on to join the raft of new money girls transforming the way high-fashion is sold. With these girls in charge, buying high-fashion becomes an inclusive experience, not a daunting one. It will be an investment that will keep you, and the fashion industry, coming back for more.

HELEN TOPE