MODEL PROFILES: BAMBI NORTHWOOD-BLYTH

Born in 1991, Stephanie Bambi Northwood-Blythe began modelling locally in Australia at the age of 18.

Signing with Elite in 2010, and adopting her middle name, Bambi scored her first international editorial with RUSSH that April. Photographed by Beau Grealy, ‘Stoned’ was a series of neutral-toned portraits.  Styled with distressed edging and rough textures, Bambi gave an astonishingly accomplished performance, adding a layer of sophistication entirely in keeping with the tone of the shoot.

Landing the cover of Australian Harper’s Bazaar in June, Bambi took to the runway in September. Walking for Chanel, Balenciaga, Rag & Bone, Topshop Unique and Kenzo, Bambi defied the legend that shorter models can’t do runway.

Following a ready-to-wear debut with a pre-Fall show for Chanel in December, this was a very interesting booking. Bambi’s look could easily be classified as very ‘Chanel’ – her strongly defined eyebrows make her memorable, much like Alice Dellal and Vanessa Paradis,  two of Lagerfeld’s most recent campaign girls. Chanel, despite its image beyond the fashion world, is not merely a wardrobe go-to for Park Avenue princesses. Every Chanel girl has had an edge, an intelligence that communicates a brand more intrigued by character than beauty alone. Bambi’s inclusion in the show, at such an early point in her career, was more than Lagerfeld latching onto the face of the moment; Bambi was being touted as a star of the future.

In January 2011, Bambi landed in a ‘new faces’ spread for V magazine. All hand-picked by model, stylist and photographer Natalie Joos, Bambi is joined in the editorial by now-familiar names such as Arizona Muse, Ashley Smith, Carola Remer, Caroline Brasch Nielsen, Julia Saner and Daphne Groeneveld. Joos scored highly with her predictions: all these models are not only working regularly but impressing at the very highest levels of the fashion industry.

Featuring in the February issue of RUSSH, Bambi worked with photographer Benny Horne in an editorial called ‘Babes’. Also including Lisanne di Jong, Hannah Holman and Meag West, the group shots are a lovely example of working together for the greater good. Every model here has star potential, but they put star-billing aside to create group shots that are harmonious and beautiful.

February also saw Bambi head back to the runway, this time walking in A/W shows for Chanel, Jill Stuart, Giles and Topshop Unique. Her ability to command attention paid off in early 2011 when she became one of the faces representing the ck one fragrance by Calvin Klein. Photographed by Steven Meisel, the mega campaign featured Lara Stone, Abbey Lee Kershaw, Alice Dellal plus newer names including Samantha Gradoville, fresh from her runway triumph at Prada. 

Proving her versatility, Bambi then booked her first editorial with W. ‘The Change Agent’, photographed by Steven Meisel, sees Bambi work punk chic with Eliza Cummings and Saskia de Brauw. Between the gentle sensuality of ‘Babes’ and the fierceness of ‘The Change Agent’, Bambi proved herself a perfect fit for every concept. 

Stepping it up a gear, Bambi joined a slew of rising stars for the April cover of Japanese Vogue. Bambi is joined here by Britt Maren, Fei Fei Sun and Milou van Groesen. The cover, called ‘Next Wave’ is pretty accurate, its selection including Milou who would, within a year, become the face of Giorgio Armani.

The model was on home turf again in June, with a cover try for Australian Harper’s Bazaar. In ‘Bambi Turns up the Heat’, the model is featured topless – her modesty preserved by male model Jack Vanderhart’s arm placed across her torso. Bambi’s ability to do the sultrier shoots was also beautifully realised in the August issue of Australian GQ. Modelling with Tyson Ballou, Bambi models retro 1950’s glamour in ‘Before Night Falls’. 

After a highly successful year, Bambi finished 2011 by appearing on the cover of V, photographed by Terry Richardson. ‘Let’s Go Cruising’ features Bambi and Lindsey Wixson playfully posing in Louis Vuitton. 

Heading back to V in March 2012, Bambi channelled the darker side of sexuality in ‘Playing the Field’. An edgy shoot that sees Bambi play the scheming WAG-in-training, it is clear to see that her wealth of editorial experience has made her a highly valuable player. 

Bambi’s latest booking has been to appear in the resort lookbook for Marc by Marc Jacobs. Working looks designed for launch in Spring 2013, Bambi models alongside new model Ondria Hardin. The collection, reputedly inspired by Portland, refers back to ‘old classics’: nautical stripes, muted blues, polka dots and florals – all are thrown into the mix and given the Marc Jacobs treatment. Even the famous mouse-ear flats get a makeover, returning next year as clogs. 

Still barely two years into her career, Bambi has excelled at finding a diverse range of work. Rather than finding a comfort zone, and playing that to perfection, Bambi has actively sought different experiences; her CV charts the progress of a model determined to do it all.

Her bold approach to assignments has seen her star rise quickly and steadily: in the space of a few months, Bambi booked a Chanel show, a campaign for Calvin Klein and the cover of Japanese Vogue. Individually, these credits are impressive. Together, they form a picture of someone who is absolutely fearless in taking on those high-pressure jobs. It’s a good quality to have as a model – especially if you want to go further. 

Bambi’s ascent can also be plotted against a larger success for Australia. Along with fellow Australians Krystal Glynn and Julia Nobis (not to mention newcomers Ollie Henderson and Emily Wake), Bambi forms part of a collective that channel and champion directional fashion. Australia’s role in high-fashion has gathered pace since the discovery of Abbey Lee Kershaw and Catherine McNeill, challenging the idea that Australia only has one type of beauty to offer. The long-limbed, athletic type has been superseded by a variety of fashion-friendly looks, dating from Abbey’s star-making turn for Gucci right up to Julia Nobis’ supporting role in the Louis Vuitton campaign for Autumn 2012.

At 5’7”, Bambi is considerably shorter than most of her peers. But her blossoming editorial and campaign career is a reminder that the modelling world can be flexible – as long as you have something extra to give. Bambi’s extraordinary face, capable of going from punk to pastels, is that something extra. It works for editorial and it works for campaigns – when your photographic presence is as strong as hers, being on the short side can easily be forgiven.

Bambi is a brilliant example of turning potential negatives into something supremely positive. Her face, with those Hilary Rhoda-style eyebrows, could at best draw comparisons, but Bambi has been smart in her choices, slowly building a body of work that’s very different to Hilary’s clutch of campaign regulars. Beating your own path in modelling is essential: as much as fashion likes to categorise, it likes individuals better. It explains why quirky faces often triumph over more conventionally attractive ones. Knowing your strengths, your weaknesses and crucially what you have to offer, is half the battle in becoming a model. Bambi proves that the true mark of success is not in the pursuit of perfection but in acknowledging one’s flaws. She is a better model for it, and will go on to ever greater heights. In fashion, what really counts is not fitting in – it’s standing out.

HELEN TOPE

MODEL PROFILES: HANNAH HOLMAN

Born in Utah in 1991, Hannah Holman has joined a generation of new models shaping the face of the fashion industry.

Signing with Elite Models in 2008, Holman’s big break occurred a year later when she was picked to close the resort show for Prada in June 2009.

Noted website www.models.com featured Holman as a top newcomer – her impact was immediate. In addition to her Prada debut, she was signed to become one of the faces of the Miu Miu campaign. Prada has a great reputation for nurturing not only great talent, but talent that creates waves – Daphne Groeneveld and Lindsey Wixson can attribute their high-flying careers to campaign spots with the Italian label.

In September 2009, Hannah took on her first Fashion Week. Opening and closing shows for Jonathan Saunders and Missoni, she also walked for Marc Jacobs, Fendi, Alberta Ferretti, Nina Ricci, Chanel, Valentino and Louis Vuitton. Mixing the Italian luxury of Valentino and Missoni and the Parisian chic of Chanel, Holman’s start on the runway circuit impressed all the right people.

In early 2010, it was announced that Hannah would be appearing in Spring / Summer campaigns for Jill Stuart, See by Chloe, Alexander Wang and Marc by Marc Jacobs. Having features that could switch from girly to tomboy in an instant made her a win-win, and it is certainly reflected in the signings she won. Veering from Wang’s ultra-minimal aesthetic to Marc Jacobs’ geeky-girl chic, Holman looked at home in every look.

Hannah began 2010 with some top-drawer editorial work as well, appearing in two spreads for Russian Vogue. Her Autumn / Winter runway season in February saw her add Sonia Rykiel and Vivienne Westwood to her catwalk CV, as well as progressing to Marc Jacobs’ main line.

In April, she got two magazine covers – the S/S cover of French Revue de Modes and the cover of RUSSH, photographed by Benny Horne. Featured in a bold, asymmetric crop top, it was clear, even at this stage in Holman’s career, that she would be the alternative blonde.

This industry has made room for many blonde models, several of which have experienced extraordinary success. But Holman would prove to be the opposite of models such as Brooklyn Decker and Doutzen Kroes. Fashion isn’t just about the glossy, aspirational blonde, but the cool, confident girl who has the world of avant-garde fashion wrapped around her little finger. Holman’s strength as a model isn’t just her versatility, but her confidence. Joining models such as Abbey Lee Kershaw and Jacquelyn Jablonski, Hannah succeeds not just because she’s great at what she does, but because she’s thoroughly at home in her own skin. Therefore pretending to be somebody else poses no problems at all.

From May to October, Hannah featured in a series of editorials for magazines such as Dazed & Confused, French Vogue, Numero, V Man and finally Italian Vogue. Featuring alongside new models such as Gwen Loos and Hailey Clauson, the Italian Vogue editorial was a series of classic fashion portraits with a vintage, Seventies feel. Also marking October with concurrent editorials for Russian Vogue and Numero, Holman saw in the New Year with another stellar contract.

This time the deal was a fragrance, representing the new summer Daisy scent from Marc Jacobs. Shot by Juergen Teller, the ad manages to sell an ultra-feminine perfume in a way that’s defiantly unconventional. In a sea of adverts featuring romantic images, Holman’s edgy qualities bring an air of bold confidence that sets the advert (and the fragrance) apart from the competition – job done.

2011 started well for Hannah as she was signed to appear in a multi-page editorial for American Vogue. ‘Gangs of New York’, photographed by Mario Testino, was a comprehensive review of the best of Spring / Summer fashion. Placed in groups, each representing a different look, Hannah was perfectly cast in a shot featuring neo-punk design. Working with Jana Knauerova and Britt Maren, Holman epitomised the rebellious punk spirit, packing a sartorial punch.

Her most recent work also includes a S/S cover of French Revue de Modes. The magazine went with a multi-cover edition, where you could choose from a magazine fronted by Hannah, Barbara Palvin, Julie Ordon, Bambi Northwood-Blyth or Anais Pouliot. Working with these newer talents, including Anais and Bambi who are generating column inches too, Holman doesn’t look like a fish out of water, but someone who’s in the right place at the right time.

Hannah’s renaissance is thanks to a wider movement that has seen fashion learning that reinventing the wheel is not always necessary. Borrowing from fashion’s back catalogue and blending it with fresh ideas has resulted in fashion making some serious money-spinners: the humble satchel’s journey from schoolyard to Fashion Week is just one example.

It’s an ethos informing even the kind of models that are now beginning to emerge. As the recession begins to ease, we are starting to see the friendly, groomed type give way to an edgier beauty. It started with Arizona Muse’s launch into the industry courtesy of Anna Wintour. When the first lady of fashion gets on board, it’s more than just a phase.

Faces like Hannah, Anais, Bambi and even more familiar names like Lindsey Wixson and Freja Beha are becoming the vanguard of modern beauty. It’s not about looking perfect, but immersing yourself in the strengths you do have. Every quirky model that’s been successful can attribute their career to this strategy. Devon Aoki’s multi-cultural face with a smattering of freckles; Audrey Marnay’s delicate features and Stella Tennant still making headlines today with her stunning new Italian Vogue cover. What these women all have in common is their refusal to fit the mould.

Stella, Devon and Audrey came right after the glamazons of the late 80’s and early 90’s, and the change was abruptly felt. Both are accomplished in their own way, but it’s hard to think of two models that look more different than Stella Tennant and Claudia Schiffer. Twenty years on, the cycle is about to repeat itself. The comfort and familiarity of models who have guided the industry through some tough times, is moving aside for a bolder age where fashion gets a little rough around the edges.

It’s not about casting off one set of models in favour of another. There’s room – and sufficient demand – for many types of looks. Just a brief glance over this season’s key trends tells you this: florals, denim, sports luxe, decadent colour – common sense tells you that one model can’t do it all. However accomplished a model might be, there will always be areas where you excel and others where you’re working against the grain.

Fashion’s kaleidoscopic approach to trends is good news for everybody. Rather than one type of model taking the lion’s share of editorials and campaigns, there’s enough diversity to warrant a whole raft of models, covering the most challenging of avant-garde to classically-feminine. What has also developed is a generation of models who accept this diversity as the norm. Edgy and directional or groomed and glossy – everyone gets an opportunity to show what they can do.

Another key change from the 90’s is how we view those models that inhabit the edgier side of fashion. Challenging silhouettes and new designs were once looked upon with suspicion by the public and mainstream press. If you couldn’t wear it to the supermarket, what was the point?
It’s taken the best part of two decades, but our level of fashion education has finally caught up. Being edgy is now highly desirable and haute couture is no longer mocked on the front pages of the tabloids. Celebrities routinely wear daring couture designs at premieres and red-carpet events, and being directional is now considered at the forefront of creating great style.

We now understand that great design isn’t always about wearability, but it can challenge our view of what fashion can be. Subsequently, our view of beauty has become far more inclusive as a result. Girls like Hannah are getting mainstream campaigns like H&M and the world of avant-garde feels more approachable because we understand more about it.

As Hannah’s career is set for a second wind, fashion’s coming out of neutral and this season’s technicolour explosion is just the start of what’s to come. The classics have had their moment, but the next few years will be about making moments that engage us, far more actively than before. As fashion motors into a period of high creativity, the freedom that comes with creating great ideas has created a culture where there’s no right or wrong when it comes to beauty. Regardless of whether it’s quirky and ethereal, glamorous and glossy, if it works, it works.

HELEN TOPE