MODEL PROFILES: KARLINA CAUNE

Born in 1993, Latvian model Karlina Caune shot to fame in 2010 when she won the Ford Models Supermodel of the World competition. 

A global search for fashion’s next superstars, the standards for this competition are fiercely high. To even be selected to take part is a very strong indicator of real modelling talent. While winning is not an automatic pass into the fashion industry, it is enough to propel a model's career in the right direction. The winners are selected by a panel of fashion insiders. They select the next generation of faces they believe will have an impact and Caune’s classic features, with a hint of editorial, were deemed to be exactly what the industry was looking for.

In February 2010, Karlina debuted at Fashion Week, and proved a hit with a wide range of designers including Marchesa, Behnaz Serafpour and Tory Burch. 

Karlina broke into editorial work the following month, with a spread in Nylon. This was a key publication for Caune’s editorial debut: Nylon’s reputation for presenting high-fashion in a refreshingly non-deferential way is well-founded, and a major coup for any new model.

In June, Karlina modelled in the resort show for Stella McCartney in New York, following that with an editorial for British Marie Claire. Photographed by Yu Tsai, ‘Super Vixen’ fused classic beauty with the moody, evocative image of the silver-screen siren. Using dark-haired Karlina, it was a deft response to the Hitchcock blonde.

Leaving Ford Models and signing with New York Models in early 2011, Karlina returned to the runway in February walking in ready-to-wear shows for Erdem, Louise Gray and Meadham Kirchhoff.  Landing the cover of Russia’s L’Officiel in March, and appearing in the spring issue of Revue de Modes, Caune’s list of runway bookings began to grow. Walking in the Spring / Summer 2012 shows that September, she added Carven, Celine, Dries van Noten, Isabel Marant, Julien MacDonald, Marios Schwab and YSL to her list of credits. With the season’s emphasis on femininity, it was no surprise that Karlina did so well. On the catwalk, every interpretation of femininity was represented, from Julien MacDonald’s homage to old-school glamour to Meadham Kirchhoff’s subversive exploration of sugar and spice.

Caune made her first appearance in German Vogue in February, working with Kati Nescher, Erjona Ala and Julia Frauche. In a series of soft-focus, modern portraits; this editorial (‘WeiB wie Schwarz’) was all about striking a balance between being a strong editorial presence and allowing the simplicity of the clothes to speak for themselves. This type of modelling requires intelligence and subtlety: Karlina delivered on both.

February saw Karlina’s runway CV expand with a massive 45 shows, walking for Dolce & Gabbana, Hakaan, Jason Wu, Marni, Oscar de la Renta, Rag & Bone, Sonia Rykiel and Viktor & Rolf. This was Karlina’s most comprehensive season to date.

In March, Karlina appeared in the British edition of Harper’s Bazaar. ‘The Shape of Things to Come’, photographed by Mark Segal, saw Karlina model the bold new motifs for 2012. Her ability to work fashion’s most challenging ideas was also demonstrated when Caune was booked for Dazed & Confused’s season preview. Modelling monochromatic tailoring, Karlina modelled one of fashion's most enduring and iconic looks without being overwhelmed.

That same month, Karlina appeared in i-D. ‘Don’t Be a Drag, Just be a Queen’ (photographed by Amy Troost), saw Caune channel punk attitude with a Valentino dress layered with a McQ pleated leather skirt. This ‘in-your-face’ fashion doesn’t always mix well with classic faces, but Karlina handled i-D’s brief with relish, working her angles to create that vital, editorial edge.

Returning to the pages of German Vogue in May, Karlina got to work with photographer Greg Kadel. ‘Klassenbeste’ (meaning ‘Best in Class’) saw Karlina modelling an American Varsity jacket and an exquisitely-beaded haute couture corset. If you ever needed proof of Karlina’s versatility, this shoot was Exhibit A.

Karlina’s exhaustive round of editorial work culminated in May with an appearance in Italian Vogue. Working for their supplement, ‘Suggestions’, the shoot and accompanying video was a virtual moodboard for the perfect summer: warm, sunny and light-hearted, this impeccably-styled supplement saw Italian Vogue in relaxed mode. The retro, laid-back feel saw Karlina and fellow model Monica Sawicka recline in colourful pieces by Moschino, Giambattista Valli and Prada.

August saw a flurry of print work for Karlina, including Numero’s ‘Lunaire’ (an editorial dedicated to exploring texture) and Turkish Vogue’s ‘Isiga Dogru’. The latter, photographed by Jem Mitchell, explored dazzling, ornate bursts of colour with clashing textures and finishes. A beautifully-shot editorial that made the most of Karlina’s classic beauty, this was excess undertaken with perfect restraint.

This September, Karlina re-appeared on the RTW catwalks, walking for Giambattista Valli, DSquared, Tom Ford, Christopher Kane, Thakoon and Helmut Lang. With her authority on the runway now clearly established, Caune’s career went to the next level: campaigns.

This winter, you can see Karlina in four different campaigns: Akris (modern, sleek sensuality); Jil Sander Eyewear; Hobbs with Emily Baker and Kinga Rajzak and Sportmax (undergoing an image overhaul courtesy of photographer Craig McDean).

Looking at Karlina’s varied body of work; it is obvious why she won the Ford Models competition. Able to run the gamut of modern sophistication to rough-and-ready punk, Caune is the epitome of the fashion multi-tasker. Despite fashion’s current taste for models with a pre-defined look, there is always a place (and economic necessity) for the versatile model. There is an advantage in having a look that doesn’t lean too heavily in any direction – depending on the styling; Karlina can be ultra-feminine or downright androgynous. It also makes for a more interesting career: so far Karlina has worked for publications as diverse as Nylon, Harper’s Bazaar and Italian Vogue.

There is also longevity in being the versatile girl: the model with the strong, headline-making look may be winning the top jobs one month, but fashion never stays in one place for very long. Furthermore, any modelling agency will tell you that a healthy bottom-line is dependent on models just like Karlina.

In winning a big competition like Ford Models, there is always the risk of that victory, that weight of expectation, marring a model’s progress. Enter the fashion industry equipped with the title ‘Supermodel of the World’ and the pressure is on to perform – and to do so to the highest of standards.

Karlina has been brave in not chasing the obvious, big-money jobs. In debuting with a small-but-strong RTW season, she developed a solid foundation, growing steadily each year, winning over more and more clients in the process. Caune’s long game strategy has proved to be the smart choice and could well be copied by future winners of this highly influential competition. In not bowing to pressure to become that ‘iconic’ supermodel, Karlina has engineered a career that’s not only exciting, but buzzing with potential. The best is most definitely yet to come.

HELEN TOPE

MODEL PROFILES: GINTA LAPINA

Born in Latvia on the 30th June 1989, Ginta Lapina started her modelling career in 2005, signing with MC2 Management in New York. She secured her first editorial with Teen Vogue in December ’05, working with legendary photographer Arthur Elgort.

Ginta made her runway debut in 2007, walking for the Spring / Summer 2008 show for designer Benjamin Cho. After only 1 runway appearance, www.models.com featured Lapina as their model of the week. Usually models have to work much longer to get noticed, but Ginta proved to be exceptional right from the start.

Signing on with Women Management in 2008, Ginta’s runway credits got a major boost in 2009. Her quirky features made her an automatic stand-out, and in February she booked appearances for Dolce & Gabbana, Miu Miu, Proenza Schouler, Sportmax and YSL. In September, that number increased to include Alberta Ferretti, Balenciaga, Cacharel, Derek Lam, Donna Karan, Jason Wu, Lanvin, Louis Vuitton, Marc Jacobs, Michael Kors, Rodarte, Valentino and Versace. Lapina’s unusual looks – not quite full glamour, too delicate to be just quirky – made her an ideal choice for these labels. She suited the girlish quality of Alberta Ferretti and Cacharel, handling the Parisian high-fashion chic of Lanvin and the super-glamour of Versace. Her hard-to-define looks gave her an automatic advantage in runway, and this versatility had a snowball effect on the rest of Ginta’s career.

She scored an editorial with Italian Flair in November and a Numero spread with photographer Greg Kadel in December. The accolades kept coming, including a feature in America’s Marie Claire magazine, with Lapina being photographed alongside Donatella Versace. Fashion’s new favourite also started to reel in the big-money campaigns with Lapina becoming the new face for the label of the moment, Derek Lam.

Ginta got her first international Vogue credit in January 2010, with an editorial for Russian Vogue and in February enjoyed a stellar RTW season. In one year, she had almost doubled her bookings – designers were hooked on the Ginta effect, included Balmain, Isabel Marant, Jean Paul Gaultier, Moschino, Prada and Roberto Cavalli.

In March, Ginta was booked for a beauty editorial with Italian Vogue. Photographed by Solve Sundsbo, the brief was ultra modern punk pastels. Lapina slotted into this type of editorial remarkably easily. Some high-fashion shoots can risk looking flat and remote, but Ginta’s complex, layered performance was ideal for Italian Vogue, a magazine that prides itself on taking a uniquely cerebral approach to fashion.

Ginta was soon able to add another campaign to her CV, when it was announced that she would be appearing in the A/W advert for MaxMara diffusion label, Sportmax. In a season where simplicity ruled, this ad was defiantly complex. Ginta’s bleached hair and pale skin almost melt into the background, making the clothes the centre of attention. Styled to the nth degree, this ad stood out for taking a very different approach when measured against what was happening in the fashion world.

Sometimes choosing to go right when everyone else is heading left can leave you feeling a little exposed, but fashion lives for those out-of-step moments, the ones that end up propelling the industry forward in a way it never saw coming. In a season where classics dominated the fashion agenda, Sportmax’s campaign felt bold and fresh. The campaign’s success took Sportmax’s reputation from supporting act to a label in its own right.

Ginta’s campaign trail continued with a signing for the A/W Miu Miu ad. Becoming a Miu Miu girl alongside Lindsey Wixson and Siri Tollerod, was an excellent match for Ginta’s skillset. Ginta made a terrific Miu Miu model, absorbing the label’s 60’s-inspired look but keeping it contemporary, not costume. Miu Miu’s idiosyncratic brand identity has been ultra successful in wooing young Hollywood away from the traditional glitz and glamour, and a solid campaign goes a long way in that seduction. Labels are still willing to spend big on getting the right result from a campaign, and Ginta paired with Lindsey and Siri was an example of perfect casting.

Ginta’s runway career continued to blossom through 2010, with opening honours from Sportmax, Rue du Mail and Versace. Already a favourite with Donatella, Ginta’s role was to set the tone for the entire show and that’s no small ask. Versace is a deceptive label: playing the Versace vixen looks like simplicity itself – you strut, you pout. But keeping Versace on the right side of sexy is notoriously difficult. Get it wrong, and Versace goes from sexy to sleazy in a heart-beat. Ginta’s wealth of campaign experience gave her an automatic advantage in the importance of staying on-message, and nowhere is this more crucial than on the runway. The shots taken from the bottom of the runway last forever: strike a flat note and it’s preserved for years to come.

Applying these hard-won skills to editorial work, Ginta signed up for a multi-page layout with W, photographed by duo Mert Alas and Marcus Piggott. Called ‘Last Exit to Brooklyn’, the shoot was vintage Americana, paying homage to the work of painter Edward Hopper. This was no ordinary editorial, and its success relied on the model’s ability to convey emotion and intent. Ginta delivered and the resulting images were fashion meets art, the moment where the photographs go beyond selling dresses. Normally a feat reserved for French, American or Italian Vogue, the editorial was a triumph for W, and a resounding counter to those who say fashion has nothing of substance or depth to offer.

This year has already started off well for Lapina. Her Sportmax contract has been renewed for another season; her success in taking Sportmax’s value through the roof means she has become a must-have for diffusion labels. Also signed to represent Marc by Marc Jacobs for Spring / Summer 2011, Lapina’s profile is set to go beyond the realms of high fashion, taking her into that select group of models – Beha, Stone, Wixson, Kloss, Kershaw – who are the closest approximation to supermodels the fashion industry has.

The reason for their success is that they are one step removed from being glossy perfection, and those imperfections are what have made them famous. Lara Stone’s bombshell looks are off-set by that gap in her teeth; Lindsey Wixson’s trademark pout almost threatens to overwhelm her face and Karlie Kloss’ girl-next-door persona should rule her out from doing more grown-up shoots, but she is the current face of Oscar de la Renta.

Today’s best models – and Ginta is among them – are girls who, in theory, shouldn’t be gracing the cover of Italian Vogue, or walking in couture shows for Chanel and Valentino, but they are doing all of these things and more because what’s ‘wrong’ is what makes them so 'right' for the industry.

Ginta’s look may seem challenging – almost a throwback to the alien-esque beauties of the mid-Nineties. Her shoot for Italian Vogue was high-fashion heaven; blue-sky, no-holds-barred styling and lashings of attitude. But look closer, and the shoot isn’t just about the power of a good blusher. Ginta humanises the shoot by telling a story with her facial expressions and body language. Beauty modelling can be incredibly tricky to master, because there’s nowhere to hide. But Lapina lets herself be vulnerable, and it takes the shoot to another level – it’s not just another beauty spread.

The days of absolute perfection are long gone. There’s always room for heady glamour and sophistication, but the best work of recent years - the most memorable editorials, campaigns and runway shows - have been where perfection takes a back-seat to creativity. Where fashion has shifted in the past two years is in its willingness to look at the positives. Exclusivity and ‘it’ pieces have fallen by the wayside in favour of inclusion, inspiration and great design. It’s not about what’s missing, but exploring what works, what feels right. Ginta’s appeal lies in that game-changing face. The face that shouldn’t work has become the avant-garde look that has no limits, accounting for a CV that includes bookings from Derek Lam to Topshop.

Ginta’s curious mix of soft femininity, streetwise cool and high-fashion haughtiness works perfectly in an industry where the top players are meeting expectations by defying them. Her bleached-out, stylised beauty has inspired across the board from Italian Vogue to copycat makeovers on ‘America’s Next Top Model’, but as she joins the next generation shaping the fashion industry, Lapina succeeds where others follow because she is a true original.

HELEN TOPE

MODEL PROFILES: SIRI TOLLEROD

Born on the 18th of August 1988, Norwegian Siri Tollerod has translated global runway success into a career set to explode in 2011.

Siri was discovered at a shopping mall in 2007 and appeared in her first major editorial in June the same year. The client was Italian Vogue. Her high-flying start progressed into substantial campaign work, with Siri representing both DKNY and Prada Sport.

September’s runway season was Tollerod’s ultimate test: a model with hype is not a new phenomenon, the fashion industry is a tough crowd to please and reputations aren’t made until a model’s successfully negotiated Fashion Week. If a model can impress on the catwalk, she moves from being just one in a sea of new faces and becomes a bookable name. Getting signed by an agency often isn’t the toughest challenge for a model; it’s proving your worth as someone who can compete on a level with models who already have years of experience behind them.

Only a few months into her career, Siri’s first international season proved a triumph. Booking spots with Alexander McQueen, Balenciaga, Chloe, Marc Jacobs and Prada, she also opened and closed the D&G show and was the closing model for Lanvin. Appearing on runways in New York, Paris and Milan, Siri was a hit in any language.

Tollerod rounded out the year with editorials for British and Italian Vogue and a Chanel Couture spread for Numero. But Siri’s blockbuster season kept her fresh in the minds of the industry, and in early 2008, Tollerod appeared in Prada’s resort look-book.

Effectively a high-fashion catalogue for buyers and stylists, getting hired for a look-book is on a par with getting a campaign. Siri’s initiation in the world of high-fashion was completed in January when she walked in the couture season. Her slight frame was perfect for haute couture and she walked for Givenchy, Chanel and Valentino, at a point where her career was still being counted in months, not years.

February saw Siri open RTW shows for Jason Wu and Chanel, in addition to walking for 60 other designers. She also landed the cover of Italian Vogue Beauty – a coveted spot famously difficult to get. A good face that can handle tight beauty shots is one thing, but Italian Vogue doesn’t ask for good, it demands excellence. Siri’s ability to meet the toughest client’s demands was furthered by her appearance in March’s edition of Numero. Featuring in an editorial photographed by Karl Lagerfeld, this really was modelling at the sharp end.

In April, Tollerod was featured in www.models.com for her ability to accrue booking after booking. As if to prove the point, she appeared in April’s Russian Vogue, and British, Italian and Chinese Vogue in May. Just a year into her modelling career, Siri was making her presence felt on an international level.

Autumn 2008 saw Tollerod reach even higher, with a campaign for Alberta Ferretti (shot by Steven Meisel) and three separate editorials in September’s edition of Italian Vogue. 2009 was a flurry of editorial and runway work, including a campaign for a new fragrance from Valentino, but Siri’s next career high-point came in early 2010 when she hired by Max Mara diffusion label, Sportmax, to be the face of their new campaign.

The distinctive, unusual images were super-styled, edgy and unique, standing out in a year where the natural look reigned supreme. The quirky look, featuring Siri with pale-skin and bleached-hair, was so successful that Sportmax repeated the winning formula with Ginta Lapina for Autumn. The key to its success wasn’t hard to fathom: the sophisticated approach made the clothes the focus, and it worked, bolstering the label both in terms of image and sales.

Tollerod’s year continued on a high, with a Spring / Summer couture season walking for Armani Prive, Chanel, Dior and Valentino and a feature in Japanese Vogue a month later, dubbing her a top model.

February 2010 saw Siri’s runway career soar once again, with over 50 appearances, including closing spots for Sportmax, Badgley Mischka and YSL. With editorial work for V Man, Allure, Numero and French Vogue, Siri’s career highlight was yet to come. In the autumn, it was announced that she would appear in the next Miu Miu advert alongside Lindsey Wixson.

Miu Miu has a strongly-defined look at its core, with a bold, avant-garde signature style that has made it a must-have label for a whole generation of fashion-savvy girls. Modelling labels with such a strong identity brings its own set of challenges, as there’s always the possibility of being overwhelmed by the clothes. It’s true that the clothes should be the ultimate point of focus, but the most successful campaigns happen when there is a balance struck between the model and the clothes: when both are on top-form, the result is hard to resist. Siri brought what she had learned from Sportmax, and the Miu Miu campaign was pitch-perfect: high-fashion that met aspiration with approachability.

The shot of publicity worked: Tollerod enjoyed another 50-show season in September, appearing for names such as Balmain, Fendi, Chanel, Lanvin, Jason Wu, Nina Ricci, Sportmax and Versace. Siri had finally become part of the fashion modelling elite, a presence in every major show of Spring / Summer 2011, including Marc Jacobs’ effusion of 70’s colour and Jason Wu’s multi-cultural epic.

Tollerod’s ability to carry a label, proved since her signing with Prada Sport in 2007, came full circle when in November she appeared as the only model for Lanvin’s range formulated for high-street giant, H&M. Like Miu Miu, Lanvin has a strong sartorial identity and it takes a skilful model not be outperformed by the look. Siri was visibly at home in the high-fashion designs, and Lanvin’s high-street version of their trademark crumpled dresses went on to become a bestseller.

Working at the heart of the industry since the very beginning of her career, Siri Tollerod has been steadily rising through the ranks, and is this year on the verge of becoming fashion’s next big thing. Recognised from the start, Tollerod’s strength has always been her tendency to multi-discipline. A regular feature of runway, editorial and campaign work, Siri has worked at being consistently good. Her signings with Lanvin and Miu Miu indicate her level of ability, not just to model, but to carry a brand.

What Siri does best is inhabit every look she’s given like it’s a second skin. The common theme running throughout Siri’s photographic work is that, no matter how high-fashion the concept, nothing looks forced. Tollerod wears every look as if she had chosen it herself. If there’s only one note to making it in modelling, it’s just to love everything. Having favourite looks and designers is human, but to make it your business to find the joy in a brand that is a total remove from your own personal style - that’s called being a model.

Versatility isn’t just about being able to handle looks from the romantic to the avant-garde. It’s about putting on the clothes and becoming that person, whether it is for a few minutes on a runway or a whole day whilst shooting an editorial spread. Siri’s career stands for what can be achieved when you model from the inside out. Her popularity for runway alone flags up how easily she can move from the soft, ethereal romance of Marchesa into the ultimate high-fashion experience that is Alexander McQueen.

Her campaign work ranges from an early signing with Prada Sport to her latest booking, modelling for Max Mara Elegante. It’s the modern definition of a fashion chameleon; a model that not only does it all, but convinces completely in every frame.

Where Tollerod’s career goes from here will be the most exciting part of her journey. The bar has already been raised this year with her solo appearance for Max Mara, taking on and representing a mega-brand as the main attraction, not a support act. In 2011, expect to see Tollerod become increasingly visible in an industry where it’s all too easy to blend in. A long-time stand out on the runway, Siri is about to get her moment in the spotlight, because finally it’s her time.

HELEN TOPE