MODEL PROFILES: NYASHA MATONHODZE

Born on the 31^st July 1994, British model Nyasha Matonhodze is a home-grown talent making an impact on an international stage.

Raised in Northampton, Nyasha entered the Elite Model Look contest in 2009, ending up as a finalist in the World Final after winning the British heat. The Elite Model contest has an excellent track record: its alumni include Gisele, Cindy Crawford and Helena Christensen.

Readily compared to Naomi Campbell, Nyasha had big expectations placed on her at the age of 15. She signed up with Elite Models the same year, making her catwalk debut in September 2010.

She had her first major ready-to-wear season in February 2011, with a mass of bookings including Erdem, Lela Rose, Marc by Marc Jacobs. Mary Katrantzou, Rachel Roy, Sass & Bide. Following this a month later with editorials in Harper’s Bazaar and Teen Vogue, Nyasha was already building a career most models would envy.

Her appearance for Teen Vogue was a particularly good signing, as they featured Nyasha as a name to watch just a month later. The magazine has a history of spotting future stars including Karlie Kloss and Lindsey Wixson. Teen Vogue acts as a perfect launch pad for new models by giving editorial opportunities to up-and-comers. A crucial building block in a model's career, Teen Vogue represents an important step in getting those editorial bookings. The magazine, though targeted at teenagers, has become increasingly influential in the mainstream press as it schools a new generation in the how, where and why of high-fashion. Appear in Teen Vogue, and other bookings will follow.

Nyasha’s star soared with her first magazine cover. Photographed by Mert Alas and Marcus Piggott for the Spring issue of Love, Nyasha channelled fashion gothic in a self-titled ‘Supernatural’ issue. Her confidence in front of the camera prepared her for her biggest break so far. In Autumn 2011, Nyasha was hired to appear in the latest campaign for Louis Vuitton.

Photographed by Steven Meisel, Louis Vuitton became a lone star in an Autumn / Winter season chiefly concerned with soft textures and cocoon shapes. A collection based on military chic stood out, and this played to Nyasha’s advantage as the images went global, both in print and online. Modelling with names such as Anais Pouliot, Nyasha’s performance was remarkable for its cool confidence. In these images, she looks every inch the supermodel-in-waiting, not allowing herself to be intimated by the enormity of the situation. A Vuitton campaign, photographed by one of the most famous fashion photographers in the world, would be enough to throw even an experienced model. Nyasha looks calm, assured and utterly at home. It was a debut not only promising a great deal, but delivering it too.

In her second campaign booking of the season, Nyasha got the chance to represent Britain in a campaign series for Topshop. In high-street terms, this is as good as it gets. Featuring Nyasha with Kate King and Hailey Clauson, Topshop has mastered the art of making high-street as covetable as high-fashion. Topshop, a uniquely British success story, excels because it refuses to pander to its audience. It sets high standards in terms of following and translating trends fit for retail, creating pieces as keenly valued as the high-fashion original. Topshop even starts micro-trends, from dalmatian print to skater dresses. It is a store with a strong sense of its own identity – and power. Topshop’s campaigns are notable for using the latest faces and Nyasha joins Kate and Hailey in a campaign that’s sleek as it is sophisticated.

Nyasha became even more in demand, with a 47—show season in September. Working the closing spot in the Balenciaga show, Nyasha’s other highlights included Givenchy, Elie Saab, Givenchy, Oscar de la Renta, Marchesa, Prabal Gurung, Tory Burch and YSL. This was the season of a model not just on the rise, but with very real potential to become a big star.

With consecutive editorials in W, American Vogue and Numero, Nyasha rounded out her clutch of editorial bookings with a spot for Japanese Vogue in November. The feature, named ‘Movement and Shape’, was a dynamic solo shoot for Matonhodze, seeing Nyasha work epic fashion from the likes of Alexander McQueen.

Ending 2011 with an elegant mini-shoot for American Vogue, Nyasha began 2012 with another spread for the iconic magazine. ‘A Man for All Seasons’ was a tribute to the work of Marc Jacobs. With models standing on a scaffold wearing his most prolific designs, the editorial ably demonstrated how large an impact Jacobs has had on the fashion industry. If there’s been any trend that’s sparked your imagination, chances are Jacobs started it first. Polka dots, midi-hems and grunge-luxe have all had an image reload on Jacobs’ watch.Even the classic items in your wardrobe got a high-fashion nod two years ago in a famously game-changing collection.

Jacobs, along with Miuccia Prada and Karl Lagerfeld, is one of fashion’s great sartorial rebels. His collections rarely bear any resemblance to what else is going on that season. His designs always tend to be one step ahead, but his best collections always feature individual pieces that are perfect for now. American Vogue’s tribute to Jacobs could not be more aptly named: whatever else is going on in fashion, you can rely on Marc to be a man for all seasons. It’s rare to find a designer equally strong in both S/S and A/W collections – they often have a preference, whether that’s personal choice or the label's tendency to lean towards one season over the other. Matthew Williamson’s gift at mixing bright colours makes him an automatic stand-out for S/S where YSL’s austerely Parisian take on tailoring finds its natural home in the A/W collections.

But Jacobs never feels like a designer we can pin down: his intoxicating, 70’s-inspired collection last year was just as talked-about as his bold, jazz-style riff on 40’s silhouettes. If Jacobs does have a preference, he keeps it well hidden.

Nyasha returned to Love magazine again this Spring with another show-stopping performance. ‘A Chorus Line’ photographed by Solve Sundsbo, Love explores fashion’s current love affair with all things vintage. Featuring Ajak Deng, Kati Nescher and Josephine Skriver, this is a tribute to the choreography seen in 1940’s Hollywood musicals. The military precision of the models pays homage to the steely eye of choreographer Busby Berkeley. Responsible for some of the most breathtaking dance sequences ever laid down on film, Sundsbo expertly mimics the razor-sharp lines of Berkeley’s famous chorus line. It is at once totally modern and wonderfully old-fashioned.

Nyasha returned to the runway in February, adding Zac Posen, Burberry, Rodarte and Richard Chai to her list of credits. Adding another major campaign to her CV this Spring, Nyasha took part in the resort campaign video for Balenciaga with Miranda Kerr, Milou van Groesen and Jamie Bochert.

The campaign video has gone from fashion curiosity to an established means of promoting a label in a very short space of time. It acts as a companion piece to the 2D campaign we’re more used to seeing, but more importantly, it provides a third dimension to the high-fashion experience. A 2D campaign can tell us how a collection looks, but the genius of the video is that it can give you a very good idea of how fashion fits, moves and feels. The latest must-see video from Prada’s S/S 12 collection is a masterclass in how to show off fashion to its best advantage. The swishing of the pleated skirts and the twinkle of the brocaded duster coats – they are all compelling arguments for the campaign video. Available to watch on YouTube well beyond the season they hail from, the video extends the life of a campaign, building a library of images that come together to form a richer, more detailed picture of a label’s history. It’s not just about fashion nostalgia but providing a label with the means of making a solid and formidable presence online. A glossy ad in the latest copy of Vogue is good, but no longer enough – success is now also measured by the number of hits your video gets. Success on the internet is a ripple effect: if one person shares your video with five friends, and they share it with five of theirs – the word about your label spreads remarkably quickly.

The internet has transformed the way we buy fashion, but now it is changing how we engage with fashion on an intellectual level. A label has not only got to win our hearts, but our minds as well. The video that makes a connection with both pays for itself several times over. If we like the video, we remember the label, and in a crowded marketplace, brand memory can be fickle. A stunning campaign video can hardwire itself into your memory and that’s exactly where every label wants to be. The campaign video is no longer a novelty, but a marketing tool of devastating effectiveness.

In reviewing Nyasha’s rise to the top, the question of whether fashion has learned to love diversity is one that can, for the moment, be put to rest. The Top 50 list on www.models.com features models from Japan, Holland, Australia, Brazil and Croatia, and these are all models working at the very highest levels of their industry. Just like the growth in new technology, diversity is also no longer a novelty, but a given. Nyasha has the good fortune to be entering the fashion world at a point where it is actively embracing every kind of beauty. Even just ten years ago, the face of modelling looked very different. Models from different backgrounds were present and working, but in numbers nowhere near comparable to today.

Unlikely as it seems, the source of this transformation can be located in fashion’s biggest challenge: the global recession. The pockets of fashion consumers didn’t, as predicted, dwindle into extinction – they just moved. The new high-rollers, keeping RTW and couture afloat, came from further afield, and the transfer of wealth spurred an appetite for not only new faces, but faces able to translate and sell fashion to a truly global audience.

This all places Nyasha in a strong position for the next five years of her career. Matonhodze is already working at an international level, and being an international model has never been more vital than it is right now. One of the first models to work in a climate where technology, diversity and globalisation are radically altering the way we buy, view and think about fashion, the girl from Northampton is becoming the standard for a new modelling age: smart, confident and boldly eclectic.

HELEN TOPE

MODEL PROFILES: KATE KING

Born on the 3^rd December 1993, Canadian model Kate King signed with Elite Models in 2010.

She debuted at Fashion Week a year later in February 2011. Appearing in a 36-show season, she walked for Prada, Marc Jacobs, YSL, Valentino, Dolce & Gabbana, Lanvin and Miu Miu. Later that year, Kate booked her first campaigns: Dolce & Gabbana and Topshop. Also making her couture debut with Valentino and Elie Saab, King was rapidly climbing the fashion ranks.

September 2011 saw Kate appear in a massive 70 RTW shows, with opening and closing honours from Chloe, Nicole Miller and Cynthia Rowley. Also walking for designers such as Burberry, Chanel, Jason Wu, Oscar de la Renta, Richard Nicoll and Thakoon, Kate’s booking sheet was a collective of new and older labels: the perfect mix for a model still new to runway.

Kate then built up her editorial experience with appearances in Love, i-D and Interview magazine. The latter saw Kate take part in a piece profiling ‘The Row’ – a high-fashion label developed by Mary-Kate and Ashley Olsen.

A range now firmly established, The Row defies the expectation that celebrity-led fashion can’t appeal to the highest levels of the industry. The Row has been a universal success story, trading on the simple concept of providing high-fashion basics.

Instead of transplanting their own personal styles into a collection designed for quick profit, the Olsens used their entrepreneurial experience to see what was missing and how they could provide solutions. Intended as a supplement to other labels, The Row fills a gap that had existed in fashion for years.

Making not just classic pieces, but pieces that work in tandem with other collections, Mary-Kate and Ashley have turned the concept of the fashion basic on its head. Taking their own years of buying and wearing high-fashion into account, they applied what they knew about good design to basic shapes making the everyday extraordinary.

These pieces are so well-crafted, they stand on their own merit, but their real application becomes obvious when slotted into a pre-existing wardrobe. The plain maxi-dress, the white shirt, the ¾ length trousers all get a makeover – making them as covetable as the latest piece from Prada. For years, fashion retailers assumed basics needed to be cheap because consumers just weren’t willing to pay more. The Row has transformed the way the industry sees the basic for good. Kate’s appearance in ‘Interview’ is aligned perfectly with the ethos of the brand: cool, calm, effortless.

Kate continued her association with high-fashion in November 2011 with an editorial for Teen Vogue. ‘Home Run’ was an All-American take on sportswear, with King actively muscling in on American Sweetheart territory.

The same month, Kate appeared in V magazine who profiled her 2^nd agency, Ford Models. Alongside Alana Zimmer, Hanne Gaby Odiele, Karmen Pedaru and Ming Xi, what becomes immediately obvious is how Kate slots right into Ford’s vision of creating a stable of models with a strong, high-fashion pedigree.

In 2012, Kate’s charm offensive on the fashion industry continues in earnest. In January she appeared in the Chloe Pre-Fall collection. Pre-Fall is rapidly becoming a touchstone for the industry, giving buyers and editors a heads-up on what’s coming next.

In the same month, Kate took to the couture runways again, appearing for Dior, Atelier Versace and Giambattista Valli. With Dior having a storming run with their 50’s inspired collection, Atelier Versace returned to the runways in similarly spectacular fashion.

Featuring classic glamazon shapes, Donatella played not only to the crowds, but to the Versace template with glamour-packed column dresses and goddess gowns fit for the red-carpet. But this collection demonstrated a more measured approach: less flash, more substance. The use of angular cutting acted as a subtle counter to the flesh on show. This collection was still recognisably Versace, but with an intelligence that made the sex appeal that bit hotter.

Kate’s turn at couture season served her well, with a seriously high-fashion editorial courtesy of Russian Vogue. More usually known for its love of grand, ornate design – this spread was a radical departure with Patrick Demarchelier behind the lens. ‘Second Site’ was a series of avant-garde portraits featuring Kate along with Ming Xi and Anais Pouliot.. The white and silver palette of the cutting-edge fashion was accessorised perfectly with blue, painted lips.

Making an appearance in the March issue of Japanese Vogue, Kate appears in ‘Road to Tijuana’. Working winged eyeliner and cowboy boots, Kate models a very different look to her previous editorials. Registering here as more commercially sexy, Kate looks virtually unrecognisable when compared to the high-fashion siren in Russian Vogue. When you factor in that Kate has only been active since 2010 – this level of versatility at this stage of her career is a very good sign.

Kate’s body of work paid off when it was announced only days ago that she would be one of the new faces in the S/S Chloe campaign. Photographed by Glen Luchford, King appears with campaign regular, Karmen Pedaru.

This signing represents Kate’s move into big-league campaigns. Chloe has taken a gamble on hiring a newer face, and it is a mark of their confidence in Kate’s abilities that she was only one of two models used for their Pre-Fall collection.

The campaign, featuring striped ‘balloon’ gowns echoes the Pre-Fall collection’s obsession with slouchy, relaxed shapes. Striking a more retro note than previous collections, this campaign marks a new stage in Chloe’s creative development.

The decision to hire Kate over more established names points to her growing reputation for dependable performances, even when under pressure. Though still a fairly new name within the industry, Kate is evolving into a new breed of directional model: capable of steaming it up for Dolce & Gabbana, but also able to master the focus needed to model minimal fashion like The Row.

A modern-all rounder, equally adept at couture, RTW, editorials and campaigns, she is on the verge of joining better-known faces like Karlie, Lindsey, Freja and Anja. The reason behind her success is clear when looking at her print work. Her face is a perfect storm: somewhere between full-on glamour and cool androgyny, Kate’s fortune lies not in squeezing into an already-overpopulated niche, but in her ability to take on any concept.

The timing of Kate’s growing fame is no accident either. Fashion is now beginning to remember why these all-rounders were so popular just five years ago. Pre-recession, clients wanted a multi-skilled model that could reliably produce a winning performance every time, under any condition.

In the economic downturn, something very surprising happened. Clients still wanted versatility, but they wanted a face that was either classic or memorable. Even the more eccentric looks (such as Wixson and Kloss) grew in demand because their eccentricity made them memorable; a visual point of reference. Lindsey’s larger-than-life pout and Karlie’s famous runway stare – these were all anchors that a client could use to good effect. It’s no accident that Karlie has remained with both Oscar de la Renta and Dior as their loyal campaign face during some very tough times.

What fashion needs now, however, is versatility. From Louis Vuitton’s super-girlie show to Kenzo’s tribute to Frida Kahlo, no one trend dominates, and a model that can do it all suddenly becomes very useful.

Fashion’s new diversity isn’t a cause for concern: a symptom of an industry at odds with itself. Rather, it speaks of an inner confidence that fashion houses are confident enough to go their own way. It means more excitement on the runway and more choice for us. Instead of one trend colour, or one type of hemline, fashion is branching out – and everyone benefits.

As it returns to a confidence and diversity, fashion needs models just like Kate: versatile in the purest sense, Kate has the potential to become fashion’s next great icon. Just wait and see.

HELEN TOPE

MODEL PROFILES: LINDSEY WIXSON

Born in Wichita, Kansas, in 1994, Lindsey Wixson is the latest model to become fashion’s favourite teenage kick.

Lindsey began her career aged 15, signing with Vision Models in early 2009. The LA-based agency recognised the find they had in Lindsey and shot video footage of the young model, sending copies to other agencies, plus media / fashion websites. The footage eventually caught the attention of website www.models.com who were so impressed that Wixson became their ‘model of the moment’ in June 2009.

Lindsey’s market-value rocketed as a result, and she signed with Marilyn Agency. But Vision Models’ sterling job of marketing paid off again, when their polaroids of her reached top photographer Steven Meisel. Wixson was immediately booked by Meisel to take part in a shoot for Italian Vogue.

Fashion has plenty of early-glory tales to tell, but some models have trouble measuring up to great expectations. Lindsey was not fazed. Making her international runway debut in September, she walked for Italian labels Philosophy di Alberta Ferretti and Miu Miu, plus opening the Prada show as an exclusive.

Designer Miuccia Prada’s ability to spot a star-turn is well-documented, with Mirte Maas, Samantha Gradoville and Barbara Palvin all names whose careers have benefited from the Prada effect. Wixson was no exception, and became the most talked-about newcomer of the season.

In October, she landed consecutive editorials for Teen Vogue and the Japanese edition of Dazed & Confused. She also appeared in the A/W issue of i-D, but her career really took off in 2010.
Right from the New Year, Wixson was creating buzz. In January, she appeared in American fashion bible W, in an editorial shot by Craig McDean. A month later, W magazine’s website featured Lindsey as their ‘This Week’s Model’, taking Wixson from industry favourite to public property.

Wixson’s star-power was cemented when it was announced that she would become the face of Miu Miu. The vintage-inspired label was a quirky choice, but perfect for Lindsey’s brand of unique beauty. Her trademark pout made her instantly recognisable, even from the very early days of her career. This is not always a good thing for a model starting out; especially one who needs to prove his or her versatility, but Lindsey’s weak spot became her greatest asset.

Sure enough, the Miu Miu booking had a galvanising effect on Lindsey’s career. Opening the Autumn / Winter show for the label in the Spring, she also appeared for Missoni, Jason Wu, Marc Jacobs, Prada, Versace and Zac Posen. Lindsey’s breakout season contained bookings from the best design talent in the world.

Wixson’s face not only became a fixture on the runways, but also in editorials. Landing another W editorial in March, she also featured in the July issue of V and a third time for W in August.
Wixson took centre stage in the W feature, ‘Sweet and Vicious’, appearing alongside Barbara Palvin and Ashley Smith. Her potential to do themed editorials was explored by W who cast her as a 50’s femme fatale. Despite her age, Wixson translated the brief of the shoot into a pouty glamour that was both innocent and knowing.

Lindsey’s ability to handle a challenging shoot paid off when she not only renewed her contract with Miu Miu, but also signed up for new campaigns with Jill Stuart, John Galliano and top American department store, Barney’s. All three signings tested what Wixson had learnt so far; the Galliano shoot was pure street fashion, the Jill Stuart beauty campaign asked for yearning and wistful, and the Barney’s ad was on-the-nose, high-fashion quirkiness. Lindsey delivered on every count.

Her aptitude for editorial and photograph work has aligned her with other teenage wonders, Ali Stephens, Hannah Holman and Jacquelyn Jablonski, who at a very young age, have also succeeded in wowing a tough industry. In less than a year, Wixson has made the transition from face-to-watch to working model, and has become one of the most requested faces in the business.

The early Polaroids that charmed Steven Meisel into booking her for Italian Vogue are testament to Lindsey’s early promise. Wearing nothing more than a plain white vest and dark-blue jeans, Wixson’s stance belies her (then) lack of experience. Being so visibly at home in front of the camera gave Lindsey a head-start. The shots, intended to show what a find Vision Agency had made, are so convincing that they could almost be an ad campaign. Some models get to the top by perseverance, others by luck and others just have it, that indefinable quality that takes a teenage girl from ingénue to star. Her fearlessness when interpreting a client’s brief head-on is what puts Lindsey in the latter category.

Lindsey forms part of the batch of newer models that are well on their way to becoming icon-making faces. These girls don’t slot into being termed a classic beauty or a full-on editorial face only really suitable for fashion features. These girls operate in a new sphere, where being a marketable face doesn’t mean middle-of-the-road. Lindsey’s unmissable pout makes her a perfect fit for Miu Miu campaigns, but it also makes her ideal for beauty shoots for Teen Vogue as well as blue-chip editorials in W.

Lindsey’s face is extra special because it has a timeless quality that allows her to participate in themed editorial shoots, and not look like a fish out of water. Being of-the-moment is all very well, but if you can’t switch it up for a retro shoot or handle lots of make-up for a futuristic editorial, then that fashion cachet is only going to be of limited value. It is a curious truth that fashion prides itself on being about the new and the next, but when it comes to models, having a face that defies the trends is always in-demand.

Wixson’s progress is ultimately down to fashion’s love affair with the unusual, but her career now diverges where fashion has taken that obsession and made it mainstream. The shapes that many deemed unwearable as little as five years ago have become a central part of our wardrobes. Modelling has also followed suit, with the real success stories of the past two decades boiling down to one key component: versatility. We have seen Kate Moss leading the way, allowing quirky choices like Coco Rocha to do budget beauty adverts, and glamorous Raquel Zimmermann to sear through the beauty in button-pushing editorials.

It’s not enough to temporarily transfer to the ‘road less travelled’; doing it all is now a standard industry requirement. Far from being tough, it’s a mark of just how far the fashion world has come since the late Corrinne Day photographed a young Kate Moss in the early Nineties. Lindsey’s generation has grown up taking this as the norm, not the comparatively recent development it actually is, and they are working in an industry that’s more open than ever to new standards and definitions of beauty. There is no one look that defines us right now; every facet of modern beauty is covered from the androgynous look of Iris Strubegger to the ultra-girlie image of Sports Illustrated cover girl, Brooklyn Decker.

While fashion’s agenda for the immediate future remains decidedly grown-up, it’s being sent down the runway on models that didn’t do minimalism the first time round. With their influences ranging from cartoons to comic-book-style musical heroines like Katy Perry and Lady Gaga, Lindsey’s generation are the most visually-connected yet. With so many diversions vying for their time, if fashion wants to keep their interest, it has to be bold and it has to be daring.

Fast forward to Spring 2011 and the next season will be a marked departure from this autumn’s quiet sophistication. Next year will be nothing short of transformative; with youthful colour embedding itself in fashion’s consciousness. If this winter was about a reset, a pause for thought, then Spring will be about finding a stance that has less to do with breaking even, and everything to do with rediscovering the joy of the creative process.

It is in this environment that we will see Lindsey flourish. She is ideally placed to take full advantage of fashion’s re-engagement with itself. Fashion is exploring shape and colour with the tenderness reserved for a first love, but with a clarity that's born from experience.

That’s why Lindsey’s career has grown so fast. Lindsey’s face isn’t just about novelty, it evokes newness – the new buds of growth that come after a long winter, and for the fashion world, this winter has been exceptionally harsh. Spring - in its physical, creative and financial sense – can’t come soon enough.

Wixson is hotly tipped to become the next big thing, joining modelling wunderkinds Jacquelyn Jablonski and Karlie Kloss to become the generation that takes fashion from bust to boom. But it’s no fleeting teenage crush; fashion’s fixation with Lindsey Wixson is set to be the real deal.

HELEN TOPE

MODEL PROFILES: SIGRID AGREN

Born in Martinique on April 24th 1991, Sigrid Agren is the model who became the Chanel girl for a whole new generation.

Agren started her career in 2004 when she won the local Elite Model Look contest. Winning the semi-finals in 2005, she subsequently signed with the Elite agency. An early-starter even by modelling standards, Sigrid took the decision to put her career on the back-burner in 2007 to concentrate on school, and returned to modelling in 2008, signing with New York Model Management.

In June 2008, she appeared in her first major editorial, for Teen Vogue. Just days later, http://www.models.com/ named Agren a future industry star. In September, she made her debut at Fashion Week. Despite having only a clutch of editorials behind her, Agren’s runway booking sheet was filled with the best of international design talent. Walking for Calvin Klein, Rodarte, Donna Karan and Ralph Lauren, she also opened shows for Alexander McQueen, Karl Lagerfeld, Sonia Rykiel and YSL. Closing shows for Prada and Louis Vuitton, Sigrid’s look had struck a chord with the industry. With such an incredible start to her international career, it was no surprise when http://www.style.com/ named Agren one of their Top 10 Newcomers.

Her career as one of fashion’s favourite runway girls gave way to editorial and campaign work. In early 2009 she became one of the faces of Prada, appearing alongside Anna Jagodzinska and Katrin Thormann.

January saw Sigrid walk her first couture runway season, appearing for Chanel, Dior and Givenchy and opening the show for Valentino. Sigrid continued to rack up opening and closing spots as Fashion Week arrived a month later. She opened shows in New York, Paris and Milan, walking for designers such as Diane Von Furstenberg, Alberta Ferretti, Valentino and Chloe. In addition to also closing the Chloe show, she also scooped closing honours for Carolina Herrera, Donna Karan, Nina Ricci and Roland Mouret.

After appearing on the Autumn / Winter couture runways, Agren’s delicate looks made her a select choice for campaign work. She signed a contract with YSL Cosmetics, replaced Kate Moss as the face of Stella McCartney and became the face for powerhouse-brands Calvin Klein and Chloe. Sigrid’s easy-to-market look made her a fail-safe when it came to securing campaign work, but her next editorial booking made sure that the fashion world knew she wasn’t a one-note wonder.

Shooting for Italian Vogue, Agren appeared in a couture layout with models Heidi Mount, Rose Cordero, Toni Garrn, Imogen Morris-Clarke, Jourdan Dunn and Constance Jablonski. Named ‘A Dream of a Dress’ and photographed by Paolo Roversi, the high-fashion shoot was dark, atmospheric and dripping with glamour. It was absolute proof that Sigrid could master fashion’s dark arts, not just the campaigns and covers.

In October, she undertook editorials for Numero and Russian Vogue, choosing to sit out the S/S 2010 runway season. It did her career no harm whatsoever, as she renewed her contract with YSL Cosmetics in early 2010, returning to the runway in January for the Prada Menswear show.
Sigrid also appeared in Italian Vogue again, this time photographed by the legendary Steven Meisel. Named ‘Runway’, the shoot was a massive project that included the best of new and established catwalk talent. Sigrid was joined by Lara Stone, Frida Gustavsson, Natasha Poly, Kendra Spears, Kasia Struss, Mirte Maas and Iselin Steiro to name just a few. The documentary-style, behind-the-scenes shoot was a huge success and real-life imitated art when Sigrid found herself undertaking the biggest runway season of her career.

Walking in 71 shows, Agren appeared for Jaegar, Matthew Williamson, Bottega Veneta, Balenciaga, Prada, Lanvin and Gareth Pugh. Closing shows for Thakoon, Derek Lam and Calvin Klein, Agren’s fashion moment had finally arrived. Appearing in some of the biggest shows of the season, her profile soared.

In March, she undertook an editorial for W; April saw her being cited as a top model by Teen Vogue and May and June saw back-to-back fashion spreads for Numero and Japanese Vogue.

But her biggest moment was still yet to come. Already a fixture on beauty billboards for YSL, Sigrid landed the booking of a lifetime when she was chosen to represent Chanel’s new fragrance Chance. Launched back in 2002, Sigrid was to be the face of the fragrance’s latest incarnation, Eau Tendre. A soft, summery companion to the main perfume, it was a huge coup for Agren.

Shot by Jean Paul Goude, the campaign featured Sigrid sat clutching a huge bottle of the perfume and accessorised only with a garland of pink flowers. Pitched as sweetly romantic, the advert is deceptively simple in concept, but ultra-sophisticated in its execution. Aimed at younger consumers, Agren (still in her teens herself) was the perfect choice as the Chanel girl for a generation who have grown-up worshipping the brand.

After her seal of approval from Chanel, Agren became the go-to girl for this coming season’s campaigns. She will appear in the Prada Menswear ad with Angela Lindvall and the campaign for Celine with model Emma Balfour. Sigrid can also be seen in the new campaign for Italian designer Alberta Ferretti, appearing alongside top-model Jac. Shot in sepia tones, the campaign is a yin & yang concept with Jac dressed in black and Sigrid in white. Dreamy and sensuous, the calling-card of all Ferretti campaigns, Sigrid’s career has come full circle.

Agren is making a name for herself as a model that doesn’t have to choose between campaign and editorial work: she is someone who is equally at home on a beauty shoot as she is working on an editorial for Italian Vogue. For a model who doesn’t even reach her 20th birthday until 2011, Sigrid’s body of work already outranks the majority of her contemporaries.

Sigrid’s success is owed much to her ability to be adaptable, a quality that in today’s industry is as in-demand as being photogenic. Much has already been written about the impact of the economic recession on the modelling industry. For blonde models, however, it has been nothing but good news.

In times of crisis, clients tend to go with the familiar, and modern beauty (especially when its best face forward for covers and campaigns), is often equated with blonde models. Seen as approachable and sunny, blonde models like Agren have seen their workload increase significantly over the past year, because of their wide-ranging appeal.

Sigrid’s high-profile campaigns with YSL and Chanel have both utilised her ability to take a great beauty shot. She may be a natural at scooping cosmetic and fragrance campaigns, but Sigrid has smartly balanced this with high-fashion editorial and runway work. Appearing for designers such as Gareth Pugh, Thakoon and Lanvin has lifted Agren’s stock from safe-as-houses blonde to a model whose career is well-rounded and without a doubt, on the rise.

Even the briefest glance through this month’s fashion magazines will tell you that the tide is beginning to change. Gone are the disco shoes, the extravagance and glamour for glamour’s sake. Here to stay is a new mood: pared-back but not dumbed-down. With even Marc Jacobs revisiting and remodelling the camel coat, fashion’s new direction is about shape, texture and finish.

The good news for blue-chip models like Agren is that this is fashion with substance, and her appearance this February in some of the most talked-about show of the season (Burberry and Prada), is raising her value on the modelling market to make her one of the most coveted girls working today.

First hired as the winsome, delicate blonde, Sigrid is rapidly winning herself a reputation as a model of endurance. Far from being fashion’s soft option, girls like Agren are the true backbone of this industry. With a 71-show season under her belt already this year, only three more words are needed: watch and learn.

HELEN TOPE

MODEL PROFILES: JAC

Born in Poland, 15th January 1994, Monika Jagaciak is already known by one name: Jac. A catwalk veteran at 16 years old, Jac is fashion’s newest runway prodigy.

Jac’s career began in 2007 when she was signed to IMG Models at the age of 13. In July, she scored her first magazine cover with French magazine Jalouse, photographed by Elina Kechiecheva.

That same year, she landed an incredible coup, becoming one of the faces of French heritage brand Hermes. The campaign was shot by Peter Lindberg and Jac worked alongside established model Daria Werbowy.

In 2008, she travelled to Japan, and her mixture of youth and editorial appeal made her an instant hit, scoring her the November cover of Japanese Elle. Also appearing on the cover for Japanese Harper’s Bazaar, Jac’s career really took off in 2009.

Just a month after her 15th birthday, Jac hit show season with a bang. Chosen to both open and close the Calvin Klein show, she also opened the Philosophy di Alberta Ferretti show and closed the Marc by Marc Jacobs runway collection. In addition to these honours, she also walked for Bottega Veneta, Burberry, D&G, Gucci, Jil Sander, Marni, Prada and Versace.

But her appearance in the Herve Leger show really earned her the title of most talked-about newcomer. Halfway down the runway, she took an unexpected tumble: her knees buckled and she fell heavily to the ground. The knock would be galling for an established model, but even more daunting to someone yet to earn their stripes. But the 15 year old rallied, got up and finished the show.

Despite the slip-up, Jac was nominated as a Top 10 Newcomer by http://www.models.com/ and a rising star by http://www.style.com/. The accolades were well placed, as news followed that Jac had been signed to an exclusive contract as the face of Calvin Klein. Following the likes of Kate Moss and Jessica Miller, it was an extraordinary achievement. Jac filled the rest of her year with editorial work, posing for Teen Vogue in April, French Vogue in June and Italian Vogue in September.

September proved to be a particularly good month for Jac, as she was named Rising Star by Teen Vogue. Adept at spotting new talent, getting the nod from the queen-bee of teen magazines proved to be a powerful ally in Jac’s corner.

To those who doubted that Jac was capable of doing runway at a high-fashion level (after the incident at Herve Leger), Jac’s S/S 2010 season proved otherwise. She opened shows not only for Calvin Klein, but Marni, Bottega Veneta, Etro and Pucci. She was also picked to close shows for Alexander Wang and Gianfranco Ferre – hardly small fry.

But Jac’s standing as an international runway model was put on hiatus when she was denied the chance to take part in Paris Fashion Week. Any models under the age of 18 were banned from participating, leaving Jac (and many others) to sit this one out.

However, Jac’s career continued to flourish, with editorial credits from W, Numero and Italian Vogue to finish off the year. In January 2010, she renewed her contract with Calvin Klein and shot an editorial for Italian Vogue with Steven Meisel.

Now aged 16, Jac progressed to haute couture, modelling for Armani Prive, Dior, Givenchy and Elie Saab, plus opening the show for Valentino. If the trip at Herve Leger had industry insiders questioning whether Jac was ready for a high-octane modelling career, her run of bookings silenced even the toughest of critics. Jac signed on to appear in a staggering 72 shows, featuring the very best of modern design talent. Walking for everyone from Balenciaga to Yves Saint Laurent, the list of bookings was proof that Jac’s career had come of age.

To be an established name by your 16th birthday is certainly unusual even by fashion standards, but it is by no means unheard of. Jac’s success may be treated as a novelty by the mainstream press, but starting early in modelling is nothing new.

Kate Moss was famously discovered aged 14; actress and model Brooke Shields landed the cover of US Vogue at the same age, and in 1988 Kimora Lee Simmons signed an exclusive contract with Chanel aged just 13 years old.

Even now, fashion has its fair share of early starters. Imogen Morris-Clarke signed with agency Storm aged 14; Hana Soukupova started modelling at 13; new model Amanda Norgaard is one year older than Jac and has already featured in shows for Chanel and Miu Miu. Rising star Keke Lindgard is the same age as Jac and is the face of Gucci eyewear.

Modelling is a high-stakes career but mastering the basics at an early age may not be the worst thing for a new model. The fashion world tends to be an easy target for criticism, but the reality is the image of fashion being a heady whirl of glamorous excess belongs to another age. Nowadays, it’s hard work and discipline running the show. The recession has claimed many top names, and no-one can afford to be caught slacking.

One of the most positive things a model can take away from the experience of modelling is a whole clutch of business skills. Learning how to work with other people; the value of being focused, on time and most of all leaving a good impression on go-sees and bookings can all be applied to the outside world.

Jac, as well as working with some of the most brilliant creative minds in the business, is getting a crash course in how to get ahead in the real world. The skills she has already learned – not allowing the fall at Herve Leger to faze her – are nothing short of invaluable. When Jac took a fall during the Herve Leger show in February 2009, far from damaging her career, 12 months on she booked an incredible 72 shows. Knowing that one mistake doesn’t equal disaster is an important life lesson at any age, but learnt young – it’s nothing sort of empowering.

To not allow someone to work because of their age, as happened in Paris Fashion Week, is a curious response to the ‘youth issue’. After all, athletes aren’t criticised for blossoming early, and are often encouraged to strive and achieve from a very early age, so why should models be treated differently?

Jac’s experience of high-fashion won’t always be positive – there will be tough assignments, difficult colleagues and unsociable hours. But it is the same with any job, any career. Some days the negatives outweigh the pay-offs: learning to push through an occasional bad day is something Jac can take with her when she decides to leave modelling.

Knowing how to handle the difficult parts of the job does take maturity, but maturity happens at different rates for all of us: setting an arbitrary limit on when someone is allowed to explore and develop their talent doesn’t take any of these factors into account. Someone may be ready to work at 15, and another model may not be emotionally or intellectually equipped by 19.

It’s clear that Jac has the potential to become one of fashion’s mainstays. She has proved herself to be someone who doesn’t give up at the first hurdle, and that is an instinct that cannot be taught. Already tipped to be the next ‘big thing’, the campaigns with Calvin Klein and Hermes are just the beginning.

As Jac enters the most crucial stage of her career, she is moving from ‘rising star’ to the ‘must-hire’ girl. With the world’s hottest design talent clamouring to work with her, the modelling industry should be prepared. Its newest supermodel has just arrived.

HELEN TOPE

MODEL PROFILES: CHANEL IMAN

Chanel Iman, born 30th November 1989, is fashion’s brightest trailblazer – turning barrier-breaking into an art form.

Named after her mother’s favourite designer, Chanel spent her childhood practising runway and studying fashion magazines. This early groundwork prepared Iman when she entered the 2006 Ford Supermodel of the Year contest. She came third, but signed to Ford Models immediately. In February that same year, she made her debut at New York Fashion Week, walking for Derek Lam, Anna Sui, Marc Jacobs and Proenza Schouler.

In September, she walked in the S/S 2007 shows, including Alexander McQueen, Derek Lam, Dolce & Gabbana, Nicole Miller and Stella McCartney. But her appearance in the Valentino show sparked Chanel fever when she worked her now-signature move.

At the end of the runway, just before she was about to turn, she caught the eye of the audience and winked. The fun gesture won the crowd over, and Chanel was featured in http://www.style.com/ as the stand-out of the season – the studying had prepared her, but the impulse to stand out is what made her a star.

Chanel made it her business to exceed expectations early on in her career, receiving the Trailblazer Award from the Sankofa Group in April 2007, and in May became part of modelling history when she joined other top models to take part in the seminal US Vogue cover. A collective of new talent, Chanel joined the likes of Coco Rocha, Lily Donaldson, Hilary Rhoda and Jessica Stam to form a powerful declaration to the fashion industry. These girls were the future of modelling, and every model on that cover by Steven Meisel, went on to become part of the fashion landscape.

In September, Chanel’s career sky-rocketed with appearances for Alexander Wang, Dior, DKNY, Hermes, Louis Vuitton, Marc Jacobs and Oscar de la Renta among others.

2007 ended in triumph on the runways, but a question mark hovered over Iman’s rising fame. Landing catwalk and editorial work is one thing, but could Chanel take it to the next level and land big-name campaigns? This would then put her on a level playing field with her peers, and 2008 saw Chanel rise to the challenge with not just one, but four campaigns. Chanel did campaign shoots for high-prestige brands like Ralph Lauren and DKNY, plus budget-friendly names like Gap and Lord & Taylor.

In February 2008, Chanel’s status as fashion’s latest crush was established when Chanel, Karlie Kloss and Ali Michael appeared on the cover of Teen Vogue, photographed by legend Patrick Demarchelier. A magazine as influential as its grown-up counterpart, Teen Vogue tipped all three models for greatness.

Chanel’s year snowballed: in February, she landed an editorial with Russian Vogue, plus a stellar season walking for designers as varied as Bill Blass and Donna Karan, Jason Wu and Zac Posen. Her CV was maturing well with a mixture of old-school labels, cutting-edge talent and established names. Paired with Chanel’s appearance in the Dior and Jean Paul Gaultier couture shows on July, she had all four corners of the fashion industry covered.

July proved to be a busy month, as Chanel not only appeared in American Vogue with Jourdan Dunn, but also scored two additional editorials in Italian Vogue. However, this was to be a pivotal point in Chanel’s career. Italian Vogue took the decision to put together an edition that would only feature black models.

It was a powerful statement, but it was not without controversy. Many in the industry and press questioned Italian Vogue’s motive for doing this issue. Was it to be taken on face value, as a celebration of ethnicity, giving full-focus to new talent, or was it about something else entirely?

By shining the spotlight on black models to the exclusion of other talent (including models of other ethnic backgrounds), was this a step forward, or a giant leap back? Did such pointed inclusion do more harm than good?

Whatever the motivation, what is clear is that the Italian Vogue edition sparked debate. But debate without action is useless, and what is encouraging is that nearly two years on, a new raft of models including Tao Okamoto, Lyndsey Scott, Liu Wen and Hind Sahli are not only working but flourishing in an industry accused of having a less-than-stellar record when it comes to diversity.

Chanel’s career itself flourished after the Italian Vogue went to press, landing the September cover of Korean Vogue. She was also chosen to open the S/S 2009 Rock & Republic show. Appearing for Alberta Ferretti, D&G, Giambattista Valli and Sonia Rykiel, Chanel was becoming a hit in Europe as well as America.

2009 brought several accolades, rapidly establishing Iman as a go-to girl for not only runway work, but covers and editorials. She landed the cover of Italian Flair in February, the premiere cover of the Dubai edition of Harper’s Bazaar and the cover of i-D in May.

In September, Chanel appeared as a guest judge on hit TV show ‘America’s Next Top Model’. A spot usually reserved for designers or photographers, Chanel’s years of brushing up on fashion paid off, making her intelligent and insightful appearance a hit with fans. This was not just a model with personality and opinions – but someone who knew Pucci from Prada.

Chanel also landed a second cover of i-D, shooting a pre-autumn cover with Arlenis Sosa, Jourdan Dunn and Sessilee Lopez. The cover’s launch shows how quickly things can change in the fashion world. In 2008, Chanel’s appearance for Italian Vogue’s all-black issue was challenged as ‘agenda-pushing’. Just one year later, Chanel, Arlenis, Jourdan and Sessilee were presented, quite rightly, as cover girls at the top of their game.

Chanel’s trail-blazing continued when she surprised many by signing a 3-year contract with Victoria’s Secret. Chanel, while perfect for high-fashion, was not an expected choice for the uber-sexy lingerie brand. Some questioned whether her athletic frame could carry off the VS signature look, but Chanel’s personality-packed performance on the runway put all doubt to rest. In one fell swoop, she proved not only her versatility, but her ability to do the unexpected. This element of surprise is what gets Chanel re-hired time after time.

2010 is set to be another busy year for Chanel, with a full couture and RTW season under her belt. Walking for designers like Aquascutum, Dior, Givenchy, Thakoon and Gucci, Chanel’s list of credits defies the expectation that a black model would struggle finding work. Chanel’s career is an important lesson for models coming into the industry: place limitations on yourself at your peril.

Have a look through a recent fashion magazine: the percentages of ethnic to white faces could be better, but the numbers are not as dire as people seem to think. The argument that fashion only allows one black model to be the ‘top girl’ at any one time is clearly no longer the case: Chanel, Jourdan, Sessilee and Arlenis are all getting coveted editorial and runway spots, with Joan Smalls and Rose Cordero rising through the ranks. While it is clear that fashion has a long way to go before equality can be stated as the norm, the notion of a closed-off industry is also somewhat wide of the mark.

While Chanel’s career is still on the rise, what’s encouraging is her awareness that she is flying the flag for future models, whatever their ethnicity. The message that fashion recognises excellence is an important one for the next generation. Fashion’s consumer-base is becoming more cosmopolitan, and as a result, our expectation of seeing diversity better represented on the runways and in magazines is starting to be met.

The fact that one of Chanel’s first covers was for Teen Vogue says it all. She wasn’t being treated as the token ethnic model: Chanel made the cover because she (along with Ali and Karlie) were fashion’s brightest new models. When it came to the cover, Teen Vogue wasn’t indulging in a box-ticking exercise: it simply wanted the best.

The recession has been a huge wake-up call for the industry, and has resulted in fashion rethinking its entire approach. Fashion, as a whole, is becoming more democratic. Runway shows are being broadcast live on the internet, so you can see the latest collections at the same time as Anna Wintour, and bloggers such as Bryanboy (http://www.bryanboy.com/) and Tavi (http://www.thestylerookie.com/) are being taken seriously as fashion commentators at large.

Modelling is also becoming part of this radical rethink, and this new directive is just the beginning. Still not convinced? Watch Chanel’s progress over the next five years: the future is already here.

HELEN TOPE