MODEL PROFILES: LAURA KAMPMAN

Dutch model Laura Kampman was born in 1994, signing with New York Models in 2011 aged 17.

Kampman made an impact early on in her career, debuting at the S/S 2012 shows, walking for Calvin Klein and Balenciaga as an exclusive. Her noteworthy appearances made her the focus of press attention, with www.models.com featuring her as one of their season’s Top Ten newcomers. 

At just over 5’ 11”, Kampman’s affinity for the catwalk developed in early 2012 when she was chosen to appear in couture shows for Giambattista Valli and Valentino. Also appearing in that month’s British Vogue, she hit a career highlight in February when she landed the cover of Italian Vogue. Models often have to wait years for such an honour – Laura managed it within months of arriving on the scene. The cover, titled ‘Surreal or Real’, aimed at creating a sophisticated glamour. Drawing on the film icons of the 1930’s and 1940’s, Laura embodies those screen sirens brilliantly, conveying confidence and glamour. In Italian Vogue terms, this cover is almost minimal in its styling – it all rests on Laura’s performance. Laura’s cover is a triumph: with nothing to hide behind, all we see is Laura’s skill at being that bold, beautiful enigma. Whether surreal or real, it just works.

Following her stint at Italian Vogue, Laura had a strong ready-to-wear season in February and March, walking for Balenciaga again, she also walked for Alexander Wang, Christopher Kane, Giles, Helmut Lang, Marc Jacobs, Missoni, Rag & Bone, Rodarte, Sonia Rykiel and Versus. Already a theme was emerging in Laura’s bookings: these designers are not only at the top of their game, but they are all designers who specialise in directional fashion - Laura’s edgy look was a perfect match for their aesthetic.

Her early connection with Balenciaga went to the next level when she was booked for their Spring campaign. Photographed by Steven Meisel, Laura worked with Rosie Tapner, Juliane Gruner and Kirstin Lijegren. A Balenciaga campaign represents the ultimate challenge for any model: working a Balenciaga concept is remarkably tough as it relies on nuance. A label known for playing around with ideas, Balenciaga is unusual in that it never makes the same ad twice. Every season Balenciaga hits the refresh button coming up with an image that is completely different to the one that came before; no common factors, no familiar iconography. Every season, it’s like starting from scratch. Tough work for any model, but guided by Meisel, Laura takes charge of the campaign with an authority that is both astonishing and exhilarating.

The knock-on effect of the Balenciaga advert on Kampman’s career was immediate: from June to August, Laura found herself fully booked. In June she shot editorials for W and Japanese Vogue and in July, Laura travelled to Kiev for Dazed and Confused to shoot an editorial with photographer Yelena Yemchuk. ‘Lady Grinning Soul’ (taking its name from the song by David Bowie) saw Yelena return to her hometown of Kiev to construct an editorial that celebrates the oddity and perversity of high-fashion. Inspired by Bowie’s Seventies androgynous glamour, Laura poses as the fish out of water in retro tailoring from Prada and Miu Miu. At odds with her environment, the editorial becomes a moving exploration of the bravery it takes to express identity through image: dressed in these bold prints, Laura is at once both armoured and exposed.

Laura also appeared in the July edition of V magazine, this time for a spread titled #Instaglam. Drawing on the huge popularity of Instagram, the editorial features models including Franzi Mueller and Marte Mei van Haaster wearing the A/W collections.

August was an especially busy month for Kampman, with Laura appearing in five magazines. Shooting an editorial for British Vogue, Kampman appeared in ‘Best in Show’. Photographed by Daniel Jackson, this humorous editorial trades on the adage of dogs resembling their owners. Featuring military tailoring and rich, plum tones, the models have to work hard in order to avoid being upstaged by their four-footed co-stars.

Laura’s second editorial of the month was for Chinese Vogue. ‘Outer Limits’ explored the outsize trend that has returned after years of the waist reigning supreme. Also featuring Codie Young, Tian Yi, Ondria Hardin and Andie Arthur, the best trend pieces were featured, including the Jil Sander blush coat and Marc Jacobs’ ragamuffin hats. 

One of August’s most interesting editorials was Laura’s work for i-D. ‘Hold Hands Be Free Find the Real You’, shot by Amy Troost, was a super-edgy exploration of colours and texture: all about freedom of expression, it tests every rule we think we know about fashion, and by inverting them, we look again at the individual pieces in terms of their worth and appreciate how they can be put together in new ways. It is this envelope-pushing that has informed Kampman’s career to date: more than just a face that fits, Kampman has a connection to this type of fashion, making it not only interesting, but finding the beauty within. It takes a certain kind of model to connect on this level, and Kampman (not even a year into her career) already has it figured out.

Kampman’s reputation for great editorial work was cemented this autumn, with Laura landing a spot in the A/W Topshop campaign. Photographed by Alasdair McLellan, the campaign also features rising stars Ava Smith, Moa Aberg and Melissa Stasiuk. Coupled with the great production values we have come to expect of Topshop’s campaigns, the images lend high-street a high-fashion gloss. 

Laura returned to the catwalk this September with a RTW season including appearances for Loewe, Maison Martin Margiela, Rick Owens, Anteprima, Giorgio Armani, Rodarte, 3.1 Phillip Lim, Prabal Gurung, Peter Som and MaxMara. With the notable addition of Armani, Kampman’s appeal for the edgier design talents continues. With Maison Martin Margiela presenting a collection for H&M this autumn, Kampman’s links with high-fashion and high-street are as strong as ever.

Kampman’s latest credit is an editorial for Pop magazine. ‘A Chanel Moment’ sees Laura transform to become a glamour girl with poker-straight hair, dressed head-to-toe in the latest Chanel collection. Compare this to her work for Balenciaga, and it’s hard to recognise this as the same model. Laura’s capacity to transform so dramatically is a definite asset, and in light of her body of work with fashion’s directional core, is a surprise that will challenge the industry to see her as someone with cross-over potential.

In previous years, versatility was flagged as a model’s ability to switch from commercial to editorial. Editorial was seen as the ultimate challenge; a true test of a model’s abilities. Now it is seen as a given: virtually every element of the fashion industry strives towards an editorial sensibility. Topshop – the kingpin of the British high street – is highly successful, but its campaigns denote a chain that sees itself as firmly leaning towards editorial.  Our love of editorial presents itself in what we now choose to wear: high-fashion details such as the peplum waist and studded slipper shoe, far from being ‘challenging’, are widely available and highly coveted.

With high-fashion being embraced as something attainable, editorial faces are becoming the norm and being able to flip to a more commercial look is being seen as the unique selling point. Laura has entered an industry that has changed significantly over the past five years; copying trends verbatim has been replaced by individual expression: simply put, it’s not what you wear, but how you wear it. A principle clearly demonstrated in i-D’s editorial, layering and mixing textures has become the next step in wearing clothes in a way that expresses individuality. With clothes so freely available both in store and online, buying that one-off piece (without going fully retro) is virtually impossible. The solution? Mix it up.

As fashion trends spark a global following, creating a personal style and stepping away from head-to-toe looks is rapidly being seen as the more modern way to wear clothes. Individuality is the new buzzword for fashion, and as a result, the faces that represent high-fashion have to be just as unique. Laura’s features are perfect for carrying off the cerebral chic of Balenciaga, as well as translating those trends in editorial. 

Kampman’s success is all down to playing to her strengths: it’s more than the sum of her features. Her ability to understand and interpret directional looks is invaluable in today’s fashion industry. As fashion travels ever closer to the edge, pushing us to be ever bolder in what we wear day to day; talents like Kampman will be the best means of passing on the message. Be brave, be individual – and do it now.

HELEN TOPE

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: ANAIS MALI

Born on 22^nd January 1991, French model Anais Mali signed with agency Wilhelmina in 2009.

Mali took to the runway that September, modelling for Betsey Johnson, Vivienne Westwood and Sophie Theallet. Adding Catherine Malandrino and Rachel Roy to her credits the following February, Anais was dubbed a face to watch by both www.style.it and www.models.com. A regular post-show feature, these announcements go a long way to upgrading a model’s status. In an industry crowded with talent, any publicity is good publicity.

Filling 2010 with a campaign for Levi’s and a stint modelling for J Crew’s catalogue, Anais took to the runway in September. This time, her booking sheet showed that Mali was proving a hit across the Atlantic, with Anais appearing in shows for Marc Jacobs, Vera Wang, Derek Lam, Cynthia Rowley and Carolina Herrera.

Anais’ early (and ongoing) success in America can be quickly attributed to her look. Possessing the same kind of appeal as Joan Smalls, Anais has elegance that appeals to the old-school designers such as Carolina Herrera, but with enough character to handle high-fashion editorial. These strengths typify what the U.S fashion market looks for: enough beauty to make the clothes covetable, but with enough edge to give the collection some bite. The very best American designers dominate the field because they have learned to create that perfect balance between marketability and creative vision.

In a pivotal move, Anais left Wilhelmina and signed with Ford Models in late 2010. In December, she featured in an editorial for Interview magazine, working with Melodie Monrose. Each model a mirror image of each other, both furiously channel the glamour and energy of Twenties’ fashion icon, Josephine Baker.

The beginning of Mali’s long-standing association with American Vogue began in February 2011, with an appearance in the February issue. Featuring as part of their season preview, ‘Gangs of New York’, Anais was photographed by Mario Testino. Teams of models were paired up to showcase the major collections of the season. Anais got Rodarte, working with Ajak Deng, Jourdan Dunn and Joan Smalls.

Her recent spate of editorial successes meant that Anais could add Rag & Bone, Thakoon, Chloe, Dior, Stella McCartney and Tom Ford to her runway CV. As success often breeds success, Anais found herself in high demand in March, appearing in three major publications: V, American Vogue and Harper’s Bazaar. The US Vogue shoot, ‘Rebel Rebel’ saw Anais model Gucci’s show-stopping bronze jumpsuit, plus a high-energy shoot with Arlenis Sosa, photographed by Norman Jean Roy.

Anais then took to the campaign trail again, this time getting signed by American fashion behemoth, GAP. Photographed by Craig McDean, ‘The Modern Design’ takes us away from the preconception of GAP just being a one-stop location for casual basics. Tailored, neutral pieces are pushed to the forefront in this campaign, sold as the essentials you would end up reaching for again and again. GAP has already become a go-to destination for jeans, with designer-worthy cuts being offered at high-street prices. Not resting on its former glories, GAP continues to revise its image and what it can offer to an increasingly sophisticated consumer base. Some of its experiments have worked better than others, but the store’s commitment to endure and progress should ensure its long-term survival.

Anais returned to American Vogue for the Spring, appearing in a bridal-themed editorial in their April issue. ‘Across the Aisle’, photographed by legend Arthur Elgort, is a fun, studio-based spread. Her first solo shoot with the magazine came in August 2011, with ‘Mixed Media’. Shot by Raymond Meier, Anais models the season’s best accessories. Textures and colours clash exuberantly, and Anais wears these difficult prints and colours effortlessly.

In September, Anais built up her runway experience with bookings from Matthew Williamson, D&G, Bottega Veneta, Ralph Lauren, Peter Som, Nina Ricci, Diane Von Furstenberg and regular client, Jason Wu. Sparking the interest of British and Italian designers, Anais was already becoming an international name, beguiling the brightest design talent.

Proving her ability to switch things up, Anais got hired for an editorial for Love magazine. Photographed by Solve Sundsbo, ‘Strangelove’ is a series of darkly provocative portraits including Sui He, Jessica Hart, Lindsey Wixson, Hannah Noble and Charlotte Free.

Returning to more traditional fare in September, Anais signed on for an editorial with V. ‘You Can’t Possess Radiance, You can only Admire It’ features Anais in chic, Fifth Avenue-style fashion including Celine, Ralph Lauren and Valentino. Anais (and V) give the classics a fresh edge.

Clocking up even more editorial hours at the end of the year, Mali appeared in American fashion magazine W and French Vogue. In W’s ‘Poster Girls’, Anais was hired to model a bold, fearless mix of clashing prints and accessories. Anais’ beauty shines through the editorial. The clothes and accessories are the focus, but Mali remains a calming, steadying force, a point where the eye can rest in what is a very busy set of photographs.

Mail’s career got a major boost in November when she was selected to appear in the 2011 Victoria’s Secret Fashion Show. Joining fellow VS newbie Karlie Kloss, the two catwalk regulars brought a touch of high-fashion glamour to the proceedings. Anais’ inclusion was squarely down to having a type of beauty that is able to appeal to the mainstream. Despite being a Vogue favourite, Mali looked comfortable on the VS runway, but working a very different kind of audience. With the lingerie brand eager to feature more diverse types of beauty, Mali embraced this opportunity with obvious enthusiasm and it would be surprising if she doesn’t reprise her appearance this November.

In January 2012, Anais made her editorial debut for the year with V magazine. In what is far more usual territory for V, ‘The Queen of Hip Hop’ is a fun, energetic editorial photographed by Sebastian Faena.

Channelling Nicki Minaj in a day-glo wig, Anais brings the necessary attitude to make this editorial work. So good at ‘faking it’, this spread becomes uncanny in its authenticity. V excels at bringing a high-fashion twist to existing cultural codes. Even if not a fan of the music, everyone can visualise the clothes, the make-up and body language adopted by superstars of that world. Anais brilliantly mimics the queens of hip-hop but never letting us forget that the clothes come first.

February saw Anais scoop another major campaign, this time with J Crew. The iconic label has had a major injection of cool since the revelation that is has become one of Michelle Obama’s fashion go-to’s. The booking must have represented a special moment for Mali, who had one of her earliest signings with the American brand.

The following month saw Mali become hot property, with appearances in W, W Korea and Madame Figaro. The spread for the American magazine, ‘Feminine Mystique’, saw Anais team up with Jourdan Dunn and new girl, Jasmine Tookes. The three models are identically groomed and model ethnic prints with a strong theme of sophistication running through. Going beyond its clichéd treatment in previous years, tribal here is worked so it becomes something new, contemporary and eminently wearable.

Anais’ biggest editorial splash was with Korean W. Featuring on the cover as well as the leading spread; Anais shares cover honours with Hyoni Kang and Julia Nobis. ‘Birthday Girls’ – their mega-model editorial – also includes Hanne Gaby Odiele, Crystal Renn and Maryna Linchuk. With all the models wearing pieces from the highly popular Louis Vuitton collection, the sugary-sweetness of the designs are off-set by an understated sensuality. This is all relatively new territory for a magazine that is not yet 10 years old. After its publisher, Conde Nast, launched men’s style magazine GQ in South Korea in 2001, its success paved the way for other magazines to follow. Now South Korea has its own version of W, it has been keen to develop its own sense of style, and the March issue featuring Anais has created significant interest across the world. It may be new, but W Korea is already making its editorial presence felt.

With her biggest campaign signing to date, Anais can currently be seen in H&M’s global ‘Fresh Start’ adverts. Anais joins other heavy-hitters such as Natasha Poly, Sasha Pivovarova and Isabeli Fontana. Featuring models from Russia, France, Brazil and Sweden, this campaign represents what brands like H&M have known for years: international beauty sells. Appealing to the most people possible makes sense as fashion is rapidly becoming a global language with new pockets of wealth being discovered.

Having diversity on campaigns, covers and editorials is essential if a particular market is not to feel marginalised. A face that can appeal to many countries is especially in demand, and Anais is one of the lucky few that can work with European, American and Asian markets and convince at every turn. The face of the money-making model is changing, and with her adaptable beauty, Anais is right at the forefront of this new fashion phenomenon.

HELEN TOPE