MODEL PROFILES - FRANZI MUELLER

Born in 1992, German model Franzi Mueller is part of a new wave of models that are wowing the industry with their ability to interpret the latest trends.

Whilst still at school, Franzi was advised by friends to become a model. Wanting to complete her education first, Mueller stayed on at school, finishing in summer 2011. She contacted a local modelling agency and was sent on go-sees for ready-to-wear shows. The bold approach by Franzi’s agency worked: in February 2012, Mueller was cast in several shows, including an opening spot for Calvin Klein.

Receiving this honour from one of fashion’s biggest names, Franzi immediately made a huge impact. It was all the more impressive when you consider that this was achieved with no pre-season buzz. Also walking in shows for Celine, Dries Van Noten, Givenchy, Valentino and Prada, all of Franzi’s star power was reserved for the runway.

Mueller made her editorial debut just a month later, appearing in Exit magazine. The editorial (‘Alice’), photographed by Paul Empson, showcased the new tailoring trend, especially focusing on peplum waists. Going from strictly couture to high-street staple in the space of five years, this trend is a perfect example of how quickly the fashion landscape can alter.

In May, Franzi make her first appearance for German Vogue. In ‘Klassenbeste’, photographed by Greg Kadel, Franzi modelled the Givenchy Couture jewellery featured in their January collection. Drawing on influences as diverse as Indian bridal jewellery and punk-rock, the large hanging earrings and nose-ring are not a look for the faint-hearted. Designed to create an impact that’s more editorial than ready-to-wear, Mueller models through a look that could easily dominate, making the photograph not just about spectacle. In this photograph, Franzi demands your attention, refusing to be overwhelmed by the massive jewellery pieces. For a newcomer, it was a significant achievement.

The following month, Franzi made her debut for Spanish V.  Appearing in ‘Electro’, photographed by Pierre Debusschere, the editorial lives up to its name, exploring neons and brights. The boldness of the colours is tempered by the super-strict tailoring of the jackets and peplum skirts. With the addition of post-production enhancement, Mueller beautifully balances the photograph; keeping her facial expressions soft and feminine to act as a neat counterpoint, making the bright colours even more appealing by making them look eminently wearable.

Packing in even more editorial commitments, in August Franzi made her inaugural appearance in Russian Vogue. Photographed by Emma Tempest, the self-titled editorial celebrated Franzi as a new and upcoming modelling talent. Along with Italian Vogue, the magazine remains a constant champion of modelling talent, regularly featuring new faces in key editorials and even on the cover. In a publishing world increasingly reliant on the pull of celebrities to boost sales, Russian Vogue remains proudly loyal to its high-fashion roots.

The glut of editorials over the summer paid off for Franzi as she managed to score two high-profile campaigns. Appearing for Louis Vuitton’s multi-model epic, Franzi joins other new names to populate what must be the most stylish train carriage in existence.

Mueller can also be seen in Hobbs’ Autumn / Winter campaign with models Karlina Caune, Emily Baker, Kinga Rajzak and Sojourner Morrell. Hobbs, along with many mid-priced high-street chains, has had to step up its game recently and along with stores like Zara, is providing great trend-led pieces for an increasingly fashion-literate audience. As well as the usual fare of tweeds and beautifully-cut coats in teals and oranges, 

Hobbs also dips its toes into winter florals – and comes up smelling of roses.

Squeezing in a few appearances for the Spring / Summer 2013 season (including Oscar de la Renta, Nina Ricci, Rodarte and Donna Karan), Mueller kicked off the autumn with a season preview with Dazed & Confused. Photographed by Sean and Seng, here Franzi appears in the S&M trend, reworked for this season as eveningwear.

September also saw Franzi hit the editorial jackpot with a spread for Italian Vogue. ‘Alta Moda: Dolce & Gabbana’ (photographed by Paolo Roversi), is a multi-page editorial dedicated to the Italian design duo. Featuring Ava Smith, Kate King, Suzie Bird and Bette Franke, Franzi has her own double-page story, working both black and white lace pieces. Mueller shows her versatility here, channelling the Dolce & Gabbana siren to perfection.

Mueller was back to her high-fashion beginnings in October with an editorial for Wall Street Journal. Shown exclusively online, ‘Austerity Measures’ featured Mueller working the more pronounced silhouettes of Autumn / Winter 2012. Deftly demonstrated through coats and jackets, it is testament to Franzi’s skill in front of the camera that every coat and jacket she models (though vastly different from each other), are anchored by her modelling style. Keeping it simple, she allows the designs to take centre stage. Exuding elegance and poise, Franzi shows off her knowledge of fashion history, channelling the original Dior models of the 1950’s.

Also in October, Franzi made her debut for i-D magazine. The editorial, ‘Being an icon is great but leaving a legacy is better’, Mueller is photographed modelling a leather dress by Celine. Mueller is also interviewed by the magazine, and cites model Mariacarla Boscono as one of her biggest fashion influences, and there are definite similarities in their modelling styles. As Boscono is one of fashion’s longest-serving models, this bodes well for Franzi’s longevity.

Appearing in November’s issue of Numero and a late 2012 appearance for W, Franzi’s editorial popularity has been not only enduring but wide-ranging. Mueller has already appeared in publications from Italy, China, Spain, Germany, Russia and the United States. Mueller’s status as a high-flyer is defined by her instinct for wearing modern design with intelligence and verve. Combine this with Franzi’s physical gifts – height, good proportion and bone-structure – and you arrive at a picture of a model that not only appreciates high fashion, but understands it as well.

Every great model knows that while their face graces an editorial, or fronts a campaign, it is the clothes that are the star. The best models working right now are the ones who have a genuine love of fashion. With high-fashion itself heading into the unknown, with ever-bolder shapes taking the lead, it is up to the industry’s interpreters (photographers, stylists, editors and models) to take the fear out of contemporary fashion and persuade us of its wearability.

Even at its most extreme, Franzi finds the beauty in high fashion, making it not just interesting but downright inspirational. These are big ideas, fashion at its most conceptual, but with the right interpretation, these are ideas we find ourselves wanting to explore.

Making that leap into wearing the next big idea takes courage and models like Franzi are going there first; showing us not only how these new trends can be worn, but how we can find a connection between the clothing and ourselves. Every regularly-worn piece in your wardrobe gets preference above others because you have a connection to it. Whether it’s a colour, or pattern, favourite pieces connect and that relationship can be deep-rooted. It explains why you end up buying one colour over and over, or variations of a jacket you have worn to death.

Making that connection is skilled work and this is why a model who loves fashion will always do well. Looking at Franzi’s CV, despite the fact her career is not even a year old; she is already shaping up to be one of high fashion’s most prolific advocates. Whether she’s channelling aspects of fashion’s history, or working the edgiest trends, the love is there for everyone to see.

HELEN TOPE

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: DREE HEMINGWAY

Born on 4th December 1987, Dree Hemingway signed with Ford Models at the age of 14. Making her editorial debut in August 2004, she appeared in Teen Vogue, photographed by Alex Hoemer. Four years later, Hemingway made the move from Ford to Elite Models, with the signing creating media interest. Seminal fashion website www.models.com featured Dree as a rising star of the industry.

But Dree’s true breakthrough moment didn’t emerge until March 2009 when she was featured in both Interview and American Vogue. Her family connection (Dree is the great-granddaughter of literary icon Ernest Hemingway) may have sparked some initial interest, but it was no guarantee of quick – or easy – success. From her first agency signing in 2004, it took Dree five years to make it on an international level.

In March 2009, she debuted at the A/W Givenchy show as an exclusive. Just as it would do for Joan Smalls a year later, the Givenchy booking gave Dree’s career an instant boost. The domino effect on Hemingway’s career was striking. In April, she appeared in editorials for W and French Vogue; German Vogue in May; British Vogue in July and American Vogue in August.

Dree’s star factor rose further when her personal style was profiled in Russia’s Harper’s Bazaar and Teen Vogue. As Kate Moss has shown us, having a sense of personal style not only shows the fashion industry that you have good instincts, but also shows you’re paying attention. Being surrounded by the world’s most accomplished photographers and stylists, and not soaking up that creativity would suggest a model who’s not into fashion as much as they should be. The models that are at the top of their game almost are invariably models who love fashion. They have succeeded because that love makes the tough parts of modelling (the travel, long hours) that much easier to bear.

Hemingway’s glorious start to 2009 just kept rolling as she was signed on to appear in the Gucci Autumn / Winter campaign. Gucci does everything on a grander scale, and this campaign had everyone from Natasha Poly, Anja Rubik, Jamie Bochert, to Jacquetta Wheeler and Myf Shepherd. Dree joined fellow newbie Abbey Lee Kershaw to form an unforgettable campaign. Dark, edgy and sexy, it was the perfect summation of everything designer Tom Ford had done to refresh the brand.

Dree’s appearance in this blockbuster of a campaign ensured that her profile was unmissable. Hemingway opened the S/S 2010 show for Topshop, also walking for Karl Lagerfeld, Giles, Chanel, Twenty8Twelve and Rue du Mail.

The designers who signed Hemingway were an indication of how Dree’s own style was influencing the kind of work she was getting. Finishing off 2009 with editorial and cover work for V Man, i-D and Revue de Modes, All three are ultra high-fashion, left-field publications. This section of the fashion press is usually the hardest to impress, and Dree had already won them over.

In 2010, Dree’s career stepped up another notch when it was announced that she would be appearing in campaigns for Jean Paul Gaultier, Gianfranco Ferre and Valentino. This resulted in three very different campaigns for Dree to master. Gaultier went with military chic, Valentino required Dree to headline in black lace and pink hair and Ferre asked for classic Italian feminine. Injecting her own brand of cool into every shot, she lifts each campaign. Valentino goes from red-carpet to after-party and Gaultier has a layer of smouldering sex appeal added to its usual sense of avant-garde fun.

But Dree’s ability to work an editorial was also put to the test, with Hemingway appearing in nearly 20 during the course of the year. 2010 started off with a prestigious signing with French Vogue, appearing in a season preview. Dree transforms into a Parisian lady of leisure along with Lara Stone and Freja Beha, their headscarves and sunglasses off-set by quirky prints from Miu Miu. The key to getting a group shot is working together, but not fading into the background. Working with Stone and Beha, Hemingway fits in seamlessly.

Dree’s success in Europe was compounded by her Autumn / Winter runway season in February, walking for Isabel Marant, Karl Lagerfeld, MaxMara and Vivienne Westwood. For someone with a heritage that’s resolutely all-American, Dree has done a sterling job in appealing to designers from across the globe.

This worldwide appeal saw Dree land her first editorial for Chinese Vogue in July. Shot by Ellen von Unwerth, the beauty piece chronicled Dree’s ability to handle those demanding close-ups. Having been seen in edgy, complex shoots, even when modelling a high-end beauty look, Hemingway projected a softness that hinted at further versatility.

The next high point of 2010, with Dree racking up editorial-duty with magazines from every continent, was in November when she landed three in one month: French, British and Italian Vogue.

Her first shoot for Italian Vogue was named ‘Glitter’, a fun look at theatricality with Dree modelling the Philip Treacy lobster headpiece made famous by Lady Gaga. Wearing fashion that verged on costume, Dree’s challenge was to push through the extravagant designs and make the experience of wearing them believable. The shoot was pure Italian Vogue; couture worn like art.

Her November shoot with British Vogue, however, took Hemingway back to her roots. ‘My Own Private Idaho’, partly a pun on Dree’s place of birth, showed the model in a series of photos that explored the solitary, outdoorsy American that is part and parcel of the country’s cultural heritage. The resulting editorial draws inescapable parallels with her own background, and Dree’s performance creates a set of images that are haunting as they are moving.

This year looks set to be Dree’s busiest yet. Already appearing in S/S campaigns for Daks, Lanvin and Margaret Howell, Hemingway has proved herself to be a formidable presence on the campaign circuit. Featuring for Daks and Howell, she may not have been the most obvious choice for these British brands, but Dree performs in each ad like no-one else was ever in the running. Fashion is never purely skin-deep: if you don’t connect with what you’re wearing, it’s a fail on every level.

Dree’s latest venture has seen her appearing in a short film for a solo exhibit by artists Sofia and Mauro. Called ‘The Young Woman and the Sea’, the piece directly references Dree’s great-grandfather’s famous short story ‘The Old Man and the Sea’. Playing on the mythic themes of man versus nature, the film could well signal the future direction of Dree’s career. It may not be a case of putting pen to paper, but it’s clear that Dree’s gift to the modelling industry is story-telling. Her silent performance in the short film brilliantly showcases what she’s learnt from the world of modelling, but also an inherited sense of narrative.

As we move into an age of innovation, first the interactive advert from Burberry and the growing popularity of campaign videos, there is some debate over whether traditional print media has anything left to offer to the fashion industry. After all, can a static image really be any match for developing technology?

The crossroads that fashion finds itself in is being mirrored in many other industries. The worlds of film, fiction and home entertainment are also in a state of flux. Whether you go for 3-D or 2-D, paperback or Kindle, what’s emerging is a two-tier system of technology and tradition. While in some industries, progress is essential, in fashion the addition of technology is more a case of inclusion rather than survival of the fittest.

What fashion’s doing is bringing the best of tradition and technology together to make the most of both, rather than aggressively pushing out one in favour of the other. As an approach to embracing new technologies, it’s revolutionary.

Despite the rapid growth of technology, the classic editorial isn’t losing any of its appeal. Websites that catalogue editorials such as www.fashiongonerogue.com are proving immensely popular, making access to the work of every fashion magazine immediate and democratic.

The reason for the non-demise of the editorial boils down to fashion’s love affair with creating moments. The editorial represents the most permanent means of doing so – a runway show lasts mere minutes and a campaign’s shelf-life is only good for six months. But with an editorial, the moment is there, forever.

Where the editorial continues its hold on our imagination is when it creates moments that both thrill and inspire. To do that, the editorial needs a model who understands how to access those emotions and piece together a narrative. This skill is something that is far beyond the scope of new technologies, and luckily for models, it always will be. Dree’s success – on every platform – indicates that the future of modelling isn’t about innovation, it’s telling stories.

HELEN TOPE

WHICH MODELLING AGENCY IS BEST FOR YOU?

This may seem like an obvious question, with an even more obvious answer, but on closer inspection, determining which agency you want to aim for says a lot about the kind of model you want to become.

Most people think of modelling purely in terms of high-fashion. But the faces you see, such as Liu Wen (pictured), in editorials for W or Marie Claire, are only one small section of the modelling industry. If you take even a brief look around you (billboards, promotional events, even television adverts), it suddenly becomes clear that modelling is a much larger industry than you may have first thought. This is ultimately good news, as when you assess your weaknesses and strengths as a model, you may find you’re suited to more than one style of modelling, or even belong in an entirely different category than you might have first imagined yourself in.

Being flexible about your career aspirations is the key to being a great model. Being realistic about where you can place yourself in the industry will save you a lot of heartache and rejection, and may even get you started sooner than you think.

Fashion / editorial
Has a well-deserved reputation as the toughest section of the industry to crack. If you’ve even watched one episode of any ‘Top Model’ series, it becomes self-evident that the requirements to get even a foothold in this sector are often exacting and complex.

It sounds strange, but being beautiful isn’t an automatic right of admission. This corner of the market is notoriously competitive, and agencies are always looking for the next face that will become the darling of high-fashion. If you’ve watched ‘Top Model’, you will know that the ‘cheerleader’ contestant – the girl who turns heads in real life – isn’t always guaranteed success. It’s a harsh truth that conventional good looks do not always translate well in the world of high-fashion. Many models prosper when their look offers something a little off the beaten track. Having features that photograph well is a must, along with height (usually at least 5’ 9” although exceptions are sometimes made), and a body that’s slim and evenly proportioned (the famous ‘clothes hanger’ body type).

Having a body that’s born to wear haute couture is a definite plus, but with model agencies looking for high-fashion faces, it’s all in the x-factor; that indefinable quality that makes someone memorable.

This can be an advantage if you’re quirky rather than pretty and tastes change so fast in editorial fashion that you can quite literally be ‘wrong’ one week and the absolute ‘face of the moment’ the next. It goes some way to explaining how a catwalk model can work for months, sometimes years, and suddenly become the girl everyone wants to work with.

However, rejection is a guarantee when trying to break into fashion modelling. The spots available are limited, as editorial is so specific in what it asks of new models. This is the sharp end of the business, and it’s not unusual to find yourself retiring before the age of 25.

But if you really think you have what it takes (and be brutally honest with yourself), you could end up working with some of the best photographers, stylists and editors in the world. Your time in the limelight may not last long, but a good career specialising in editorial could provide opportunities you never thought possible.

Catalogue / commercial
Once considered the poor cousin to editorial, commercial modelling is rapidly becoming one of the success stories of the industry. If you have good, photographable features but think you’re too old / short / girl or boy next door to get into high-fashion, this could well be the best option for you.

This type of modelling spills over from print ads into TV work and you don’t have to be an expert to figure out that there’s a lot more work to go round. Think of the number of adverts you see in any one day: toothpaste, lingerie, sportswear, hair-care – each one requires a face to sell that product and that person could be you.

The requirements listed by any commercial agency are similar to high-fashion, but with one crucial difference: you must have a look that is photogenic, warm and accessible. A great smile could quite literally make your fortune.

Having the basics – good skin, hair, teeth and nails will help you get through the door of an agency, but personality and flexibility is what could get you signed on the spot.

Just as with high-fashion, the client rules. What they want, you have to deliver. Being a good listener, and more crucially, able to work quickly and effectively with a creative team is an essential for this type of modelling. It’s a misnomer that ‘catalogue’ is for models that weren’t good enough for high-fashion. You need many of the same skills, and pressures of time and budget are just as high. Getting the right look on camera is a non-negotiable, and the only difference is that you could be modelling catalogue rather than couture. But making cheaper fabrics look just as good on film as their pricier counterparts is all about attitude. Wear catalogue with the same panache you’d reserve for Chanel, and your career will soar.

The key difference with commercial modelling is the work, or rather the amount of it. If you’re a success you will definitely know about it, because you will be working around the clock.

As I said earlier, catalogue has been one of the most resilient sectors of the modelling industry when it comes to bucking the economic downturn. In order to buy a product, we have to know about it in the first place, and the smarter companies have kept their advertising budget the same or even increased it during the recession.

Commercial modelling may have suffered from a self-image crisis in the past, but with commercial models finding themselves in constant demand, this area of the industry has finally had its Cinderella moment.

The good news for any budding commercial model is that your career could indeed have healthier long-term prospects than your editorial counterpart. Look at many of the big-brand beauty ads and they’ve been in the habit of using models that are a similar age to the consumers who will use the product. Gone are the days when an 18-year-old would advertise anti-ageing face cream. Everyone’s more media-savvy these days and that includes us, the consumers.

Advertisers have latched onto this, and it is now not uncommon to see models in their thirties, forties and beyond fronting campaigns for names like L’Oreal, Revlon and Nivea. Want to work in an ever-expanding industry? Commercial modelling may well be your best option to that most elusive thing in modelling: longevity.

Body parts modelling
One of the newest sectors of the industry, this is exactly what it says it is. Watch any advert for washing-up liquid and you’ll instantly spot a pair of perfectly-manicured hands. These will almost certainly not belong to the commercial model fronting the ad, but will belong to a model that specialises in body-part modelling.

Hands, legs and feet are usually the most in-demand and if you have hands that get regularly complimented, there might well be a career in it.

The work can range from the kitchen sink to beauty editorials or accessory shoots (very often a hand-model is drafted in to assist with fashion shoots where close-ups are required and the main model’s hands may not be up to such scrutiny).

This type of modelling can be extremely lucrative, but it requires a lot of patience on your part as it can involve repetitive, sometimes uncomfortable, awkward poses. If you’re low on patience and your tolerance for discomfort is set at zero, this might not be the best modelling option for you.

The downside to this kind of career is that you have to be extra vigilant when it comes to knocks, scrapes, bruises and falls. If you fell and bruised your hand, the worst case scenario would be no work, no bookings or even go-sees until it had fully healed. Some established body-part models even have separate insurance policies taken out in case of even more serious or prolonged injuries which can seriously impact on their ability to make a living.

The good news is that this kind of modelling provides regular work, and just with normal modelling, if you work well with creative teams and deliver results that clients are happy with, you can make a name for yourself and a very comfortable living into the bargain.

Finding your niche in modelling can take a while, but doing some preparation and groundwork is never a waste of time, in fact, quite the opposite. Whether you want to aim for the giddy heights of high-fashion, or want to opt for a more commercial angle, knowing your strengths in relation to what an agency is looking for is crucial if you want a career with a game plan. In the world of modelling, a little well-aimed self-promotion goes a long way.

HELEN TOPE

MODEL PROFILES: ISELIN STEIRO

Born in Norway on the 15th of September 1986, Iselin Steiro began her career when she was scouted whilst Xmas shopping in London.

Discovered in 1999, Steiro debuted at Fashion Week in September 2003, walking for Calvin Klein, Donna Karan and Prada. Her career though did not take off properly until 2005. Many models find themselves suddenly in favour when fashions change, and Iselin’s rise is a perfect example of case in point.

Steiro’s strong features meant that she would have to sit out the decade’s brief infatuation with chocolate-box, Pre-Raphaelite beauty. Models like Lily Cole and Gemma Ward excelled during this time, but girls like Steiro – still beautiful, but a little off-centre – had to wait their turn.

Iselin’s moment came in February 2005, when she became the face of the season. Picked by designers Alexander McQueen, Chanel, Chloe, Louis Vuitton, Missoni, Proenza Schouler and Rochas to appear in their runway shows, Steiro’s off-beat appeal came into its own.

Editorials for W and Harper’s Bazaar followed, plus campaigns for Benetton, Jill Stuart and Hugo Boss. But it wasn’t until autumn that Iselin’s ability to do quirky glamour really paid off. Photographed by Steven Klein, she got a major contract with D&G, working alongside Hye Park and Vlada Roslyakova. Followed by an Autumn / Winter campaign for Roberto Cavalli, Iselin’s strengths as a model were finally being realised.

In February 2006, Iselin took the opening spot at the Calvin Klein show. This honour, previously taken by Russian supermodel Natalia Vodianova for the past seven shows, was nothing short of a changing of the guard. Fashion’s aesthetic was visibly starting to shift from ultra-feminine shapes and colours, to a darker, altogether more avant-garde mood.

With more challenging silhouettes being touted as the norm, the industry needed models to match. Iselin’s brief was to make these new shapes look wearable. In 2006, tulip skirts and ankle-length cigarette pants were deemed to be at fashion’s absolute edge of wearability: only the bravest gave them a go. Four years on, we think of them as modern essentials.

Iselin’s status as the newest high-fashion favourite soared. She was chosen to be the face of Gucci in their 85th anniversary campaign and appeared in the Balenciaga Spring / Summer ad with Hilary Rhoda. In August, Iselin finally landed the cover of Italian Vogue. Shot by Steven Meisel, it was an affirmation from the very heart of the industry.

As fashion moved towards more urbanised looks with tough-girl details like exposed zips, leather and lashings of black, Iselin’s bookings increased. She shot the A/W campaign for Gucci (shot by Craig McDean); closed the September show for Gucci in Milan and picked up an editorial with Meisel for Italian Vogue.

2007 saw Iselin’s career pick up pace with a cover of Elle in March and a confirmation early in the year that Steiro had been chosen to be the new face of Valentino. Iselin’s ability to do arch-elegance, glamour with a slant, made her the first choice for designers across the globe. In addition to signing contracts with TSE and Blumarine, Steiro scored editorials with French, Italian and American Vogue. Her career was at an absolute high. It was at this point that Iselin made the decision to walk away from it all.

At the height of her career, Iselin made the decision to temporarily shelve modelling and return to education, enrolling at the Oslo School of Architecture and Design. After completing her studies, Steiro returned to the fashion industry in April 2008, and her return was heralded by none other than French Vogue.

During Steiro’s time away, the fashion perspective had shifted even more in her favour. The loose, free-flowing shapes still being shown had disappeared entirely, making way for body-conscious, editorial – even sculptural – shapes, not just in couture, but now a regular feature of ready-to-wear. These bold style statements needed a model that could pull them off and not get lost in the most avant-garde designs. Steiro’s return could not have been better-timed.

Signed up for autumn campaigns for Mulberry and Missoni, Iselin made a triumphant return to the runway in September, walking for Chanel, Balenciaga, Givenchy and Stella McCartney.

In 2009, Iselin became the face of Lanvin. The campaign shoot, featuring Iselin in a series of draped dresses, was the brainchild of Lanvin creative director Alber Elbaz. The use of intricate pleats and folds in Lanvin’s designs would usually be more of a couture feature, but Elbaz was introducing a couture sensibility to ready-to-wear garments. Detail was the way forward, and Steiro’s performance as Lanvin’s hedonistic muse, pushed the message even harder. She made the dresses look young and directional but without being daunting. It was lustworthy fashion at its best, and with Iselin’s help, Lanvin became the label of choice for Young Hollywood, joining Marc Jacobs and Chanel as red-carpet must haves.

The following year, Iselin got a highly-coveted place in the 2010 Balenciaga campaign. Like Lanvin, this label was rediscovered when its newly-hired creative director Nicolas Ghesquière utilised his futuristic vision to make Balenciaga a byword for cutting-edge chic. Turning Balenciaga into a fashion house that not only champions trends, but kick-starts them, Iselin was brought in to take part in their Spring / Summer campaign with modelling newcomers Mirte Maas, Lisanne de Jong and Patricia van der Vliet.

True to form, the campaign was a quirky play on perspective and proportion that made for an instant standout image. Defiantly different, Steven Meisel’s Photoshop-collage was a hit. The advert became a major talking point, putting Balenciaga (and its models) front and centre of that season’s crop of campaigns.

Shooting back-to-back editorials for Italian Vogue in January and February, Iselin’s bookings for show season continued to dazzle and surprise. This wasn’t a case of a former top-model being given her dues; this was a model being booked by virtue of her own merits. In addition to walking for brands like Chloe and Hermes, Steiro was asked to appear on the runway for youth-led labels like Miu Miu and The Row. The fact that Iselin is still being requested for shows that would ordinarily be populated by models nearly 10 years her junior, is in direct opposition to the theory that fashion doesn’t value longevity; Steiro’s career is ample evidence to the contrary. When a model is this great, they get to stick around.

It should be no surprise that Iselin has such an avid interest in architecture: when a model has the right angles and proportions, the result is both contemporary and timeless, and that’s where Steiro fits in. She is both of-the-moment and classic because she is the kind of model that outstrips fads or trends. Iselin continues to work in today’s fashion climate as she did back in 2003 because she arrives as a blank canvas, a super-structure onto which designers, photographer and stylists can project their ideas.

Steiro brings an intelligence that understands fashion on a level that has very little to do with collating the most magazine covers or scoring column inches. Now fashion is leaning towards a pared-back, stripped-down aesthetic, Iselin will continue to do well because she is exactly the sort of model that’s required right now: no ego, no entourage, just an ability to get on with the assignment.

Iselin’s true appeal lies in her off-centre beauty that shifts and changes to fashion’s whim. Like her friend, fellow model Anna Jagodzinska, her rough-edged beauty can dial up the glamour when required, but there’s a quirky slant to that glamour that makes you look twice, and that’s exactly what you want for a big-budget, high-stakes campaign.

The forerunner for models like Hannah Holman and Siri Tollerod, Iselin’s career is the blueprint for models entering the industry. It’s no longer enough to just love fashion. If you want to be relevant, and stay that way, ignore the call of the limelight. It’s time to look at modelling from an entirely fresh perspective.

HELEN TOPE

MODEL PROFILES: ENIKO MIHALIK

Born in Hungary on the 11th May 1988, Eniko Mihalik fuses European glamour with a bold, sensual approach that’s anything but old-hat.

Eniko’s career began in 2002 when she won the Hungarian round of the Elite Model Look contest, and came fourth in the International Elite Model Look contest. She debuted at Paris Fashion Week in July 2006 when she walked for the Chanel Couture show.

Her name became better known in January 2008 when she was nominated as Model of the Week by http://www.models.com/ – the Hungarian then took on Fashion Week and was selected to appear for Alberta Ferretti, Betsey Johnson, Blumarine, Diane Von Furstenberg, Elie Saab, Gucci and Marchesa. A clutch of labels with one thing in common: they were all ultra-feminine labels and Eniko’s unique look answered their purpose perfectly. A body that’s couture-ready but still retains curves is a rare find even in the modelling industry, and Eniko has proved that curves – whatever the fashion barometer’s showing – are always in demand.

Her editorial career took off at the same time, securing a 6-month exclusive contract with photographers Inez van Lamsweerde and Vindooh Matadin. Mihalik shot editorials for Italian Vogue in August and the cover of V in September. Also landing a contract with Gucci, Eniko appeared alongside Lily Donaldson and Abbey Lee as one of the new faces of the brand.

Following a successful runway season including appearances for Versace, Derek Lam, Thakoon, Jason Wu, Isabel Marant and Zac Posen, Eniko ended the year with two more editorials for Italian Vogue in October; shoots for French and Japanese Vogue in November; and further editorials for W and Japanese Vogue in December.

2009 started extremely well for Mihalik, with not only a shoot for the French Vogue calendar (shot by Terry Richardson) but a campaign for Italian luxury label Max Mara, photographed by Craig McDean.

Eniko scored a cover in January with i-D, appearing on the front page with a butterfly over one eye. Both striking and original, it was a brilliant summing up of Eniko’s quirky beauty and editorial appeal. With another editorial for Italian Vogue that same month plus an appearance at the couture shows, walking for both Givenchy and Valentino, Mihalik’s career was blossoming.

In February, Eniko landed her biggest show season to date, walking for 56 designers, including Alexander Wang, Balmain, Chanel, Diane Von Furstenberg, Isabel Marant, Marc Jacobs, Nicole Farhi and Stella McCartney. Her diverse list of runway credits carried through into print work, with Eniko working three editorials in one month. Appearing for W, French Vogue and Italian Vogue in April, Mihalik demonstrated the depth of her versatility. The French Vogue shoot, named ‘Noces de Diamants’ was a shoot requiring nudity (up to and including full-frontal), shot in black and white by Mario Sorrenti. Her work for W, an editorial called ‘Harvest’, was a collection centred on the eclectic folk trend. It was packed with colour and detail, and also shot by the same photographer. Google these shoots and you will find yourself doubting whether the models used in both editorials are the same person.

In May, Eniko got the cover of Japanese Vogue, and further editorials for Italian, Chinese, French and Japanese Vogue throughout the summer. Her work for V magazine in July included a beauty editorial and a fashion spread. Called ‘Forever Young’, the atmospheric shoot paid homage to film noir, and it was ideally matched to Eniko’s strengths. Whether projecting anguish or ennui, Mihalik was pitch-perfect in every photograph. In August, she appeared in three editorials (Italian, French and Chinese Vogue) whose subject matter ranged from Parisian Victor/Victoria chic to sculptural cutting-edge eveningwear.

In September 2009, Eniko’s runway cachet began to soar: not only was she appearing for names such as Balmain and Chanel, but she was also being booked by the best of the newcomers. Walking for Peter Pilotto and Mary Katrantzou, Mihalik was securing her fashion future. The year ended on a surprising note: Eniko was asked to appear in the Victoria’s Secret fashion show. Like Chanel Iman, she was a high-fashion choice that raised some eyebrows, but her performance on the runway silenced critics: this was a high-fashion model not afraid to be just sultry, but downright sexy.

2010 has seen Eniko already score another high-profile campaign. Working with Liya Kebede, she will be the face of Kenzo. In February she appeared for Jill Stuart, Jason Wu and Carolina Herrera on the runway, but the main story of 2010 for Mihalik is an almost dizzying array of editorial work.

Starting with an editorial for Chinese Vogue in January, Eniko has appeared for Italian, French, Chinese Vogue and W in March; plus the cover of Hungarian Elle. She appeared in a provocative topless shoot for Purple Fashion with Constance Jablonski, Jamie Bochert and Emma Heming. Her coy side came out in a spread for Bon magazine, called ‘Too Shy to Convey’ and this August she has appeared in two shoots: the first for Numero, called ‘Sortilege’ (a Klimt-inspired, Art Nouveau shoot) and the second for Japanese Vogue. ‘Red Star’, shot by Camilla Akrans, is Eniko playing the siren card in ultra-glamorous couture gowns.

The thread running throughout Eniko’s career has been editorial. From the very start, Mihalik has distinguished herself as a model that will go the extra mile when committing to a frame. Her body type also lends itself to the more daring shoots as well as the straightforward fashion spreads which makes her a highly covetable signing for any magazine.

Eniko’s body of work is truly fashion made filmic. Look at any of her editorials, and the one thing they all have in common is they tell a story. The visual aspects of fashion (the shows, the magazine covers, the fashion spreads) are increasingly becoming the most lucrative form of currency the industry has. If the fashion industry’s trade is fantasy, then models like Eniko are doing their part in bringing that fantasy to life. Modelling is about more than striking a pose; it’s about making a visual connection and making it meaningful. Looking gorgeous on a cover is great, but if that cover doesn’t say something to the person thinking of buying that magazine, then it’s an opportunity lost.

Editorial work is one of the most challenging areas for a model to master simply because it requires the model to become someone else for the day, even if it’s well beyond their range of personal experience. Eniko has never been a neo-Goth, a lovelorn aristocrat or a footballer’s wife, but she embodied them all on film. Forget model turned actress, this is model as actress. There is no challenge too tough for the Hungarian, either. So far this year she has modelled for the Pirelli calendar, undertaken a 5-cover shoot for V and shot a multi-million pound jewellery editorial for British Vogue. Eniko’s ability to move from the toughest editorial demands to on-the-nail modelling for H&M is what marks her out as a true chameleon of the fashion world.

Along with models Raquel Zimmermann, Karlie Kloss and Magdalena Frackowiak, she understands that to be an editorial model today requires more than beauty: it requires something deeper, and the model that is prepared to take on those terms cannot be ordinary.

This is what separates high-end editorial work from mainstream. Clothes are there to be showcased, but being editorial is about more than being edgy or controversial. It’s about conveying mood, atmosphere and desire, in a way that’s both subtle and sublime. Eniko’s career puts paid to the theory that fashion is little more than skin deep: great fashion images are the point where fashion intersects with art and film, creating challenging, thought-provoking images that remind us that fashion is more than what is on the surface, it’s about what lies underneath.

HELEN TOPE

MODEL PROFILES: MAGDALENA FRACKOWIAK

Polish-born Magdalena Frackowiak has built a career on making the fine art of editorial look easy.

A multi-tasker extraordinaire, Magdalena’s body of work spans the complete breadth of modelling experience from campaigns for French Connection to high-edge editorials in Viktor and Rolf.

Born 6th October 1984, Magdalena began her career by winning the ‘Waterproof Model Search’ in 1999. Her career took off in 2006, when she landed the covers of Polish Elle and Italian Glamour.

In October 2006, she got her big break when she was picked to open the YSL show in Paris. Also appearing for designers like Alexander McQueen, Marchesa and Valentino, Magdalena was featured as the Top Model of the S/S 2007 season by http://www.style.com/.

2007 started with a bang for Frackowiak when it was announced that she would become one of the new faces for legendary label Ralph Lauren.

Sandwiching in editorial work for Chinese and German Vogue, Magdalena also landed a campaign for Dior Lingerie. Shot by Craig McDean, this was Magdalena’s toughest challenge to date. On a lingerie shoot there is (quite literally) nowhere to hide. Being photographed in underwear is the least of your problems: keeping the feel of the shoot high-fashion is the real issue. Factor in a photographer like McDean who specialises in sultry shoots and the stakes couldn’t be higher. Lingerie modelling may seem like the soft option, but at this level, nothing could be further from the truth.

Magdalena’s hard work paid off in August 2007 when she got the cover of Italian Vogue. Modelling alongside Maryna Linchuk, and photographed by Steven Meisel, this was a watershed moment.

2008 saw Magdalena become the face of Alessandro Dell’Acqua, in addition to renewing her contract with Ralph Lauren. Magdalena walked in the January couture season, making appearances for Armani Prive, Chanel, Dior, Givenchy and Valentino. Her excellent show record continued with a RTW season that included opening spots for Thakoon, Viktor & Rolf plus Alessandro Dell’Acqua.

For the rest of the year, Magdalena clocked up several noteworthy appearances; an Italian Vogue editorial photographed by Patrick Demarchelier; an i-D editorial in March; an Allure editorial in May and the summer cover of 10 magazine.

This rapidly-growing CV also included a feature in French Vogue, where the magazine that can make (or break) a career named Frackowiak a ‘top model’. Magdalena’s flair for editorial continued, with a spread for Interview magazine that primarily focused on Gucci. Pairing the Polish bombshell with the iconic Italian brand was inspired casting. Frackowiak had already proved she could do high-fashion, but she could also bring sex appeal, perfect for an editorial that required equal measure of both.

Magdalena’s standing in the fashion community soared when it was time to announce who had scooped the prestigious A/W campaigns. Magdalena had not only landed a spot with one designer: she had three. Shooting for Oscar de la Renta, Alessandro Dell’Acqua and Ralph Lauren, Magdalena’s pulling power in front of the lens was becoming an undeniable force for fashion good.

In September, Magdalena had the show season befitting a top model, walking in 55 shows. Closing shows for Jil Sander and Proenza Schouler, she also made appearances for Chloe, Chanel, Gareth Pugh, Hermes, Isabel Marant, Lanvin, Marc Jacobs, Missoni, Preen, Stella McCartney and Valentino. It was a blockbuster season, putting Magdalena’s name well and truly on the map.

2009 brought more accolades, with Magdalena adding a campaign for Kenzo to her list of credits. Her A/W season in February 2009 gave Magdalena a bona fide fashion moment. She was selected to open shows for Lanvin, Louis Vuitton, Matthew Williamson, closing shows for Julien MacDonald and Alexander McQueen.

Being the bookend in major headline shows like Lanvin and McQueen, Frackowiak was now playing with the top names in the business. Her editorial and campaign work had propelled her right to the heart of the modelling elite.

Magdalena filled the summer months of 2009 with yet more editorial work, including French, Russian and Japanese Vogue. Magdalena also hit the headlines when she participated in a shoot for the A/W issue of Purple. Posing topless with Eniko Mihalik, Abbey Lee Kershaw and Freja Beha, the photo shoot garnered plenty of attention. Its near-the-knuckle editorial slant begged the question: was this fashion photography at its most daring or just plain pornography?

Terry is famed for blurring the lines, and his preference on sexuality is borrowed straight from the Seventies. Think bold glamour, gloss and very big hair, and you’ve got yourself a Terry Richardson shoot.

In some ways, a photo shoot like this is the perfect foil to Magdalena’s abilities. She can be gentle and soft-focus in designs by Alberta Ferretti and Blumarine, or full-on raunch for designers like Gucci and Roberto Cavalli.

Terry’s work proves that provocative images don’t have to be just for the boys. His genius is making sexuality part of the high-fashion experience. Where couture can sometimes be accused of being a touch cerebral and other-worldly, Richardson, working with models like Magdalena, brings a note of earthy vitality to a shoot or campaign. It’s not sleazy; it’s just another point of view.

2010 has already begun well for Frackowiak, with an Italian Vogue editorial under her belt and covers for Russian Vogue and Dazed and Confused.

She is very much the 21st century follow-on from Fifties and Sixties models like Dovima, Dorian Leigh and Suzy Parker. They wore cutting-edge couture like was a second skin, and that is what Magdalena does so well. The fashion spread for Dazed and Confused was dedicated to Viktor and Rolf’s latest collection. More avant-garde than ready-to-wear, the ultra-edgy designs in both the cover and editorial have one thing in common: you see the model first, and then you see the dress. It only registers in a second glance that the dress is pushing boundaries and then some. On Magdalena, what is a challenge to wear becomes soft, romantic and even covetous.

When modelling the tougher, more avant-garde designs, it pays to be fearless. This is what Magdalena has picked up from the tough-as-boots models of the 50’s and 60’s. They may have looked the epitome of elegance and grace, but there was no chance of any dress overwhelming them. It’s a tough balancing act because fashion’s built around the see-saw of hard and soft, masculine and feminine. Trying to blend the two and make it believable is the really tricky part. Magdalena’s work with photographer Terry Richardson is a brilliant example of the importance of balance. It’s all about visual semantics: lighting, styling, even the tilt of the model’s chin - in fashion, the tiniest detail often makes the biggest difference.

Look at Magdalena’s runway track record. Note how many designers have kept her on as a runway fixture every season. Alexander McQueen was booking Magdalena in 2006 and still doing so in his last (completed) show in September 2009. Loyalty is hard-won in the fashion world: an incredibly versatile clothes-horse, Magdalena has mastered campaigns and editorials that would make more experienced models quake. It is that quality of fearlessness that makes her such a compelling presence.

With depth and intelligence, Magdalena is merging the point where ‘sexy’ and ‘editorial’ meet. In a post-recession age where many hard and fast rules are having to be re-written, Magdalena provides a very modern take on fashion’s newest (and boldest) identity.

It’s a lesson taken straight from fashion history. After the Second World War, the fashion world had two options: to give up, or reinvent. Christian Dior went with the second, and gave us the New Look. It reignited the industry, and ever since, it’s been the inspiration when times are tough; revitalise and renew.

Models like Magdalena aren’t just along for the ride: they’re changing what we see as beautiful and fashionable. Editorial fashion isn’t about wilful provocation; it’s about moving forwards in order to survive. The models that do editorial best make it look easy: because they’ve worked so hard, you can no longer see the join where work ends and inspiration begins.

Fashion’s latest reinvention is not for the faint of heart, but it’s about more than hemlines. The new look for the 21st century is taking fashion into its next phase. It will be daring, difficult and thought-provoking – but it’s pushing all the right buttons.

HELEN TOPE