Born on 22nd 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
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