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
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