MODEL PROFILES: KATRYN KRUGER

Born in Cape Town in 1995, South-African model Katryn Kruger may be a newcomer to the fashion industry, but she is already setting a new standard.

Katryn’s first introduction into modelling came courtesy of Prada in early 2011 modelling for their resort look-book. Kruger made her runway debut in October with an appearance for Givenchy. Walking for the French label as an exclusive, Kruger went on to work for Jalouse magazine with two consecutive editorials.

The first, ‘Top 8’ profiled new model talent including Caitlin Lomax, Isabella Melo and Anouk de Heer. The second, ‘Block Beauty’, saw Katryn take centre stage with a high-end beauty shoot. The theme was faces and themes of cinema: Katryn modelled looks that took inspiration from sources as diverse as Greta Garbo, Blade Runner and Bambi. The Garbo photo is a particular success with Kruger channelling the German star’s reluctant celebrity.

Taking on haute couture in January 2012, Kruger modelled for Elie Saab, Valentino, Giambattista Valli and Zuhair Muraud. With the obvious exception of Valentino, all the other couture houses are recent additions to the select group of couturiers working in Paris. Now with the appointment of Raf Simons to the post of artistic director at Dior, couture looks set to enter a new age of strong and fearless design. Simons, who up till recently worked as the creative director at Jil Sander, transformed a minimalist label into a byword for postmodern elegance. Taking on fashion’s toughest challenges, he gave minimal fashion the push it needed to move on from its Nineties roots. Neon cashmere and moulded hems, under Simons’ tutelage, became must-have items. Using new fabrics and techniques, Simons made the Jil Sander brand an esoteric delight: fashion packed with intelligent choices. His ability to take fashion to the forefront of innovation makes him a very exciting prospect when it comes to taking on Dior Couture. With its extensive history, the temptation to stay in the retro comfort zone is understandable. But with the hiring of Simons, the only logical progression for Dior is forward. With Simons’ first couture collection due in July, the small world of haute couture is about to get a whole lot bigger.

Katryn hit the ready-to-wear catwalks in February, with numerous appearances for some of the world’s biggest names. Walking for Louis Vuitton, Chloe, Roland Mouret, Dolce & Gabbana, Prada, Ralph Lauren and Donna Karan, Kruger’s first major season was a virtually perfect template of a top model’s booking sheet: all the must-book labels are accounted for, with edgier new talent also included.

In March, Katryn made her first appearance for V magazine, working with photographer Benny Horne. The spread, ‘Trophy Club’, sees Kruger model sportswear. A side-trend perfect for those not swayed by the girlish glamour served up by Louis Vuitton, this luxurious take on sportswear makes it an attainable look for those who like their fashion a little more casual.

Kruger’s next booking was anything but casual – following her earlier work with the Italian label, Kruger (still a relative newcomer to the industry) was hired to take part in both the campaign and video for Prada’s Spring / Summer collection.

Already a hit on the runway, the crowd-pleasing collection was represented by both established names and some less familiar. Working with photographer Steven Miesel were Natasha Poly and Guinevere van Seenus, along with newcomers Elise Crombez, Meghan Collison and Ymre Stiekema. The eclectic mix of beauty, from Natasha’s all-out glamour to Meghan’s quirky cool, was an unusual choice but a choice that turned out to be inspired casting.

With everyone wearing the 50’s inspired pieces, the cohesive quality of the campaign draws you in. There is not a wasted moment in this campaign: every look and every gesture adds flavour and piquancy to an already well-received collection.

The campaign video also works on the same principles, with the models coolly eyeing each others’ garb at a gas station. Packed with references to classic Americana, the video is a love-letter to everything great about retro-fashion. The duster coats, the have-to-look-twice printed dresses – all perfectly handled, but at the same time, nothing here feels dated. With the use of contemporary music including Sleigh Bells and Ariel Pink, Prada have hit a home run, with a campaign video that is proving to be extraordinarily popular. So far it has clocked up over 300,000 hits on YouTube. To put this in perspective, Prada’s campaign video for Spring / Summer 2011 has been viewed 32,000 times.

In the video, Kruger gets the lion’s share of the camera’s attention, her classic features sitting perfectly in the retro feel of the campaign. Kruger is the main focus at the end of the video – as coveted as an opening or closing spot in a runway show, Kruger makes a lasting first impression, with a performance that is assured and confident. It would be an accomplished debut for any model, and a star-making move at that, but it is remarkable when watching Katryn to think that you are watching a 16-year-old with minimal modelling experience.

Kruger’s appearance for the Prada S/S 12 campaign has made her a name, not only among the hundreds of thousands of fans viewing on YouTube, but within the fashion industry itself. Her latest work, an editorial for Interview, again shows that Kruger may be young but has the potential to become an international star.

Wearing Stella McCartney’s latest collection, Kruger’s ease at modelling what is a challenging body of work invites us to draw direct comparisons with other models. Kruger’s phenomenal rise is down to more than just her perfectly-set classic features: no face, no matter how beautiful, would be enough to secure you a booking with Prada. The Italian powerhouse label regularly take chances on new models, but every one of those models ends up becoming a name because Prada know how to draw out talent. Looks are no longer enough in an industry where perfection is the norm: you have to have something else to offer. Recent success stories such as Karlie Kloss, Lindsey Wixson and Arizona Muse show exactly how modelling is not a game of luck, but a game of skill, and how some come to the table with a more defined skills-set than others. Muse’s endlessly adaptable face; Lindsey’s unforced quirkiness and Karlie’s agility all make them one-of-a-kind. The things that should make them not ‘work’ are of course the reasons why Wixson, Kloss and Muse are so enormously successful. Karlie’s dance background, Muse’s statement eyebrows and Wixson’s dollhouse pout should, in theory, rule them out of modelling at the highest levels – but each of them has excelled without compromising what makes them unique.

Already on the ascent, Kruger’s unique selling point is easy to figure: a fearless approach to runway and campaigns with a commercially-friendly face. Equipped with these advantages, Katryn’s next career move could be in any direction. Just like Arizona Muse who made a huge impact on an unsuspecting fashion industry back in 2010, Kruger has the type of face that can apply itself to any type of design philosophy, and adaptability sells. With the potential to go anywhere from Italian Vogue to Victoria’s Secret (and everywhere in-between), Kruger is redefining the standards of what it takes to break away from the pack and become that rising star. With a stellar career in progress, the only direction for Katryn Kruger is up.

HELEN TOPE

MODEL PROFILES: RUBY ALDRIDGE

Born in Los Angeles in 1991, Ruby Aldridge joins a select group of models re-defining American beauty for a new generation.

Raised in California, Ruby was born into a family with serious fashion connections. She is sister to Lily Aldridge, who regularly models for Victoria’s Secret, and a half-sibling to Miles (fashion photographer) and Saffron (model).

Ruby was discovered in 2005 at the age of 14. A year later she was modelling for the DKNY autumn / winter campaign, shot by Peter Lindbergh. With a smattering of credits peaking in 2008, Ruby ended the year with the campaign for luxury accessory brand, Coach.

Ruby’s big break came in February 2010 when she made her international catwalk debut. Selected to open both the Marc Jacobs and Marc by Marc Jacobs shows, she was also picked to open shows for House of Holland and Erdem, closing the show for Lanvin.

Her other credits included Alberta Ferretti, Dior, Pucci, Missoni, Nina Ricci, Versace and Wunderkind. It was a quality debut. Getting the seal of approval from Marc Jacobs is hard to beat in terms of creating buzz. With Prada, Jacobs joins an elite group of designers who have the power to really launch a model’s career.

Aldridge’s affiliation with Jacobs continued in 2010 with Ruby becoming the face of Marc’s diffusion label. Photographed by Juergen Teller, these campaigns have become uber-familiar to fashion watchers, becoming the girlish, quirky hallmark of the Jacobs brand. A true fashion leader, Marc’s choices are always unexpected. The midi-hem, at one time considered unwearable by many, has found itself at the centre of fashion this autumn, worked in every way from soft pleats to metallic leather. The Jacobs ethos doesn’t live in big, showcase moments, but in the steady infiltration of new ideas. He made urban chic absolutely essential in 2009, and made classic silhouettes the cornerstone of autumn 2010.

The sartorial palette cleanser inspired across the board, moving fashion to think and operate in terms of editing rather than excess. It sparked a tide change that would quietly revolutionise the way we buy, wear and think about fashion. Volume buys gave way to considered purchases based on only one rule: love now, love forever.

Ruby’s connection with the best of design talent continued in September 2010, with a massive 46-show season, opening shows for Costume National and Erdem. Aldridge added Dries Van Noten, Haider Ackerman, Jason Wu, Jeremy Scott, Miu Miu, Reed Krakoff and Roberto Cavalli to her list of credits.

Ruby’s affinity with high fashion went to the next level in January 2011 when she undertook her first couture season in Paris. Standing at just over 5’ 8”, Aldridge is well under the prescribed height for couture models, but her bookings with Elie Saab and Valentino were an inspired casting choice. Her look, which can move from edgy to feminine, was more than able to take the intricate, detailed designs. When it comes to modelling couture, height helps but the right attitude can hide a multitude of sins.

In February, Ruby had her busiest RTW season to date with a massive 52 appearances, opening shows for Celine and Valentino, and closing shows for Miu Miu and Peter Som. More top designers got on board, with Alexander Wang, Chanel, Chloe, Dolce & Gabbana, Prada and YSL all booking Ruby. It was, by any definition, a very successful season, with Aldridge representing the A+ list of international design talent.

Making her first appearance in March’s edition of Italian Vogue, Ruby’s profile soared even further with a busy couture season in July, representing Valentino, Elie Saab and Giambattista Valli. In the same month, she also made her American Vogue debut, appearing in an accessories shoot photographed by Norman Jean Roy.

These editorials have always been part of a magazine’s repertoire, but are gaining in importance as fashion’s smaller status-symbols become the breadwinners. You may not be able to stretch to the price of a Lanvin dress, but the bag (sold at a third of the price) may be more within your reach. Designing that must-have accessory for the season, is rapidly becoming a priority again. Having moved away from the IT bag phenomenon, the challenge is to now make designs that are eye-catching but enduring. When it is getting harder to tell the difference between high-street and Bond Street, quality becomes the selling point. High-fashion has the best fabrics and finishings at its disposal, and giving consumers value for money is where it squeezes the competition.

Another plus for accessories is that they can adapt far quicker than clothes – the move from mini-skirt to midi-hem took the best part of five years. A bag or scarf can change at will – their ability to absorb any new trend puts them at a premium on the shop floor. High mobility and high volume makes accessories an easy sell even in hard times.

Ruby continued her editorial work with concurrent features for Interview in August and September. The second editorial, named ‘Uptight Urban’ and photographed by Craig McDean, is packed with directional detail. If last winter was about big, game-changing ideas, this winter has homed in on the little joys of fashion. Quilting, shearling and Fairisle jostle for pole position in our wardrobes, with texture becoming the headline story of the season. Whether you go for retro or forge ahead in directional shapes, there are no sleeper trends this year – everything is a go.

Ruby got to work with McDean again, shooting her second editorial for Italian Vogue. Titled ‘Chic-Gothic-Glam’, this spread was tailor made for Ruby’s look, making her an automatic stand-out. Working alongside top model Arizona Muse, Ruby’s work at couture level prepared her well for the demands of Italian Vogue, and the resulting editorial exudes a dark, gothic glamour that’s absolutely contemporary.

Aldridge took to the runway again in September with a prolific season of over 45 shows, adding designers such as Stella McCartney, Michael Kors, Tory Burch and Sportmax to her catwalk CV. Ruby’s campaign quota was filled with a starring role in the new Valentino ad. Working with Sara Blomqvist, Kim Dall Arni and Caroline Brasch Nielsen, the delicately feminine feel of the clothes combined with their high-fashion credentials played perfectly to Ruby’s strengths. A very modern success story, the newly-revamped Valentino label is fronted by creative team Maria Grazia Chiuri and Pier Paolo Piccioli who made their names through designing accessories.

In October, Ruby got to make work more personal, when she signed up to appear in a spread for New York Times magazine. Photographed by her half-brother, Miles Aldridge, the working relationship blossomed further in Ruby’s third Italian Vogue editorial, with Miles stepping in as the photographer. ‘Home Chic’ saw Ruby work blonde in a Stepford-Wives, neon-clad shoot. Bright, vibrant and confident, it showed Ruby and Miles clearly comfortable at working together: this accomplished editorial representing some of their best work to date.

Ruby’s latest editorial for 2011 sees her appear in V Magazine, in an article profiling her agency, NEXT. The spread features a selection of the agency’s stars and newcomers alike, including Anja Rubik, Hailey Clauson, Karlie Kloss, Tatiana Cotliar, Aline Weber, Shu Pei and Isabel Hickmann.

NEXT is one of the top five agencies in the world, and has settled its reputation on signing faces. It is noticeable when looking at some of their most popular models that they are all known for memorable features:

Arizona Muse – eyebrows

Hailey Clauson – hair

Abbey Lee Kershaw – pout

Karlie Kloss – eyes

In modelling, body shapes tend to come and go. The athletic, broad-shouldered beauties of the 80’s made way for gamine in the 90’s. Ten years later, the bombshell returned (Gisele, Lara Stone) and classically long-limbed models are now being sought out as a perfect accompaniment to fashion’s challenging silhouettes.

But faces seem to have a more lasting appeal. NEXT’s success seems to be linked to their ability to spot a good face. Some of their best known models - Rubik, Kloss, Kershaw – have all become campaign regulars, with clients ranging from H&M to Donna Karan.

However many models hold that position of campaign go-to girl, there is always more room at the top. No one face suits all. It explains agencies’ eagerness to find that next great face. No matter how business is doing, a good campaign face is always in demand.

Ruby’s potential, when played out against this background, is clear. Her features – pale skin, dark hair and doe-like eyes - are an example of how the All-American model ‘look’ has been extrapolated over the past two decades. She joins models like Chanel Iman and Dree Hemingway in showing how the American Model looks today: bold, editorial and always surprising.

Ruby’s strength is in her cross-continent appeal: long-limbed insouciance for Calvin Klein; gothic cool for Dries van Noten and high-octane glamour for Versace. What she offers the fashion industry is a different take on what it means to be American. American beauty has moved from its clean-cut roots to become multi-dimensional, from geek chic to glamour fit for Hollywood. Ruby’s finesse with editorial and couture makes her an integral part of the new-American club.

In learning to embrace its dark side, America has succeeded in persuading the rest of the world that it has more to offer. Representing a new kind of girl, Ruby is the face of modern Americana.

HELEN TOPE

MODEL PROFILES: ARIZONA MUSE

What’s in a name? In fashion, it seems a great deal.

Having previously worked under her real name of Zoe, Muse’s fortunes took a turn for the miraculous when she appeared in the September 2010 Prada show. It was a booking that in no small way transformed her career.

Born in New Mexico on September 18th 1990, the re-named Arizona is now being heralded as the face of a generation. It is somewhat surprising, but Muse’s early career was something of a slow-burner. Signing with Next Models in 2008, her first credits included a beauty editorial with Allure and an appearance in the S/S issue of French Revue de Modes.

Arizona’s modelling plans went on pause in 2009 when she discovered she was pregnant. Taking a year-long break, Muse gave birth to son Nikko and returned to modelling the following year. Her agency suggested a fresh start and together they decided on a name change, swopping Zoe for Arizona (chosen because Muse was living in Tucson).

The name-switch had an extraordinary effect on Arizona’s career. It made her memorable with clients, but it wasn’t just the name that started getting her noticed. Her unusual look – short, softly-bobbed hair and heavy eyebrows – made her a stand out in a sea of new faces, lending her look character and depth.

In September 2010, Arizona finally got the breakthrough she needed. Chosen by Prada, she not only modelled in their runway show in the opening and closing spots, but did so as an exclusive. The effect of the Prada booking was immediate, catapulting Muse into the spotlight.

Having already launched the careers of newcomers Samantha Gradoville, Joan Smalls and Barbara Palvin, Prada was taking a gamble on the relatively untested Arizona, but not only did they put her in the main show, but they also had her headline the Miu Miu show, making her the face of the brand for that season.

In addition to this storming debut, Muse got to open shows for Kenzo and Rochas, and also walked for designers such as Marc Jacobs, Herve Leger, Narciso Rodriguez and Proenza Schouler. But it was the Prada show that got everybody talking. An appearance at Prada has serious star-making potential. As an unknown, getting to open and close this prestigious show is unheard of. Prada’s success rate in selecting new model talent is exemplary – some of today’s best models, such as Sigrid Agren and Ali Stephens, got their break walking for Prada.

Unsurprisingly, Arizona’s runway debut got her featured as a Top 10 Newcomer in www.models.com and a face to watch by www.style.it. Arizona’s comeback had been, by any standard, a huge success. But if 2010 had marked her return to the fashion industry, four months into 2011, Arizona is already proving hard to ignore.

The year started with the news that Prada had selected Muse to be the face of their ad campaign, along with Mariacarla Boscono, Tatiana Cotliar and Kinga Rajzak. Bold, fun and a sartorial breath of fresh air, the Prada ad is the campaign of the season. Miuccia’s quirky symphony of no-nonsense stripes and baroque swirls has already become the defining look of Spring / Summer 2011: no rules, just fun.

The campaign bookings kept coming, with the announcement that Arizona was to replace Daria Werbowy as the face of YSL. Taking the campaigns for both beauty and fashion, Muse also filmed a campaign video directed by Inez van Lamsweerde and Vinoodh Matadin. Shot in Marrakech, the video is coolly hypnotic and a terrific example of how campaigns could develop in the future.

In print, Muse’s presence was also felt loud and clear. Taking the January cover of Italian Vogue with Freja Beha, Dubbed ‘2011 Allure’, the vintage-inspired cover was coupled with a couture shoot photographed by Steven Meisel.

On the runway, Muse made her couture debut at Paris, walking for Chanel, Elie Saab and Valentino. The fashion world doesn’t tend to be shy about proclaiming its likes and dislikes. Arizona’s inclusion in this most exclusive of worlds, sent a message that, Prada effect or not, 2011 was going to belong to Muse.

February saw Muse appear in a huge amount of prime editorial work, switching from classics done the Vogue Italia way in ‘So Pure, So Modern’ to angular, awkward joy for Chinese Vogue in ‘Spring Blues’. Also appearing for British and American Vogue, it was the latter magazine that finally cemented Muse’s reputation as fashion’s next big thing.

In the February issue of the magazine, editor-in-chief Anna Wintour dedicated the subject of her editor’s letter to Arizona. Comparing her to Linda Evangelista and Natalia Vodianova, Wintour revered Muse as the model that would take the industry by storm, but the industry was catching on quick. Wintour’s letter made headlines around the world, and when it came to Fashion Week, Muse emerged as the major star of the season, appearing in 64 shows.

Walking for every major label including Burberry, Chanel, Dolce & Gabbana, Marc Jacobs, Oscar de la Renta, Prada, Valentino and Versace, this is a booking list that some models would take years to achieve, if they were lucky enough to reach that level in the first place. Anna Wintour’s championing of new talent isn’t just reserved for designers such as Thakoon. Wintour wants fashion to be the best it can be, and that includes giving credit – and opportunity – where it’s due.

Arizona was well on her way to becoming a success without the nod from Wintour, but for any doubters, she has more than proved that she is worthy of such accolades. There isn’t a lot of room (or patience) for mediocrity in the fashion world. Right now, in this economic climate, the fittest really do survive.

Muse’s ability to score bookings en masse was taken to another level in March, when she appeared for three major magazines. She worked with Raquel Zimmermann and Freja Beha in a street-punk themed shoot for American Vogue; a surrealist editorial (‘Audace Manifeste’) for French Vogue and couture elegance in black and white for Numero.

But further to this, Arizona also made the cover of British magazine ‘Dazed and Confused’. The magazine shot four separate cover tries and instead of selecting one, used them all, squeezing them onto one cover. Called ‘Birth of a Muse’, it was Arizona’s first solo cover (even if she was effectively sharing the limelight with herself).

April ’11 has seen Muse appear in two more editorials for Chinese Vogue, making her truly international in her appeal. What Arizona offers these clients is not just a memorable face. Her work this year highlights a model that is no novelty, but already equipped to excel. Muse’s range is extraordinary, but Google the YSL campaign video and you’ll see that her real gift is movement. Modelling on film is incredibly difficult. There are no kind angles, no spots where you can hide areas of weakness. Shot from every possible viewpoint, the YSL campaign film is almost merciless – but that is the point. Not every model could do it.

Muse’s ability to move well, whilst still modelling from head to toe, is remarkable and rare. Wintour’s comparison of Arizona to supermodel Linda Evangelista is accurate, but Arizona’s ability to create movement recalls models such as Naomi Campbell and Tyra Banks – two models who transformed catwalk from perfunctory to performance. They may not have had campaign videos to worry about in the Nineties, but if they did, they would have seen Arizona as the one to beat. As fashion continues to work in tandem with technology, being able to master this new type of campaign will rapidly become a skill update for all new models.

What is unusual about the hype surrounding Arizona is that it’s justified. Her run of print work – an incredible 13 editorials so far this year – also picks up the strength Muse has when it comes to more traditional fashion media. Her already-impressive catalogue of work neatly illustrates why she’s such a catch for the fashion world. From her moving series of pioneer portraits for American Vogue, to her striking, Dali-esque shoot for French Vogue, Arizona is never the same woman twice. Her talent at transforming, taking her from Parisian couture to New York punk, is usually the calling-card of a model that’s been doing editorial for years. Muse’s relatively limited experience, prior to 2010, is what makes this comeback all the more incredible.

Arizona’s career trajectory, if the first few months of the year are any indication, will be nothing short of supersonic. It’s rare to see a model met with such fanfare –the excitement that Arizona has generated sets her apart as a phenomenon not seen since Kate Moss. There have been other fashion favourites since Moss – Bundchen, Stone, Pivovarova – to name a few, but Muse does appear to have that indefinable star quality. Match that with an almost-seasoned approach to editorial and runway, and this all makes for a model that seems destined to carve out a space for herself that is not so much top model, but supermodel.

Already revered in the mainstream press, and a hot topic in the blogosphere, the rising star of Arizona Muse seems an irresistible force as she gets ready to become the most prolific model of the year. It’s no mean achievement for a model that was barely known even by those in the fashion industry a year ago.

Muse’s story may read like pure inspiration, but it is her blend of skill across the board that will keep her from burning bright and fading out fast. As she begins to emerge as one of the year’s iconic faces, Arizona is set to become fashion’s latest – and most remarkable – Muse.

HELEN TOPE