MODEL PROFILES: BETTE FRANKE

Born in the Netherlands on December 3^rd 1989, Bette Franke was discovered at the age of 14. Whilst out shopping with her mum in Amsterdam, Franke was spotted by Dutch modelling agent Wilma Wakker.

Franke made her international catwalk debut two years later, opening and closing the Jil Sander show in October 2005. Also appearing for Dries Van Noten, Hermes and Emanuel Ungaro, she was named ‘this year’s model’ by WWD. 

Bette’s rise was meteoric, with two contracts signed in early 2006: one for the new Stella McCartney fragrance ‘Stella in Two’, and a cosmetics fragrance with YSL. Franke had signed for two of the biggest brands just a year into her career. Her distinctive face – an intense gaze coupled with the classic sexbomb pout – helped to separate her from the slew of European models flooding the industry.

Returning to the runway in February 2006, Franke added Alexander McQueen, Balenciaga, Chloe, Givenchy, Lanvin, Marc Jacobs and Prada to her list of credits. She was dubbed a rising star by www.style.com and scored a role in the new Dolce & Gabbana campaign.  Her big-money signings kept coming with a solo campaign for Oscar de la Renta and appearances for Calvin Klein and Hugo Boss.

Franke’s look leant itself so deftly to campaign work, it wasn’t until August 2006 that her talents were applied to major magazine editorials. Appearing for the first time in French Vogue, Bette modelled with Jessica Stam and Han Jin. Bette was a shoo-in for French Vogue, at the time still under the directorship of Carine Roitfeld. Her sultry looks were perfect for French Vogue’s penchant for paying homage to icons such as Bardot and more recent faces such as Emmanuelle Beart and Isabelle Adjani. Described by designer Anna Molinari as having a ‘strong personality and harmonious curves’, Bette’s charm cast a spell that was clearly hard to resist.

Bette had her big runway moment in September 2006, with a mammoth 62-show season. Franke booked shows with Alberta Ferretti, Balmain, Chanel, Jonathan Saunders, Marni, Missoni, Roberto Cavalli, Vera Wang and Versace. A year and a half into her modelling career, Franke was becoming a favourite with the biggest designers in the world.

Shooting her second French Vogue editorial in October, in 2007 she continued to make in-roads with her campaign CV, becoming the face for Blumarine and Celine. Her career hit another high point in October with her very first appearance in Italian Vogue. Photographed by Nathaniel Goldberg, ‘Morning Beauty’ saw Bette modelling exquisitely detailed eveningwear. Beautifully nuanced, Franke gave a performance that lacked for nothing.

Bette’s career moved up another notch with a cover try for Japanese Numero in November. Appearing in the ready-to-wear season in February 2008, Bette booked shows with Anna Sui, Derek Lam, Hussein Chalayan, Michael Kors and Rue du Mail. It was one of her most aesthetically-diverse seasons to date, with Bette working the austere chic of Chalayan with Michael Kors’ Park Avenue glamour. 

Bette’s next RTW season saw her opening shows for Erin Fetherston and Jenny Packham in February 2009 (long before Packham had the Royal seal of approval). Franke’s ability to get picked by up-and-coming designers continued later in the year with Bette walking in shows for Todd Lynn and Mary Katrantzou. Franke ended the year with consecutive editorials for Italian Marie Claire, by photographed by Thierry Le Goues. 

Normally a regular on the catwalk, Bette did not return to the runway until September 2011, but her timing was impeccable. Making her comeback in style, Bette appeared in 54 shows including Alexander Wang, Burberry, Isabel Marant, Nina Ricci, Tom Ford and Valentino. She returned on top form in a season that was all about celebrating the feminine. Spring 2012 has already made its presence known, with pastel colours and delicate fabrics dominating the high-street. This look was just tailor made to make the most of Franke’s features. While some models offer quiet consistency, others shine when the mood of the moment coincides beautifully with what they have to offer. Franke was uniquely placed to take advantage of fashion’s softer season.

Bette ended the year with an appearance in V magazine. Profiling her agency, ‘DNA Powerhouse’ Franke joined current face of Armani, Milou van Groesen, Lindsay Ellingson, and Victoria’s Secret regulars Doutzen Kroes and Alessandra Ambrosio.

Bette’s return to fashion included her biggest couture season to date in January 2012. Walking for Chanel, Dior, Elie Saab, Giambattista Valli and Valentino, Franke’s love affair with the runway continued with another huge RTW season of over 50 shows. Franke’s standing in the industry had lost none of its power, with Bette appearing alongside new modelling talents in a piece for British Vogue. ‘Spring Forward’ featured the best of the S/S collections, including new faces Romee Strijd, Kati Nescher and Codie Young.

Her editorial credits kept coming, with a spread in February’s Harper’s Bazaar and an editorial for Spanish Vogue in March. ‘Uno, Dos, Tres...Mambo!’ saw Bette mastering classically fiery prints from Pucci, plus sultry picks from D&G and Sonia Rykiel.

Then came Franke’s biggest signing to date. Shot in Mexico by Deborah Turbeville, Bette was the latest name to become the face of Valentino. Working with Zuzanna Bijoch, Fei Fei Sun and Maud Welzen, Franke modelled the delicately-worked lace pieces against the backdrop of ancient ruins. Romanticism writ large, this was a perfect collision of model and campaign, celebrating Valentino’s new (and highly successful) exploration of soft, feminine fashion.

Spring 2012 has been Bette’s most prolific season in years, with an amazing 5 campaigns in circulation. Working with male model Harry Gilliam in the new Hermes campaign, Bette joins Anna de Rijk for Hogan and is photographed by Mikael Jansson for Dior Eyewear. Her laser-beam stare comes into its own here, with Bette’s beauty shining through the ad. In an age of laser surgery and contact lenses, eyewear is a tough sell. Bette’s performance in this campaign will have you reaching for your specs.

With two high-fashion editorials in April’s Dazed & Confused and Dutch Vogue, Bette has never been in higher demand. Modelling Twenties-inspired flapper fashion from Gucci, Ralph Lauren and Etro for Vogue and channelling psychedelic pin-up meets Marie Antoinette for Dazed & Confused, Franke is at the top of her game.  

It’s no surprise that this has been Bette’s season. Her looks lend themselves so perfectly to the big trend of the moment that she couldn’t help but clean up. No-one can deny that Bette’s career has been strong, packed with editorial and runway credits, but to get to that next level, a little luck can go a long way. As fashion turned to its more feminine side, Franke grabbed onto that opportunity, and in the process became one of the most popular models of the past 12 months. 

To be a career veteran at the age of 22 is only something that could happen in the modelling world, but Franke finds herself with a career that has never looked better, at a point where other models are contemplating their Plan B. 

Bette’s steady stream of editorial and runway work has ensured that she is now as hotly pursued as a newcomer fresh from their first season. Nine years after her remarkable discovery, Bette’s career is still managing to defy the odds and astonish us all.  A perfect marriage of skill and instinct, Bette Franke is proof that is never too late to be what you might have been. 

HELEN TOPE

MODEL PROFILES: SASKIA DE BRAUW

Born on April 17^th 1981, Dutch model Saskia de Brauw is fashion’s very own comeback kid, re-emerging at the age of 30 as one of its most sought-after faces.

Saskia started modelling in 1996, when she was discovered at the age of 15. Quitting a year later to concentrate on studying art, Saskia returned to the fashion industry in 2010, signing with DNA Models.

Saskia made an immediate splash in the industry when Eres Swimwear decided to replace Lara Stone as their face of the brand, instating de Brauw as their new campaign model.

In July 2010, Saskia was profiled by www.models.com and made her international catwalk debut in September. Walking for Reed Krakoff, Matthew Williamson, Balenciaga, Givenchy and Daks, Saskia was an immediate stand-out. Her debut got the attention of designers and editors alike, and in October, Givenchy’s creative director Riccardo Tisci introduced de Brauw to the then-editor of French Vogue, Carine Roitfeld.

After another successful runway season in February 2011, Saskia’s introduction to French Vogue paid off with a starring role in their summer preview editorial. ‘Et Vogue L’Ete’ was a multi-page special, outlining all the season’s key ideas. The bi-annual season preview is a centrepiece feature for French Vogue, presenting the most important looks, in a manner that’s typical of the magazine’s ethos: bold, creative and fun.

Saskia’s editorial debut was a blaze of glory, softening her androgynous looks for Oscar de la Renta, and revving them up for Miu Miu. She also appeared alongside Daphne Groeneveld, in the pelmet neon skirts from Jil Sander. De Brauw’s headlining in French Vogue was an announcement to the fashion world that this was a model not about to sit in the background.

Saskia’s status as model-of-the-moment was cemented in March when she was invited to appear on the cover of French Vogue; it was the final cover under Carine Roitfeld’s leadership. Labelled ‘Fantasy’, the blush-coloured cover saw Saskia in a frilled collar and jewels. The dichotomy of Saskia’s bold features against such a romantic background made it a fitting adieu for Roitfeld who had championed model talent throughout her stint as editor.

Roitfeld specialised in finding faces that didn’t necessarily ‘fit’, transforming Lara Stone’s career and making Isabeli Fontana a modelling legend. Her support also boosted the careers of Natasha Poly, Daria Werbowy, Arizona Muse and Joan Smalls. Going against the grain is a French Vogue speciality, and what Roitfeld did for modelling during her time at the magazine cannot be underestimated. She recognised that it was not always trends that move fashion forwards, but faces. Saskia, who was her last discovery whilst at Vogue, promises to be another model that helps to define where fashion goes next, and that’s no small legacy.

In the same month, Saskia did cover duty for Italian Vogue, photographed by Steven Meisel. The two covers could not be more different: French Vogue, evoking high glamour and Italian Vogue going for the cerebral vote. Winning hearts and minds is the core business of high-fashion – without that connection, it’s just clothes. Roitfeld understood this very plainly, hence her interest in sourcing the next great face.

Saskia also appeared in editorials for W and Italian Vogue during the month of March. The Italian Vogue shoot, also steered by Meisel, was a symphony of clashing patterns, swirls and stripes. Combined with eccentric accessorising and artisan make-up, ‘Wasted Luxury’ was textbook Italian Vogue.

Appearing for W, de Brauw took on a more expected persona, and performed in a street fashion / punk editorial. Working alongside new faces Eliza Cummings, Jana Knaverova and Bambi Northwood Blyth, Saskia’s features lent themselves perfectly to the hard-core attitude needed to sell punk on a fashion stage.

In June ’11, Saskia made her couture debut in Paris, walking for Chanel and Givenchy. It demonstrated Saskia’s pull in the fashion world: she is 1.5 inches shorter than the average couture model, but her appearance for both couture houses was assured and confident.

Autumn 2011 will see Saskia’s profile reach another level, with two major campaigns. Italian duo DSquared have booked her to appear in their street-cool designs, but the big news is that de Brauw has landed one of the most prolific campaigns in the business: Versace.

Photographed by Mert Alas and Marcus Piggott, Saskia plays against type to become the ultra-feminine vixen that Versace demands. Recalling the hey-day of the label, the Versace insignia is clearly seen on buttons and buckles, but the rest of the campaign marks a considerable shift in semantics for the luxury brand.

For a label that usually hires blonde, uber-groomed glamazons, Saskia marks the beginning of a cleaner, sharper vision for the label’s future. Evoking all its best attributes, and its own brand mythology, Versace is using a different face (in every sense of the word) for a subtle re-brand.

Think of the Italian label and you tend to come up with the same adjectives: glamorous, seductive and super-sexy. All those things are still here in this campaign, but with it, there’s an extra layer of insouciance that makes the designs appear effortless. Everyone knows that the main ingredients of any fashion collection are blood, sweat and tears, but no-one wants them to show up in the final designs. It should look like what it is: inspired.

Saskia endows the Versace campaign with an element of androgyny that directly plays against its previous form. It’s a new direction for Versace and one that promises to bring new admirers. If you found Versace a little intimidating in the past, a little too glossy perhaps, this ad goes a long way to redressing the balance.

Still in terms of credits a relatively new face, Saskia has managed to make herself indispensable. Androgyny is experiencing its first real moment in the fashion spotlight since the mid 1990’s. For a period of nearly twenty years, glamour has been the definitive look – whether that was full-on glitz, or mixed with street style and grunge.

Where fashion goes, models suit themselves to fit. Faces that have been in favour have all suited fashion’s glamorous agenda. What has been missing is a selection of models that are proudly and defiantly off-message. With the arrival of Freja Beha, one haircut really did make all the difference. Her choppy cut took her from one of the pack to one of a kind. It marked the advent of a new kind of model: bold, not classically beautiful, but a true breath of fresh air.

Saskia’s comeback in 2010 could not have been better timed: despite her age placing her at the point where most models are considering their next move, de Brauw is working at the very heart of the fashion industry.

What is genuinely exciting about models like Saskia and Freja is that they are pushing back at the boundaries of what type of project a model can and can’t do. Saskia’s signing with Versace is a perfect example of this: from leather pieces to a Black Swan-inspired feather dress, she moves from flirty and feminine to cool sophistication.

The loosening of the old fashion rules: androgynous face = androgynous fashion, pairing chocolate-box beauties with ultra-feminine looks has resulted in a free-for-all that’s hitting the spot in terms of self-expression and individuality. Carine Roitfeld’s passion for launching faces that don’t fit the current look was an instinct ahead of its time: no-one wants to think of themselves as a fashion formula, and fashion has responded by creating trends that give you room to manoeuvre.

This celebration of individuality and self-sufficiency will be the way forward for the fashion industry and Saskia is part of this revolution, moving from soft and dreamy to angular androgyny in a heartbeat. Never the same woman twice, Saskia’s popularity stems from her ability to multi-task at the highest levels. Compare her covers for Italian Vogue and French Vogue and you could almost swear you’re looking at two models, rather than one. Saskia’s transformation is so complete it becomes modelling from the inside out. Her decision to quit modelling in 1997 to study art has resulted in a stronger and more developed model in 2011.

An avid photographer with her own blog (http://sdebrauw.blogspot.com/) Saskia’s unique outlook also gives her an advantage when it comes to photo-shoots. Knowing that the further you delve into character, the better the result is invaluable to making the most of your time in front of the lens. Also being aware of which angle creates which effect allows Saskia to utilise her face to maximum effect. Her work on film is testament to how crucial it is to know your face and what it can do.

De Brauw’s CV is part timing and part skill – her comeback at the time when the industry was ready for something new is a phenomenal story, but her amazing run of success is more than luck. Her collective skills and experience, and the way she uses them, take her beyond the ordinary and move her into a league of faces that are truly extraordinary.

HELEN TOPE

MODEL PROFILES: KARMEN PEDARU

Born May 10th 1990, Karmen Pedaru’s career is testament to how paying your dues can really pay off.

Discovered in 2005 at a drama theatre in Tallinn, the Estonian-born model signed with NEXT Models the following year. Appearing for Teen Vogue in June 2006, Karmen debuted at Fashion Week that September, walking for Christopher Kane, Marni and Emporio Armani.

Skipping the February 2007 season, Pedaru returned to the runway in September 2007 opening the shows for Louise Gray and Biba. Also walking for Collette Dinnigan, Louis Vuitton and Stella McCartney, Karmen’s stock was on the rise.

In February 2008, Karmen’s growing confidence on the runway was rewarded with a stellar season, appearing for Donna Karan and Marc Jacobs in New York, in addition to being picked to open shows for Dries van Noten and YSL in Paris.

Her breakout season was noted by the fashion press, with both www.models.com and www.style.com dubbing Karmen a top newcomer. Karmen’s success on the runway translated into credible editorial work, with a spread in Numero photographed by Greg Kadel, and a layout for V, shot by Mario Testino.

In July, Karmen made her debut on the couture catwalks, walking for Chanel, Givenchy, Valentino and Dior. Getting to model couture is an integral part of building that envy-inducing CV. The requirements for haute couture are very specific, but once you’re in, you’re in. The ‘look’ of a couture label tends to be more fixed than its ready-to-wear counterpart. Couture forms the ‘essence’ of the brand, so some elements stay in place for nearly every collection, such as white for Chanel, and red for Valentino. Therefore the faces that wear these looks don’t have to be hired and dropped in such quick rotation. Couture doesn’t just build relationships with its clients; it builds lasting links with its models too. American model Karlie Kloss has been the face of Dior for the past two years because she is one of Galliano’s couture favourites. This has led to Karlie becoming one of the most in-demand models working today. Couture is very much a niche market: corner it, and the search for work becomes that little bit easier.

Karmen experienced this domino effect for herself in September 2008 when she was photographed for Numero magazine by Karl Lagerfeld, just a few months after her debut on the catwalk for Chanel Couture.

The couture connection continued with a shoot for Italian Vogue. Karmen, photographed by Miles Aldridge, appeared in Valentino Couture. A deceptively simple shoot, the heavily-worked couture demanded a focussed performance. It would be a tough ask for a more established model, but Karmen’s quietly assured performance showed the industry she was ready to take on more.

Her ready-to-wear season in September was another triumph, with opening show honours from DKNY, Jonathan Saunders and Rue du Mail. Closing the show for Nicole Farhi and Temperley in London, Pedaru also walked for Alberta Ferretti, Calvin Klein, Chanel, Isabel Marant, Proenza Schouler and Roberto Cavalli – a truly eclectic mix of blue-chip and cutting-edge labels that have come to form the basis of Pedaru’s career.

In early 2009 she was announced as the face of Missoni’s diffusion label and was photographed for the D&G spring campaign by Mario Testino. Following another couture season in January, it was announced that Karmen would become the first model to represent the Derek Lam label in a campaign, to be shot by Solve Sundsbo.

Pedaru walked again in the Autumn / Winter couture season in July, adding Armani Prive to her list of credits. Ending the year with a blockbuster RTW season, and the Autumn / Winter cover of French Revue de Modes, 2010 would manage to eclipse the extraordinary run of success Karmen found in 2009.

In February’s A/W 2010 season, Pedaru signed up for an incredible 55 shows. She opened shows for Tommy Hilfiger, Alberta Ferretti, Dries van Noten and Burberry. Karmen’s placing as the opener (and closer) of the Burberry show would prove to be a pivotal moment in her career. Christopher Bailey’s take on aviator chic proved to be the defining image of the season. Karmen’s photo cropped up time and again in the press, and as the season gathered accolades as one of the best for a decade, Pedaru’s photo became one of the important fashion images of the year.

Karmen’s profile unsurprisingly went through the roof, with editorials for French and Italian Vogue in April; the cover of Japanese Numero in June and the announcement in late summer that Pedaru would become the face of Emporio Armani and Salvatore Ferragamo.

Topping the year off with another 55 show season in September, Karmen got a chance to show what she’d learned in the past 12 months with an editorial for French Vogue called ‘Bal Masque’.
Featuring alongside Anja Rubik and Dree Hemingway, the themes were sensuality, opulence and Parisian glamour. Each concept is tricky enough in itself, but a sultry shoot is a notoriously difficult balance to strike. There’s an absolute (but subtle) line between making a statement and edging over into lads’ mag territory. The almost-mathematical precision in getting it right without sacrificing the mood of the editorial requires a level of skill you can only acquire through experience. The shoot worked perfectly in keeping the pages of French Vogue strictly high-fashion.

Karmen’s career zig-zagged again with another campaign signing, but this time she was asked to appear for the autumn / winter collection for Gap. The quintessentially American label chose to focus on one of its best selling points: denim.

Gap’s series of adverts marketed different cuts of jeans (eg: straight, modern flare, skinny) and used a clutch of top models to sell the goods. The campaign’s emphasis on easy fashion, added a stroke of genius when Gap put names to the model faces which included Alana Zimmer, Anja Rubik, Catherine McNeill and Lily Donaldson. Putting their names to each campaign image made the models immediately more appealing, taking it beyond the usual pairing of model with product, creating a campaign that was a slam-dunk for the iconic brand.

Gap’s light bulb moment worked because there is a certain satisfaction in being able to put a name to a face. The Cindys, Naomis and Christys – the models of the Eighties who were more celebrity than mannequin – are a thing of the past. It’s still possible for models acquire a certain level of fame (Lara Stone for example), but for most models, the trade-off is being known on sight, but not by name. In an age where we know everything about celebrities from their shoe size to their favourite snack, it’s a curious state of affairs.

But this is set to change as our interest in fashion continues to grow. Ten years ago, finding a member of the public who could name the editor of French Vogue would have been a tall order. Ten years on, Carine Roitfeld’s dramatic departure from the magazine in 2010 made headlines across the world.

The models emerging today are working in an industry where the rules are now a work in progress. A large part of that change has been thanks to the internet. Access to fashion – the very latest news, editorials and shows – is now just a click away. This proximity has created a generation who are as familiar with Gareth Pugh and Christopher Kane as they are with Topshop and Primark. It’s a generation who feel comfortable enough with the world of high-fashion to dissect the latest ideas, both with each other and the world at large. This willingness to engage in all things sartorial has turned the industry into something to be actively enjoyed, rather than regarded at a distance.

There are of course misgivings; when every opinion gets equal billing, figuring out what’s really worth your time can be difficult. But ultimately having too much information forces you to be selective. Being able to access everything gives you an immediate idea of what you like, what you don’t, and more importantly, why.

Making fashion a friendlier place to be has proved to be a touch of brilliance, because fashion is all about forming relationships. At the heart of this is the link between us, the consumer, and the model. If we don’t identify with the model, that dress, or that bag, won’t sell. The job of the model is to embody a designer’s ‘big idea’, whether that’s old-school sophistication or avant-garde sleekness, but in getting fashion’s finances back on track, the secret is to be relatable. The day of the uber-groomed supers has gone for a reason; we all want to indulge in that element of fantasy, but the post-recession fantasy is about the business of joy, not exclusion. Fashion’s getting back to the basics of why we buy what we buy: not just to feel part of a ‘club’, but to enjoy the act of choosing and wearing great clothes.

In light of this, the obvious choice would be to hire the money-maker faces. But the faces that are rising to the top aren’t just those starry one-in-a-million faces, but models that have got there through sheer hard work.

Karmen’s rise from ingénue to campaign girl is textbook when it comes to making the move from model to super; some are faces ‘of the moment’, slotting into a mood or look that gets everyone talking. Others make it by stealth, working for years and then suddenly making it big – Iselin Steiro is a perfect example of this. But Karmen falls into the third group: a solid but steady start, which blossoms into regular work on the world’s runway and editorial circuits.

Karmen’s transition from runway regular to the Spring 2011 face of Michael Kors and Gucci has been a process several years in the making, but Pedaru’s star power has lost none of its potency for it. There are some models that just have ‘it’ – that elusive modelling gene – but there’s something to be said for the grafters of the industry.

Karmen’s career will continue to flourish because her years of hard work have given her the skills of a supermodel, with the insight and intelligence needed to interpret fashion for a whole new generation.

HELEN TOPE

MODEL PROFILES: TONI GARRN

Born July 7th 1992, Toni Garrn was discovered aged 14 at a street festival in 2006. Initially signing with Modelwerk, Toni modelled locally in Germany before signing with Women Management in 2007. In April that year, she landed her first international editorials with U.S and Italian Elle.

Toni’s career accelerated further in May when she was booked for a French Vogue editorial. Spearheaded by Editor-in-chief Carine Roitfeld, French Vogue, along with its British, American and Italian counterparts, can count itself as one of the taste-makers of the industry, especially when it comes to launching new faces. Garrn’s appearance was enough to secure her an unforgettable runway debut. In September she walked in New York Fashion Week, exclusively opening and closing the show for Calvin Klein.

The all-American label took to Toni so much that just a few months later; news broke of her replacing Russian supermodel Natalia Vodianova as the face of the brand. Garrn’s Teutonic charm formed the perfect aesthetic for the design-house that made its name on clean lines and uncluttered silhouettes. Garrn’s coup in getting the Calvin Klein contract lined her up for a year of impressive editorial bookings. From February to September 2008, Toni did print work for Italian Vogue, German Vogue and Numero, finishing the summer with a cover for her native German Vogue.

The high visibility approach worked. Garrn experienced a breakout runway season in the autumn, opening and closing shows for Carolina Herrera, Herve Leger, Fendi, Just Cavalli and YSL. She also made appearances for Alberta Ferretti, Alexander McQueen, Chanel, Gucci, Michael Kors, Prada, Stella McCartney, Valentino and Versace. It was a textbook season, with Toni representing every facet of the industry.

November proved to be a particularly well-starred month for Garrn, with an editorial in Chinese Vogue, shot by the late Corrine Day, and her first cover of Italian Vogue, sharing the honours with model Katrin Thormann.

Capping the year off with an editorial collaboration with Italian Vogue and Steven Meisel, Toni’s New Year began with a bang: a cover for Russian Vogue, and a signing to represent Prada, working alongside Anna Jagodzsinka and Giedre Dukauskaite.

As incredible a highlight as this was, the signings kept coming. Toni replaced Catherine McNeil as the face of Hugo Boss, and Raquel Zimmermann as the face of Italian luxe label, Fendi. Toni also got substantial roles in campaigns for Chloe, Etro, Emporio Armani and Shiseido cosmetic line, Cle de Peau. Toni’s journey from newcomer to established face was now complete.

Her success on the runway continued too, with Garrn managing to equal her own record from the previous season, signing up to appear in an incredible 49 shows. With many designers hastily re-booking Garrn, Toni scooped further opening and closing spots from Donna Karan, Bottega Veneta and Preen.

September saw Toni take part in a mammoth couture layout for Italian Vogue. The title of the piece was ‘Dream of a Dress’, and Garrn appeared with models Heidi Mount, Sigrid Agren, Rose Cordero and Constance Jablonski.

Like the seminal U.S Vogue May 2007 cover that launched names like Coco Rocha and Agyness Deyn, this grouping of new models was intended as a launch-pad. Dark and supremely gothic in tone, it was a couture shoot designed to challenge the most confident model, and their collective success heralded the arrival of a new generation of modelling talent.

Toni’s stock rose further after the Italian Vogue shoot, and her rise from editorial star to international cover girl continued, with Garrn performing cover duty for German and Japanese Vogue, including a cover shoot with Karl Lagerfeld in February 2010. An incredible tribute to a model that had not yet turned 18; it was a bona fide career high.

In March,Garrn landed another editorial that got the entire fashion industry talking. The Italian Vogue couture shoot, ‘High Glam’, saw Toni paying homage to haute couture’s last – and most loyal – customer base. Staying in character for a multi-page layout, Toni played the role of a bored, but fabulously dressed, socialite. A good editorial is always about more than just the clothes, and Toni pushed through the pricey garb to create a series of shots that portrayed genuine modern glamour. With haute couture, the secret to making it look contemporary is all in the attitude.

Following on from a very successful runway season for Spring / Summer 2011, in print, Toni’s final appearances of the year have included a double-editorial booking for Spanish Vogue, plus the cover shared with Caroline Trentini, Kasia Struss and Iselin Steiro. Snapped by Victor Demarchelier (son of legend Patrick Demarchelier), the cover represents a gear-change for fashion, and a significant one at that.

The secret to Toni Garrn’s success is very simple. She is fashion’s latest representative on the glamour front-line. Following on from the likes of Cindy Crawford and Jerry Hall, and more recently, Catherine McNeil and Raquel Zimmermann, Garrn is the face of fashion’s latest shift in aesthetic. If you want to know what fashion’s take on glamour looks like right now, Toni is as close a match as it’s possible to get.

At 18, Toni is already a veteran of couture editorials. She wears thousands of dollars worth of couture as if they were her favourite pair of jeans. Google her ‘High Glam’ layout for Italian Vogue and it’s patently obvious that Garrn refuses to be intimidated by the world of haute couture. You look at and admire the dresses as the first port of call, but Toni’s blend of wit and pathos is what makes the shoot visually compelling. To elevate a fashion shoot to couture standard takes a sophistication that’s hard to find, so when a model arrives on the scene that is as comfortable in couture as Garrn, they tend to be in high demand.

High fashion asks more of its models because enticing the most hardened couture devotee takes more than pointing out the hours of craftsmanship. Making desire part of that equation is what has kept this most rarefied layer of the fashion industry afloat at a time when it should, by all logic, have sunk without a trace. Glamour may seem like little more than smoke and mirrors, but its enduring image and what it represents has proved to be the bedrock of the industry.

The restrained and muted tones of A/W 2010 are set to be replaced with bursts of tropical
colour and Seventies poolside glamour as 2011sees postmodern glamour fully evolve. The hair is a little less than perfect, the eyeliner smudged around the edges, but it’s battle-worn chic at its best. The industry has come through a storm of economic gloom not seen since the 1930’s, and the tone for next year is a glamour that’s both beautiful and worldly-wise.

Fashion’s angle on glamour has learnt lessons from the tough, early seasons of the recession. If it’s to grab attention, glamour must be desirable but attainable. The blockbuster success of A/W 2010 has showed that there is still an appetite for high fashion, but the finishes; sheepskin, shearling and leather, are all primed to be of practical benefit as the weather turns colder. Even party-wear has seen the light with velvet maxi-skirts and slouchy jumpers replacing mini-dresses and bare legs. The desire for fashion – and its unique ability to transport us – never went away; it just got a reality check.

Models like Toni will continue to thrive, as creativity is what’s needed to progress fashion in a direction that’s both vibrant and engaging. That last part is crucial, as the industry cannot afford to lose sight of what it learned during the lean times.

With fresh talent setting the pace, both in front and behind the camera, fashion’s way forward is centred on just one bold and beguiling idea: possibility.

HELEN TOPE