MODEL PROFILES: MARIE PIOVESAN

Born in France in 1985, Marie Piovesan signed with Marilyn Agency in 2011, at the age of 26. She debuted at Fashion Week in October the same year, appearing for YSL and Miu Miu, also opening the Celine show.

In December, she finished her inaugural year with an editorial for Interview magazine. ‘Reed Krakoff’ was a profile piece, exploring the new American must-have label. A recent addition to the international fashion scene, it has been typified as an alternative to Michael Kors and Ralph Lauren’s vision of high-end luxury. Reed Krakoff explores luxurious textures but in a postmodern way, defying the expectation that ‘luxury’ fashion can’t be edgy or daring. 

Marie made her couture debut in January 2012, walking in the Spring / Summer Valentino show. Within the space of a few months, Piovesan would prove that couture, either by label or by attitude, would be her true comfort zone. Having a face that lends itself readily to directional fashion, Marie comes equipped with the skills necessary to embody and translate that most difficult of sartorial genres.

In February, Marie conquered RTW, with a massive season of 40 shows. All the biggest labels booked Marie including Marc Jacobs, Louis Vuitton and Valentino. Piovesan was also a ready favourite with newer labels such as Haider Ackermann. Autumn 2012 looks set to be a season celebrating the dark arts, with artisan touches from Marc Jacobs and Valentino in particular, with Jacobs’ models trawling the catwalk in huge Dr.Seuss-style hats courtesy of milliner Stephen Jones. The palette for A/W 2012: black, grey with splashes of dark green and maroon may be perfect for a money-spinner season, but its heart is rooted in something bigger. The best collections combined wearability with broad strokes of creativity, again, disproving the theory that the two have to be mutually exclusive. 

Marie’s association with high fashion’s quirky side continued with an editorial for ‘Love’ magazine.  Shot in video format, ‘Fan Club’ (directed by Ruth Hogben), pays homage to the chorus lines of 1940’s Hollywood musicals. Featuring Ajak Deng, Kati Nescher, Hye Park and Aymeline Valade, the video profiles the Louis Vuitton blockbuster collection. Love it or hate it, its range of influence this summer is everywhere. 

Deceptively coy, but full of charm, the collection is rapidly coming to define Spring / Summer 2012.

Marie’s skills in ‘real time’ modelling continued into February with an editorial for www.models.com. The short film, ‘Committed’, acts as a showcase for new talent including Codie Young, Isabelle Melo and Kelly Mittendorf. Showing that you can model in ‘real time’ is becoming as important as how you perform in still photographs. As fashion employs new media to promote itself, moving well on camera is now a key skill for any new model. 

In March, Piovesan made her Italian Vogue debut, not only getting a leading editorial but the cover of its famous couture supplement. The intersection where art and fashion meet, this is justifiably what Italian Vogue is known for. Its international reputation for translating couture and showing it at its best is well-established.

The editorial, ‘The Lady in Spring’, is Vogue Italia’s interpretation of the ladylike trend. Featuring epic, pleated gowns from Dior; Valentino’s obsession with lace and Armani Prive’s smart play on textures, this is an editorial designed to stimulate thought as much as desire. 

While some editorials let themselves wash over you, others pointedly make you stop and demand you look closer.  The complexity of the styling insists that we take a moment to ‘read’ the clothes the way we would read a book; taking in every detail and nuance. Italian Vogue not only respects haute couture, it knows that in order to appreciate it, you must understand it. Sometimes criticised for being inscrutable, haute couture is only too willing to offer up its secrets if you give it a chance. Couture may be complex, but it can also be immensely rewarding; it isn’t about indulgence, but exploration. The recent innovations reaching the red carpet at Cannes Film Festival – diaphanous skirts attached to beaded bodices; daring cutaways and beautifully evocative prints – every one of those concepts started life as a couture design. What once seemed outlandish now seems both covetable and beautiful.

Marie’s performance in the Italian Vogue editorial is extraordinary, but not obtrusive; it adds another layer of meaning to the image rather than distract us from the clothes. Sometimes couture demands drama from its model, at other times, it needs a more subtle finish. Marie provides the latter with a sophistication that only really comes from ‘getting’ what the designer is trying to say. Knowing photographers and editors is all part of a model’s job, but if you don’t engage with what you’re being asked to wear, the resulting performance might be good, but it won’t be great.

Squeezing in a conceptual beauty editorial for the March edition of Interview, Marie then got her moment in the spotlight when she was hired to represent Celine in their Spring / Summer campaign.

Photographed by Juergen Teller, the campaign plays against the label’s previous incarnation under Michael Kors, whose creative directorship steered the brand into becoming a byword for super-luxurious glamour. When Phoebe Philo took over the reins in 2008, after her highly successful stint at Chloe, the label became a very different animal. Since Phoebe’s signing, Celine has evolved into an exercise in studied luxury. It was a radical switch from the Kors-esque glamour to a more loosely-drawn, modern interpretation of what luxury means.

Marie in this campaign wears the white shirt-dress that is the kingpin of the entire collection. The simple shape, the impeccable tailoring are by definition luxurious (the shirt-dress doesn’t come cheap), but it is a very new way of wearing high-end fashion. Celine is still about luxury; as much as it ever was, but now, the genius is not on show, but behind-the-scenes. 

Piovesan’s affiliation with ground-breaking fashion continues with an incredible multi-page shoot for the April issue of Interview. Photographed by Fabien Baron, ‘Goya’, is an unapologetically epic shoot featuring the very best of this season’s RTW and couture. Styled to the nth degree with grand silhouettes and supersized jewellery, the editorial is named after the Spanish artist who made his name exploring the grotesque and disturbing. Goya’s unsettling but intimate portraits, including ‘The Mourning of the Duchess of Alba’ (1797), are clearly the inspiration for the editorial. With the Duchess wearing metres of black Spanish lace, she is poised, self-assured with plenty of attitude – an early example of what’s required when modelling couture. 

Tracing its roots back through 18^th and 19^th century art, couture has been the status symbol of choice for art’s wealthy patrons. With ready-to-wear clothing not available until the 1920’s, society portraits painted by Thomas Gainsborough and later John Singer Sargent, made the clothes the main event. Gainsborough made his fortune by conveying the delicate nature of lace and silk – committing these fabrics to canvas provided the ultimate challenge for the ambitious painter. John Singer Sargent, who painted portraits of New York’s emerging elite, also made light work of the new fashions being worn. The velvet sensuality of his ‘Portrait of Madame X’ (1884) compared to the cotton pinafores of ‘The Daughters of Edward Darley Bolt’ (1882), are prime examples of how fashion has always been in the spotlight. The sitters may draw you in, but the real work is in the fabric: getting brushstrokes to resemble silk can only be done by a master. Nearly 90 years after Sargent’s death, the brush has been replaced by a camera and the likes of Meisel, Testino and Demarchelier are continuing to carry the torch. 

What is evident from looking at the Goya editorial is that Marie Piovesan understands that she is the sitter, and the dress the star. She injects a sense of history into her work that gives her modelling, whether it is on the runway or in front of a camera, a greater depth and substance. Blessed with a face that is traditional as it is modern, Piovesan’s gift to the fashion industry is in reminding it of where it came from. Once a pleasure for the privileged few; dressing fashionably is now accessible for billions of people. In the space of 200 years, we’ve viewed fashion from a painter’s perspective to the global lens of YouTube: however it is interpreted, fashion continues to thrive because it continues to learn from its past. The never-ending narrative of fashion may be told differently, but the message is always the same: a good model and photographer work the stage for our applause, but ultimately it’s fashion that takes the encore.

HELEN TOPE

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: JACQUELYN JABLONSKI

Born in 1992, New Jersey native Jacquelyn Jablonski started her career signing with prestigious agency Ford Models in 2007.

In January 2008, Jablonski hit the headlines when she became a finalist in Ford’s ‘Supermodel of the World’ contest. A competition famous for cherry-picking the very best of new modelling talent, Jacquelyn’s placing got her noticed by the industry, with www.models.com showcasing her as a face to watch.

Ford, an agency with a reputation for not only spotting but cultivating talent, built on Jacquelyn’s early success with runway bookings for resort collections (Proenza Schouler, June 2009) and pre-fall appearances for Emanuel Ungaro.

The obvious move on Jacquelyn becoming a Ford finalist would have been to launch her immediately into Fashion Week. But Ford instead let Jacquelyn develop her skills on the runway, with regular appearances making her increasingly visible – and credible. The drip-feed effect paid off, with Jablonski getting hired for a number of editorials with V and Italian Elle, but later that year, Jacquelyn made an impact that was hard to ignore.

The all-American girl scooped a campaign with the ultimate American brand. Hired to appear in ads for Calvin Klein Jeans, Jablonski’s high-fashion look added edge to the iconic campaign. Her status had transformed overnight from new arrival to the latest must-hire model.

Jacquelyn experienced her breakout runway season in September 2009, walking for names such as Thakoon, Gucci, Prada, Balenciaga, Lanvin and YSL. She was now coveted by every major designer, and www.style.com named her one of their Top 10 Newcomers of the entire season.
While 2009 was undeniably successful for Jablonski, 2010 would prove to be the year where her career really took off. Landing campaigns for D&G and Celine in early 2010, she walked the couture runways in January for Valentino and Chanel.

Her next ready-to-wear season in February saw Jacquelyn walking in an incredible 74 shows. In a season that boasted hit after sartorial hit, Jacquelyn’s astonishing presence on some of the world’s most important runways, elevated her to fashion’s newest superstar, joining the likes of Chanel Iman and Karlie Kloss; models that combined old-school star power with editorial know-how.

Further editorial work followed an extraordinarily successful season, with Jacquelyn appearing in French, German, American and Japanese Vogue. She also landed the S/S cover of French Revue des Modes, and appeared in the A/W look-book for Givenchy.

Jacquelyn’s year has ended with a prolific signing for Tommy Hilfiger’s label, and a 61-show season for S/S 2011 including appearances for designers such as Dior, Dries Van Noten, Marc Jacobs, Proenza Schouler and Sonia Rykiel. Still a runway favourite (anything approaching 30 shows is considered a huge success), Jacquelyn’s future as a new addition to fashion’s latest clutch of multi-tasking models is now firmly established.

Jablonski’s strong editorial features and couture-ready body directly counter the myth that American girls can’t do high-fashion. The outdoorsy, high-energy angle required for campaigns such as Tommy Hilfiger may seem at absolute odds with walking the runway for Chanel Couture, but the skill-set required to master them both are one and the same.

Jacquelyn’s success is not an isolated incident, but forms part of a group of young American models who are wowing the industry. Hannah Holman, Lindsey Wixson, Arlenis Sosa and Kendra Spears fulfil fashion’s fantasy of the all-American girl, but their ability to wear European labels that require edgier faces to bring them to life is something entirely new. The notion that an American can’t win over Paris – the home of haute couture – is rapidly becoming old-hat. Karlie Kloss is the current face of Dior; Karl Lagerfeld has been equally charmed by Chanel Iman and his current infatuation with Jacquelyn’s fellow American, Emily Di Donato, points to the fact that when it comes to high-fashion, American girls have no problem in making their presence felt.

But it’s not a simple case of take-over: the modelling industry has been wholly dominated by European talent for the past decade. Russia, France, Holland and Germany have turned out some of the strongest faces for a generation, and while America did lay claim to producing some of the greatest models of the Eighties and Nineties, its stake in modelling talent has got left behind. Fashion’s tastes for edgy and fashion-forward models got associated with quirky European faces, whilst American talent became increasingly linked with swimwear and lingerie. Success isn’t a dirty word in modelling, but it can be possible to have too much of a good thing.

This new breed of American model takes on every kind of fashion personality – not just the sunny, California girl or the moody, New York intellectual. Jacquelyn’s generation have actively steered away from cliché, and this simple approach has proved devastatingly effective. By ducking and dodging what’s expected, these American models have created careers on their own terms. Although she has been working less than two years, Jacquelyn’s work to date includes 60’s chic, neo-Grunge and post-recession minimalism. A quick scan through her credits and it’s clear that no two projects are alike.

Jacquelyn and her peers understand implicitly that fashion wants models that can embody any age, any era and any mood. Being a one-note wonder, however well-starred, no longer hits the right spot for the designers currently calling the shots. A model’s reputation – more so than ever before – relies on the premise that a new face can take on editorial, runway, covers and campaign work. A high-achiever in modelling today excels across the board.

Jacquelyn’s CV already boasts a wealth of runway experience and campaigns with iconic brands. The fact that Jablonski is also getting booked for couture shows is important too: it is the definitive marker of a great model. Even tougher than RTW, it takes bravado to wear couture and not get swamped by its grandeur. Being fashion-fearless is a definite asset if you’re to conquer couture and the sheer numbers of models making the trip to Paris indicates that when it comes to couture attitude, the Americans finally have it nailed.

It’s taken some time for America’s modelling talent to emerge from behind the shadows of such colossal names as Crawford, Turlington and Banks. The key has been to think (and act) laterally. Jablonski’s success occurred when she borrowed aspects from America’s modelling heritage, but her performances are far from being pale imitations of another woman’s genius. Jacquelyn sits front row and centre in a group of models that are proud to be unique, and their body of work is as much about embracing America’s modelling past as it is about carving a place for themselves in the years ahead.

Daring, diverse and dazzling, Jacquelyn is a perfect example of an American model that is anything but apple pie.

HELEN TOPE

MODEL PROFILES: IRINA KULIKOVA

A true constant in the fashion world, model Irina Kulikova may not be a household name, but she owes her start in the industry to one of Hollywood’s finest.

Irina, born on 6th August 1991, can claim one of the most strikingly original discovery stories in the business. In 2006, Irina was having dinner at a restaurant in Moscow. Her meal was interrupted by film star Liv Tyler, who had spotted the 15-year-old whilst dining at the same restaurant. Liv asked Irina if she was a model. Irina replied that she wasn’t. Liv called over her friend and introduced him to Irina: he was a scout from IMG, the largest modelling agency in the world.

Unsurprisingly, this modelling fairytale became the stuff of legend, making Irina – almost overnight – a name to watch. Teen Vogue dubbed her a favourite, using her in several editorials.

Irina made her high-fashion debut at the Autumn / Winter Calvin Klein show in February 2007. She also got the coveted opening slot for the Prada show, making her one of the most talked-about girls of the season.

Also closing shows for Louis Vuitton and Yves Saint Laurent, Kulikova had an extraordinary start for a model that was still, at this stage, an unknown quantity. Prada’s patronage worked its magic: Irina got noted by the fashion press, appearing in V magazine as one of their Top Ten Faces and an editorial in W, photographed by Craig McDean.

In July, Irina got her first major editorial with Italian Vogue, shooting with fellow up-and-comer, Lara Stone. The tail-end of 2007 saw Irina’s career sky-rocket with the announcement of several campaigns. The first to be announced were for Jil Sander and the second for Marc Jacobs’ new fragrance, Daisy.

The fragrance launch was one of the most anticipated of the decade. Jacobs, already a major figure in the world of high-fashion, was now going global with a fragrance. Everybody could now afford a piece of the Jacobs brand. Irina, with her quirky, delicate features, was cast as the campaign girl. Photographed by Juergen Teller, Irina was snapped lying on a field, clutching an oversized bottle of the fragrance. Aimed squarely at girls in their late teens and early twenties, the deceptively simple campaign was a huge success. The shot has since become one of the iconic campaigns of the decade, and nearly three years since its release, the perfume remains a top-seller.

The campaigns kept coming for Irina. She signed up to do an A/W campaign for Pringle and became a fully-fledged Prada girl, when she was selected to participate in the A/W campaign with Sasha Pivovarova and newcomer Anabela Belicova.

In September 2007, show season indicated just how far Irina’s star had risen. Walking for designers like Alexander McQueen, Chloe and Chanel, she also opened shows for Donna Karan, Marc by Marc Jacobs and closed shows for Alberta Ferretti and Rodarte. Doing 67 shows in total, it was a mammoth achievement. In the space of six months, Irina had become fashion’s hottest ticket.

2008 also started well for Kulikova, with another campaign for Prada. Irina did another editorial for Italian Vogue in February (again working with Lara Stone), and one for Chinese Vogue in April. She also landed the A/W campaign for American label Celine. Signed up in conjunction with Karen Elson and Tanya Dziahileva, the campaign (shot by Bruce Weber), was a perfect illustration of fashion’s obsession with quirky beauty, past and present.

In September, Russian Vogue named Irina a top model, and Irina was able to boast another mega show season with 55 bookings. Closing shows for Vera Wang, Giambattista Valli and Sportmax, Irina also appeared for Bottega Veneta, Chanel, Gareth Pugh, Lanvin, Marc Jacobs and Michael Kors.

2009 saw another career highlight for Kulikova, with her first magazine cover. She landed the February issue of Russian Harper’s Bazaar, with her first U.S Vogue editorial following just three months later.

Irina also got a second chance to work with Marc Jacobs, creating the A/W campaign for the label with photographer Juergen Teller. Teaming up with models Natasa Vojnovic and Olga Sherer, the three models worked perfectly against each other, their off-beat beauty a fitting companion to a label that’s made its name by creating beautiful things that are off the beaten track.

Irina also got cast for the A/W Mulberry ad, which like the Marc Jacobs Daisy campaign has become a modern classic. Shot by Steven Meisel, the campaign pairing Kulikova with Kasia Struss, was a dreamy evocation of couture sensibility. The girls were photographed in a forest sporting wildly frizzy hair. The girls oozed bohemian charm. The ad took the ‘fear factor’ out of high fashion, even reintroducing back-combing to mainstream fashion. The frizzy look, which had previously only been seen on couture runways, became a surprise real-life hit, with back-combed ponytails becoming the party staple that winter.

In 2010, January saw Irina star in another editorial for Italian Vogue and a spot in the Chanel Couture show. She also became the face of Philosophy di Alberta Ferretti. The label’s diffusion line was a piece of perfect casting for Irina: the collection’s ethos of youthfully quirky beauty matched Kulikova’s strengths exactly. Irina also got the lead in the S/S campaign for Marc by Marc Jacobs and an editorial for German Vogue in May, working with new Prada favourite Joan Smalls, plus Aline Weber and Elsa Sylvan.

To date, Kulikova’s career trajectory tells a story about fashion’s progress through the final difficult years of the decade just passed, and how the industry is working to redress the balance.

In times of crisis, there are really only two possible moves: play to your strengths or play it safe. Many larger labels have had little option but to go with the latter to ensure their survival. No-one can afford to take big (and expensive) risks at the moment, but the smaller items like shoes and bags are areas where labels can push a little further. Just think back to the Mulberry advert. Shot at the time where rumours of a recession were beginning to break, the ad is a snapshot of creativity selling luxury – and succeeding. In getting people to spend when times are tough, getting them to want, to lust, over that bag is half the battle. It’s forcing brands to think on their feet, and produce some very creative ideas.

Irina’s blend of quirkiness and high-fashion moxie makes her the ideal candidate to spearhead this new age of creative sophistication. Fashion’s best served as a happy medium: boring and bland make no-one happy.

Lines like Marc by Marc Jacobs and Philosophy di Alberta Ferretti are becoming as important as their ‘big sister’ counterparts. Just look at the press coverage given to the revival of Versus, Versace’s diffusion line. Typically aimed at younger consumers, diffusion lines were often considered an after-thought (money spinners at best), but now they are the life-line keeping many brands afloat. These diffusion lines are often people’s first introduction into the experience of buying designer, so therefore it’s vital that the campaign model to be aspirational but also inviting. Irina’s off-beat appeal is perfect for such assignments.

Where this leaves Irina is ideally placed. When the fad for safe-as-houses models comes to an end, models like Irina will be the focal point of the industry. Quirky always sells to the girls who can’t relate to the glamazons, and approachable-meets-quirky is a huge bonus for any model’s CV. Irina’s ability to marry high-street with high-fashion is what will inform the trend for models over the next ten years. Top models are rarely ‘on the nose’ (ie: pure sophisticate, the absolute epitome of the surfer chick). They usually have something that is a little off, but it works.

In the end, fashion is all about numbers. Not only is time money, but aesthetics can cost too, especially if you get the tone of a campaign wrong. What makes fashion wonderful – and able to weather terrible economic storms – is its ability to balance the two worlds. Aesthetics and finance may have little to do with each other in the real world, but in fashion, one needs the other to push it forward. Rather than remain one big negative, the recession has got fashion back in touch with its entrepreneurial spirit. We are now wearing shapes and silhouettes that five years ago were considered strictly avant-garde.

As much as she has already achieved, expect to see Irina’s career flourish over the coming year. Her blend of fashion cool and marketability puts her in pole position to grab the industry’s attention. The way forward will be for models who aren’t safe bets, but thrilling ingénues who will refashion what we think as being commercially viable.

This is about more than detail – it’s the big picture that’s finally getting the biggest transformation of all – and what comes next? Only time will tell.

HELEN TOPE