MODEL PROFILES: SUVI KOPONEN

Born on 26^th March 1988, Finnish model Suvi Koponen began her career in 2005, when she won a televised contest to discover new modelling talent. Based on the concept of ‘America’s Next Top Model’, Suvi won the competition, giving the ANTM franchise one of its biggest success stories.

Moving into the real world of modelling, Suvi found herself in demand. In September 2006, she was chosen to both open and close the Prada Spring / Summer 2007 show, also walking in the Miu Miu show a month later as an exclusive.

Being picked to appear in a Prada show is big news, but getting both the opening and closing spots is phenomenal. Suvi’s ready-to-wear debut for Prada has since entered ANTM folklore, with Tyra Banks regularly referring to Suvi’s stunning debut. Suvi’s entrance into the fashion world defied the expectation that ANTM winners, and their international counterparts, can look forward to a frosty reception on entering the modelling world. Along with Australian competition winner Alice Burdeu, Suvi proves that a new face discovered by a television contest can be just as current and sought-after as a model discovered by scouting. Suvi’s early acceptance by the fashion industry at large was no fluke either: she was featured as one of www.style.com’s Top Ten Models of the S/S 2007 season.

Spending the early part of 2007 on editorial work, including spreads for French Vogue, Suvi had her first blockbuster season that February. Opening shows for Jil Stuart, Marc by Marc Jacobs and Marni, she took part in a massive 63 shows. These included Anna Sui, Balenciaga, Chanel, Dior, Fendi, Jil Sander, Louis Vuitton, Prada, Sportmax, Versace and Zac Posen. These were not token bookings either, but bookings of the highest standard. Any lingering doubt over Suvi’s ability to, quite literally, walk to the walk, was swiftly dispelled.

2007 saw Suvi land several major campaigns as well; appearing in ads for Blumarine with Bette Franke; Mulberry photographed by Steven Meisel and Balenciaga with Anabela Belikova. Again, this was an incredible start to a new model’s career, and Koponen’s CV was fast filling up with top-drawer credits.

In September, she was back on the runway, matching the record she had set back in February. This time, she was selected to open eight shows: Jill Stuart, DKNY, Reem Acra, Carolina Herrera, Alberta Ferretti, Anna Molinari, Fendi and Just Cavalli. To be invited to open one show is an honour. To be requested for eight is a major achievement. 

Suvi’s exposure on the runway circuit meant that she became a must-have for print work, and between September and December 2007, she booked editorials for W, British and American Vogue. 

January 2008 saw Suvi take on her very first haute couture season in Paris, walking in S/S shows for Chanel, Dior, Christian Lacroix and Givenchy. Her runway skills were requested for ready-to-wear the following month, with an even bigger season. Walking in 65 shows overall, Koponen opened shows for Herve Leger and DKNY, also closing shows for Alexander Wang, Carolina Herrera, Paul Smith and Marni. 

All these hours spent on the catwalk made Suvi the focus of the fashion press. Not only did she land the cover of Numero, but in April 2008 she appeared in French Vogue, rated as a top model. The magazine also listed several other models including Catherine McNeil, Lara Stone, Kasia Struss, Raquel Zimmermann, Coco Rocha and Natasha Poly. Some were emerging talents (Struss, McNeil, Stone) alongside those who were already starting to make their presence felt (Rocha, Poly, Zimmermann). It is also a reminder of just how quickly career progression in the modelling world can move: in 2008, Lara Stone was a virtual newcomer, promoted by French Vogue in particular. Nearly five years on, she is one of fashion’s most recognisable faces.

Suvi rounded out 2008 with editorial work for key publications such as French Vogue and Interview. Regularly working around the world, Suvi was now fully established as an international model. 

After skipping Fashion Week in early 2009, Suvi returned to the industry having changed agencies. Leaving Supreme Management, Koponen chose to sign on with Next Models, an agency with a significant reputation for signing some of fashion’s most directional faces. Models on their books at the moment include Abbey Lee Kershaw, Caroline Trentini, Hailey Clauson, Meghan Collison and Zuzanna Bijoch.

In September 2010, Suvi had another good RTW season, closing the Versace show and walking for Proenza Schouler, Chloe, Louis Vuitton and YSL. It is after this point that Koponen’s career experienced a quieter phase. As every model moves through their career, the odds of booking a job fluctuate from time to time. This can be down to any number of factors, but the most obvious reason is that fashions change. If your look is a good fit with current trends, you will be extremely busy. If it doesn’t, you play the waiting game.

In 2012, Suvi came back with a bang, returning to the runway in February. Making show appearances for Alexander McQueen, Bottega Veneta, Celine, Gucci, Hermes, Reed Krakoff, Rick Owens and Valentino, Koponen was still more than capable of securing those big-name bookings.

In July, Suvi re-appeared in French Vogue. ‘Paris Mon Amour’, photographed by Mario Sorrenti and styled by editor Emmanuelle Alt, showcased the many faces of Parisian style. Koponen was joined by a stellar cast of models including Doutzen Kroes, Isabeli Fontana, Anais Mali, Arizona Muse and Kati Nescher. 

But Suvi was soon back on the campaign trail once more, this time with three major bookings. The first was for Alexander McQueen. Shot by David Sims, in a massive multi-image campaign, Suvi works the McQueen love of extreme shapes and bold textures with a lightness and playfulness that totally suit the direction that has been taken by Sarah Burton. Blending a sense of fun with serious craftsmanship, McQueen is in many ways a good fit for Suvi: high-fashion that doesn’t take itself too seriously. Next, Suvi worked on the Autumn / Winter campaign for Chloe. Working with Anja Rubik, both models show off Chloe’s mastery of chic, feminine tailoring. 

But Suvi’s biggest signing of 2012 was a solo spot in the Chloe fragrance campaign. Photographed by Fabien Baron, this is the campaign that will have the most immediate impact in terms of Suvi’s profile. A campaign that makes stars of models, this is the fragrance ad every model wants to get. The fragrance has inspired a campaign that has in turn created in its own iconography. The softly lit, retro-feminine look is quintessential Chloe. An instantly recognisable formula, it is proof that even in fashion, a great idea is sometimes worth repeating.

Eight years into her career, what is exciting is that Suvi’s 2012 comeback has seen her popularity soar – there is no indication that her career trajectory will start to slow down in 2013 – it looks to be doing just the opposite. 

Suvi really is the unexpected star of the ANTM franchise. She is the all-rounder that Tyra Banks envisaged when she created the show. Wanting to find a girl who could be equally strong in all areas of modelling: catwalk, editorial and campaigns, Banks’ idea has gone global and has produced some notable talent. Alice Burdeu (Australia’s Next Top Model winner) also wowed the fashion world, even booking a campaign with D&G. But for longevity, Koponen is very much the blueprint for any future contestants. 

She may be an inspirational example held up to aspiring contestants, but the reality is Suvi didn’t become a winner until after leaving the show. Her first booking with Prada could be attributed to good luck, but Suvi’s continuing success, her work in front of the camera, and on the catwalk, tells the story of a model that has excelled by taking nothing for granted. If you’re starting out on your own modelling career, and looking to be inspired, there’s no better place to start.

HELEN TOPE

MODEL PROFILES: KATE KING

Born on the 3^rd December 1993, Canadian model Kate King signed with Elite Models in 2010.

She debuted at Fashion Week a year later in February 2011. Appearing in a 36-show season, she walked for Prada, Marc Jacobs, YSL, Valentino, Dolce & Gabbana, Lanvin and Miu Miu. Later that year, Kate booked her first campaigns: Dolce & Gabbana and Topshop. Also making her couture debut with Valentino and Elie Saab, King was rapidly climbing the fashion ranks.

September 2011 saw Kate appear in a massive 70 RTW shows, with opening and closing honours from Chloe, Nicole Miller and Cynthia Rowley. Also walking for designers such as Burberry, Chanel, Jason Wu, Oscar de la Renta, Richard Nicoll and Thakoon, Kate’s booking sheet was a collective of new and older labels: the perfect mix for a model still new to runway.

Kate then built up her editorial experience with appearances in Love, i-D and Interview magazine. The latter saw Kate take part in a piece profiling ‘The Row’ – a high-fashion label developed by Mary-Kate and Ashley Olsen.

A range now firmly established, The Row defies the expectation that celebrity-led fashion can’t appeal to the highest levels of the industry. The Row has been a universal success story, trading on the simple concept of providing high-fashion basics.

Instead of transplanting their own personal styles into a collection designed for quick profit, the Olsens used their entrepreneurial experience to see what was missing and how they could provide solutions. Intended as a supplement to other labels, The Row fills a gap that had existed in fashion for years.

Making not just classic pieces, but pieces that work in tandem with other collections, Mary-Kate and Ashley have turned the concept of the fashion basic on its head. Taking their own years of buying and wearing high-fashion into account, they applied what they knew about good design to basic shapes making the everyday extraordinary.

These pieces are so well-crafted, they stand on their own merit, but their real application becomes obvious when slotted into a pre-existing wardrobe. The plain maxi-dress, the white shirt, the ¾ length trousers all get a makeover – making them as covetable as the latest piece from Prada. For years, fashion retailers assumed basics needed to be cheap because consumers just weren’t willing to pay more. The Row has transformed the way the industry sees the basic for good. Kate’s appearance in ‘Interview’ is aligned perfectly with the ethos of the brand: cool, calm, effortless.

Kate continued her association with high-fashion in November 2011 with an editorial for Teen Vogue. ‘Home Run’ was an All-American take on sportswear, with King actively muscling in on American Sweetheart territory.

The same month, Kate appeared in V magazine who profiled her 2^nd agency, Ford Models. Alongside Alana Zimmer, Hanne Gaby Odiele, Karmen Pedaru and Ming Xi, what becomes immediately obvious is how Kate slots right into Ford’s vision of creating a stable of models with a strong, high-fashion pedigree.

In 2012, Kate’s charm offensive on the fashion industry continues in earnest. In January she appeared in the Chloe Pre-Fall collection. Pre-Fall is rapidly becoming a touchstone for the industry, giving buyers and editors a heads-up on what’s coming next.

In the same month, Kate took to the couture runways again, appearing for Dior, Atelier Versace and Giambattista Valli. With Dior having a storming run with their 50’s inspired collection, Atelier Versace returned to the runways in similarly spectacular fashion.

Featuring classic glamazon shapes, Donatella played not only to the crowds, but to the Versace template with glamour-packed column dresses and goddess gowns fit for the red-carpet. But this collection demonstrated a more measured approach: less flash, more substance. The use of angular cutting acted as a subtle counter to the flesh on show. This collection was still recognisably Versace, but with an intelligence that made the sex appeal that bit hotter.

Kate’s turn at couture season served her well, with a seriously high-fashion editorial courtesy of Russian Vogue. More usually known for its love of grand, ornate design – this spread was a radical departure with Patrick Demarchelier behind the lens. ‘Second Site’ was a series of avant-garde portraits featuring Kate along with Ming Xi and Anais Pouliot.. The white and silver palette of the cutting-edge fashion was accessorised perfectly with blue, painted lips.

Making an appearance in the March issue of Japanese Vogue, Kate appears in ‘Road to Tijuana’. Working winged eyeliner and cowboy boots, Kate models a very different look to her previous editorials. Registering here as more commercially sexy, Kate looks virtually unrecognisable when compared to the high-fashion siren in Russian Vogue. When you factor in that Kate has only been active since 2010 – this level of versatility at this stage of her career is a very good sign.

Kate’s body of work paid off when it was announced only days ago that she would be one of the new faces in the S/S Chloe campaign. Photographed by Glen Luchford, King appears with campaign regular, Karmen Pedaru.

This signing represents Kate’s move into big-league campaigns. Chloe has taken a gamble on hiring a newer face, and it is a mark of their confidence in Kate’s abilities that she was only one of two models used for their Pre-Fall collection.

The campaign, featuring striped ‘balloon’ gowns echoes the Pre-Fall collection’s obsession with slouchy, relaxed shapes. Striking a more retro note than previous collections, this campaign marks a new stage in Chloe’s creative development.

The decision to hire Kate over more established names points to her growing reputation for dependable performances, even when under pressure. Though still a fairly new name within the industry, Kate is evolving into a new breed of directional model: capable of steaming it up for Dolce & Gabbana, but also able to master the focus needed to model minimal fashion like The Row.

A modern-all rounder, equally adept at couture, RTW, editorials and campaigns, she is on the verge of joining better-known faces like Karlie, Lindsey, Freja and Anja. The reason behind her success is clear when looking at her print work. Her face is a perfect storm: somewhere between full-on glamour and cool androgyny, Kate’s fortune lies not in squeezing into an already-overpopulated niche, but in her ability to take on any concept.

The timing of Kate’s growing fame is no accident either. Fashion is now beginning to remember why these all-rounders were so popular just five years ago. Pre-recession, clients wanted a multi-skilled model that could reliably produce a winning performance every time, under any condition.

In the economic downturn, something very surprising happened. Clients still wanted versatility, but they wanted a face that was either classic or memorable. Even the more eccentric looks (such as Wixson and Kloss) grew in demand because their eccentricity made them memorable; a visual point of reference. Lindsey’s larger-than-life pout and Karlie’s famous runway stare – these were all anchors that a client could use to good effect. It’s no accident that Karlie has remained with both Oscar de la Renta and Dior as their loyal campaign face during some very tough times.

What fashion needs now, however, is versatility. From Louis Vuitton’s super-girlie show to Kenzo’s tribute to Frida Kahlo, no one trend dominates, and a model that can do it all suddenly becomes very useful.

Fashion’s new diversity isn’t a cause for concern: a symptom of an industry at odds with itself. Rather, it speaks of an inner confidence that fashion houses are confident enough to go their own way. It means more excitement on the runway and more choice for us. Instead of one trend colour, or one type of hemline, fashion is branching out – and everyone benefits.

As it returns to a confidence and diversity, fashion needs models just like Kate: versatile in the purest sense, Kate has the potential to become fashion’s next great icon. Just wait and see.

HELEN TOPE

MODEL PROFILES: MALGOSIA BELA

Born in Poland on the 6^th June 1977, Malgosia Bela is one of fashion’s longest-serving models.

With nearly 20 Vogue covers to date, and an international fragrance launch this Spring, Bela has bucked the trend of short-lived careers, remaining an active presence within the fashion industry, at an age where most models are long into their retirement.

Bela debuted in Paris Fashion Week in September 1998, aged 21. Appearing on the cover of Spanish Vogue a few months later, in early 1999 she was signed to represent Versace.

The label at the time was still easing into the transition of Donatella as Creative Director, after the murder of her brother Gianni in 1997. Donatella surprised many fashion insiders by taking to the business of fashion design far more quickly (and successfully) than anyone could have imagined.

The iconic Medusa head and bold, swirling prints made way for a more feminine turn-of-phrase, with goddess gowns pushing Versace as a red-carpet label. The S/S 1999 Versace campaign spread this concept further, pairing Malgosia with Carmen Kass, Frankie Rayder and Gisele Bundchen. All four models were photographed by Steven Meisel in uber-sexy, slinky gowns that were just begging for their moment on the red-carpet. This was Versace’s new era, and Donatella’s defining moment.

Looking at these adverts, it is clear just how far fashion can shift in the space of a few years. In 1999, fashion was all about full-on Millennium glamour – even boho got the luxury treatment at Gucci with wildly feathered jeans costing upwards of $3000. This was the age of fashion innocence, before world events changed our relationship with clothes for good. Versace’s polished groomed sophistication was at the apex of this movement: this was more than just looking expensive – it took real money to look like this. It is extraordinary to think that only 12 years later, the same label is collaborating with one of the biggest names on the high-street. During the course of Malgosia’s career, fashion really has come full circle.

In March 1999, Bela joined model Maggie Rizer on the cover of Italian Vogue. Following that with covers for French Vogue and Numero, Malgosia began to stack up some serious editorial experience. During the space of 12 months, she appeared on 9 magazine covers, plus spreads for French and Italian Vogue.

The following year, Malgosia took to the runway in earnest, with 46 shows in February 2000 and a mammoth 55 shows in September, including appearances for Balenciaga, Dior, Marc Jacobs, Ralph Lauren and Oscar de la Renta.

Malgosia finally became that full model package in 2006 when she began to book major campaigns. She not only signed with Lanvin, Donna Karan, Louis Vuitton and Marc by Marc Jacobs, but she also began her long-standing association with Chloe. Appearing as the face of their A/W campaign, Bela was rapidly becoming a triple threat.

Adding Chanel Cosmetics to her campaign rota in 2009, Malgosia was still proving to be a strong candidate for catwalk in early 2010 when she walked in the S/S Givenchy Couture show at the age of 33. Bela became one of the faces of Givenchy’s autumn campaign, appearing alongside Mariacarla Boscono and Catherine McNeil. With more editorials for French, Japanese and Italian Vogue, Bela returned as the face of Chloe in 2011.

2011 proved to be a very good year for Malgosia, with more magazine covers including Turkish Vogue and campaigns for Nina Ricci and Iceberg. With back-to-back editorials for French Vogue in October and November, Bela ended the year on a high with an appearance in the 2012 Pirelli calendar. Shot by Mario Sorrenti, Bela models with the likes of Lara Stone, Joan Smalls, Natasha Poly and Saskia de Brauw. Pirelli has worked hard to turn-around the concept of the calendar nude, and the latest calendar presents some truly beautiful images.

Malgosia enters 2012 not with a whimper, but with a bang. With two huge campaigns already to her credit, this year promises to see Bela reach new heights. Modelling for Stella McCartney’s new fragrance, L.I.L.Y, Malgosia applies a lifetime of experience to a very important shoot. Named for Stella’s late mother, Linda McCartney, the perfume ad takes on an added poignancy and Bela models with great sensitivity. It is a brief that few younger models could manage successfully – it is in these moments, that Bela’s age becomes not a barrier, but an asset.

In her status as long-established, Malgosia certainly isn’t alone in the modelling industry. Like her peers, Mariacarla Boscono and Isabeli Fontana, she has continued to work well beyond the usual retirement age for an editorial model.

Those big names returning to the industry – Schiffer, Elson, McMenamy – have found themselves in-demand at the very highest levels of high-fashion. Claudia has worked regularly with Chanel and Kristen made a splash last year when she was featured on the cover of Italian Vogue.

This tide-change has been a slow process, but it neatly coincides with the Gucci generation growing up. The women who wore those $3000 feathered jeans are not so willing to let go of the fashion reins 10 years on. This generation are responsible for a large proportion of high-fashion purchases (both instore and online), and fashion houses ignore them at their peril.

This concentration of spending power has focused the fashion industry’s attention on the issue of age. There’s still plenty to entice younger consumers, but there is a discernible slice of the fashion market now aimed squarely at older fashion fans. It’s not just traditional labels (such as Donna Karan or Michael Kors), but newer design influences such as Reed Krakoff and Haider Ackerman that are providing real style options for the over-40’s.

This is nothing short of smart planning, because an ageing population (and one that is living for longer) places new demands on the fashion industry. As the Gucci generation ages, they will be the test case for how well fashion ages with them. But we don’t even have to wait that long, because in as little as 20 years, the typical ‘look’ of a pensioner will vary radically from our current view of sartorial old age, as the Baby Boomers (those born in the 1950’s), reach their Seventies and beyond.

As our expectations grow, this will undoubtedly affect the faces that are hired to represent labels. Just as many cosmetic brands have realised that selling anti-ageing skincare by using a model barely out of her teens is counter-productive, so fashion will adjust its long-term view in selling high-fashion.

It’s already being seen in new face, Kati Nescher. The German model, already a star of the latest Louis Vuitton campaign, is starting her career at the age of 27. Nescher, despite having a good five years on most models, is being touted as the face of 2012. Classically beautiful and already a dab hand at top-level campaigns, Nescher perhaps is the face of things to come.

With a career still on the rise, Malgosia’s body of work is a perfect example of how a modelling career can be extended, be made more sustainable, rather than a short, bright burst of creativity.

As fashion finds its feet in providing style to an older population, this could have dramatic (and positive) implications for all models. It is entirely possible that in the future we will be discussing models’ careers in terms of decades, rather than years. As the potential for spending on fashion increases, a 50-year-old could have more industry clout than her teenage daughter. The whole balance of consumer power could switch, seeing older customers (with more disposable cash) calling the shots.

Far from being prescriptive, this ageing generation, raised on high-fashion in its high-octane, aspirational phase, will want to continue exploring new trends beyond middle age and well into old age.

To sell to this generation, older models will have to become the norm, not rare cases like Bela and Fontana. It is possible to envisage models like Nescher working into their 40’s and 50’s as standard. It could transform the modelling industry for good, making a career as a model a long-term prospect rather than a job with an expiry date. Age, once seen as the bugbear of the fashion industry, could well become its saviour.

HELEN TOPE

MODEL PROFILES: ZUZANNA BIJOCH

Zuzanna Bijoch was born in Poland in 1994 and her connection with the modelling world began at an early age. Aged 13 years old, Zuzanna entered and won a D’vision modelling contest, signing with NEXT Models that same year.

The agency chose to develop their new talent, with Bijoch travelling to Tokyo in 2009 to accrue some modelling experience. In July 2010, Zuzanna made her couture runway debut, walking for Georges Chakra.

She made her ready-to-wear catwalk debut in September 2010, making a splash as an exclusive signing for Miu Miu. Favoured by the Italian label, her other bookings included Jason Wu, L’Wren Scott, Marchesa, Marni, Tory Burch and Prada.

The sign of approval from Prada was made official in early 2011 when it was announced that Zuzanna would be one of their faces for the Spring / Summer campaign. Working alongside Tatiana Cotliar, Arizona Muse, Mariacarla Boscono and Kinga Rajzak, Zuzanna participated in a campaign that was to define the look of S/S 11. Photographed by Steven Meisel, the mix of nautical stripes and baroque swirls in blue, green and yellow was decadence meets discipline. Counting as one of their most visually dynamic collections, it was cerebral fashion anarchy, and S/S 2011 was Prada’s season for the taking.

The effect of Bijoch’s inclusion in the Prada ads was immediate. In February 2011, she opened RTW shows for Rue du Mail, Thakoon and Victoria Beckham, closing shows for J. Mendel and Balenciaga. Zuzanna scored an amazing 58 show appearances, including Alexander McQueen, Chloe, Dior, Fendi, Givenchy, Gucci, Marc Jacobs, Michael Kors, Prada, Proenza Schouler, Ralph Lauren, Sonia Rykiel, Valentino, Versace and YSL.

Zuzanna had finally arrived on the fashion circuit, thanks to Prada’s patronage. The label’s star-spotting ability was right on the mark, with Bijoch working with a wide range of designers from feminine chic at Alberta Ferretti to sexing it up at Gucci. Appearing in every major show of the season, Zuzanna was a true fashion favourite.

Filling the next few months with editorial work for magazines such as Dazed & Confused, Bijoch travelled to Paris in July for couture season, walking for Dior, Givenchy and Valentino. At 5’ 9”, Bijoch is two inches shorter than most haute couture models, but her runway prowess marked her out as a natural.

The same month saw Zuzanna take centre stage as a cover girl, appearing in both an editorial and on the cover of Mexican Vogue. Her editorial, ‘Gracia Eterea’, is pure sun-swept elegance, showcasing classic fashion, from Ferragamo, Bottega Veneta and Halston.

Zuzanna visibly transforms in this editorial, wearing the classic pieces effortlessly. Hunched high-fashion poses have their place, but knowing how to work your body to create elegant, fluid lines is an art. Few get it right, but those that do, see their earning potential flourish.

Zuzanna’s next editorial, however, could not be more different. Working with photographers Mert Alas and Marcus Piggott, ‘Strict’, for Interview magazine was a fetish-themed editorial featuring Candice Swanepoel, Anais Pouliot, Emily Baker and Saskia de Brauw.

The theme of the shoot was a dark substitute for Autumn’s retro fantasies. In this series of provocative images, Zuzanna exudes a sultry softness that keeps the content fashion-forward, not top-shelf. With awkward camera angles and angular poses, the shoot was certainly button-pushing, but never exhibitionist. Bijoch’s strength and versatility in editorials was rewarded when she booked not only one, but three of the biggest campaigns of A/W 11: Chloe, Proenza Schouler and Louis Vuitton.

The Chloe ads, shot by David Sims, are the familiar sun-dappled vintage look that has become the visual shorthand for the label. Since its revival in the late 90’s under Stella McCartney’s directorship, Chloe has emerged as one of the labels most able to deliver what women want from their clothes. It takes the classic components of fashion – jackets, straight-leg trousers, bias-cut dresses – and re-works them into season must-haves. To model Chloe successfully, the fashion edge has to be softened, and in this campaign, Zuzanna joins forces with Sigrid Agren, Arizona Muse and Malgosia Bela to create images of women who are not slaves to fashion, but are freed by it.

Zuzanna’s second campaign is for Proenza Schouler. Bijoch carries the campaign solo, wearing the signature bright colours and geometric pattern blocking that forms the retro feel of the label. Famous for its ‘PS1’ satchels, defining its look on the runway and beyond has been crucial in creating a brand that’s developed, well-rounded and progressing ever forwards. Zuzanna demonstrates her easy affinity with high-fashion, wearing the campaign look as easily as a pair of jeans, making us not only appreciate Proenza Schouler, but covet it. The label needed a strong campaign identity; and with Zuzanna at the helm, it’s job done.

The last advert Zuzanna will appear in this year is one of the blockbuster campaigns of the season. Shot by Steven Meisel, the Louis Vuitton look is flying the flag for military chic.

Always popular during autumn and winter, the strong, body-defining tailoring of military-themed coats and jackets help in taking the sting out of cold winter days. The label is pinning its hopes on our love of perennial A/W classics, rather than fashion nostalgia.

As a collection, it is remarkable for being so different to other labels who are delving into fashion’s back catalogue. Vuitton’s creative director, Marc Jacobs, shows why he is a sure thing for the top job at Dior. Never afraid to be the first at heading in a new direction, after the pastels and sweetness forecast for Spring 2012, we may find ourselves in the mood for something a little tougher this time next year.

This September, Bijoch faces her third RTW season and so far has been seen in several shows. Scoring opening honours at Derek Lam and acting as the closer for Diane Von Furstenberg, to date Zuzanna has also appeared for Alexander Wang, Gucci, Versace, Calvin Klein, Marc Jacobs, Ralph Lauren, Donna Karan, D&G and Moschino.

The word from the front row already is a noticeable lean towards fashion’s gentler side. With pictures in from the New York, London and Milan Fashion Weeks, there is a studied softness in the colour palette with muted colours: duck egg blue, sage, primrose yellow and white all featuring heavily in numerous collections. Some of the biggest impressions have been made on our turf, with both Christopher Kane and Mary Katrantzou already jostling for show of the season.

After years of celebrating tough, urban fashion, the tide seems to be turning with many designers choosing to explore their softer side. Gentler fabrics and brighter colours are becoming the norm across the seasons. Burberry’s creative director Christopher Bailey was one of the chief exponents of the urban look, with head-to-toe black and bags covered in stud-work. But his newest collections are a complete about-turn, with 60’s inspired coats in every shade from cornflower blue to pumpkin.

The idea that a particular colour range can only be suitable for a particular season has been challenged by designers wanting to look at new ways of wearing colour. The usual colours for autumn (red, yellow, orange) have been augmented to include brights more usually associated with summer: pink, green and blue.

This widening of our perception has heralded an end to the reign of urban fashion. As ubiquitous as it was useful, the street uniform of leather leggings, hardware and lashings of black has served us well. It was a look that could be punctuated with texture – shearling was often featured – but the need for texture, for softness, eventually became too hard to resist.

The core of this change is embedded in our economical turmoil. If we dressed for battle during the early part of the recession, as we now do our best to ‘keep calm and carry on’, what we need is comfort.

The abundance of tweed, lace, calfskin and shearling on this year’s catwalks go a long way to explaining our desire to be cosseted. We want to be wrapped up in cosiness, with texture providing us with a fourth fashion dimension. The feel of clothes has been neglected over the past decade, with our attention focused on their visual impact. How clothes feel next to the skin is rapidly becoming one of fashion’s major steering factors.

The theme of softness continues beyond outerwear with chiffon and silk lending themselves brilliantly to the 70’s-style pussy-bow blouses seen at Chloe, and the star-spangled jumpsuits from Dolce & Gabbana. The lightness of the looks coming off the runway is about freedom, not constriction. It’s not only our range of movement that gets a break this winter: the capacious silhouettes of cocoon coats and capes give us room to relax and take stock. If you’re already feeling the pinch, the gentleness of a cocoon shape won’t fence you in. When we’re all feeling the pressure, fashion lightens the load with collections filled with airy, dreamy looks that reassure and comfort us.

It’s this fashion landscape that Zuzanna will inherit in 2012. With an already-proven track record as an interpreter of fashion’s softer side, Bijoch stands to make it big next year. Her ability to fuse strength with softness will prove invaluable as the fashion world moves its tough-guy act out of the spotlight in favour of a look that’s soft on the surface.

But don’t be fooled: fashion’s new affection for softness isn’t about denial; it’s right in the action, with a core of strength that’s there, even if you can’t see it. In times like these, fashion is far from being frivolous: it has something very profound to say about the art of survival. 2012 will be a quiet show of strength, but no matter what, fashion has our back.

HELEN TOPE