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: 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: 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: DAPHNE GROENEVELD

Born on Christmas Eve 1994, Dutch model Daphne Groeneveld has gone from niche phenomena to a model with massive global appeal.

Signing with Women Management in 2010, she was featured by www.models.com in January as a face to watch. The following month, she debuted at Fashion Week, walking in shows for Versus, Giorgio Armani and Hogan.

Her modest runway debut started a catalyst effect with Daphne scoring one of the most coveted campaigns in the business. She signed up to appear in the Spring / Summer campaign for Miu Miu, modelling with Siri Tollerod, Lindsey Wixson and Ginta Lapina.

The campaign proved to be one of the brand’s strongest images, moving away from recent celebrity endorsement to undiluted retro cool. Looking back as much as it looks ahead, Miu Miu is the leader of the pack when it comes to producing strong diffusion ranges. Building its own identity independent of its mother brand, Prada, Miu Miu has led the way in thinking about diffusion ranges not as a lucrative add-on, but a range in its own right. The brand’s decision in 2010 to hire two relatively unknown faces (Wixson and Groeneveld) was a stunning coup. Daphne’s self-assured performance in the campaign led to a flurry of high-profile work including a spot in the Givenchy Couture show.

Her second ready-to-wear season in September saw Daphne score opening spots with Calvin Klein and Max Mara, also closing the show for Marni. Walking for Bottega Veneta, Dolce & Gabbana, Fendi, Jil Sander, Prada and Versace, her appearance at the Prada show caused a stir. Appearing in the heady swirls and stripes collection, this was a year after a slew of Dutch models including Mirte Maas and Lisanne di Jong became a media sensation in cropped jackets low-slung ponytails. Daphne, along with Prada newbies Zuzanna Bijoch and Arizona Muse, made a similar impression modelling a collection that combined Josephine Baker waves with brothel creepers. Prada has a reputation for finding original talent to match its original designs – for two years running, it scored big.

September also saw Daphne appear in her first major editorial. Booked by French Vogue, her debut with the magazine was not altogether surprising. A publication that actively champions ‘new’ faces in every sense of the word, it has helped boost careers of models such as Isabeli Fontana and Lara Stone.

The following month saw Daphne do duty for French Vogue again, this time working with Mariacarla Boscono, Crystal Renn and Freja Beha Erichsen. ‘Bal Masque’ was S&M inspired, but high-fashion generated. Daring and original, Daphne was already performing at the very highest levels of editorial. The year ended with a resounding vote of confidence from French Vogue, as she joined designer Tom Ford on December’s cover.

Moving to Supreme Management in early 2011, Daphne returned to Paris in January, walking in couture shows for Dior and Valentino. She also returned to the pages of French Vogue, featuring in their Spring. / Summer preview. Photographed by Mario Sorrenti, Daphne wore a large string of daisies around her head. It was to be a high-fashion image that inspired copies across the high-street, culminating in flowery headbands becoming the accessory of choice for festival-goers.

She hit the ready-to-wear runway in February with a 40-show season including opening honours for Calvin Klein, Herve Leger, Jason Wu and Rick Owens. Adding Chanel, Chloe, Marc Jacobs and Tom Ford to her catwalk credits, Daphne’s avant-garde look was translating across the board.

Daphne undertook another modelling rite of passage in April, when she appeared in Italian Vogue for the first time. ‘Personal Best’ was an editorial photographed by Steven Meisel, and celebrated off-beauties in a series of simple but quirky portraits. Daphne worked with Kristina Salinovic, and then solo for a Vermeer-inspired photo, plus a stunning transformation into a red-headed 60’s party girl. It was a perfect marriage of old-school technique and new generation styling – quintessential Italian Vogue.

Undertaking her second Italian Vogue editorial in September, Daphne experienced her biggest RTW season to date with 42 shows. Her runway work lead to more campaign signings, this time Daphne appeared in the Autumn / Winter ad for Louis Vuitton. Working with Zuzanna Bijoch, Fei Fei Sun and Anais Pouliot, this advert saw Vuitton become a lone voice for the military look this winter. But the message of the campaign was all in the detail: texture, texture, texture.

Also appearing in the Versace for H&M campaign and runway show, November saw Daphne in great demand. Appearing on the cover of V with Saskia de Brauw, she also appeared in two major editorials within the same issue.

The magazine profiled Daphne’s agency, Supreme Management. Featuring Daphne’s stable mates (including Iris Egbers, Jacquelyn Jablonski and Sessilee Lopez), Supreme is an agency that thrives on the thrill of the new. Part of an agency’s remit to scout talent that not only caters to what’s happening now, but to find faces that will hit a nerve. Supreme pre-empted new glamour, bringing in Jacquelyn and Daphne joins a new generation of ambiguous, highly individual faces that could never be described as middle-of-the-road.

Daphne’s ready affiliation with labels such as Miu Miu, Givenchy and Versace indicates that her comfort zone is with designers that live for change. Miuccia Prada routinely switches things up at Miu Miu; while Riccardo Tisci has transformed Givenchy Couture into a 21^st century powerhouse. Donatella’s vision for Versace has evolved from socialite glamazon to fashion for the people, with her highly successful collaboration with H&M.

No label stays the same, but these three are particularly good examples of how a design philosophy can alter and how important it is to have models who can go with the flow. Already in her career, Daphne has moved from quirky Italian retro to Parisian haute couture. Her unusual face should make her strictly an editorial girl, but Daphne’s latest campaign for Spring / Summer 2012 will prove that she is no-one's safe bet.

One of her last assignments for 2011 has been a portrait shoot for V. Featuring with other new faces, Daphne took her place alongside Ruby Aldridge, Emily Baker and Charlotte Free, refuting the old idea of the ‘one size fits all’ model. All defiantly different, these models escape definition but harness all disciplines of the fashion industry. It speaks of a wider trend moving away from groups of models (such as the wave of Eastern-European talent or the fresh batch of American girls) and into a place where individuals come forward to create a modelling landscape that’s unique as it is hard to predict. With fashion making big changes, it’s only fair to expect modelling to follow the same pattern.

The models beginning to emerge as potential stars of 2012, such as Codie Young and Frida Aasen, are faces that are suggestive of strength in editorial and the top layers of ready-to-wear, but they could just as easily surprise us and become campaign stars with the very biggest names in fashion.

As if to prove the point, Daphne’s first assignment of the New Year will be her most unexpected move yet. Featuring as the face of Calvin Klein’s new fragrance, Sheer Beauty, Daphne’s campaign photo has already been shown online. The image is startlingly romantic, ethereal and modern. Almost unrecognisable from her earlier avant-garde persona, Daphne transforms here to become the absolute Calvin Klein girl.

With this major campaign, Daphne prepares to enter the mainstream, making the transition from edgy fashion girl to an on-the-rise model, equipped with a bag of tricks honed from working on the world’s best runways and appearing in some of the world’s top fashion magazines. The campaign is a resounding counter to anyone who doubted Daphne’s ability to cross-over into more commercial projects. With the perfume’s launch in January 2012, this campaign is set to make Daphne an international name.

Celebrating her second year in modelling next February, Daphne’s career, like her look, will continue to be anything but ordinary.

HELEN TOPE