MODEL PROFILES - FRANZI MUELLER

Born in 1992, German model Franzi Mueller is part of a new wave of models that are wowing the industry with their ability to interpret the latest trends.

Whilst still at school, Franzi was advised by friends to become a model. Wanting to complete her education first, Mueller stayed on at school, finishing in summer 2011. She contacted a local modelling agency and was sent on go-sees for ready-to-wear shows. The bold approach by Franzi’s agency worked: in February 2012, Mueller was cast in several shows, including an opening spot for Calvin Klein.

Receiving this honour from one of fashion’s biggest names, Franzi immediately made a huge impact. It was all the more impressive when you consider that this was achieved with no pre-season buzz. Also walking in shows for Celine, Dries Van Noten, Givenchy, Valentino and Prada, all of Franzi’s star power was reserved for the runway.

Mueller made her editorial debut just a month later, appearing in Exit magazine. The editorial (‘Alice’), photographed by Paul Empson, showcased the new tailoring trend, especially focusing on peplum waists. Going from strictly couture to high-street staple in the space of five years, this trend is a perfect example of how quickly the fashion landscape can alter.

In May, Franzi make her first appearance for German Vogue. In ‘Klassenbeste’, photographed by Greg Kadel, Franzi modelled the Givenchy Couture jewellery featured in their January collection. Drawing on influences as diverse as Indian bridal jewellery and punk-rock, the large hanging earrings and nose-ring are not a look for the faint-hearted. Designed to create an impact that’s more editorial than ready-to-wear, Mueller models through a look that could easily dominate, making the photograph not just about spectacle. In this photograph, Franzi demands your attention, refusing to be overwhelmed by the massive jewellery pieces. For a newcomer, it was a significant achievement.

The following month, Franzi made her debut for Spanish V.  Appearing in ‘Electro’, photographed by Pierre Debusschere, the editorial lives up to its name, exploring neons and brights. The boldness of the colours is tempered by the super-strict tailoring of the jackets and peplum skirts. With the addition of post-production enhancement, Mueller beautifully balances the photograph; keeping her facial expressions soft and feminine to act as a neat counterpoint, making the bright colours even more appealing by making them look eminently wearable.

Packing in even more editorial commitments, in August Franzi made her inaugural appearance in Russian Vogue. Photographed by Emma Tempest, the self-titled editorial celebrated Franzi as a new and upcoming modelling talent. Along with Italian Vogue, the magazine remains a constant champion of modelling talent, regularly featuring new faces in key editorials and even on the cover. In a publishing world increasingly reliant on the pull of celebrities to boost sales, Russian Vogue remains proudly loyal to its high-fashion roots.

The glut of editorials over the summer paid off for Franzi as she managed to score two high-profile campaigns. Appearing for Louis Vuitton’s multi-model epic, Franzi joins other new names to populate what must be the most stylish train carriage in existence.

Mueller can also be seen in Hobbs’ Autumn / Winter campaign with models Karlina Caune, Emily Baker, Kinga Rajzak and Sojourner Morrell. Hobbs, along with many mid-priced high-street chains, has had to step up its game recently and along with stores like Zara, is providing great trend-led pieces for an increasingly fashion-literate audience. As well as the usual fare of tweeds and beautifully-cut coats in teals and oranges, 

Hobbs also dips its toes into winter florals – and comes up smelling of roses.

Squeezing in a few appearances for the Spring / Summer 2013 season (including Oscar de la Renta, Nina Ricci, Rodarte and Donna Karan), Mueller kicked off the autumn with a season preview with Dazed & Confused. Photographed by Sean and Seng, here Franzi appears in the S&M trend, reworked for this season as eveningwear.

September also saw Franzi hit the editorial jackpot with a spread for Italian Vogue. ‘Alta Moda: Dolce & Gabbana’ (photographed by Paolo Roversi), is a multi-page editorial dedicated to the Italian design duo. Featuring Ava Smith, Kate King, Suzie Bird and Bette Franke, Franzi has her own double-page story, working both black and white lace pieces. Mueller shows her versatility here, channelling the Dolce & Gabbana siren to perfection.

Mueller was back to her high-fashion beginnings in October with an editorial for Wall Street Journal. Shown exclusively online, ‘Austerity Measures’ featured Mueller working the more pronounced silhouettes of Autumn / Winter 2012. Deftly demonstrated through coats and jackets, it is testament to Franzi’s skill in front of the camera that every coat and jacket she models (though vastly different from each other), are anchored by her modelling style. Keeping it simple, she allows the designs to take centre stage. Exuding elegance and poise, Franzi shows off her knowledge of fashion history, channelling the original Dior models of the 1950’s.

Also in October, Franzi made her debut for i-D magazine. The editorial, ‘Being an icon is great but leaving a legacy is better’, Mueller is photographed modelling a leather dress by Celine. Mueller is also interviewed by the magazine, and cites model Mariacarla Boscono as one of her biggest fashion influences, and there are definite similarities in their modelling styles. As Boscono is one of fashion’s longest-serving models, this bodes well for Franzi’s longevity.

Appearing in November’s issue of Numero and a late 2012 appearance for W, Franzi’s editorial popularity has been not only enduring but wide-ranging. Mueller has already appeared in publications from Italy, China, Spain, Germany, Russia and the United States. Mueller’s status as a high-flyer is defined by her instinct for wearing modern design with intelligence and verve. Combine this with Franzi’s physical gifts – height, good proportion and bone-structure – and you arrive at a picture of a model that not only appreciates high fashion, but understands it as well.

Every great model knows that while their face graces an editorial, or fronts a campaign, it is the clothes that are the star. The best models working right now are the ones who have a genuine love of fashion. With high-fashion itself heading into the unknown, with ever-bolder shapes taking the lead, it is up to the industry’s interpreters (photographers, stylists, editors and models) to take the fear out of contemporary fashion and persuade us of its wearability.

Even at its most extreme, Franzi finds the beauty in high fashion, making it not just interesting but downright inspirational. These are big ideas, fashion at its most conceptual, but with the right interpretation, these are ideas we find ourselves wanting to explore.

Making that leap into wearing the next big idea takes courage and models like Franzi are going there first; showing us not only how these new trends can be worn, but how we can find a connection between the clothing and ourselves. Every regularly-worn piece in your wardrobe gets preference above others because you have a connection to it. Whether it’s a colour, or pattern, favourite pieces connect and that relationship can be deep-rooted. It explains why you end up buying one colour over and over, or variations of a jacket you have worn to death.

Making that connection is skilled work and this is why a model who loves fashion will always do well. Looking at Franzi’s CV, despite the fact her career is not even a year old; she is already shaping up to be one of high fashion’s most prolific advocates. Whether she’s channelling aspects of fashion’s history, or working the edgiest trends, the love is there for everyone to see.

HELEN TOPE

MODEL PROFILES: KARLINA CAUNE

Born in 1993, Latvian model Karlina Caune shot to fame in 2010 when she won the Ford Models Supermodel of the World competition. 

A global search for fashion’s next superstars, the standards for this competition are fiercely high. To even be selected to take part is a very strong indicator of real modelling talent. While winning is not an automatic pass into the fashion industry, it is enough to propel a model's career in the right direction. The winners are selected by a panel of fashion insiders. They select the next generation of faces they believe will have an impact and Caune’s classic features, with a hint of editorial, were deemed to be exactly what the industry was looking for.

In February 2010, Karlina debuted at Fashion Week, and proved a hit with a wide range of designers including Marchesa, Behnaz Serafpour and Tory Burch. 

Karlina broke into editorial work the following month, with a spread in Nylon. This was a key publication for Caune’s editorial debut: Nylon’s reputation for presenting high-fashion in a refreshingly non-deferential way is well-founded, and a major coup for any new model.

In June, Karlina modelled in the resort show for Stella McCartney in New York, following that with an editorial for British Marie Claire. Photographed by Yu Tsai, ‘Super Vixen’ fused classic beauty with the moody, evocative image of the silver-screen siren. Using dark-haired Karlina, it was a deft response to the Hitchcock blonde.

Leaving Ford Models and signing with New York Models in early 2011, Karlina returned to the runway in February walking in ready-to-wear shows for Erdem, Louise Gray and Meadham Kirchhoff.  Landing the cover of Russia’s L’Officiel in March, and appearing in the spring issue of Revue de Modes, Caune’s list of runway bookings began to grow. Walking in the Spring / Summer 2012 shows that September, she added Carven, Celine, Dries van Noten, Isabel Marant, Julien MacDonald, Marios Schwab and YSL to her list of credits. With the season’s emphasis on femininity, it was no surprise that Karlina did so well. On the catwalk, every interpretation of femininity was represented, from Julien MacDonald’s homage to old-school glamour to Meadham Kirchhoff’s subversive exploration of sugar and spice.

Caune made her first appearance in German Vogue in February, working with Kati Nescher, Erjona Ala and Julia Frauche. In a series of soft-focus, modern portraits; this editorial (‘WeiB wie Schwarz’) was all about striking a balance between being a strong editorial presence and allowing the simplicity of the clothes to speak for themselves. This type of modelling requires intelligence and subtlety: Karlina delivered on both.

February saw Karlina’s runway CV expand with a massive 45 shows, walking for Dolce & Gabbana, Hakaan, Jason Wu, Marni, Oscar de la Renta, Rag & Bone, Sonia Rykiel and Viktor & Rolf. This was Karlina’s most comprehensive season to date.

In March, Karlina appeared in the British edition of Harper’s Bazaar. ‘The Shape of Things to Come’, photographed by Mark Segal, saw Karlina model the bold new motifs for 2012. Her ability to work fashion’s most challenging ideas was also demonstrated when Caune was booked for Dazed & Confused’s season preview. Modelling monochromatic tailoring, Karlina modelled one of fashion's most enduring and iconic looks without being overwhelmed.

That same month, Karlina appeared in i-D. ‘Don’t Be a Drag, Just be a Queen’ (photographed by Amy Troost), saw Caune channel punk attitude with a Valentino dress layered with a McQ pleated leather skirt. This ‘in-your-face’ fashion doesn’t always mix well with classic faces, but Karlina handled i-D’s brief with relish, working her angles to create that vital, editorial edge.

Returning to the pages of German Vogue in May, Karlina got to work with photographer Greg Kadel. ‘Klassenbeste’ (meaning ‘Best in Class’) saw Karlina modelling an American Varsity jacket and an exquisitely-beaded haute couture corset. If you ever needed proof of Karlina’s versatility, this shoot was Exhibit A.

Karlina’s exhaustive round of editorial work culminated in May with an appearance in Italian Vogue. Working for their supplement, ‘Suggestions’, the shoot and accompanying video was a virtual moodboard for the perfect summer: warm, sunny and light-hearted, this impeccably-styled supplement saw Italian Vogue in relaxed mode. The retro, laid-back feel saw Karlina and fellow model Monica Sawicka recline in colourful pieces by Moschino, Giambattista Valli and Prada.

August saw a flurry of print work for Karlina, including Numero’s ‘Lunaire’ (an editorial dedicated to exploring texture) and Turkish Vogue’s ‘Isiga Dogru’. The latter, photographed by Jem Mitchell, explored dazzling, ornate bursts of colour with clashing textures and finishes. A beautifully-shot editorial that made the most of Karlina’s classic beauty, this was excess undertaken with perfect restraint.

This September, Karlina re-appeared on the RTW catwalks, walking for Giambattista Valli, DSquared, Tom Ford, Christopher Kane, Thakoon and Helmut Lang. With her authority on the runway now clearly established, Caune’s career went to the next level: campaigns.

This winter, you can see Karlina in four different campaigns: Akris (modern, sleek sensuality); Jil Sander Eyewear; Hobbs with Emily Baker and Kinga Rajzak and Sportmax (undergoing an image overhaul courtesy of photographer Craig McDean).

Looking at Karlina’s varied body of work; it is obvious why she won the Ford Models competition. Able to run the gamut of modern sophistication to rough-and-ready punk, Caune is the epitome of the fashion multi-tasker. Despite fashion’s current taste for models with a pre-defined look, there is always a place (and economic necessity) for the versatile model. There is an advantage in having a look that doesn’t lean too heavily in any direction – depending on the styling; Karlina can be ultra-feminine or downright androgynous. It also makes for a more interesting career: so far Karlina has worked for publications as diverse as Nylon, Harper’s Bazaar and Italian Vogue.

There is also longevity in being the versatile girl: the model with the strong, headline-making look may be winning the top jobs one month, but fashion never stays in one place for very long. Furthermore, any modelling agency will tell you that a healthy bottom-line is dependent on models just like Karlina.

In winning a big competition like Ford Models, there is always the risk of that victory, that weight of expectation, marring a model’s progress. Enter the fashion industry equipped with the title ‘Supermodel of the World’ and the pressure is on to perform – and to do so to the highest of standards.

Karlina has been brave in not chasing the obvious, big-money jobs. In debuting with a small-but-strong RTW season, she developed a solid foundation, growing steadily each year, winning over more and more clients in the process. Caune’s long game strategy has proved to be the smart choice and could well be copied by future winners of this highly influential competition. In not bowing to pressure to become that ‘iconic’ supermodel, Karlina has engineered a career that’s not only exciting, but buzzing with potential. The best is most definitely yet to come.

HELEN TOPE

MODEL PROFILES: AYMELINE VALADE

Born in France in 1985, Aymeline Valade signed with Women Management in February 2009, aged 24.

Her industry breakthrough came in October 2010, when she walked in the Spring / Summer show for Balenciaga. Also booking two editorials with Wonderland magazine, Aymeline’s early connections with fashion were strictly left-field.

In January 2011, Aymeline scored her first magazine cover, with an appearance for Turkish Vogue. Featured in a gold mini-dress, mirroring Turkey’s taste for opulent fashion, Valade was making an impact on an international stage.

Also modelling for the Pre-Fall shows (Alexander Wang and Balenciaga), she became the fact of the S/S Alexander Wang campaign in early 2011. A new-world, spirited take on street fashion, the dynamic shapes that Aymeline effortlessly pulls in front of the camera neatly matches the free-flow of Alexander's designs. It was one of those big win-or-lose moments: defying her level of experience, Aymeline’s performance in the campaign was that of a much more seasoned model.

Valade’s confident showing for the Alexander Wang advert led to a massive RTW season in February with appearances in over 30 shows. Not only that, Aymeline made a big splash with several opening and closing spots including Louis Vuitton, Rick Owens, Loewe and Chloe. Also walking for Chanel, Dolce & Gabbana, Gucci, Lanvin, Marc Jacobs and Versace, this was a well-rounded season with Aymeline there for all the big moments of the February 2011 catwalk, including Gucci’s 70’s glam-fest and Marc Jacobs’ new obsession: polka-dots. This was a good season to become fashion's latest IT girl.

Aymeline followed this success with editorials for W, Numero and German Vogue. Her appearance in the May issue of German Vogue was for the beauty editorial ‘Uber Sinnlich’. An avant-garde beauty shoot featuring Anais Pouliot and Julia Saner, Aymeline channelled Bardot, dishevelled glamour.

Valade’s editorial career went even further overseas with late-summer appearances for Chinese and American Vogue. The editorial for Chinese Vogue saw Aymeline wear classic, big-name labels such as Chanel, YSL and Celine – all with bags of Parisian heritage, and worn by a Parisian model. It made for a very easy sell to the Chinese fashion market.

All of this feverish activity led up to a September that saw Aymeline hit everyone’s radar. Firstly, she appeared on the cover of RUSSH, followed by a massive spread in US Harper’s Bazaar. Photographed by Karl Lagerfeld, the Downton Abbey / Brideshead Revisited theme of the editorial was sharply narrative – exactly the type of photography Lagerfeld excels at. He tells stories with his collections, and his photography is no different. It certainly explains Karl’s eagerness to embrace the concept of campaign videos. A making-of video accompanying Chanel’s latest print campaign with Saskia de Brauw and Joan Smalls has already reached 80,000 hits on YouTube.

Following this editorial, Aymeline also made her debut in September’s Italian Vogue, featuring in a spread photographed by Steven Klein. ‘A Point of View’ (featuring Crystal Renn, Catherine McNeil and Jamie Bochert) was shot from a deliberately low angle, inverting every principle of fashion photography. Awkward angles and obscured views make for a challenging take on how we view high-fashion. Even from this angle, the clothes still look good.

Aymeline then took to the catwalk, with an amazing 57-show season. Opening shows for Diane Von Furstenberg, Vera Wang, Carolina Herrera and Lanvin, this was Aymeline’s rain-maker season.

The good fortune continued with Valade securing 3 major campaigns: Kenzo, Just Cavalli and Etro. Kenzo had a particularly strong season, with the campaign featuring Aymeline styled in homage to the artist Frida Kahlo. With tons of ornate print and Spanish detailing, Aymeline was clearly adept at translating her look to other fashion cultures.

October saw Aymeline take to the pages of Japanese Vogue, and a month later, she was appearing in a major couture editorial for V. Named ‘Couture 2011’, the spread was a full review of the A/W haute couture season including Givenchy, Armani Prive and Valentino. Aymeline took on her couture dues, modelling alongside Zuzanna Bijoch and Emily Baker.

Finishing the year with another editorial for Italian Vogue (‘Clean and Graphic’), this was a strongly androgynous shoot with Paolo Roversi behind the lens. Aymeline joined forces with Saskia de Brauw who has made a career on her ability to transform. Aymeline performs on a par with de Brauw in a sleek, stylish editorial.

Aymeline opened 2012 with another editorial, this time for American Vogue. ‘A Man for All Seasons’ was a tribute to the ongoing work of Marc Jacobs, and this big start to the year carried on for Valade as she took to her first couture runway in January. Opening the show for Armani Prive, and closing the Dior show, this was a particularly successful season, not least for Dior. Creative director Bill Gattyen went back through Dior’s back catalogue and pulled a confident, polished collection out of the bag. It was a modern interpretation of Dior’s ‘New Look’ and Aymeline could not have had a better introduction into the world of couture.

No longer operating on fashion’s sidelines, Aymeline is taking her time in the spotlight with another 3 campaigns this season, including a double-shoot for Lanvin. Working with models Aaron Vernon and Angus Low, Valade poses with real snakes, emphasising the sleek drapery of the Lanvin gowns. Adding another layer of fun in the campaign video with music from Maxine Ashley, Aymeline’s appearance for Lanvin is a career-changer with Valade poised to become another one of France’s style icons.

Every country has its icons, but where France excels is in the sheer diversity of the faces that have come to represent it: from Brigitte Bardot to Carla Bruni, to more recent faces such as Clemence Posey – French style has no one particular look – bombshell to beatnik all get a look in. Carla Bruni’s sophistication will inspire future First Ladies for many years to come, just as Brigitte Bardot’s heady combination of back-combed hair and eyeliner is still used today to communicate a rich, pouty sensuality. France is very good at creating images that have longevity.

The image of the groomed but worldly Parisian is just as timeless: Lanvin taps into that iconography in its latest campaign, knowing that we can join the dots ourselves. But what has been missing in recent years, however, is France’s stake on the modelling world. It’s clear that France understands and appreciates new faces – French Vogue famously championed Lara Stone and Isabeli Fontana, helping to propel both to fame. But after a brief peak in the 1990’s and early 2000’s with Audrey Marnay being on every designer’s wish-list, and Laetitia Casta taking her film-friendly looks to Hollywood, France’s contribution on the modelling front became noticeable by its absence.

However, it appears that a new generation of models are flying the Tricolour, ensuring that France is not just the epicentre of great design, but is now producing great faces to represent this key fashion heartland.

Aymeline joins faces such as Constance Jablonski, Charlotte di Calypso and newcomer Julia Frauche to build a new group of models that are proud to be different. Constance Jablonski, a regular with Estee Lauder, brings a fresh-faced, eager quality to the sometimes jaded world of high-fashion. Charlotte has been the face of Chanel’s Chance fragrance, and has translated her beauty on an international level, moving across the Atlantic to represent American super-label Ralph Lauren.

Aymeline, however, is France’s directional girl. Her first campaign was with Alexander Wang, and her latest work with Lanvin marries up her edgy qualities with the label’s distinct take on Parisian chic. Utterly at home on the runway, Valade brings with her an other-worldly quality, something that is always in high demand within the fashion industry. For a country that is so at home with producing ground-breaking, avant-garde design, France has found it difficult to come up with a model who, in quite literal terms, walks the walk. With Aymeline Valade, they have finally found their running mate – a model who makes light work of this country’s heritage.

A model could be forgiven for being daunted by France’s heavyweight standing in the fashion world – but Aymeline’s fearless, gutsy approach to not only runway, but campaigns, covers and editorials makes her the perfect icon for the country that has given us the tools to value and appreciate fashion, even at its most difficult. It may have taken a while for France to find its feet in the modelling world – but if Aymeline is any indication of what’s to come – it’s been worth the wait.

HELEN TOPE