MODEL PROFILES: MARIA BRADLEY

Born on February 21 1994, Maria Bradley signed with Chicago-based agency Factor Models in 2011. Aged 17, Bradley undertook her first major runway season that September, with a select group of designers including Alexander Wang, Balenciaga, Proenza Schouler, Tommy Hilfiger and Versace.

An individual booking with any of these designers would represent a highly significant achievement for a new model. Collectively, this debut of less than 10 shows may be small, but it’s perfectly formed. Maria walked in the Balenciaga and Versace shows as exclusives – an affirmative nod from two of the biggest, most influential names in fashion.

Leaning more towards the edgier side of fashion’s spectrum, Maria’s success with Balenciaga is understandable, but her booking with Versace is perhaps more of a surprise. Traditionally aligned with high glamour, Versace has recently undergone an image revolution, with its campaign this time last year fronted by super-edgy model Saskia de Brauw. Taking the ultimate glamour-girl label in a whole new direction, coupled with Christopher Kane’s effortlessly cool work at Versus, this Italian powerhouse has toughened up. Compare its campaigns of ten years ago to its latest signing, Elza Luijendijk and it shows how a major label progresses and evolves.

In late 2011, Maria also signed with DNA Models, based in New York. In January 2012, she made her debut for British magazine, ‘Dazed & Confused’. Following that with an appearance in British Vogue, Bradley’s editorial looks were already translating well.

In February 2012, Bradley experienced her first runway season as a ‘must-have’ girl. Clocking up an amazing 50 shows, she worked with heritage brands to blockbuster labels including Chanel, Donna Karan, Gareth Pugh, Helmut Lang, Marc Jacobs, Michael Kors, Rag & Bone, Sportmax, Valentino, Victoria Beckham and YSL.

This roster of bookings has all the hallmarks of belonging to a long-established model. Virtually every design ‘niche’ is represented here, and it’s partly down to Maria’s androgynous looks. Once considered a niche in itself, androgynous models now have the advantage of working in a much more fluid fashion industry. Her features make her ideal for all kinds of work – with a bit of styling she is ready for the high-living glamour of a Michael Kors show; stripped back, she is spot-on for the minimal aesthetic of Helmut Lang.

In March, Maria returned to the editorial circuit again, this time appearing in cult magazine, i-D.  Photographed by Amy Troost, the spread was named ‘Don’t Be a Drag, Just Be a Queen’. Taken directly from the lyrics of Lady Gaga’s single ‘Born This Way’, Maria modelled warrior-woman, tough-as-nails fashion.

In May, Maria took to the runway, this time for resort season. Appearing in resort (or cruise) shows for Jonathan Saunders, Reed Krakoff, Narciso Rodriguez and Alexander Wang, the highlight of the Resort 2013 season was undoubtedly Chanel’s show held at Versailles. Maria modelled in this show, in which Karl Lagerfeld indulged his taste for high-drama. With the models styled in pastels and hi-top trainers, Lagerfeld worked with the classic Chanel dichotomy of masculine and feminine. Scoring serious column inches for its lavish production values, Chanel Cruise is as much an event as the main ready-to-wear shows.

The following month, Bradley made her inaugural appearance for W. Modelling for ‘City Slickers’, an editorial photographed by Craig McDean, Maria modelled the summer trend, sports-luxe. Maria exuded confidence in this shoot, no doubt explained by the fact that her hobbies include football, ski-ing, cross-country running and basketball. In this shoot, Bradley does not need to fake it: her enthusiasm for sport makes her a natural.

Repeated bookings with clients are one way of telling whether you’re on the right track, and Bradley’s career is studded with examples of clients coming back for more. Bradley returned again to the pages of W in July, and in the same month, she returned to ‘Dazed & Confused’, modelling with Prada’s latest it-girl, Katryn Kruger.

In August, Maria shot her third editorial for W magazine, this time in a portrait series called ‘Natural Selection’. Focusing on fashion’s new-season obsession with texture, Bradley worked with models Ophelie Rupp, Ondria Hardin, Jeneil Williams and Laura Kampman.

September’s RTW season saw Maria return to the runway, this time walking for Peter Som, Tommy Hilfiger, Thakoon, Alexander Wang, Prabal Gurung, Belstaff, Vera Wang, Diesel, Michael Kors, Reed Krakoff, Proenza Schouler and Christopher Kane. Look closely, and you’ll see just how many of these names Bradley has already worked for.

Maria’s editorial career took a step up this month, with an appearance scheduled for the October issue of Russian Vogue. ‘Dark Side’, photographed by Ben Toms, sees Maria transform for a beauty shoot that showcases the minimal make-up that’s bang on trend for this autumn. Re-writing the rules on the berry tones usually favoured for this season, this neutral take on autumn beauty is a breath of fresh air. A perfect complement to this season’s decadence; this make-up is low on effort, but delivers full-on impact. Bradley is an ideal choice for this type of shoot, with a very modern type of beauty just right for modelling a very modern type of make-up.

With Bradley now celebrating a year in the modelling world, a sign of just how far she has come in 12 months arrives in the form of bona-fide industry approval. Bradley can now claim to be one of a very elite group of new models, labelled as stars of the future by www.models.com. She joins successful newcomers including current Prada campaign girl Madison Headrick, British beauties Lara Mullen and Rosie Tapner and Givenchy campaign favourite, Dutch model Stef van der Laan.

What is noticeable about the popular website’s list is just how many of these new faces are unashamedly editorial. Having cross-over potential used to be modelling’s Holy Grail; girls who could book Victoria’s Secret as well as Chanel Couture. But, as ever, fashion loves to change its mind. The new season campaign for Givenchy is a textbook case in point in that it is 100% directional in tone. The bold, uncompromising image looks more like a spread for Italian Vogue than a traditional campaign. This isn’t about maintaining a consumer-friendly brand, rather more creating a strong, core identity. In short, Givenchy is marking its territory. A strong, memorable campaign means a boost in sales and good sales mean survival for another year. The face that has to front this, of course, cannot be anything but extraordinary. Brands are clamouring for these newer faces, the faces that aren’t the safe choice by any definition.  This new season is seeing a tide change in how labels are representing themselves: out with familiarity, in with beauty that’s as challenging as it is beguiling.

Maria Bradley joins models such as Madison Headrick and Stef van der Laan to become a ‘statement face’. Bradley can adapt, and brilliantly, but at heart, she is a model squarely focused on the androgynous end of the fashion market. It is here where the greatest revolutions are taking place: androgyny is no longer limited to a fashion sidebar, but it has become the modern industry’s greatest asset. In other words, true versatility.

Bradley’s great run of editorial and runway work is just the precursor to a longer, even more successful career. Bradley is the ideal candidate for future campaigns that will take their lead from Givenchy. Faces that will not only sell, but persuade at a deeper level – it’s only a matter of time before Maria becomes the rising star every label must have.

HELEN TOPE

MODEL PROFILES: KATRYN KRUGER

Born in Cape Town in 1995, South-African model Katryn Kruger may be a newcomer to the fashion industry, but she is already setting a new standard.

Katryn’s first introduction into modelling came courtesy of Prada in early 2011 modelling for their resort look-book. Kruger made her runway debut in October with an appearance for Givenchy. Walking for the French label as an exclusive, Kruger went on to work for Jalouse magazine with two consecutive editorials.

The first, ‘Top 8’ profiled new model talent including Caitlin Lomax, Isabella Melo and Anouk de Heer. The second, ‘Block Beauty’, saw Katryn take centre stage with a high-end beauty shoot. The theme was faces and themes of cinema: Katryn modelled looks that took inspiration from sources as diverse as Greta Garbo, Blade Runner and Bambi. The Garbo photo is a particular success with Kruger channelling the German star’s reluctant celebrity.

Taking on haute couture in January 2012, Kruger modelled for Elie Saab, Valentino, Giambattista Valli and Zuhair Muraud. With the obvious exception of Valentino, all the other couture houses are recent additions to the select group of couturiers working in Paris. Now with the appointment of Raf Simons to the post of artistic director at Dior, couture looks set to enter a new age of strong and fearless design. Simons, who up till recently worked as the creative director at Jil Sander, transformed a minimalist label into a byword for postmodern elegance. Taking on fashion’s toughest challenges, he gave minimal fashion the push it needed to move on from its Nineties roots. Neon cashmere and moulded hems, under Simons’ tutelage, became must-have items. Using new fabrics and techniques, Simons made the Jil Sander brand an esoteric delight: fashion packed with intelligent choices. His ability to take fashion to the forefront of innovation makes him a very exciting prospect when it comes to taking on Dior Couture. With its extensive history, the temptation to stay in the retro comfort zone is understandable. But with the hiring of Simons, the only logical progression for Dior is forward. With Simons’ first couture collection due in July, the small world of haute couture is about to get a whole lot bigger.

Katryn hit the ready-to-wear catwalks in February, with numerous appearances for some of the world’s biggest names. Walking for Louis Vuitton, Chloe, Roland Mouret, Dolce & Gabbana, Prada, Ralph Lauren and Donna Karan, Kruger’s first major season was a virtually perfect template of a top model’s booking sheet: all the must-book labels are accounted for, with edgier new talent also included.

In March, Katryn made her first appearance for V magazine, working with photographer Benny Horne. The spread, ‘Trophy Club’, sees Kruger model sportswear. A side-trend perfect for those not swayed by the girlish glamour served up by Louis Vuitton, this luxurious take on sportswear makes it an attainable look for those who like their fashion a little more casual.

Kruger’s next booking was anything but casual – following her earlier work with the Italian label, Kruger (still a relative newcomer to the industry) was hired to take part in both the campaign and video for Prada’s Spring / Summer collection.

Already a hit on the runway, the crowd-pleasing collection was represented by both established names and some less familiar. Working with photographer Steven Miesel were Natasha Poly and Guinevere van Seenus, along with newcomers Elise Crombez, Meghan Collison and Ymre Stiekema. The eclectic mix of beauty, from Natasha’s all-out glamour to Meghan’s quirky cool, was an unusual choice but a choice that turned out to be inspired casting.

With everyone wearing the 50’s inspired pieces, the cohesive quality of the campaign draws you in. There is not a wasted moment in this campaign: every look and every gesture adds flavour and piquancy to an already well-received collection.

The campaign video also works on the same principles, with the models coolly eyeing each others’ garb at a gas station. Packed with references to classic Americana, the video is a love-letter to everything great about retro-fashion. The duster coats, the have-to-look-twice printed dresses – all perfectly handled, but at the same time, nothing here feels dated. With the use of contemporary music including Sleigh Bells and Ariel Pink, Prada have hit a home run, with a campaign video that is proving to be extraordinarily popular. So far it has clocked up over 300,000 hits on YouTube. To put this in perspective, Prada’s campaign video for Spring / Summer 2011 has been viewed 32,000 times.

In the video, Kruger gets the lion’s share of the camera’s attention, her classic features sitting perfectly in the retro feel of the campaign. Kruger is the main focus at the end of the video – as coveted as an opening or closing spot in a runway show, Kruger makes a lasting first impression, with a performance that is assured and confident. It would be an accomplished debut for any model, and a star-making move at that, but it is remarkable when watching Katryn to think that you are watching a 16-year-old with minimal modelling experience.

Kruger’s appearance for the Prada S/S 12 campaign has made her a name, not only among the hundreds of thousands of fans viewing on YouTube, but within the fashion industry itself. Her latest work, an editorial for Interview, again shows that Kruger may be young but has the potential to become an international star.

Wearing Stella McCartney’s latest collection, Kruger’s ease at modelling what is a challenging body of work invites us to draw direct comparisons with other models. Kruger’s phenomenal rise is down to more than just her perfectly-set classic features: no face, no matter how beautiful, would be enough to secure you a booking with Prada. The Italian powerhouse label regularly take chances on new models, but every one of those models ends up becoming a name because Prada know how to draw out talent. Looks are no longer enough in an industry where perfection is the norm: you have to have something else to offer. Recent success stories such as Karlie Kloss, Lindsey Wixson and Arizona Muse show exactly how modelling is not a game of luck, but a game of skill, and how some come to the table with a more defined skills-set than others. Muse’s endlessly adaptable face; Lindsey’s unforced quirkiness and Karlie’s agility all make them one-of-a-kind. The things that should make them not ‘work’ are of course the reasons why Wixson, Kloss and Muse are so enormously successful. Karlie’s dance background, Muse’s statement eyebrows and Wixson’s dollhouse pout should, in theory, rule them out of modelling at the highest levels – but each of them has excelled without compromising what makes them unique.

Already on the ascent, Kruger’s unique selling point is easy to figure: a fearless approach to runway and campaigns with a commercially-friendly face. Equipped with these advantages, Katryn’s next career move could be in any direction. Just like Arizona Muse who made a huge impact on an unsuspecting fashion industry back in 2010, Kruger has the type of face that can apply itself to any type of design philosophy, and adaptability sells. With the potential to go anywhere from Italian Vogue to Victoria’s Secret (and everywhere in-between), Kruger is redefining the standards of what it takes to break away from the pack and become that rising star. With a stellar career in progress, the only direction for Katryn Kruger is up.

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: NATALIA VODIANOVA

Born in Russia on February 28^th 1982, Natalia Vodianova is one of modelling’s most popular faces.

A campaign regular for Calvin Klein and Stella McCartney, Vodianova was first discovered at the age of 16 working on a market stall. That same year, Natalia moved to Paris and signed with Viva Management. After a flurry of early modelling bookings, Natalia took a year out after giving birth to her first son, Lucas, returning with a bang in 2002.

Natalia signed a fragrance contract with Gucci and in March opened the Autumn / Winter show for YSL in Paris. She also booked a campaign with Louis Vuitton and closed 2002 with the cover of Italian Vogue, photographed by Steven Meisel. Natalia’s success continued into 2003 and 2004 with a 49-show runway season and a slew of international Vogue covers.

Signing with Calvin Klein in 2005, Vodianova’s career went into overdrive. A bond that continues to this day, Natalia’s mix of edgy beauty and classic appeal made her an ideal fit for the American super-brand. The signing made Natalia a visible presence on an international level.

Nabbing her second Italian Vogue cover in May, Vodianova renewed her contract with Calvin Klein in 2006, including additional duties representing the label’s newest fragrance, ‘Euphoria’.

Calvin Klein has led the market in making the link between high-fashion and fragrance. A ubiquitous presence in the 80’s and 90’s with ‘Eternity’ and ‘Obsession’, Calvin Klein has succeeded where others have failed because of their ability to identify their customer-base. Every fragrance developed by the brand is individually targeted at a particular group of consumers, from the design of the bottle to the faces hired to carry the campaign. The brand’s clarity in focusing on who they’re selling to has made them one of the most successful perfume-makers in the world.

For Natalia, to not only scoop the initial campaign, but to still be representing the fragrance six years on, puts her in a highly select group of models. Clothing campaigns come and go, but there is something compelling about a good fragrance campaign. When the chemistry is right, the bond between the model and the fragrance can last a lifetime. Natalia’s long-standing affiliation with the scent has turned ‘Euphoria’ into a modern classic.

2007 saw Natalia return to the catwalk in February, opening the A/W show for Calvin Klein. Renewing her contract with the American label, her star-power was in evidence when she appeared on the cover of American Vogue. 2007 was clearly a year for cover-sharing, with Natalia being the only model to have a solo US Vogue cover that year. That charisma translated into serious cash, with Natalia being ranked by Forbes magazine as the 5^th highest-paid model in the world, earning an estimated $4.5 million in 2006.

As one of fashion’s biggest names, Natalie got to work on some incredible projects. In January 2008, Natalia was asked to both open and close Valentino’s final couture show in Paris. A true fashion event, the designer behind the Valentino label retired in 2008 with one final, glorious triumph.

The show was a love-letter to glamour, and the ending of the show saw every model take to the catwalk in identical Valentino-red gowns. From a career that started with dressing Jackie Kennedy in the Sixties, to transforming red-carpet dressing, Valentino remains shorthand for sophisticated, Italian glamour. Natalia’s role was pivotal as a long-time favourite of the designer, and she was able to pay tribute to a life’s work that continues to have a huge impact on fashion.

Natalia’s place within the fashion industry was confirmed with an editorial in May 2009’s edition of American Vogue. Titled ‘The Godfather’, US Vogue paid homage to the extraordinary career of Steven Meisel.

The photographer’s star-finding abilities were proudly celebrated, collating every top model that Meisel ever backed. It is fair to say that without Meisel’s unique eye for new talent, the landscape of the modelling world would look very different. Vodianova’s first Italian Vogue cover in 2002 was with Meisel and her ability to command top-dollar comes from those early positive experiences that gave her the confidence to take on those big-money assignments.

Natalia worked with Meisel again, collaborating on the December ’09 issue of Italian Vogue. The cover, ‘Meisel Pic’, and the accompanying editorial, ‘Following’, are a Twitter-esque parody, featuring a ‘friends list’ of some of the world’s best-known models. Gisele, Lara Stone and Christy Turlington all got their pose on, creating faux-profile pictures.

The result was a witty appraisal of the boom in self-portraiture featured on social media websites. Putting the spotlight on these technological developments which are continuing to evolve the way we consume and enjoy fashion, re-affirmed Meisel’s ability to examine the new and the next.

Natalia’s status continued to soar when she got an entire issue of Vogue to herself in May 2010. Featuring throughout Chinese Vogue, Natalia appeared in a range of editorials photographed by Paolo Roversi, Peter Lindbergh and Patrick Demarchelier. Comparable to Natasha Poly’s solo issue for Russian Vogue, this rare honour is only offered to the truly great models.

Natalia proved her worth again in July 2010, shooting an extensive editorial for American Vogue. Shot by Peter Lindbergh, Natalia was partnered with actor Ewan McGregor. In a spread that combined Hitchcock with domestic drama, it illustrated the type of narrative modelling that Natalia excels at.

In late 2010, Natalia joined Karen Elson and Christy Turlington in shooting one of the top campaigns of the season. Appearing for Louis Vuitton, this was one of the most striking images of the fashion year. Natalia, Christy and Karen showed off their fashion prowess in designs that were unapologetically feminine. From the cutting table to the pages of Vogue, this collection was a winner on every front.

Finishing the year with an opening slot in Roberto Cavalli’s 40^th anniversary show in Milan, Natalia began 2011 with more editorial work, including British Vogue’s bridal edition.

Released to coincide with the Royal Wedding, the multi-cover special featured Natalia in couture bridal-wear. With every aspect of bridal fashion covered as only Vogue can, it was a resounding counter to anyone who assumed that the British can’t do romance.

More editorial work followed, with a spread for US Vogue photographed by Mert Alas and Marcus Piggott. ‘My Generation’ was a retro-styled shoot with references to the novel ‘Brighton Rock’ to give it some bite. It was stylish, coded rebellion, making the editorial look and feel absolutely authentic.

With over ten years in the business, Vodianova continues to book some of fashion’s most-coveted jobs. Scoring a place on the A/W Givenchy campaign with Mariacarla Boscono, Naomi Campbell and Kristen McMenamy, Givenchy went with bold casting choices, choosing experienced models all at the top of their game, proving that as far as high-fashion is concerned; age really is just a number.

Vodianova’s longevity is about more than sheer beauty. Having a face capable of producing looks from chocolate-box prettiness to haute couture complexity, Natalia has utilised her natural gifts to carve out a unique place in fashion history.

Being the prettiest girl in the room isn’t a guarantee of success, and Vodianova has achieved greatness by using that face with purpose. Natalia’s genius is in generating intention behind every shot. Whether it’s conveying dramatic tension or wistful yearning, she is one of the best in the business.

Story-telling is at the heart of great fashion, whether that’s on the runway or in a blockbuster campaign. Drawing the consumer into the story is central to the high-fashion experience. Design and tailoring may make the clothes, but in order to sell them, you need a little magic. Our primitive need to create stories is what makes print work crucial to the success of the fashion industry, even when so much of the fashion experience is now online. If we identify with the story, the label can’t fail to make it big.

The A/W 2010 campaign for Louis Vuitton is a brilliant example of how this strategy works. The genius of this campaign was in persuading us that fashion had become a friendlier place for curves, with most of the pieces needing extra shape to fill them out correctly. The idea that high-fashion was just to be enjoyed in its abstract form was transformed overnight. The gap between ‘us’ and ‘them’ got narrower.

The fear that consumer power would stifle creativity hasn’t been realised. The latest A/W collections are eminently wearable but the touches of daring design are still present from Prada’s fur-covered trenches to Marc Jacobs’ bold, magnified touches of luxury. Persuading us to take these sartorial leaps of faith are models like Natalia who make us want to get involved. Fashion should never be a spectator sport; Vodianova’s ability to sell us not only the dream of high-fashion, but the actual day-to-day experience of wearing it, is what has kept her in such demand.

Her latest campaigns with Stella McCartney and Givenchy illustrate how fashion is learning to mould itself to its core customers. McCartney’s slip dress of the Nineties has given way to sophisticated nostalgia. On Natalia, Eighties polka-dots and sheer panels are not a hard sell.

As Natalia heads towards her thirties, she is becoming the poster-girl for a generation that is determined to grow up gracefully. The same group who were caught between grunge and girlie abandon are pushing the fashion industry into a new era where fashion literacy and high-expectations are the norm.

Natalia’s generation have grown up knowing not only the big-name labels, but the smaller, niche brands. Catering to this crowd requires an intelligent approach, making fashion that’s real-life applicable but audaciously creative. These consumers are prepared to give difficult clothes a go, even when other age-groups shy away from them, and that makes them one of the most-valued demographics in fashion today.

Selling to this age group requires a face they can trust. As their peer, Vodianova’s modelling style registers as cool, collected and seductive, but most of all, honest. Natalia’s charm is in her ability to quietly challenge our fashion perspectives, our most firmly-held sartorial beliefs.

Making light of fashion’s hardest task, Natalia’s soft approach to the hard-sell has made us powerless to resist. A gifted and subtle story-teller, Natalia’s way changes us by degrees. A quiet revolutionary, and still continuing to challenge the perceived wisdom, Natalia’s gentle persuasion has made her one of modelling’s truest pioneers.

HELEN TOPE