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: FRIDA GUSTAVSSON

Born 6th June 1993, Swedish-born Frida Gustavsson has, in the space of two years, become one of fashion’s most wanted.

Frida began modelling at the age of 15, moving to Japan the same year to pursue a career. Signing with IMG in 2009, Frida began her runway career in earnest, booking spots with Elie Saab and being picked to open the Valentino Couture show – an extraordinary honour for a newcomer.

Her connection with Valentino resurfaced in September, when Frida did her first editorial with Italian Vogue. Photographed in head-to-toe couture, Frida’s debut on the international fashion stage singled her out immediately as no run-of-the-mill model.

The impact of the editorial was confirmed when Frida secured ready-to-wear bookings with Carolina Herrera, Calvin Klein, Marc Jacobs, Oscar de la Renta, Rodarte and Lanvin. Her super-stellar arrival, including closing spots for Just Cavalli and Gareth Pugh, put Frida firmly in the fashion spotlight. Both www.style.com and www.models.com subsequently featured Gustavsson as a Top 10 Newcomer.

January 2010 began with another couture season, with appearances for Valentino, plus Armani Prive, Elie Saab, Dior and Chanel, with additional editorial work for W and Italian Vogue. But Frida’s next RTW season would prove to be a monster hit.

Opening shows for Sophia Kokosalaki and Costume National, Frida’s mega season featured over 70 appearances ranging from Phillip Lim, Burberry and Chanel to Louis Vuitton, Rag & Bone, Thakoon and Versace.

Frida was in every show of note in a season filled with hit after hit, becoming an indispensable feature of Fashion Week, from Burberry’s aviator chic to Louis Vuitton’s glamorous retake on Fifties style. Frida’s astonishing run of success continued to grow, with her first international cover in May. Appearing for German Vogue and shot by Greg Kadel, the end result was both glamorous and enigmatic. With half her face obscured, Frida’s performance was pure modern retro. Referencing models from the 1940’s and 50’s, the cover could almost be from the archives, but it managed to be both classically appealing and absolutely contemporary. It’s hard to handle retro shoots as the aim is to evoke vintage, rather than directly copy it, but the tone struck by Gustavsson and Kadel was note-perfect.

Frida also made her debut in American Vogue in May, and in July, covered couture season, walking for Dior, Jean Paul Gaultier, Armani Prive and, again, Valentino. Gustavsson’s reliability on the runway had eventually translated into some lucrative campaign work, with Frida impressively landing a spot as the face of Marc Jacobs’s fragrance, Daisy.

Her next bookings for runway (Spring / Summer 2011), included prestigious opening spots for Anna Sui, Marc by Marc Jacobs and Lanvin. Also scoring a finale spot with new designer Prabal Gurung, Frida’s bookings included appearances for every major design house. Frida rounded out the year with editorials for French, American and British Vogue, and as couture season begins again in January, Gustavsson’s career trajectory is set to transform this fashion favourite into a force to be reckoned with.

The glory may be heaped on the campaign girls, but success in runway should never be underestimated. Frida’s success hasn’t rested on face-time with the public. It’s unlikely that anyone outside the fashion world (or not an avid follower), would be able to identify her with any degree of success. But fashion’s multi-discipline arena allows to models to find and develop their own strengths. While undoubtedly talented at editorial, and with cover and campaign work beginning to rack up, Frida’s true strength has been to master the very core of modelling: runway.

It is easy to forget, but runway remains for designers the most important aspect of their career. Twice a year designers submit their ready-to-wear collections to be scrutinised by the fashion world. Runway, more than any campaign, is a calling-card, telling us where the designer wants to take their vision not just now or for the next six months; it is a projection of their game plan; the designer they ultimately want to become.

A ‘good’ collection becomes part of the fashion experience, drip-feeding hem lengths and colour combinations down to the high-street, but a ‘great’ collection forms its own style language. Prada made us fall in love with the humble bowling bag; Karl Lagerfeld’s modernising of the Chanel tweed jacket made it a wardrobe essential and Marc Jacobs gave grunge a glamour makeover, transforming it into the urban uniform worn across the world.

A runway collection that has true impact does more than raise a designer’s profile: getting it right – and that includes hiring the best models – can make the difference between a designer being moderately successful and becoming a legend. When your name and your label become interchangeable, you’re definitely doing something right.

Frida is part of a select group of models that hold a unique influence. Fashion may love star power, but it loves consistency more. Frida’s face may not have the immediacy of a Lindsey Wixson or a Jessica Stam, but she – and models like her – form the backbone of the fashion business.

Frida’s runway CV features some of the most hotly-tipped talents to emerge in a decade. Designers like Prabal Gurung and Mary Katrantzou hire Frida because she is an established name that comes without the baggage normally associated with a star turn. She can fully commit to any vision, any sartorial point of view, and make it believable. For a new designer, wanting to make their mark, it’s an easy sell.

Frida’s power as a top runway model is made even clearer when it comes to couture. Standing at just over 5’9”, Gustavsson is nearly two inches shorter than the industry standard for couture, where models normally peak at 5’11”.

It is highly unusual for a model under 5’10” to get any couture bookings, simply because the often complex and dramatic designs demand height. The fact that Frida routinely appears on some of the best couture runways in the world, points to her ability to understand high-fashion. Models at this level aren’t just glorified clothes-hangers; they’re interpreters.

Translating a designer’s vision into something beautiful and, crucially, covetable is a task that falls to the model who is required to take something that could in the wrong hands become costume, and instead take it to a level where clothes become poetry. Runway modelling, at its best, works when the model truly knows and appreciates high-fashion.

Her appearance in the final collection by Alexander McQueen earlier this year, shows how much a part of the community she is; the collection was left incomplete by McQueen’s death in February, with only 16 completed looks to showcase, only 7 models were required. Frida was selected to form part of this group, along with Iris Strubegger, Tanya Dziahileva, Polina Kasina and Karlie Kloss.

With all eyes on this final tribute to the designer, Frida was part of a history-making moment, and in fashion, those tend to be few and far between. When everything is focused on the here and now, those rare moments, where fashion steps back and takes a breath, leave a mark that is indelible.

Girls like Frida are the life-blood of high fashion. Strip away the hype and the glamour, and what’s left is a core group of models who are there because they respect high-fashion. Frida has created a space for herself in the fashion world by virtue of her genuine love for fashion, because fashion evolves not just on ideas but relationships too. A model that gets it, the lure of designer fashion, not as a status symbol, but for its own intrinsic worth, is a model who will always be in favour. It’s as simple as that.

HELEN TOPE

MODEL PROFILES: ENIKO MIHALIK

Born in Hungary on the 11th May 1988, Eniko Mihalik fuses European glamour with a bold, sensual approach that’s anything but old-hat.

Eniko’s career began in 2002 when she won the Hungarian round of the Elite Model Look contest, and came fourth in the International Elite Model Look contest. She debuted at Paris Fashion Week in July 2006 when she walked for the Chanel Couture show.

Her name became better known in January 2008 when she was nominated as Model of the Week by http://www.models.com/ – the Hungarian then took on Fashion Week and was selected to appear for Alberta Ferretti, Betsey Johnson, Blumarine, Diane Von Furstenberg, Elie Saab, Gucci and Marchesa. A clutch of labels with one thing in common: they were all ultra-feminine labels and Eniko’s unique look answered their purpose perfectly. A body that’s couture-ready but still retains curves is a rare find even in the modelling industry, and Eniko has proved that curves – whatever the fashion barometer’s showing – are always in demand.

Her editorial career took off at the same time, securing a 6-month exclusive contract with photographers Inez van Lamsweerde and Vindooh Matadin. Mihalik shot editorials for Italian Vogue in August and the cover of V in September. Also landing a contract with Gucci, Eniko appeared alongside Lily Donaldson and Abbey Lee as one of the new faces of the brand.

Following a successful runway season including appearances for Versace, Derek Lam, Thakoon, Jason Wu, Isabel Marant and Zac Posen, Eniko ended the year with two more editorials for Italian Vogue in October; shoots for French and Japanese Vogue in November; and further editorials for W and Japanese Vogue in December.

2009 started extremely well for Mihalik, with not only a shoot for the French Vogue calendar (shot by Terry Richardson) but a campaign for Italian luxury label Max Mara, photographed by Craig McDean.

Eniko scored a cover in January with i-D, appearing on the front page with a butterfly over one eye. Both striking and original, it was a brilliant summing up of Eniko’s quirky beauty and editorial appeal. With another editorial for Italian Vogue that same month plus an appearance at the couture shows, walking for both Givenchy and Valentino, Mihalik’s career was blossoming.

In February, Eniko landed her biggest show season to date, walking for 56 designers, including Alexander Wang, Balmain, Chanel, Diane Von Furstenberg, Isabel Marant, Marc Jacobs, Nicole Farhi and Stella McCartney. Her diverse list of runway credits carried through into print work, with Eniko working three editorials in one month. Appearing for W, French Vogue and Italian Vogue in April, Mihalik demonstrated the depth of her versatility. The French Vogue shoot, named ‘Noces de Diamants’ was a shoot requiring nudity (up to and including full-frontal), shot in black and white by Mario Sorrenti. Her work for W, an editorial called ‘Harvest’, was a collection centred on the eclectic folk trend. It was packed with colour and detail, and also shot by the same photographer. Google these shoots and you will find yourself doubting whether the models used in both editorials are the same person.

In May, Eniko got the cover of Japanese Vogue, and further editorials for Italian, Chinese, French and Japanese Vogue throughout the summer. Her work for V magazine in July included a beauty editorial and a fashion spread. Called ‘Forever Young’, the atmospheric shoot paid homage to film noir, and it was ideally matched to Eniko’s strengths. Whether projecting anguish or ennui, Mihalik was pitch-perfect in every photograph. In August, she appeared in three editorials (Italian, French and Chinese Vogue) whose subject matter ranged from Parisian Victor/Victoria chic to sculptural cutting-edge eveningwear.

In September 2009, Eniko’s runway cachet began to soar: not only was she appearing for names such as Balmain and Chanel, but she was also being booked by the best of the newcomers. Walking for Peter Pilotto and Mary Katrantzou, Mihalik was securing her fashion future. The year ended on a surprising note: Eniko was asked to appear in the Victoria’s Secret fashion show. Like Chanel Iman, she was a high-fashion choice that raised some eyebrows, but her performance on the runway silenced critics: this was a high-fashion model not afraid to be just sultry, but downright sexy.

2010 has seen Eniko already score another high-profile campaign. Working with Liya Kebede, she will be the face of Kenzo. In February she appeared for Jill Stuart, Jason Wu and Carolina Herrera on the runway, but the main story of 2010 for Mihalik is an almost dizzying array of editorial work.

Starting with an editorial for Chinese Vogue in January, Eniko has appeared for Italian, French, Chinese Vogue and W in March; plus the cover of Hungarian Elle. She appeared in a provocative topless shoot for Purple Fashion with Constance Jablonski, Jamie Bochert and Emma Heming. Her coy side came out in a spread for Bon magazine, called ‘Too Shy to Convey’ and this August she has appeared in two shoots: the first for Numero, called ‘Sortilege’ (a Klimt-inspired, Art Nouveau shoot) and the second for Japanese Vogue. ‘Red Star’, shot by Camilla Akrans, is Eniko playing the siren card in ultra-glamorous couture gowns.

The thread running throughout Eniko’s career has been editorial. From the very start, Mihalik has distinguished herself as a model that will go the extra mile when committing to a frame. Her body type also lends itself to the more daring shoots as well as the straightforward fashion spreads which makes her a highly covetable signing for any magazine.

Eniko’s body of work is truly fashion made filmic. Look at any of her editorials, and the one thing they all have in common is they tell a story. The visual aspects of fashion (the shows, the magazine covers, the fashion spreads) are increasingly becoming the most lucrative form of currency the industry has. If the fashion industry’s trade is fantasy, then models like Eniko are doing their part in bringing that fantasy to life. Modelling is about more than striking a pose; it’s about making a visual connection and making it meaningful. Looking gorgeous on a cover is great, but if that cover doesn’t say something to the person thinking of buying that magazine, then it’s an opportunity lost.

Editorial work is one of the most challenging areas for a model to master simply because it requires the model to become someone else for the day, even if it’s well beyond their range of personal experience. Eniko has never been a neo-Goth, a lovelorn aristocrat or a footballer’s wife, but she embodied them all on film. Forget model turned actress, this is model as actress. There is no challenge too tough for the Hungarian, either. So far this year she has modelled for the Pirelli calendar, undertaken a 5-cover shoot for V and shot a multi-million pound jewellery editorial for British Vogue. Eniko’s ability to move from the toughest editorial demands to on-the-nail modelling for H&M is what marks her out as a true chameleon of the fashion world.

Along with models Raquel Zimmermann, Karlie Kloss and Magdalena Frackowiak, she understands that to be an editorial model today requires more than beauty: it requires something deeper, and the model that is prepared to take on those terms cannot be ordinary.

This is what separates high-end editorial work from mainstream. Clothes are there to be showcased, but being editorial is about more than being edgy or controversial. It’s about conveying mood, atmosphere and desire, in a way that’s both subtle and sublime. Eniko’s career puts paid to the theory that fashion is little more than skin deep: great fashion images are the point where fashion intersects with art and film, creating challenging, thought-provoking images that remind us that fashion is more than what is on the surface, it’s about what lies underneath.

HELEN TOPE