MODEL PROFILES: ANAIS MALI

Born on 22^nd January 1991, French model Anais Mali signed with agency Wilhelmina in 2009.

Mali took to the runway that September, modelling for Betsey Johnson, Vivienne Westwood and Sophie Theallet. Adding Catherine Malandrino and Rachel Roy to her credits the following February, Anais was dubbed a face to watch by both www.style.it and www.models.com. A regular post-show feature, these announcements go a long way to upgrading a model’s status. In an industry crowded with talent, any publicity is good publicity.

Filling 2010 with a campaign for Levi’s and a stint modelling for J Crew’s catalogue, Anais took to the runway in September. This time, her booking sheet showed that Mali was proving a hit across the Atlantic, with Anais appearing in shows for Marc Jacobs, Vera Wang, Derek Lam, Cynthia Rowley and Carolina Herrera.

Anais’ early (and ongoing) success in America can be quickly attributed to her look. Possessing the same kind of appeal as Joan Smalls, Anais has elegance that appeals to the old-school designers such as Carolina Herrera, but with enough character to handle high-fashion editorial. These strengths typify what the U.S fashion market looks for: enough beauty to make the clothes covetable, but with enough edge to give the collection some bite. The very best American designers dominate the field because they have learned to create that perfect balance between marketability and creative vision.

In a pivotal move, Anais left Wilhelmina and signed with Ford Models in late 2010. In December, she featured in an editorial for Interview magazine, working with Melodie Monrose. Each model a mirror image of each other, both furiously channel the glamour and energy of Twenties’ fashion icon, Josephine Baker.

The beginning of Mali’s long-standing association with American Vogue began in February 2011, with an appearance in the February issue. Featuring as part of their season preview, ‘Gangs of New York’, Anais was photographed by Mario Testino. Teams of models were paired up to showcase the major collections of the season. Anais got Rodarte, working with Ajak Deng, Jourdan Dunn and Joan Smalls.

Her recent spate of editorial successes meant that Anais could add Rag & Bone, Thakoon, Chloe, Dior, Stella McCartney and Tom Ford to her runway CV. As success often breeds success, Anais found herself in high demand in March, appearing in three major publications: V, American Vogue and Harper’s Bazaar. The US Vogue shoot, ‘Rebel Rebel’ saw Anais model Gucci’s show-stopping bronze jumpsuit, plus a high-energy shoot with Arlenis Sosa, photographed by Norman Jean Roy.

Anais then took to the campaign trail again, this time getting signed by American fashion behemoth, GAP. Photographed by Craig McDean, ‘The Modern Design’ takes us away from the preconception of GAP just being a one-stop location for casual basics. Tailored, neutral pieces are pushed to the forefront in this campaign, sold as the essentials you would end up reaching for again and again. GAP has already become a go-to destination for jeans, with designer-worthy cuts being offered at high-street prices. Not resting on its former glories, GAP continues to revise its image and what it can offer to an increasingly sophisticated consumer base. Some of its experiments have worked better than others, but the store’s commitment to endure and progress should ensure its long-term survival.

Anais returned to American Vogue for the Spring, appearing in a bridal-themed editorial in their April issue. ‘Across the Aisle’, photographed by legend Arthur Elgort, is a fun, studio-based spread. Her first solo shoot with the magazine came in August 2011, with ‘Mixed Media’. Shot by Raymond Meier, Anais models the season’s best accessories. Textures and colours clash exuberantly, and Anais wears these difficult prints and colours effortlessly.

In September, Anais built up her runway experience with bookings from Matthew Williamson, D&G, Bottega Veneta, Ralph Lauren, Peter Som, Nina Ricci, Diane Von Furstenberg and regular client, Jason Wu. Sparking the interest of British and Italian designers, Anais was already becoming an international name, beguiling the brightest design talent.

Proving her ability to switch things up, Anais got hired for an editorial for Love magazine. Photographed by Solve Sundsbo, ‘Strangelove’ is a series of darkly provocative portraits including Sui He, Jessica Hart, Lindsey Wixson, Hannah Noble and Charlotte Free.

Returning to more traditional fare in September, Anais signed on for an editorial with V. ‘You Can’t Possess Radiance, You can only Admire It’ features Anais in chic, Fifth Avenue-style fashion including Celine, Ralph Lauren and Valentino. Anais (and V) give the classics a fresh edge.

Clocking up even more editorial hours at the end of the year, Mali appeared in American fashion magazine W and French Vogue. In W’s ‘Poster Girls’, Anais was hired to model a bold, fearless mix of clashing prints and accessories. Anais’ beauty shines through the editorial. The clothes and accessories are the focus, but Mali remains a calming, steadying force, a point where the eye can rest in what is a very busy set of photographs.

Mail’s career got a major boost in November when she was selected to appear in the 2011 Victoria’s Secret Fashion Show. Joining fellow VS newbie Karlie Kloss, the two catwalk regulars brought a touch of high-fashion glamour to the proceedings. Anais’ inclusion was squarely down to having a type of beauty that is able to appeal to the mainstream. Despite being a Vogue favourite, Mali looked comfortable on the VS runway, but working a very different kind of audience. With the lingerie brand eager to feature more diverse types of beauty, Mali embraced this opportunity with obvious enthusiasm and it would be surprising if she doesn’t reprise her appearance this November.

In January 2012, Anais made her editorial debut for the year with V magazine. In what is far more usual territory for V, ‘The Queen of Hip Hop’ is a fun, energetic editorial photographed by Sebastian Faena.

Channelling Nicki Minaj in a day-glo wig, Anais brings the necessary attitude to make this editorial work. So good at ‘faking it’, this spread becomes uncanny in its authenticity. V excels at bringing a high-fashion twist to existing cultural codes. Even if not a fan of the music, everyone can visualise the clothes, the make-up and body language adopted by superstars of that world. Anais brilliantly mimics the queens of hip-hop but never letting us forget that the clothes come first.

February saw Anais scoop another major campaign, this time with J Crew. The iconic label has had a major injection of cool since the revelation that is has become one of Michelle Obama’s fashion go-to’s. The booking must have represented a special moment for Mali, who had one of her earliest signings with the American brand.

The following month saw Mali become hot property, with appearances in W, W Korea and Madame Figaro. The spread for the American magazine, ‘Feminine Mystique’, saw Anais team up with Jourdan Dunn and new girl, Jasmine Tookes. The three models are identically groomed and model ethnic prints with a strong theme of sophistication running through. Going beyond its clichéd treatment in previous years, tribal here is worked so it becomes something new, contemporary and eminently wearable.

Anais’ biggest editorial splash was with Korean W. Featuring on the cover as well as the leading spread; Anais shares cover honours with Hyoni Kang and Julia Nobis. ‘Birthday Girls’ – their mega-model editorial – also includes Hanne Gaby Odiele, Crystal Renn and Maryna Linchuk. With all the models wearing pieces from the highly popular Louis Vuitton collection, the sugary-sweetness of the designs are off-set by an understated sensuality. This is all relatively new territory for a magazine that is not yet 10 years old. After its publisher, Conde Nast, launched men’s style magazine GQ in South Korea in 2001, its success paved the way for other magazines to follow. Now South Korea has its own version of W, it has been keen to develop its own sense of style, and the March issue featuring Anais has created significant interest across the world. It may be new, but W Korea is already making its editorial presence felt.

With her biggest campaign signing to date, Anais can currently be seen in H&M’s global ‘Fresh Start’ adverts. Anais joins other heavy-hitters such as Natasha Poly, Sasha Pivovarova and Isabeli Fontana. Featuring models from Russia, France, Brazil and Sweden, this campaign represents what brands like H&M have known for years: international beauty sells. Appealing to the most people possible makes sense as fashion is rapidly becoming a global language with new pockets of wealth being discovered.

Having diversity on campaigns, covers and editorials is essential if a particular market is not to feel marginalised. A face that can appeal to many countries is especially in demand, and Anais is one of the lucky few that can work with European, American and Asian markets and convince at every turn. The face of the money-making model is changing, and with her adaptable beauty, Anais is right at the forefront of this new fashion phenomenon.

HELEN TOPE

MODEL PROFILES: LARA MULLEN

Born in 1994, Northampton native Lara Mullen was discovered in August 2011. Scouted by agency Premier Management, Mullen was spotted just two weeks before the start of New York Fashion Week.

Premier submitted Lara for castings, and in September the student-turned-model found herself on the catwalk, walking for Alexander Wang, Jonathan Saunders, Celine, Chloe, Richard Nicoll, Givenchy and Dries Van Noten. 

If this wasn’t exciting enough, Lara got booked for the Prada show as an exclusive. Mullen had the good fortune to be in one of Prada’s best shows in years. A show is only as good as its collection, and the S/S 12 collection was very, very good. With Mullen as one of their star turns (newbies selected by Prada tend to get the lion’s share of attention), this was a career-making moment for Lara. The achievement is made all the more extraordinary when you consider that just weeks prior to her Prada booking, Lara was a complete unknown.

Labelled by www.vogue.com as ‘one to watch’, Lara began to book editorials in earnest, landing the cover of i-D magazine in February 2012. Also appearing in a multi-page spread, Lara modelled with Matt Ardell, working looks from the key S/S collections.

In February and March, Lara experienced the effect of being a Prada exclusive. When it came to booking shows for the Autumn / Winter collections, Mullen was a red-hot favourite, appearing in over 45 shows.

The season was a real triumph for Mullen, a bold mix of design talent including Valentino, Balmain, Gareth Pugh, Versace, Marc Jacobs, Marchesa, Calvin Klein, Rodarte, Oscar de la Renta and Prada once more. A bona fide success at every Fashion Week, Lara modelled for the best in the business. To muster bookings from the biggest; Versace, Prada, Marc Jacobs, Valentino, is incredible. But more crucially for Mullen, her booking sheet tells a story of a model who has connected with cutting-edge talent such as Gareth Pugh, Prabal Gurung, Alexander Wang and Christopher Kane. It is this relationship with fashion’s most directional labels that has both shaped and defined Lara’s career over 2012.

March saw Lara take to the cover of British hard-hitter, Dazed & Confused. Named ‘2012: If it’s not exciting, you’re not doing it properly’, the cover heralds the start of a summer that’s all about Britain. From the recent Diamond Jubilee celebrations to the Olympics starting in July, Britain, and all things British, are garnering a lot of attention. On the cover, Lara models a coat and one-piece from Prada’s show-stopping S/S 12 collection, echoing her inaugural runway moment with the Italian label. 

Mullen also appeared in an editorial for the magazine, a major logistical operation requiring an army of photographers and stylists. Wearing Burberry, Balenciaga and YSL, Lara joins models Julia Nobis, Emily Baker, Erjona Ala and the latest Marc Jacobs campaign girl, Marte Mei van Haaster.

Lara’s success has not just been confined to editorials and runway. Preparing to take on bigger challenges, Lara was booked for the new Spring / Summer Topshop campaign. Photographed by Josh Olins and styled by the store’s creative director, Kate Phelan, the campaign also features new up-and-coming faces including Magda Laguinge, Nadine Ponce and Marihenny Pasible. As Lara models Topshop’s on-the-money pieces, including floral silk bomber jackets and printed band T’s, the campaign is almost indistinguishable from those of high-end brands. Topshop certainly doesn’t believe in skimping on the editorial detail: its genius lies in treating high-street design with respect. Its lightning-quick turnover, supplying must-have pieces at a furious pace, means that Topshop can legitimately claim to having its finger on the fashion pulse. Now a key destination for everyone, regardless of budget, scoring the campaign means being a visible presence in hundreds of stores dotted across the globe.

Following an editorial for POP magazine, Mullen also featured in a self-titled feature for AnOther. Photographed by Martina Hoogland Ivanow, Lara appears in a series of editorials, reminiscent of Egon Schiele’s nervy, sensuous sketches. Having an editorial named after you is normally a mark of respect given to a model with more runway hours under her belt. The fact that Lara is already being perceived as worthy is testament to how quickly she has taken to modelling. Some new talents are carefully dipped into the fashion world, a small season to start with and then a few low-key editorials to test the waters. With Mullen, Premier Management made the right call in making a big splash. The clamour for her time at Fashion Week proves that when you’re ready, you’re ready.

Lara made her debut appearance for British Vogue in April, with an editorial called ‘The White Album’. Photographed again by Josh Olins, Lara models an array of white pieces from Marc Jacobs, Jil Sander, Yohji Yamamoto and Chanel. From laser-cutting by Marc Jacobs to the starched, architectural cottons of Raf Simons’ last collection for Jil Sander, the deceptively simple theme displays how complex one colour can be when in the hands of masters. 

Mullen returned to the pages of British Vogue this June, with a high-fashion take on the Olympic theme. ‘Paper Plates’, photographed by Tim Gutt, sees Lara attempting weight-lifting, archery and diving. Blending the beauty and strength of professional sport, this type of high-concept editorial is what British Vogue excels at.

With the world now watching the UK for the next few months, Lara joins a new generation of British models lighting up the world stage. Along with Jourdan Dunn and Nyasha Matonhodze, Lara is flying the flag for not only British design, but British beauty as well. In recent years, most of fashion’s most popular faces have come from other corners of the globe: Lara and her peers are helping to buck that trend.

Lara and Nyasha are especially in demand, with both models this season appearing in major campaigns. Nyasha, a favourite with Louis Vuitton and Balenciaga, is a sure-fire editorial pick and Lara is carving out a career that leans on her individuality, and that’s a very British concept.

We have recently excelled at providing fashion with its newest, edgiest faces. We can also do real, show stopping beauty too: just think of the monumental rise of Rosie Huntington-Whiteley and Cara Delevingne. Ever since the discovery of Kate Moss, the UK has had a point to prove: the problem with striking gold is that expectations circulate and gather pace – can you repeat your own success?

While the face of modelling has altered over the past 20 years – the definition of what constitutes a top model now looks totally different – the desire to scout those new, boundary-pushing faces is as intense as ever.

Premier Management’s lucky find is also Britain’s good fortune. Lara, just months into her career, is already creating waves of interest around the world. She is the rare combination of editorial and commercial: it is just as easy to imagine her fronting a perfume campaign as it is to see her in Italian Vogue. Mullen’s run of success hints at a future that’s there for the taking. Whether she wants to explore those high-fashion roots further, or look at how her unique features can work set against those big-money campaigns, Lara has the potential to trail-blaze a new kind of beauty, already seen in the individual successes of Milou van Groesen, Saskia de Brauw and Marie Piovesan. Against a backdrop of uncertainty, a beauty that can be edgy one moment and then traditional the next, is exactly what the fashion industry appears to be responding to right now. Even newer faces than Lara – Erjona Ala, Elza Luijendijk, Marte Mei van Haaster – are in that very vein: not exclusively editorial, not completely commercial. A true fashion hybrid, it is a formula that looks like it will define the look of the next generation of top models.

However Lara chooses to play her next hand, what’s for certain is that she remains a great ambassador, reminding everyone that whatever we do, Britain does it in style.

HELEN TOPE

MODEL PROFILES: CHANEL IMAN

Chanel Iman, born 30th November 1989, is fashion’s brightest trailblazer – turning barrier-breaking into an art form.

Named after her mother’s favourite designer, Chanel spent her childhood practising runway and studying fashion magazines. This early groundwork prepared Iman when she entered the 2006 Ford Supermodel of the Year contest. She came third, but signed to Ford Models immediately. In February that same year, she made her debut at New York Fashion Week, walking for Derek Lam, Anna Sui, Marc Jacobs and Proenza Schouler.

In September, she walked in the S/S 2007 shows, including Alexander McQueen, Derek Lam, Dolce & Gabbana, Nicole Miller and Stella McCartney. But her appearance in the Valentino show sparked Chanel fever when she worked her now-signature move.

At the end of the runway, just before she was about to turn, she caught the eye of the audience and winked. The fun gesture won the crowd over, and Chanel was featured in http://www.style.com/ as the stand-out of the season – the studying had prepared her, but the impulse to stand out is what made her a star.

Chanel made it her business to exceed expectations early on in her career, receiving the Trailblazer Award from the Sankofa Group in April 2007, and in May became part of modelling history when she joined other top models to take part in the seminal US Vogue cover. A collective of new talent, Chanel joined the likes of Coco Rocha, Lily Donaldson, Hilary Rhoda and Jessica Stam to form a powerful declaration to the fashion industry. These girls were the future of modelling, and every model on that cover by Steven Meisel, went on to become part of the fashion landscape.

In September, Chanel’s career sky-rocketed with appearances for Alexander Wang, Dior, DKNY, Hermes, Louis Vuitton, Marc Jacobs and Oscar de la Renta among others.

2007 ended in triumph on the runways, but a question mark hovered over Iman’s rising fame. Landing catwalk and editorial work is one thing, but could Chanel take it to the next level and land big-name campaigns? This would then put her on a level playing field with her peers, and 2008 saw Chanel rise to the challenge with not just one, but four campaigns. Chanel did campaign shoots for high-prestige brands like Ralph Lauren and DKNY, plus budget-friendly names like Gap and Lord & Taylor.

In February 2008, Chanel’s status as fashion’s latest crush was established when Chanel, Karlie Kloss and Ali Michael appeared on the cover of Teen Vogue, photographed by legend Patrick Demarchelier. A magazine as influential as its grown-up counterpart, Teen Vogue tipped all three models for greatness.

Chanel’s year snowballed: in February, she landed an editorial with Russian Vogue, plus a stellar season walking for designers as varied as Bill Blass and Donna Karan, Jason Wu and Zac Posen. Her CV was maturing well with a mixture of old-school labels, cutting-edge talent and established names. Paired with Chanel’s appearance in the Dior and Jean Paul Gaultier couture shows on July, she had all four corners of the fashion industry covered.

July proved to be a busy month, as Chanel not only appeared in American Vogue with Jourdan Dunn, but also scored two additional editorials in Italian Vogue. However, this was to be a pivotal point in Chanel’s career. Italian Vogue took the decision to put together an edition that would only feature black models.

It was a powerful statement, but it was not without controversy. Many in the industry and press questioned Italian Vogue’s motive for doing this issue. Was it to be taken on face value, as a celebration of ethnicity, giving full-focus to new talent, or was it about something else entirely?

By shining the spotlight on black models to the exclusion of other talent (including models of other ethnic backgrounds), was this a step forward, or a giant leap back? Did such pointed inclusion do more harm than good?

Whatever the motivation, what is clear is that the Italian Vogue edition sparked debate. But debate without action is useless, and what is encouraging is that nearly two years on, a new raft of models including Tao Okamoto, Lyndsey Scott, Liu Wen and Hind Sahli are not only working but flourishing in an industry accused of having a less-than-stellar record when it comes to diversity.

Chanel’s career itself flourished after the Italian Vogue went to press, landing the September cover of Korean Vogue. She was also chosen to open the S/S 2009 Rock & Republic show. Appearing for Alberta Ferretti, D&G, Giambattista Valli and Sonia Rykiel, Chanel was becoming a hit in Europe as well as America.

2009 brought several accolades, rapidly establishing Iman as a go-to girl for not only runway work, but covers and editorials. She landed the cover of Italian Flair in February, the premiere cover of the Dubai edition of Harper’s Bazaar and the cover of i-D in May.

In September, Chanel appeared as a guest judge on hit TV show ‘America’s Next Top Model’. A spot usually reserved for designers or photographers, Chanel’s years of brushing up on fashion paid off, making her intelligent and insightful appearance a hit with fans. This was not just a model with personality and opinions – but someone who knew Pucci from Prada.

Chanel also landed a second cover of i-D, shooting a pre-autumn cover with Arlenis Sosa, Jourdan Dunn and Sessilee Lopez. The cover’s launch shows how quickly things can change in the fashion world. In 2008, Chanel’s appearance for Italian Vogue’s all-black issue was challenged as ‘agenda-pushing’. Just one year later, Chanel, Arlenis, Jourdan and Sessilee were presented, quite rightly, as cover girls at the top of their game.

Chanel’s trail-blazing continued when she surprised many by signing a 3-year contract with Victoria’s Secret. Chanel, while perfect for high-fashion, was not an expected choice for the uber-sexy lingerie brand. Some questioned whether her athletic frame could carry off the VS signature look, but Chanel’s personality-packed performance on the runway put all doubt to rest. In one fell swoop, she proved not only her versatility, but her ability to do the unexpected. This element of surprise is what gets Chanel re-hired time after time.

2010 is set to be another busy year for Chanel, with a full couture and RTW season under her belt. Walking for designers like Aquascutum, Dior, Givenchy, Thakoon and Gucci, Chanel’s list of credits defies the expectation that a black model would struggle finding work. Chanel’s career is an important lesson for models coming into the industry: place limitations on yourself at your peril.

Have a look through a recent fashion magazine: the percentages of ethnic to white faces could be better, but the numbers are not as dire as people seem to think. The argument that fashion only allows one black model to be the ‘top girl’ at any one time is clearly no longer the case: Chanel, Jourdan, Sessilee and Arlenis are all getting coveted editorial and runway spots, with Joan Smalls and Rose Cordero rising through the ranks. While it is clear that fashion has a long way to go before equality can be stated as the norm, the notion of a closed-off industry is also somewhat wide of the mark.

While Chanel’s career is still on the rise, what’s encouraging is her awareness that she is flying the flag for future models, whatever their ethnicity. The message that fashion recognises excellence is an important one for the next generation. Fashion’s consumer-base is becoming more cosmopolitan, and as a result, our expectation of seeing diversity better represented on the runways and in magazines is starting to be met.

The fact that one of Chanel’s first covers was for Teen Vogue says it all. She wasn’t being treated as the token ethnic model: Chanel made the cover because she (along with Ali and Karlie) were fashion’s brightest new models. When it came to the cover, Teen Vogue wasn’t indulging in a box-ticking exercise: it simply wanted the best.

The recession has been a huge wake-up call for the industry, and has resulted in fashion rethinking its entire approach. Fashion, as a whole, is becoming more democratic. Runway shows are being broadcast live on the internet, so you can see the latest collections at the same time as Anna Wintour, and bloggers such as Bryanboy (http://www.bryanboy.com/) and Tavi (http://www.thestylerookie.com/) are being taken seriously as fashion commentators at large.

Modelling is also becoming part of this radical rethink, and this new directive is just the beginning. Still not convinced? Watch Chanel’s progress over the next five years: the future is already here.

HELEN TOPE

MODEL PROFILES: JOURDAN DUNN

Her career boasts one of the most famous ‘discovery’ stories in modern modelling history. Born 3 August 1990, Jourdan Dunn was found by a model scout whilst out shopping with her friend at the Hammersmith branch of Primark.

She was approached by an agent from top agency Storm, the same agency that is also responsible for launching Kate Moss’ career, and Jourdan signed with them in 2006.

In February 2007, Jourdan made her runway debut at the Autumn / Winter shows for Marc Jacobs, Ralph Lauren and Salvatore Ferragamo in New York and Milan. In September, Vogue named her a ‘rising star’.

Jourdan’s success continued, with runway appearances for Alexander McQueen and Hermes in Paris, and in February 2008, Dunn got the attention of the mainstream press when she became the first black model to walk for Prada in over ten years. The last black model to do so was Naomi Campbell.

The year continued to bring new honours, including accompanying designer Peter Som to the Costume Institute Gala in May, scoring her first Italian Vogue cover in July and also undertaking an ad campaign with British high-street giant, Topshop.

The cool, street-wise series of images, shot by Emma Summerton, launched Jourdan into the big-time: every fashion-conscious teenager now knew her name and face.

The lucrative professional relationship between Dunn and Summerton continued with editorials in Italian Vogue, and in November, a cover of British Vogue, with Dunn appearing alongside Eden Clark and Rosie Huntington.

In November 2008, Jourdan was nominated for and won ‘Model of the Year’, as voted for by the British Fashion Council. She topped the year off with a cover of French Elle. In February 2009, she opened the Autumn / Winter collection for Jason Wu, plus appearing in shows for Oscar de la Renta and Vivienne Westwood. She also had the honour of closing shows for Betty Jackson, Issa, Thakoon and Twenty8Twelve.

This brief summary of Jourdan’s career to date (temporarily on hiatus due to a pregnancy announced in July this year, with the baby due in December), shows that designers are definitely willing to hire (and re-hire) a black model.

Race in fashion is a contentious issue – even more so than weight. It has been said with alarming regularity that fashion, as a whole, is racist – deep down to its very core. It is true that even a cursory glance over a variety of fashion publications that the editorial balance is skewed in favour of white models, both in terms of editorial content and ad campaigns.

But the astonishing rate, at which Jourdan’s career blossomed, belies this idea. How can fashion be racist and still rave over beauties like Dunn? Jourdan herself was interviewed by iD magazine and refuted the notion that the industry will only hire a small number of black models at any one time. A brief scan of Jourdan’s friends within the industry also questions this commonly-accepted idea: Emanuela de Paula (Brazil-born), Sessilee Lopez (America), Honorine Uwera (Rwanda) and Arlenis Sosa (Dominican Republic). This is not a roll-call of an industry only interested in promoting a blonde, blue-eyed template of beauty.

These names are not necessarily well-known outside the immediate fashion industry, but Jourdan has certainly not been alone on her rise through the fashion ranks. Chanel Iman has also scored much press coverage as well. The fashion industry thrives on finding new faces – and ethnicity doesn’t seem to be the primary decider in whether a model gets signed by an agency.
By choosing to focus on Iman and Dunn almost exclusively, the press have been omitting other girls who are making a name for themselves. Models like Emma Pei and Toni Garr may not be household names, but they are well-respected and making a handsome living.

So Jourdan is right to challenge the idea of only a few black models working at any one time – we have ample evidence to the contrary. What is more puzzling, and perhaps more unsettling, is the question of why these girls aren’t better known? Is there a cap on success in the fashion industry if you are not white?

We all know that modelling is basically a sales pitch in heels. Whatever is being modelled, sells not just the thing itself, but an aspiration, an idea attached to it that if you buy this dress / bag / tube of lipstick, you will become more beautiful by association.

A quick glance of Jourdan’s CV throws up something troubling. She has had plenty of success on the runways and in landing high-profile editorials and covers, but aside from affiliations with high-street stores Benetton and Topshop, Dunn has no other campaigns to her name. True, Jourdan hasn’t been working that long, but if you compare her CV to that of peer Karlie Kloss , who has already landed a coveted fragrance contract with Marc Jacobs, you can’t help but think that something else is going on here.

We consider ourselves to be living in a multi-cultural society, but the facts do not compare well when we look a little closer at the wider fashion world, beyond the runways and the editorials of high-fashion. If fashion truly does reflect what is going on in society today, then why was Jourdan the first black model to walk for Prada in over a decade?

Many fashion insiders are reluctant to get drawn into the racism debate, not necessarily because they have something to hide, but because with this issue, there are no easy answers.

Casting agents for the big cosmetic firms hire faces on one key component: sell-ability. The controversial, but indisputable fact, when unit sales are directly compared, is that a white / non-ethnic model will sell more tubes of mascara than a black model. This then creates a vicious circle: cosmetic companies may want to go with someone more ethnically-diverse like Jourdan or Chanel, but if a white model sells more products, they have to make a decision based on economics, not aesthetics. By not using a black model, the cosmetic company are then continuing the self-fulfilling prophecy that a white model sells more units, and are then even less likely to use a black model for their next campaign. Consumers then only see white faces in beauty campaigns, and subconsciously make the semantic leap that a paler face is to be interpreted as inherently beautiful. They then respond by buying the tube of mascara, again fulfilling the prophecy that in terms of sales, a white model is a more profitable signing.

This leads back to one question. Why are cosmetic companies using white models so much in the first place? Is it because the public can’t see a black model as being beautiful, and by implication, aspirational? Does the problem lie with the cosmetic companies, or with us, the consumers? Are they in fact only following the agenda that we have set out for them? Who really decides what is beautiful? The problem appears to lie not with reality, but with perception.

For centuries, the template of beauty was not predominantly, but exclusively, white. Beauty was built around European features: big, child-like eyes, small noses and chins. The differing facial proportions on faces outside Europe – Africa, India and Asia – were not considered beautiful because they did not match the European ideal.

The preference for petite features is of course grounded in issues not just of race, but of power and inequality. Those who had the lion’s share of the power set the terms of what was considered beautiful. If you did not match the ideal, you were not beautiful – even if in reality you were actually better looking than your European counterparts: reality and perception – very different things.

The uncomfortable truth is this template has been clearly internalised by all of us. Why else would sales of a magazine cover featuring a black model perform so badly in comparison to those featuring a white model? Even now, it appears the struggle for equal and comparative pegging in the modelling industry is lagging behind the times. If lighter skin and features that lean towards European proportions are still seen as preferable, is there any hope for the industry at all?

The fact that the race issue is being discussed so openly means that there has been a revival of interest on diverse kinds of beauty within the modelling industry. Jourdan Dunn, Chanel Iman, Devon Aoki, Alek Wek, Arlenis Sosa and Emma Pei are proof that the fashion industry is more than willing to employ ethnically-diverse models – not as a gimmick, but because these models are extremely good at what they do.

While this is a debate that will continue to spark discussion, what is good news for models entering the industry today, is that the fashion world itself has no qualms about hiring new faces from around the world.

Part of this has to do with new designers such as Peter Som, Derek Lam and Thakoon coming from diverse backgrounds themselves. Their own history and personal understanding of the race issue makes them in turn more aware – and awareness is the key to breaking down barriers.

American designer Jason Wu used an array of black models for his recent Autumn / Winter and Spring / Summer runways to prove this point. To say that fashion does not regard ethnically –diverse models as being beautiful is simply not true. The problem is with perception: and that problem is centred squarely on consumers’ shoulders. We are the ones not buying it; we still prefer a magazine with a white model on the cover and vote with our cash accordingly. Cosmetic companies choose primarily European models not because of some hidden agenda, but because it is what sells. If we really are serious about wanting to see a more even representation of models out there, on the catwalk, in magazines and campaigns, a conscious effort is required to make it happen.

This changing of attitudes will take time, but there is definitely cause for optimism. The flourishing success of Jourdan Dunn’s career shows how high-fashion is willing to embrace new talent. There is no easy solution to the race issue, but while designers and editors continue to explore the wealth of diverse modelling talent available, there is hope that perception will eventually follow reality. The whole point of beauty is that it is beyond definition.

Fashion likes to think of itself as cosmopolitan and part of that attitude is its openness to new kinds of beauty from around the world. But it will take the continued efforts of high fliers such as Jourdan Dunn to keep reminding us that fairness and equality are always in fashion.

HELEN TOPE

MODEL PROFILES: KARLIE KLOSS

Known almost entirely for her signature walk, Karlie Kloss is part of a sartorial revolution introducing high fashion to a whole new audience.

Born in 1992, Karlie Kloss is one of the youngest models working today. Raised in St. Louis, Missouri, Karlie’s first love was ballet. Modelling did not even factor as a prospective career until she was discovered at a charity fashion show in St. Louis. In 2007, she signed with Elite Model Management before moving to NEXT in 2008.

Already confident in terms of movement, Karlie’s age proved not to be the barrier you might expect. She made an immediate and striking impact as she began to book jobs as a runway model.

Instead of imitating the girls-of-the-moment, Karlie walked her own way. Casting her eye line down, Karlie’s walk became an evocative, swaying motion coupled with what has now been dubbed ‘the death stare’.

Karlie’s decision to do things differently paid off: that small tilt of the head ensured that Karlie’s eyes locked with the photographers recording every show. The effect was mean, moody and gloriously menacing. Karlie turned her walk into a performance, creating an incredible and unforgettable catwalk presence.

Karlie’s rebellious swagger soon got everybody’s attention. Bookings for runway shows increased, and Kloss found herself being requested for ad campaigns and fashion editorials around the world. She rapidly became a favourite with designers, working for Chloe, Viktor & Rolf, Marni, Pringle and Marc Jacobs.

Only two years into her career, Karlie has become part of the fashion landscape, appearing in publications across the globe, and her arrival could not have been better timed. Fashion has always been infatuated with youth, but this time round, it taps into something darker, off-centre and with bite.

Karlie and her peers (Ali Michael, Jourdan Dunn, Imogen Morris-Clarke) are fashion’s obsession with the teenager reinterpreted for the 21st century. They are cool and edgy – that’s a given – but more importantly, they are authentic. Being actual teenagers, they are primed for showing high fashion how to do attitude and make it current. Karlie’s Neo-Gothic presence on the catwalk ties in beautifully with the ‘Twilight’ frenzy that is informing many high fashion trends this season. Her enigmatic stare, is unnerving and soulful, and something that would send most vampires scurrying into their crypt.

Fashion needs new faces to keep it inspired and Karlie’s face is proving particularly inspirational. Working for the top designers in the world, she is imbibing their designs with a dose of real-life teen spirit. Karlie’s good fortune can also be attributed to how teenagers are now choosing to interact with the fashion world.

A few years ago, most teenagers (barring the privileged), had very limited access to the world of high fashion. Magazines and advertisers, while using models in their late teens, aimed their efforts at the ready-to-spend market of 20-30 year olds. Still young enough to want that ‘cool’ factor, but old enough to have the means to finance it.

Teenagers’ fashion was largely limited to urban street styles and sportswear. Even with mega-brands such as Topshop, teenage fashion was failing to connect with the design influences affecting the rest of the high street. As it was out of financial reach, it was assumed that teenagers would not be interested in what Oscar de la Renta was producing this season.

This assumption was blown out of the water with the introduction of ‘Teen Vogue’ in 2003. A partner to the world-renowned fashion bible, this magazine took on a bold mission statement: it introduced high fashion to a teenage audience.

The success was immediate and resounding. Teenagers soaked up the new cutting-edge concept: it was sophisticated, but still fun. Engaging with a generation left cold by traditional fashion media, it was a palpable hit.

Pitching high fashion to teenagers in a way that didn’t patronise or preach had a massive rolling effect. Teenagers became far more fashion-literate: not just learning the big names such as Dior or Gucci, but more avant-garde designers such as Proenza Schouler and Zac Posen.
Their new-found enthusiasm spilled over into the virtual world: blogs, message boards and Twitter provided teenagers with a means to express their deepest fashion desires. Fashion went underground. What teenagers have done with their fashion knowledge is to take it away from mainstream culture and elevate its participants (mainly models) to cult status.

The teens who know their Marchesa from their Missoni are using the internet to not only find out more about their favourite models, but to share information with others. This generation is becoming as familiar with Ali Stephens and Rachael Rutt, as the previous generation were with Sonic Youth and Kurt Cobain.

The latest models to make a mark on the industry are becoming celebrities, but in a very different way to their predecessors. Whereas names like Evangelista, Campbell and Turlington became famous when they went mainstream (landing notable cosmetic campaigns), this generation is becoming famous precisely because they are under the radar. Karlie and her peers are acting as style ambassadors, making fashion fun, exciting and relevant.

The virtual world is rapidly becoming responsible for shaping teenagers’ perceptions of the real world. Being online provides a safe, democratic space in which to sit, think and evaluate. What do I think of this? Do I like it? Do I hate it? But far from being a device that separates and isolates, the internet is proving to be invaluable in bringing like-minded people together. It is a tool that will ultimately transform the way we interact with the fashion world, and the way it connects with us.

Karlie’s star is on the rise because she embraces this new concept of celebrity, even making videos for YouTube, demonstrating that famous walk and making high-end fashion more accessible.

In these times, fashion knows that it cannot afford to lose supporters, and now footage of catwalk shows is readily available to view online. You have a front-row seat to the most influential designers on the planet – no sneaking into Bryant Park necessary.

Being more inclusive has proved a success, and letting people in (especially the young; the potential buyers, editors and designers of the future), will end up being crucial to the survival of the fashion industry.

Karlie’s dynamic approach to runway (which would have corrected by an agency 10 years ago), shows how the industry is attempting to move forward and try new things. By allowing Karlie to go against the grain, she has gone to the top of the industry. Her selling point, that unique intensity and drama will ensure her career continues to flourish well beyond this decade. It is an important lesson for anyone wanting to make it to the ‘the top’. If you want to stand out, don’t blend in.

Karlie’s success shows us that fashion is no longer out of touch and out of reach. By welcoming the brave and the new, the fashion world is proving that it is willing to include the people who will shape its future. Whether it’s Karlie packing an emotional punch on the runway, or a fashion magazine stepping up to the challenges of a new century, fashion is all about being on the inside – a concept every teenager is familiar with.

HELEN TOPE