MODEL PROFILES: MACKENZIE DRAZAN

Born in Woodside, California, on the 10^th August 1995, Mackenzie was discovered at the age of 14. A year later, she had been named a newcomer to watch by www.models.com ,  signing up with Elite Models. 

In July 2010, a month shy of her 15^th birthday, Drazan debuted at the Autumn / Winter show for Valentino Couture. Mackenzie then took a brief 6-month break from modelling, returning in February 2011. Drazan made her ready-to-wear debut, including appearances for Jil Sander, Calvin Klein and Louis Vuitton.

Drazan’s early start at the very highest levels of catwalk modelling marked her out as a casting must-have.  Returning to the catwalk again that September, Mackenzie added Alexander McQueen, Celine and Balenciaga to her growing list of credits. Finishing the year with appearances in the pre-fall lookbook for Narciso Rodriguez and the pre-fall collection show for Calvin Klein, Drazan was already becoming a favourite with some of the world’s biggest labels. 

Her growing list of credits certainly got Mackenzie noticed, and in February 2012, she had her first blockbuster ready-to-wear season, walking in over 65 shows. The Autumn / Winter 2012 season saw bolder, more expressive designs making all the right moves, and the return of certain trends, such as outsize and head-to-toe print, seen at Jil Sander and Prada respectively, was tailor-made for a taller model like Drazan.  This season was an important one for the still-teenage model, and her stock soared as a result.

Mackenzie’s next assignment saw Drazan book an editorial for Italian Vogue. Photographed by Emma Summerton for the beauty supplement cover, Drazan worked the avant-garde look with total confidence. Italian Vogue’s enthusiasm for editorial make-up has become a micro-trend, with the looks that are accompanying this season’s fashion definitely moving into braver territory. The traditional smoky eye has been transformed into a multi-coloured, peacock eye, mimicking the explosion of colour that has been seen on the catwalks. Follow that with the incredible growth in nail art: not only in terms of colour but design and texture, and Italian Vogue’s take on beauty is right on the pulse. Avant-garde looks are no longer the preserve of magazine editorials, but real-life achievable.  As our fashion choices get a little riskier, make-up had no choice but to step up its game.

Drazan’s incredible run of catwalk success continued into the summer, with appearances at the resort shows including Alberta Ferretti, Bottega Veneta, Salvatore Ferragamo and Valentino. But Mackenzie’s biggest career moment was just around the corner. 

In July, Mackenzie made the cover of Italian Vogue. Photographed by Steven Meisel, this was the autumn / winter preview issue. Sharing the cover itself with Vanessa Axente, the fold-out, multi-model cover also featured Lida Fox, Elena Bartels, Julia Nobis and Erjona Ala. Channelling gothic glamour in the gowns from the Gucci collection, this was a new vision of how glamour should look for the upcoming season. Dark, moody but achingly covetable, this cover made everyone sit up and take notice.

Any appearance in Italian Vogue represents a huge turning point in a model’s career, as the magazine often champions new modelling talent, with fashion’s edgiest and most exciting faces often making their editorial debut within those pages. By getting onto the actual cover, Mackenzie had not only staked her claim to be one of those new, exciting faces, but to be one of the future leading faces in the modelling industry.

Drazan returned to catwalk duty again in July, this time heading to Paris for the couture shows. Walking in shows for Chanel, Elie Saab, Giambattista Valli and Valentino, Mackenzie also appeared in Raf Simons’ inaugural show for Dior. 

Mackenzie’s summer was filled with editorial commitments, starting with a spread for Dazed & Confused. Following that with an appearance in British Vogue, ‘Best in Show’ (photographed by Daniel Jackson), saw Mackenzie working the textured trouser-suit, and Mackenzie’s debut for W (‘Natural Selection’) saw her model the season’s texture theme with Laura Kampman, Ondria Hardin, Ophelie Rupp and Franzi Mueller.

Even with that heavy workload, Mackenzie continued to be in high demand, being booked for 55 shows in September. Including Marc Jacobs, Chanel, Givenchy, Versus, Dries Van Noten and Proenza Schouler, Mackenzie’s mix of blue-blood delicacy and ambiguous androgyny has made her a perfect runway model. The sheer range of design sensibilities that Drazan has modelled to date is dizzying: her portfolio takes us from the full-on sex appeal of Versus, to the cerebral chic of Dries Van Noten.

Following her success in the very best of editorial and runway, Drazan took her career to the next logical step this autumn with a campaign signing. However, as typical of the rest of her career, Mackenzie did not start small. She was booked for the Louis Vuitton Autumn / Winter campaign. An opinion divider, the Louis Vuitton campaign goes for broke with the amount of modelling talent on display. Working both in small teams and as part of a larger narrative, the models had their work cut out for them. The challenge was to perform as individuals but to impress as a collective. With something going on in every corner of the frame, each image created by campaign photographer Steven Meisel, is fascinating. Whether you liked the collection or not, the campaign demands you take a second look.

As Drazan moves in ever more impressive circles, her success is down to the fact that she is an American model with major cross-continent appeal. Her looks, old-school beauty with a touch of the modern, make her a natural ‘fit’ for most editorials, runways and covers. 

Drazan’s success is also down to timing: during the 1980’s, American models were historically locked into the commercial arena of the fashion industry. Blockbuster names like Cindy Crawford were as well known by the public as fashion insiders. The wide-ranging appeal of those faces hard-wired that look into our minds: to be American was to, by extension, be commercial. 

This continued long into the Nineties and it wasn’t until recently that we learned to appreciate a whole new kind of American beauty. Faces like Karlie Kloss, Charlotte Free, Chanel Iman and Lindsey Wixson have tackled, head-on, the perception that Americans can’t do hard-core editorial. Wixson, with her unusual features, has radically challenged the idea that American models are commercial by definition. Wixson, currently the face of Mulberry and Chanel, is spiky, bold and adaptable, covering cute and whimsical through to ultra high-fashion.

Where Mackenzie fits is somewhere between Wixson’s edginess and Karlie Kloss’ all-rounder appeal. Drazan’s success on the catwalk most closely aligns her with Kloss – a model that rose to the top by clocking up a serious amount of runway hours. Kloss succeeded by being visible, and this strategy appears to be working for Drazan too.

But whereas Kloss has re-defined the term ‘all-American’, Drazan differs by offering something more elusive. She may be a California girl, but looking at Mackenzie, you can imagine her being a native of almost anywhere.  Her lack of definability is what has propelled Mackenzie to the top of the industry at break-neck speed, explaining why she is as comfortable in Valentino Couture as Balenciaga’s ready-to-wear. There is a phrase that to be a jack of all trades is to be master of none, but this is certainly not true of modelling: a face that can lend itself to any look is one that will undoubtedly prosper. 

Already a favourite with fashion’s most influential designers, Mackenzie Drazan is set to become America’s most exciting modelling prospect in years. Once again challenging us to re-shape our ideas of what an American model looks like, Drazan is the next stage in America’s endeavour to become world-class at sourcing the best editorial talent. With Drazan already on the rise, this may be a case of mission accomplished.

HELEN TOPE

MODEL PROFILES: CODIE YOUNG

Born on 1^st November 1992, Australian model Codie Young looks set to become one of the best-known faces of the year.

Discovered in 2010, Codie signed with DNA Models. In the same year, she got her first significant booking courtesy of Australian Vogue. Requested specifically by Vogue editor Kirstie Clements, the magazine has a strong history of being loyal to its home-grown talent and eager to develop them into world players. Their track record has produced some serious editorial talent including Catherine McNeil, Abbey Lee Kershaw, Alice Burdeu and Julia Nobis.

That October, Codie featured on the cover of Australian Vogue (photographed by Nicole Bentley). Young wore the purple Miu Miu dress du jour, flanked by a stunning display of pink roses. Also scoring two leading editorials in the same issue, this was a spectacular debut, launching Codie into the world of international modelling.

Codie made her catwalk introduction in February 2011, securing the opening spot in the Marni show. Appearing in nearly 40 shows, she appeared for Calvin Klein, Chanel, Chloe, Erdem, Halston, Lanvin, Marc Jacobs, Rick Owens, Rodarte, Sonia Rykiel, Thakoon and Vanessa Bruno.

Returning to Australian Vogue in April, she made her inaugural appearance in Italian Vogue in August. Photographed by Phil Poynter, the Beatnik-style shoot featured Codie playing a super-cool 60’s ingénue. Capturing the era in detail, this was the point where starlets started becoming fashion icons – you didn’t have to be as big a name as Elizabeth Taylor to make an impact. If you loved fashion and knew how to wear it, your star could rise and rise. The Sixties really cemented the link between fashion and film, with new stars cultivating a style persona independent of their film roles. Names such as Brigitte Bardot and Jean Seberg set the standard which starlets aim to replicate today.

Codie experienced her second big RTW season in September with Young closing the S/S 12 Jill Stuart show. With her other appearances including Carven, House of Holland, Just Cavalli, Mulberry, Peter Pilotto and Tory Burch, Codie was making crucial links with the up and coming labels.

Codie’s editorial work led to other high-profile bookings in Autumn 2011, with a campaign signing for Orla Kiely. Born in Ireland but now based in London, Orla Kiely gives retro English style a knowing, postmodern twist. Kiely excels at prints – her famous leaf pattern has become a design icon. Producing ethical fashion that has seduced everyone from Kirsten Dunst to the Duchess of Cambridge, Codie’s intensity gives the clothing a youthful edge.

Codie finally became the main attraction when i-D magazine invited her to participate in ‘Going for the Gold’, an editorial profiling new talent. Featuring new faces such as Alice Cornish and Tian Yi, this editorial highlighted a fresh group of models who are re-introducing the concept of quirky beauty to an industry that has, in the recent economic turbulence, gone with ‘safe’, familiar faces. However, as the recession continued, the fashion industry realised that playing it safe was not the same as being safe. Hence the explosion of new, interesting faces, with both Saskia de Brauw and Milou van Groesen doing particularly well.

The race to find that next great face is a continuous process. The life-cycle of a model tends to be short, and those who were discovered around 2008-09 are already contemplating the endgame of their careers. The tussle between agencies to sign the next big thing is always present; making a star can be a long-drawn-out process with some models needing a gradual introduction into the fashion world. Others start out the gate much quicker, their look usually finding favour with an influential editor, photographer or designer. Finding that starry face – the one that makes their agency a fortune – is a quick-draw business. Hesitate, and that lucky find goes to a rival agency.

Proving her worth, Codie scored the cover of the December beauty supplement for Italian Vogue. Photographed by Greg Lotus, Codie reprises her role in the earlier Italian Vogue editorial, giving us perfectly-honed Sixties elegance.

Completing a shorter RTW season in February, including Oscar de la Renta and Marchesa, Codie made her British Vogue debut with ‘Spring Forward’. Featuring Emily Baker, Romee Strijd, Elise Crombez and Maria Bradley, Codie makes her first editorial appearance sporting flame-red hair. Going from mid-brown, this bold new look proved to be career-defining, with Codie being snapped up for two major campaigns.

The first, Rebecca Taylor, has been a lucky signing for Codie. A regular on the fashion industry circuit, Taylor has just gone from solid, dependable producer of feminine fashion, to one of the hottest names in the business. Relaunching a vintage blue tweed suit recently worn by Kate Middleton, the ‘Kate Effect’ has transformed Taylor’s fortunes. As face of the brand, Codie benefits by association.

The second signing is the stuff of dreams, with Codie becoming the face of the latest fragrance to be launched by Marc Jacobs.

Following a tough act in the enormously popular ‘Lola’, the new fragrance is named ‘Dot’. It promises to be a small dose of summer; boasting a blend of red berries, dragon fruit, coconut water and jasmine. For many, a new Marc Jacobs perfume is always cause for celebration, but for Codie, this new signing represents a tipping point. Depending on how well-starred this fragrance is in comparison to ‘Daisy’ and ‘Lola’; Young’s career could begin a whole new chapter.

The last big launch for Marc Jacobs fragrances was ‘Lola’ in 2009: a floral scent with an extravagant bottle design whose campaign was fronted by Karlie Kloss. Already on her way to becoming a major name in the fashion industry, the ‘Lola’ signing with Karlie attached had an extraordinary effect on her career. As the fragrance became a hit with young women across the globe, recognition of Karlie grew accordingly. In a matter of months, Karlie went from new kid to the must-book model of the moment. Her fanbase grew from a small band of fashion insiders to a wave of appreciative videos popping up all over YouTube. Blogs were dedicated to the American model, and her work eagerly discussed and dissected. The meteoric rise of Karlie occurred because the campaign and fragrance were both equally strong. We’ve all been seduced into trying a new scent by a glossy campaign but felt let down by the scent: on this occasion, no detail had been overlooked: the perfume could not help but be a smash.

Deciding not to break up a winning formula, the ‘Dot’ campaign works on similar principles to the highly successful ‘Lola’ and ‘Daisy’. Instead of giving us uber-glamour, Codie looks directly into the camera, holding the bottle of perfume – and that’s it. It is what it is, the campaign implies: no tricks or subliminal messaging required. The no-nonsense approach is unique to Jacobs and a strategy that clearly works. The red and black bottle (looking like a ladybird) is appealing and tactile; youthful but not juvenile.

The hiring of the campaign model is crucial to the success of any fragrance: the faces used by Chloe to sell their perfume (including Anja Rubik) were perfectly pitched because the models exuded a cool, modern femininity that played right into the brand’s core values. Think of Chloe and you think of those iconic adverts: Anja the epitome of modern beauty, sub-referencing Chloe’s golden age. That same deep-rooted connection is what every perfume-maker aims for. The right face really can change everything.

Codie’s nonchalant air makes her just right for the latest Marc Jacobs scent. Cool, but not distant; quirky but still relatable; Codie sums up what appeals to the generation who will buy the perfume. Old-school glamour, normally a go-to for many perfumes, would not be right for this campaign; pared-down, fresh-faced beauty will strike a nerve with girls who enjoy fashion, but cultivate their own personal style. The individual, the girl less understood, is who Marc Jacobs really sells to. It is no accident that one of his muses is film-maker Sofia Coppola. Her celebration of new faces including Dakota Fanning and Imogen Poots neatly dovetails with Jacobs’ vision: neither is speaking to the girl who loves her fake tan and hair extensions. This is for the outsider, the girl who is aware of trends, knows fashion, but does it her way.

As the perfume nears its launch date in August, it is entirely reasonable to expect that the campaign will have the same catalyst effect for Codie as it did for Karlie. The perfect, quirky face for a boldly individual generation, Codie Young could be this year’s breakout star.

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

STAYING SAFE IN MODELLING

When preparing for a career in modelling, thoughts of personal safety tend to get bumped down the list.

But when starting out, any offers from photographers or clients can be overwhelming and it’s easy to let your common sense take a back seat. However, it’s during these initial assignments and bookings that things can go wrong – unless you go prepared.

First off, the basics: whether you’re going to a casting or an actual booking, take your mobile with you and make sure it’s fully charged with plenty of credit. It’s not only in case of emergencies, but for when you find yourself running late, or worse still, get lost. If you are already signed with an agency, store their number on your phone. If you’re flying solo, a smart phone is a good investment. Not only will you be able to find phone numbers while on the go, don’t underestimate the value of being able to google maps when you’re hopelessly lost. Harness technology to work for you: in a tricky situation, it can be your best friend.

When preparing to travel to an unfamiliar location for a casting or shoot, do some groundwork first. Look up the venue and plan your route beforehand, allowing for traffic (especially during peak times) and delays if you’re using public transport.

If possible, take some cash for a taxi, and if you’re really unsure about the journey, do a dress rehearsal. Travel to the venue a couple of days before, at the exact time you will be going on the day itself. It will not only give you a chance to scope out the venue, but will ease any travel stresses on the day itself as you’ll already know where you’re going.

It should go without saying, but wherever you’re headed, tell at least one person where you’re going, and crucially, when you expect to return. Even sending a quick text when you’ve reached your destination and another when you’re about to head off home isn’t a bad idea either. It may sound OTT but it’s essential that as a working model, you take your personal safety very seriously.

If you are invited to a shoot at a venue other than a professional studio (eg: a home studio or hotel), take a friend or relative with you. A professional photographer won’t mind you turning up accompanied, although unless you’re under 18, don’t expect to have your friend sitting in on the sidelines cheering you on!

Always check venue details when dealing with a photographer / client you haven’t worked with before. Any client or photographer that is reluctant to offer up such information should ring serious alarm bells in your head. Any legitimate client / photographer will be happy to pass on and confirm details, so don’t feel self-conscious about asking for them. They will take your attention to detail as a sign that you’re taking the shoot seriously before the first picture has even been taken – not bad as first impressions go!

Of course, awareness of safety also means knowing who to trust and who to be wary of. Especially as a new model, the amount of information you’re expected to take on board can be exhausting. If you’re in the position that you are receiving offers from photographers via email, again you can use technology to help you.

Check the email address carefully. Are they using a free email service (eg: Yahoo or Hotmail)? While it is entirely possible that a legitimate photographer has a Hotmail account, it is more usual for a photographer to make contact with models and clients via a business email address. If this is the case, they often include a link to a website of their work: go on, get nosey and take a look. It will not only give you an idea of what the photographer is like, but who they’ve worked for in the past. Don’t be afraid to check credits and do a little sleuthing. Again, no legitimate photographer will be remotely offended by you taking a closer look at his or her credits. In fact, if you like what you see, you can even score brownie points by mentioning a particular set of pictures when you meet. There isn’t a photographer alive who doesn’t like hearing that their work is appreciated.

If a photographer sends you a vague email with no substantial detail in it apart from the shoot itself, be on your guard. Normally photographers will quite readily list their previous experience and credits as a matter of course. If they are a relative newcomer to the industry they will probably say so. If the email you’ve received is suspiciously vague and you can’t get any further information, it may be time to do some fact checking. In these cases, always trust your intuition. If the situation feels wrong, don’t ignore it: do some research and equip yourself. In the world of modelling, knowledge is power.

Assuming you’ve checked and the photographer is the genuine article, what’s next? It’s always a good idea to check the terms of the deal being offered to you. Sometimes you will be offered something called a TFP (Time for Print) deal. All well and good, but what does this mean?
This is where a photographer and model reach an agreement where instead of payment, the model gets a set of prints for his or her portfolio, and the photographer gets permission to use the photos for their own portfolio and publish them for commercial purposes. No money exchanges hands, but it is pretty much a win-win situation.

There are no standard terms for a TFP shoot, but these guidelines are a good place to start:
- After the TFP shoot, the photographer will ask the model to sign a release form. This is a legal document agreeing that the photographer can publish and use the photos.

- In exchange for this, the model gets a licence, granting them use of the same photos for their portfolio (told you it was a win-win).

- Finally, if you are under 18 at the time of the shoot, a parent / guardian will have to attend the shoot and sign the form on your behalf.

You should also be aware that the photographer will be responsible for handling additional costs such as location permits, plus studio and equipment rental. That’s why with TFP, a photographer is allowed to recoup their expenses by being able to use the photos for commercial benefit.

With all TFP deals, models are expected to meet their own transport costs and make these arrangements themselves, but if you get a stellar collection of shots for your portfolio that leads to paying jobs, that’s no bad thing.

Starting out in modelling can be a daunting prospect, especially when you’re not sure about what your responsibility is and what isn’t. Prepare and plan: do as much research as possible as this will help you be clear on when you’re being offered a great deal and when you’re being taken for a ride. If you’re really stuck, Models Connect has a section on how to avoid modelling scams at http://www.modelsconnect.net/modelling_agencies/scams.html

Safeguarding yourself personally and financially is crucial if you’re to avoid some of the pitfalls of this industry. But if you’re ever unsure about what to do, listen to that little voice in your head. It’s trying to tell you something very important.

HELEN TOPE

MODEL PROFILES: CARMEN KASS

Carmen Kass has been a visible presence on the world’s runways for over a decade.

Born in Estonia, 1978, Kass is working (and working hard) at an age where most models are getting comfortable with the idea of being retired. But Kass is still commanding attention, with current campaigns including Michael Kors, Narciso Rodriguez and Max Factor.

To be relevant for this long, and without the backing of a media empire, takes some doing. Truly a ‘model’s model’, Kass is well regarded within the industry, and still maintains a steady balance of editorial print work with runway appearances. Her longevity has endured because Kass delivers impact on all fronts. Most models have a leaning towards a particular medium, or actively prefer print work (editorials and covers) to runway, but Kass is uniquely placed because she is equally strong at both disciplines.

Kass was discovered in 1992 by an Italian modelling scout. Travelling through Estonia, the scout stopped off at a supermarket and discovered 14-year-old Carmen.

In 1996, Kass moved to Milan (and then Paris) to pursue a modelling career. She did not have to wait long for success, as in September the following year she found herself walking in runway shows for Chanel and Versace. Not a bad start by anyone’s standards.

Her career blossomed, with fragrance contracts from Dior in 2000, a Pirelli calendar shoot in 2001 and several runway credits including Givenchy, Balmain, Marni, Oscar de la Renta and Valentino Couture.

It became self-evident very early on in Kass’ career that she would make an indelible mark on the runway. Her walk, once seen never forgotten, quickly became her signature. The stride that embodied confidence and sensuality was a fashion crowd-pleaser in the years before the Brazilian stomp became the industry standard.

Hired to walk in the Victoria’s Secret Fashion Show in 2002, Carmen (at that point not well known outside fashion circles) worked the runway with effortless aplomb. Kass, not necessarily the most commercially beautiful, stormed the show and was consequently signed up for the next show in 2003. Hiring Kass was a gamble for the lingerie brand, but it was a decision that paid off and explains why they are so keen to hire new names, their latest recruits including Chanel Iman and Rosie Huntingdon-Whiteley.

The strength of Kass’ walk helped her forge connections with designers: she opened and closed the Oscar de la Renta shows for Autumn & Winter, and Spring & Summer 2002, doing exactly the same for Roland Mouret’s shows in 2005. Her walk took her to the heart of couture, walking for Givenchy, Valentino and Versace, plus additional catwalk credits with names such as Gucci, Carolina Herrera and Yves Saint Laurent. In 2004, it was reported that she was now able to command $200,000 for every catwalk appearance. Clearly designers considered it money well spent.

In 2006, Carmen entered the ‘campaign’ phase of her career, signing contracts with DSquared, Michael Kors and Chloe, and in 2007, landing 10 campaigns in 1 year including Versace, Gap, Ferragamo and, once again, Michael Kors.

Her affinity with the Michael Kors label continues to this day, as Kass remains the face of his fragrances, as well as opening and closing his catwalk shows in 2008 and opening the Spring & Summer 2010 show in New York just this September. Also walking for designers such as Isabel Marant, Balmain and Proenza Schouler, it is astonishing to think that Kass is still working with the best of the cutting-edge designers 12 years after her catwalk debut.

Her ongoing popularity isn’t hard to analyse. Notoriously difficult to replicate, Carmen’s walk defies interpretation. A good walk may be an advantage for any model, but a great walk really does last forever.

Imbibing clothes with personality while keeping them the area of focus, is the most difficult part of runway modelling (after mastering the heels). A model’s job is to give a designer’s vision a sense of identity and purpose on the runway so buyers and editors can assess the collection and crucially who would be its potential customer. To get an idea of how to pitch a designer’s work to their reader or customer, the coal-face of the fashion industry has to be able to recognise, at a glance, who the designer is really designing for. Fashion is about fantasy, yes, but at the end of the day, fantasy doesn’t pay the bills. Having a great model that understands this is the best asset a designer can have. Carmen Kass, with that cool, analytical brain, understands very clearly the fiscal connection between fantasy and reality. One feeds the other, and together they form a coherent brand for the designer. Knowing your customer is as crucial as having a sartorial point of view. Trying to survive without either is virtually impossible.

A competent walker will always find work, but someone who really makes their walk a part of themselves will see the benefits. Carmen is so well-loved because she is a true original: there is no-one else like her. She is not a headline-grabbing ‘classic beauty’, but her look has stayed the distance because it is versatile, and unique.

The importance of the runway walk is once again front row and centre with new kid Karlie Kloss. The American model has wowed the fashion circuit with her controversial ‘death stare’ swagger. Like Carmen, Karlie’s fame is attributed to her ability to imbue any designer’s collection with personality and character. Such is her popularity online; that a video of her giving a runway tutorial claims over 45,000 hits. Now with a fragrance contract with Marc Jacobs to her credit, Karlie is hitting the big-time and looks destined to follow in Carmen’s footsteps, racking up 64 shows in autumn 2008. Whether Karlie’s ascent would have happened so quickly without that devastating sucker-punch of a walk is impossible to gauge, but it proves that a seriously good walk can still take you places in the fashion world.

What is fascinating is how interest in fashion has not only developed, but diversified. There is a definite shift of attention towards the ‘live’ element of fashion: its runway shows. With facilities like YouTube, having a pass to Bryant Park is no longer required to see the latest shows.

Virtually all the major players of Spring & Summer 2010 are already available to view online.
Done right, runway shows can be miniature pieces of theatre, with the big names really putting in the hours to make a truly memorable show. Alexander McQueen, Marc Jacobs and Prada all make the effort to produce a show that will be talked about as much as the clothes. Again, its fantasy paired with reality: pitching a dream to sell a jacket. What’s more, it works.

Prada’s pre-historic theme with models teetering on 6” heels; any Alexander McQueen show of the past 5 years, and Marc Jacobs taking us on a guided tour of American fashion history. These moments become markers in fashion’s progress because, unlike theatre, we can re-play and re-visit them on demand. They become as much of the fashion experience as buying a copy of Vogue or visiting a boutique. Technology is fusing fashion to the next decade, and where it goes from here – well, you can’t help but get excited by the possibilities.

Just when you thought fashion had lost the personal touch, it has found a way to make itself accessible. In the next decade, the challenge will be pursuing this line of thought. Designers are realising the power created by making that one-on-one connection, and the return to favour of models that exhibit guile and daring on the catwalk is no accident. Aloof and abrupt just doesn’t cut it anymore. We want personality and wit but most of all, we want to be entertained.

HELEN TOPE