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: JOSEPHINE SKRIVER

Born in Denmark on April 14^th 1993, Josephine Skriver was discovered in 2008 and at the age of 15 began to model. In October 2008, Skriver was featured by www.models.com as a newcomer, signing with Marilyn agency in 2010.

Skriver made her ready-to-wear debut in February 2011, making an early impact as she was picked to close the Prada show. Also walking for Chanel, Chloe, DKNY, Gucci, Haider Ackerman, Lanvin, Nina Ricci, Valentino and YSL, even without the Prada closer, this would be safely classed as a debut of significance.

Locating the source of Skriver’s appeal isn't difficult: even in fashion, faces like Josephine’s don't come along that often. Like Sasha Pivovarova, Anais Pouliot and Anja Rubik, Skriver finds herself part of a small group of models who would be readily termed as ‘real-life pretty’ but still ‘high-fashion friendly’. It is, in terms of selling clothes, a tough combination to resist.

Skriver channelled that beauty in May 2011 with an editorial for German Vogue. Photographed by Greg Kadel, ‘Uber Sinnlich’ was a series of black and white beauty portraits. It was a challenge Skriver was tailor-made for.

In July, Josephine made her first appearance in Italian Vogue, photographed by Steven Meisel. ‘Pret a Porter’, featuring Emily Baker, Fei Fei Sun, Anais Pouliot and Juliane Gruner, covered some of the upcoming Autumn / Winter trends in a series of quirky, characterful portraits. Meisel, always a champion of new talent, makes light work of these portraits: getting the best out of each model, it is hard to believe that some of these models are only months into their career.

Also in July, Skriver appeared for the first time on the couture runways of Paris. Walking for Azzedine Alaia, Dior, Giambattista Valli, Valentino and Zuhair Murad, these were classic and newer labels specialising in glamour. Valli and Murad are fast catching up to the more established names (Dior, Valentino) in providing high-profile clients with memorable one-of-a-kind looks: Murad already counts Jennifer Lopez as a red-carpet regular.

The face of couture is changing: out-and-out creativity still rules, but the big statements of a decade ago are being steadily replaced by an interest in great craftsmanship and boundary pushing detail. There have been concerns that couture’s love-in with Hollywood’s A list could mean an end to bold, creative thinking, but this simply hasn’t happened. The series of space-age gowns from Armani Prive (Spring 2010), deemed only suitable for the catwalk, proved immensely wearable for Hollywood’s elite on Oscar night. Indeed, as Hollywood is becoming bolder in its sartorial choices, couture is proving uniquely able to meet the challenges in making one-of-a-kind, career-defining gowns.

The expectation that couture would die a quick death during the economic depression has been proved wrong. Haute couture is in better shape than it was ten years ago; the designs haven’t got softer – the designers have got tougher in pushing couture detail not as blue-sky dressing, but real alternatives to the classic shapes we all know and love. Designers are more aware than ever of whom they are designing for, and it is this tightening of focus that has saved couture. Applying the lessons learnt from selling RTW in a tough economy has meant couture is still creative, but it is creativity smartly applied.

Josephine’s popularity for catwalk hiring grew in September 2011 with a massive 68-show season. Opening shows for Jaegar and House of Holland, she also appeared for Balenciaga, Christopher Kane, Fendi, Jason Wu, Peter Som, Prabal Gurung, Rodarte and Versace.

Ending the year with editorials with German Vogue and Dazed & Confused, Josephine made her inaugural appearance in American Vogue in January 2012 in the seminal feature ‘A Man for All Seasons’.

Also in January, Josephine again proved a hit with couturiers, appearing for Armani Prive, Basil Soda, Elie Saab and Atelier Versace. Josephine’s universal type of beauty correlates particularly strongly with couture. Its experiments in creativity give the clothes a timeless quality beyond immediate trends. Couture has that space to think big and its resulting ideas can be predictors of trends to come, or just beautiful clothes that exist like satellites. Josephine’s face may be a rarity, but it is textbook for couture: not an extreme, not a distraction, but a perfect complement.

Skriver’s stronghold on runway bookings continued in February with another blockbuster RTW season, featuring Gucci, Erdem, Tom Ford, Peter Pilotto, Marc Jacobs, Prabal Gurung and Michael Kors. A noticeable favourite with American super-brands (Kors, Jacobs, Ford), Josephine also impressed newer designers including Peter Pilotto and Prabal Gurung. Prabal in particular is a savvy booking for Josephine at this point in her career, as Gurung moves into the big-time. His gold cut-away gown worn by Jennifer Lawrence at the premiere for ‘Hunger Games’ has sealed his reputation on red-carpet wear that’s absolutely on the fashion pulse. Gurung’s profile is soaring as he is set to join the ranks of Jacobs and Ford as a must-book designer.

Also hitting the cover of the S/S H&M magazine in February, March proved to be an epic editorial month with Josephine appearing in Dansk, Chinese Vogue and Mixte. Skriver’s campaign roster continued to build with campaign videos for Gucci Cruise and MaxMara Weekend plus an appearance in the multi-model campaign for Bulgari’s Omnia Coral fragrance.

Featuring alongside Taryn Davidson and Carola Remer, this is the perfect summer fragrance campaign, with Bulgari gems and exotic flowers providing the accents. With some of the best fragrance campaigns, the personality of the perfume is so clearly delineated that you can almost smell the scent: this advert tells you very clearly what to expect.

This month, Josephine hits the headlines featuring in an editorial for American Vogue. ‘Checking Out’, photographed by Tim Walker, is a multi-page showcase for veteran model Kate Moss. Posing in a Ritz Paris hotel suite, Moss proves she has lost none of her magic. Josephine joins Mirte Maas, Sigrid Agren and Patricia van der Vliet in Valentino Couture, posing as ‘ladies-in-waiting’.

The question of who will take over from Moss as modelling’s next big star is still very much up for grabs. Some (Lara Stone, Gisele) have come close to replicating that star power, but Moss remains at the top of her profession two decades after her discovery. No-one wants to be the following act that always pales in comparison, but it is looking more and more likely that Kate is an isolated case of all the right factors coming together. From her early work with Corrine Day; the career-changing contract with Calvin Klein to her unrivalled domination of covers, campaigns and editorials, Kate has had an almost unblemished career.

Her success is routinely traced back to her greatest asset: that face. At age 38, she photographs as well as she did for Corinne back in the early Nineties. Ever since Kate’s discovery, the search has been on for the next great face: versatile, universal and immensely photogenic.

This, in tangent with her style, is Moss’ greatest gift to the modelling industry. Instead of turning up one face of note, the search has resulted in a renewed appreciation of great faces. Body types come and go, but there is a quality about beauty that enables it to both transcend and embody a trend. The type of beauty that everyone understands is still an unusual find even in the modelling industry, and for some time, its power has been greatly underestimated.

The allure of a classic face is not simple, it is primal: we are programmed to respond to it, and in turn, it ticks every box. This is well illustrated in Josephine’s career to date, which spans credits from Bulgari to H&M. Her extraordinary popularity on the catwalk bears testament to just how adaptable this beauty can be.

For all fashion likes to talk up bold, edgy talent, it’s hard to ignore the robust quality of Josephine’s career. Fashion’s love for universal beauty is laid bare in cases like Josephine where credits stack up one after another. As this season fashion celebrates the feminine in all its forms, Skriver looks set to enjoy an even rosier phase of her career. Pretty may be back – but did it really ever go away?

HELEN TOPE

MODEL PROFILES: STYLE

It’s a truth universally acknowledged that on entering the modelling industry, there’s only one rule to remember: fashion is a business. It’s creative, yes, and fun, but in the end, fashion boils down to pounds and pence, and the moment comes when you have to ask yourself: what am I worth?

Style: uncovered

Being a successful model is all about marketing. Starting out in a crowded industry is a daunting prospect, but knowing your own value and how to market that is half the battle won. If you take a look at some of today’s high-achievers, what they all have in common is a finely-tuned sense of personal style. Kate Moss is the most obvious example. Her knack of blending vintage and designer has made her a millionaire, but you don’t need to look much further to see that knowing your own style can get you results.

Freja Beha [pictured] may be versatile enough to go from H&M to Chanel, but her tomboy chic is in every editorial and campaign. Not so much so that is interferes with what the client wants (her look in the latest ads for Louis Vuitton renders her almost unrecognisable), but you look at any photo of Freja you get a very clear picture of the person she is. It’s the same with other top models: Raquel Zimmermann = bold, grown-up sensuality, Sasha Pivovarova = quirky, artsy femininity.

If you know who you are, selling yourself becomes that much easier. Think about your likes and dislikes – not just in fashion, but music, art, films, everything. Your tastes often dictate your style. A penchant for ballet pumps can often be traced back to repeated viewings of ‘Roman Holiday’.

When you’ve narrowed down what you do like – as well as the things you definitely don’t – think about how this has shaped you as a person. Our sense of style soaks up virtually every influence around us: you may be surprised at what, and who, has made a lasting impact.

Whether you’re a tomboy and proud of it, or the quintessential girl next door, this will have an effect on everything you do and the way you do it. From how you interact with clients, your strengths, your weaknesses – even the way you approach working the runway. The models that do particularly well at runway have a walk that’s not only distinctive but is as individual as a fingerprint. It works because they’re doing what feels right for them. They may tweak it for certain shows and designers, sassing it up for Dolce & Gabbana, or hitting the slow-burn for Prada, but a good walk is the bedrock of a model’s personal style. You can watch up-to-date runway footage on YouTube for technical pointers – but a catwalk style is ultimately a process of evolution: keep at it and your walk will eventually emerge.

Style: go-sees

For most models, this is where it all goes right – or horribly wrong. The best defence is a good strategy – and this means dressing the part. Most working models adopt a ‘go-see uniform’. As you get more experience, you will figure out what you need to take with you and what’s surplus to requirements, but as a starting point, your basic go-see kit should include these things:

- A spare set of underwear (nude, as this works best all colours) - Pair of heels (plain stilettos / platforms) - Smart phone or current A-Z if you’re feeling more traditional. - Water / snacks (especially if it’s a day of back-to-back go-sees. Passing out is never chic) - Small grooming kit (concealer / hair bands / grips / hairspray or wax)

When it comes to the actual go-see uniform, think clean and streamlined. The key to self-presentation for a go-see is to let the client see you without crazy colours or tons of accessories getting in the way. A white or neutral-coloured vest and a decent pair of jeans should be all you need. If a client wants something different to this, you will be told in advance.

With make-up, approach it from the client’s point of view. They want to see you, not your skill with a foundation brush. A light day moisturiser should be enough – with a touch of concealer here and there if your skin needs a little help. A light-diffusing concealer is ideal as this will photograph better. Clients often take a Polaroid shot as a type of visual note-taking. Prepping your skin the night before is a fantastic idea: a good skin scrub will give your skin a quick overhaul, but reserve any mask treatments for after go-sees: most masks are designed to draw out impurities. Don’t be tempted to try a new product the night before a go-see. When you’re stressed, your skin can behave in unpredictable ways: don’t give it an excuse to flare up and stick to products you know and trust.

Style: events

There are occasions when as a model you might be invited to an industry event. Whether the invite comes via your agency or a client, there’s definite subtext. An event like this isn’t just a party with great cocktails and fancy nibbles. It’s also an opportunity for you to get yourself noticed.

Scan any tabloid after the weekend, and celebs will give you a comprehensive lesson in how not to impress. Think of it not so much as a party but a job interview with heels and appetisers, because that’s potentially what it is.

Dressing for industry events can be a minefield: you want to glam it up; make an impact, but there’s a fine line between glamour and glo-worm. When in doubt, head back to your personal style.

Regardless of whether your fashion tastes run to the bohemian, or you’re more of a classicist, one tip is to ditch the black for one night and go with colour. Parties, especially where the stakes are high, are notorious for quashing people’s fashion instincts and have them scurrying back to black. Wearing colour will not only make you stand out in a crowd but it will project confidence, even if you’re feeling nervous. It’s a good way of faking inner-calm and serene self-confidence when you’re feeling anything but zen. Think of it as sartorial smoke and mirrors!

Style: getting personal

Knowing how to present yourself for go-sees or events is part of the process, but the key to being successful (and happy) while modelling is knowing to present yourself from the inside out. Modelling is all about self-projection. You don’t have to be the most vocal person in the room, but being able to put across your personality, whatever it is, goes an awful long way.

Thinking about your style – the way you walk on a runway, how you talk to clients, will give you an insight into the model you’re destined to be. There’s no point in trying to squeeze yourself into the glamazon mould if you’re more of a girl-next-door type. Think about how you interact with friends and family – what would they say your best qualities are? It sounds a scary prospect, but you could ask them – another person can often provide a fascinating insight – highlighting plus-points you never thought you had. Maybe your listening skills are the best thing about you – perfect for deciphering briefs from photographers and clients. Or perhaps it’s an ability to mix well with others – absolutely essential for the modelling business.

Your personality, more than any physical attribute, will inform the type of modelling career you will have. Going into the industry knowing not only your personal style, but your style of personality, will make the whole process that much easier. If you’re that girl-next-door type and you’re sent on a swimwear go-see more suited to glamazons, being turned down for the job won’t feel like a personal rejection but just a client making decisions about what’s best for their brand. That’s the secret to viewing rejection: it isn’t personal at all.

Modelling can be a very tough business, especially if you’re just starting out and don’t know what to expect. But if you start on firm foundations, you will have a clearer vision of where you want your career to go, and any journey’s quicker when you have the right map.

HELEN TOPE

MODEL PROFILES: KASIA STRUSS

Born on the 23rd November 1987, Polish Kasia Struss is a very contemporary vision of modern-day beauty.

Discovered by an agent in 2005, Kasia began working in 2006, debuting at Paris Fashion Week. She walked for Louis Vuitton and Prada’s sister label, Miu Miu.

Struss’ new look, conspicuous at a time where doll-like glamour was at its height, caught the interest of the press. In May 2007, http://www.style.com/ listed her as one of their Top 10 newcomers of the season, and she also appeared on influential website http://www.wwd.com/ as one of the new faces to watch.

In August 2007 she did her first editorial for Italian Vogue, photographed by Steven Meisel. Kasia was also booked for couture season, walking for Chanel, Givenchy, Roland Mouret and Valentino. She modelled for Aquascutum’s look-book and featured in the A/W campaign for Dolce & Gabbana.

A lot about a model’s direction within the industry can be determined by the runway work they are offered. In September 2007, and barely a year into her career, Kasia not only booked the following designers, but was asked to open their shows: PHI, TSE, Jil Sander, Balenciaga, Philosophy di Alberta Ferretti and Giambattista Valli. This was in addition to walking in shows for Chloe, Christopher Kane, Jonathan Saunders, Erdem and Giles. These names all represent very different states of opinion when it comes to fashion, but what they all have in common is that they are fashion’s taste-makers. The industry looks to them for the next big trend. The fact that all these designers chose Kasia to participate in their runway collections, indicates that she was already being considered a muse for fashion’s next generation.

In February 2008, Kasia experienced her biggest runway season to date, and was booked for 72 shows. This blockbuster season combined the best of avant-garde (like Jonathan Saunders and Preen) with more established labels (such as Alberta Ferretti, Gucci and Prada). It was self-evident that Kasia had now become a major presence on the international runway circuit.

During the recession, the one constant in fashion has been the allure of the runway. With so much at stake, fashion houses are investing a great deal of financial and creative energy into making great, memorable shows; the late Alexander McQueen trail-blazed this approach with events that verged on the theatrical. Designers are using technology to up their game, streaming their shows live on the internet, because runway remains the most potent way of advertising what their brand is all about, and hiring the right model can make all the difference.

Kasia’s unusual East-European features automatically make her a stand-out, but that’s the draw for designers. With Kasia on side, a brand immediately announces itself as brave, bold and forward-thinking. No matter how esteemed the history of a fashion house, no-one wants to think of their brand as being behind the times.

2009 brought more couture and editorial work, with Kasia walking in the Dior couture show in January and appearing in her 2nd Italian Vogue editorial in March. In July, she walked the couture shows for Givenchy, Chanel, Dior and Armani Prive. Struss also did a campaign shoot for Mulberry, photographed by Steven Meisel.

The shoot, which she worked with Irina Kulikova, was an ode to autumn. Posing in a leaf-covered forest, Kasia and Irina’s gloriously frizzy hair, combined with lashings of high-fashion attitude, elevated Mulberry’s transition from home-grown bag brand to major fashion player. It was the perfect campaign, as memorable as it was evocative.

The campaigns kept coming as Kasia was named one of the new Chloe girls. Working alongside models like Raquel Zimmermann, Kasia’s unique brand of beauty now stood shoulder to shoulder with the industry’s glamour puss-in-residence.

In December 2009, Kasia finally made the cover of Italian Vogue. Shot by Steven Meisel, Struss now completed the ultimate modelling milestone. In acting, an Oscar lets you know you’ve arrived, in fashion, it’s Vogue Italia. This seal of approval finished off an incredible year for Struss, who saw her standing in the industry go from super-edgy runway girl to mainstream big-budget campaigns for Mulberry and Chloe. It was an extraordinary year.

2010 promises to be equally unforgettable, with January bringing a busy couture season for Kasia, walking shows for Armani Prive, Elie Saab, Dior, Chanel, Givenchy and Valentino.
This month, Kasia can be seen in the March editions of Vogue and Elle, appearing in the S/S ad campaign for Alberta Ferretti. Amid a confetti of ribbons and pleated tulle, Kasia models alongside newcomers Constance Jablonski and Hanne Gaby Odiele.

There has been considerable attention lavished on this season’s big-name campaigns. Usually a litmus test of which models are at the top of everybody’s must-hire list, this season, the ads themselves are getting the spotlight. Balenciaga has fun with Photoshop, Chloe borrows a page from Ralph Lauren and Lanvin goes even further with Jamie Bochert’s face obscured from the camera altogether.

It is no surprise that fashion has had to get more creative to keep our attention. The emphasis on products is essential to keep many labels afloat, and the choice to hire established faces, but not necessarily ones that are household names, is a deliberate one. Costs are lowered, and the product and label take centre stage.

Girls like Kasia really do well in this kind of climate. Her fashion pedigree is firmly established, but she does not distract attention away from the product she is meant to be selling. This trend for faceless fashion is something new and sparking much debate. In the latest Prada advert, it is somewhat impossible to miss the bag: it takes up virtually the entire page.

Far from being bad news for models, it proves just how essential that personal contact is for the consumer. After all, if aspiration wasn’t a contributory factor in buying the latest must-have bag, no label would bother using models at all - a mannequin would do. But they don’t and that is because we still need that relatable aspect. If we don’t aspire to look like the girl on the ad, cover or runway, then fashion simply hasn’t done its job.

Kasia Struss has excelled during a tough time for the industry because her look is all about a clean, modern aesthetic. Taking her lead from Nineties models like Stella Tennant and Audrey Marnay, girls like Struss are dominating the catwalk by virtue of their non-conventional beauty.

There will always be a place in fashion for the girl who can pull off the glamourpuss look, but the good news for prospective models is that high-fashion’s tastes when it comes to beauty can vary wildly. Not being a typical beauty doesn’t mean your career’s a non-starter. Modelling is as much about inspiring the designer as the consumer, and editorial looks can help redefine the direction of where fashion is headed, and that in turn, can make you very popular indeed. Just ask Kate Moss.

Models like Kasia Struss will inform the future of fashion by being that bold mixture of feminine and masculine, hard and soft. Sex appeal and glamour will always be required but at the very frontier of fashion, those calling the shots want to work with Kasia.

Struss is centrally placed to enjoy the most exciting decade for fashion in nearly twenty years. Innovation, technical and creative, is what will drive fashion over the next 10 years, with our relationship with technology running through every collection, whether that takes the form of literal translation or a more subtle influence. A face that can deliver any aesthetic, and do so with credibility and authenticity, will not only influence the progress of high-fashion, but also what the next generation of models will look like.

Kasia is the best means we have of determining the face of fashion’s future. She is truly a 21st century girl.

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: AGYNESS DEYN

Some careers are born by design, others by good fortune. Agyness Deyn was not born Agyness Deyn, but through a series of events the girl from Littleborough, who once worked in a chippy, became an internationally acclaimed model.

The girl who professes herself to be ‘happier mixing with [her] small circle of friends’ than attending fashion parties, is now at the epicentre of contemporary fashion. Agyness is part of a group of friends – designers, models, collaborators – who have grabbed the reins of modern fashion. When you can count designers like Henry Holland and Gareth Pugh as personal friends, the term ‘outsider’ no longer applies.

Everything about Agyness is the result of reflection and change. Deyn was born Laura Hollins in Littleborough, 1983, and only thought of changing her name when deciding to pursue a modelling career. Consulting her mother’s friend, who specialised in numerology, she was advised to change Laura to Agnes. Laura took the advice and further altered Agnes to the more unusual (and memorable) Agyness. The strategy, while unorthodox, paid off.

Agyness’ second piece of good fortune came when she was working in a fish and chip shop in 1998. The up-and-coming designer Henry Holland was a regular, met Agyness and the two immediately bonded over their love of fashion. Agyness was even scouted by a modelling agency rep whilst out shopping with Henry in Kentish Town. She signed with Select and began runway work in September 2006, modelling for Marc Jacobs’ diffusion line, plus cutting edge designers Proenza Schouler and Zac Posen.

Her runway debut, which already had her marked as someone outside the norm (even in fashion terms) was confirmed when, in November 2006, Deyn appeared on the cover of Italian Vogue sporting a bleached, cropped pixie-cut. Making that bold decision to change her image so drastically put Agyness on the map. But as with Twiggy forty years before, a hair cut is never just a hair cut.

Deyn’s incredible new look made her unmissable: the peroxide crop was exciting and fresh, something that ran counter to the ultra-feminine, doll-like look that was in favour at the time. Harder and tougher, it was something that went perfectly with the neon bright, Eighties-influenced clothes being produced by designers such as Richard Nicoll. Deyn’s attempt to get herself noticed could not have been better timed.

Her haircut, combined with her love of British fashion, nurtured as a result of her friendship with Henry Holland, made Agyness a startling presence both on the runway and in real life. Teaming her cropped hair with boyish, urban separates and eclectic accessories made Agyness eminently watchable.

Her own personal style, something that grew organically from her radical change in image, became a regular feature in fashion magazines. Her trilby hats worn with Wayfarer sunglasses made a vital connection not just with the fashion press, but more crucially, with the British public.

Her look, merging the best of designer and high-street fashion, became an inspiration for teenagers across the country. Girls began to crop and bleach their hair to match Deyn’s. The cool yet casual look played perfectly to fashion-conscious students of both sexes who were looking for something with more personality than a hoodie and a pair of jeans. Deyn rapidly became a taste-maker: whatever she wore, however she wore it, it was profiled, studied and copied. Through her personal style, Agyness Deyn connected with an entire generation in a way that few other contemporary models have managed.

Born in the dying days of the New-Romantic movement, Deyn’s punk-inspired look owes a great debt to Vivienne Westwood’s work during the late Seventies and progression into the early Eighties. The wild excess, tempered with a very real awareness of design and fashion history, is a British tradition that has translated to street fashion across the globe.

The mix of rebellion and high fashion that is embedded in Deyn’s look has formed a whole new level of street style, quite separate from the label-led sportswear trend. Whereas many fashion watchers presumed that the age of influence ended with Kate Moss, Deyn’s unique homage to street fashion has secured a revival of interest in the industry.

Deyn forms part of a later generation than Moss who came to modelling already equipped with an awareness of how modern media works. Deyn entered the industry with an understanding of the link between the popular press (tabloids and broadsheets) and the more traditional fashion media. Once absolutely divisable, it is now commonplace to find a tabloid devoting at least a page to a fashion story on a daily basis.

Previously scorned for its ‘outlandish’ and ‘unwearable’ creations, fashion receives a kinder deal as newspapers, eager to boost their own sales, have sharpened their approach to fashion journalism. They report fashion events with the same attention once reserved for domestic politics.

Fashion now sells papers on its own intrinsic merits, rather than on a dated notion of ‘shock value’. It is taken much more seriously, because the public have made that personal connection with what they wear, and what it says about them, and that connection has been bridged by people like Deyn.

Agyness’ triumph can be summed up in terms of how she has made street icon and fashion icon one and the same. Working with the best of British avant-garde design talent such as Gareth Pugh and landing campaigns for established labels like Burberry and Hugo Boss, proves that Deyn is the ultimate chameleon.

Deyn has, within the space of three years, become an unrivalled influence in contemporary street fashion. She has successfully challenged our pre-conceptions about what constitutes everyday style. Her commitment to transforming herself into one of the fashion world’s top players shows how, even early on, Agyness was prepared to take personal responsibility for her own career. To become one of fashion’s most recognisable faces takes more than self-belief.
It took tremendous nerve, but by having the guts to change her look when it wasn’t delivering the results she wanted, Agyness became one of fashion’s elite by rebranding her own image into something more daring and fashion-forward.

While everything from her hair to her name may be manufactured, it is important to see Deyn’s progress as something that did not happen merely as the result of wishful thinking. She took charge of her own success by turning herself (physically and emotionally) into the model she wanted to become. Marketing is as much about perusading yourself that you belong as convincing others of the fact.

In the short term, Deyn’s immediate legacy will be her extraordinary influence on street fashion.

But what will endure is her willingness and determination to craft her own future, leading us away from the notion that people who have succeeded have done so because they let success happen to them. It may not be the name on her birth certificate, but Agyness has built a name for herself in the fashion world that is synonymous with style and influence, and not being afraid to take a risk right at the moment when it counts the most.

HELEN TOPE

MODEL PROFILES: KATE MOSS

Kate Moss is the most influential model working in fashion today. The girl from Croydon holds a special place in modelling history: she is someone, who on paper, should never have succeeded as a model.

Kate’s career began when she was discovered at a New York airport by Storm agency founder Sarah Doukas in 1988. Kate’s meteoric rise through the fashion ranks began with a photo shoot for ‘The Face’ magazine with photographer Corinne Day. The edgy, cool shots spread through the fashion world like wildfire. It was here that Kate was first cast as the ‘anti-supermodel’. Her teenage, waif-like body could not have been more different to the Nineties’ clutch of supermodels: Cindy Crawford, Claudia Schiffer, Naomi Campbell and Linda Evangelista. They were conventionally beautiful and uber sexy. The remit for models was a womanly but slender figure – something that could comfortably fill out a Versace gown.

Kate Moss did the rounds at teen magazines, but it wasn’t until 1993 that she got her first big break. Kate’s inauguration into the public sphere occurred thanks to the vision of American designer Calvin Klein. The now-iconic black and white minimalist ads made Kate the embodiment of progressive, modern fashion – a perfect segue from the Eighties hangover of glamour and sequins. She was small, quirky and unconventional. Perfect for the Nineties.

Kate’s career blossomed virtually overnight. She began to work with the biggest designers, photographers and publications in the fashion industry. Her slight figure courted controversy as the press labelled her look ‘heroin-chic’ (based on the extreme emaciation of drug addicts), but Kate kept her cool and carried on working. Her unwillingness to get drawn into a debate on whether she was a good example to teenagers or not proved to be a canny move. The world of fashion does not stay still for long, and soon the ‘heroin chic’ look fell out of favour. But Kate remained. What she famously lacked in height (Kate, at just over 5’7”, is significantly below the standard industry requirement of 5’10”), she made up for in versatility. The fashion industry saw that in Moss, they had a face-in-a-million. A face that could sell any look: glamorous, editiorial, commercial.

By 2003, as well as her ‘mother agency’ Storm, she needed three additional agencies to manage the deluge of requests for her time. The fiscal years of 2004-06 saw Kate become the second highest-earning model in the world, second only to Gisele Bundchen. In addition to this, Kate has (to date) appeared on 24 British ‘Vogue’ covers, and 17 covers of the US style bible ‘W’. By anyone’s standards, this is an impressive track record.

If Kate had stuck to modelling, this alone would have ensured her longevity, but Kate’s popularity outside the perimeters of the fashion world was something entirely new. Everywhere she went, whatever she did, her style was obsessively chronicled across the world’s media. She wasn’t just a model: she was a pop-culture icon.

For years, the fashion press speculated on whether Kate would ever branch out into fashion design. April 30th 2007 saw the launch of the first Kate Moss / Topshop design collaboration. Kate red-ribboned the collection at Topshop in Oxford Street, appearing in the window as a live mannequin. It caused a sensation and the public, were they in further need of convincing, were hooked.

Financially, the first collection was a huge success, but there was some controversy over the term ‘designer’. Some doubted Kate’s credentials – had she any say in the development of the collection at all? Kate set the record straight by confirming that she did not design the clothes herself, but rather acted as a muse to the TS design team; bringing in samples of her own clothes to act as jumping-off points, and to discuss fabrics and finishings, as well as modelling the finished articles for the TS promotional campaign.

The collection, despite its success, initially received some mixed reviews. Some dubbed it ‘Duplikate’ – clothes for a generation of girls who have grown up watching, admiring and copying their fashion idol, although to criticise such a collection on these grounds is somewhat missing the point. The brilliance of the collaboration between Moss and TS simultaneously paid homage to, and took advantage of, her status as a style icon.

The first and subsequent Topshop collections have been designed for and marketed towards a generation who have dressed under the umbrella concept of ‘celebrity style’. They see, they like, they wear.

Where Kate has engaged with the public most successfully, is how she has ignited popular fashion trends. In recent years, she has spear-headed trends as diverse as denim shorts, Ugg boots, ballet flats, skinny jeans, the waistcoat and the leopard-print scarf, all of which have scored big with consumers across all age and income brackets. In an age where film stars recruit stylists to dress them before popping out for a latte, Kate understands that true style is innate, which is why the public respond to her in the way they do. A scarf thrown on at the last minute before heading out the door becomes a worldwide fashion blockbuster because it is spontaneous, unstudied and fun. Kate Moss has made an indelible mark on how we dress, and present ourselves to the world.

Kate has also steadfastly refused to play the fame game. Notorious for her lack of interviews, Kate Moss has remained at the top of the game by remaining an enigma: a tactic that has garnered more press attention than the ‘confessional’ attitude of D-list celebrities. It is this Garbo-esque silence that has proven to be Kate’s most irresistible play.

What makes Kate Moss so unique in comparison to other models, is her comparative ordinariness. Before her, models were statuesque, utterly beautiful and frankly, more than a little intimidating.

Kate has blown apart the conceptions of what a model should, and can, be. She is the ultimate outsider (‘wrong’ in so many respects), who ended up persuading the fashion industry to see style and beauty from her own unique point of view.

Kate’s legacy is one of embracing frailty and imperfection. This is why the public, and in turn, the world’s media, have embraced her so wholeheartedly. She is, on the face of it, just an ordinary girl. Kate never claimed to be a role model, just a model. She has no interest in being put on a pedestal – for Kate, modelling begins and ends with fashion, not celebrity.

When Moss is remembered, it will not be for the scandals, or the feted rock’n’roll lifestyle – it will be for her unabiding love for fashion. It shines through every photograph. Kate has a profound respect and appreciation for the creative process that makes fashion work. It is Kate’s understanding that the worlds of fashion and modelling progress hand-in-hand, that has made her the most sought-after name in modelling today.

It is a mistake to think that because someone chooses to remain silent, it is because they have nothing to say. Kate Moss has made a fortune on the belief that beauty is not perfection. The best of her work shows that her message is about the importance of accepting one’s flaws. Kate knows instinctively that there is no point in pretending to be perfect. There is much more mileage in being imperfect: in the long run, it makes life (and fashion) much more interesting.

HELEN TOPE