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: KATRYN KRUGER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: PATRICIA VAN DER VLIET

Dutch-born Patricia van der Vliet is one of the success stories that can be attributed to the Top Model phenomenon.

Born on July 14th 1989, Patricia became a contestant in the 2008 edition of Holland’s Next Top Model. Although she did not go on to win the competition, Patricia’s modelling career went live when she signed with NY Models the following year.
In September 2009, she debuted at Fashion Week. Patricia made the headlines, walking exclusively for Prada in Milan and closing shows for Preen, Giles and Balenciaga.

In a move similar to fellow Top Model alumnus Alice Burdeu, Patricia took instantly to high-fashion and the feeling was more than mutual. Also hired to walk in Spring / Summer shows for Celine, Dries Van Noten, Louis Vuitton, Nina Ricci and Valentino, Patricia was a hit with every major designer. If there was ever a career defined by its beginning, this was it: Patricia’s start in the industry was loaded with star-making potential. The impact of her debut was sealed when www.style.com named her a Top 10 Newcomer.

2010 saw Patricia explore other avenues of modelling, including editorial and campaign work. Early in the year, news broke of Patricia being signed to appear in the S/S ad for Balenciaga, along with Mirte Maas, Iselin Steiro and Lisanne de Jong. All faces of the moment, they were a perfect choice for the avant-garde label.

True to form, Balenciaga hired photographer Steven Meisel to create a series of eye-catching, ultra-daring ads. The end result was ground-breaking and immediate in its impact. Zesty bursts of colour, go-faster stripes and a play on proportion that bordered on the surreal all made for a highly unusual but memorable campaign. An absolute stand-out, and one of the high points of last year, the Balenciaga ads were a creative tour de force. For a fledgling model, being involved in such a project was nothing short of a career-making moment.

Patricia’s year continued on a high, with an Italian Vogue editorial in January and her first appearance at couture fashion week in the same month. February saw Patricia appear in simultaneous layouts for Numero, Interview and British and Chinese Vogue. She also had her biggest runway season to date, walking in over 50 shows. Opening the Giambattista Valli show and being the closer for Balenciaga, Patricia walked for every designer from Oscar de la Renta to Gareth Pugh.

What followed was an extraordinary run of editorial work, ensuring Patricia’s career was international in scope. In March, she featured in American and British Vogue; Japanese Vogue in April; editorials for W and American Vogue in May, Japanese Vogue again in June followed by a spread in Russian Vogue in September. Appearing for the taste-makers of high-fashion, Patricia’s initial buzz as a model to watch had translated into global appeal.

Her developing career blossomed further in September with a runway season that had its roots in high-fashion, but began to develop strands into other lucrative pockets of the industry. Walking for Alexander McQueen, Chanel, Dolce & Gabbana, Givenchy, Rodarte and YSL, Patricia also landed spots with Prabal Gurung, and all-American labels Tommy Hilfiger and Reed Krakoff. Every design house has its own unique style imprint, and being able to interpret any style from the Parisian theatrical glamour of McQueen to the fresh look at American chic from Reed Krakoff, puts you at a distinct advantage.

Patricia rounded out the year with a second editorial for Italian Vogue and her first major cover, starring alongside Karlie Kloss on the November edition of Chinese Vogue.

Patricia’s link with the McQueen label continued in January 2011, with a pivotal role in an editorial for American Vogue. Featuring work from new creative director Sarah Burton, this was an in-depth look at the legacy of McQueen.

Named ‘New Order’, Patricia modelled with Sasha Pivovarova, Lily Donaldson, Caroline Trentini and Mirte Maas in a poignant spread featuring the new collection, just seen on the runways a few months before. With Patricia in the absolute centre of the shot photographed by Patricia Demarchelier, it was an editorial heavy with meaning; new designer, new year, and new start. These photographs were a tribute to, and signal from, the McQueen label: fashion may look back, but eventually it moves forward.

Patricia’s first shoot of the year couldn’t be more aptly named if it tried. The tough times of the past two years required more than a bi-seasonal change of trends, but what fashion gave was a tour-de-force performance in creating a ‘new order’. The fashion world undertook a radical image overhaul, and transformed itself into a wiser, wittier industry that’s now teeming with ideas.

Right now, fashion’s biggest idea is individuality. The models making it big are defiantly different from the glamorous Slavic models and the eclectic band of all-American girls seen operating during the past decade. The new look is recognisably supermodel, but without the formula behind it. The latest newcomers (including names such as Lindsey Wixson, Joan Smalls, Daphne Groeneveld and Caroline Brasch Nielsen) all have one thing in common: they defy category. Not easily definable, even harder to summarise, but that is exactly the point. The once iron-clad terms the modelling industry lived by - editorial, high-glamour, androgynous - are starting to lose their grip. The newest models are at once all of these things and yet none of them either and that’s what makes them a breath of fresh air.

This has been fashion’s response to the recession: regroup and rebuild. Despite the gloomy predictions in 2008; both high-fashion and haute couture are still standing proud. But the uncertainty that continues is what makes this current climate so great for fostering creativity. It’s no coincidence that these past few seasons have produced hit after hit. This winter saw a return to neutrals after years of glitz reigning supreme; and this summer, fashion’s done another 180 with an explosion of colour and print that’s exuberantly optimistic. We’re finally starting to see fashion with the blinkers off. It’s not about sartorial point-scoring, but a genuine appreciation for fine clothes and great design. This is what is so compelling about fashion – its ability to create the next big idea that everyone’s got to have. This time, fashion's big idea is fashion itself.

But fashion’s most brazen about-turn has been to revise the faces it chooses to represent its brands. Models like Patricia are booking covers and campaigns because they are reassuringly different, rather than despite of it. Modelling has always celebrated uniqueness, whether it’s through models like Devon Aoki or Alek Wek, or more recently, Jamie Bochert or Saskia de Brauw. But the shift that has happened is going from one or two models flying the flag for individuality, to a whole industry of models who defy definition. It’s a brave step, but one that finally feels right.

As models like Patricia take their place among fashion’s elite, the way we see fashion – and the way it sees itself – will continue to evolve. If there’s just one message to take forward into the next decade, it’s simply this: the best is yet to come.

HELEN TOPE

MODEL PROFILES: JACQUELYN JABLONSKI

Born in 1992, New Jersey native Jacquelyn Jablonski started her career signing with prestigious agency Ford Models in 2007.

In January 2008, Jablonski hit the headlines when she became a finalist in Ford’s ‘Supermodel of the World’ contest. A competition famous for cherry-picking the very best of new modelling talent, Jacquelyn’s placing got her noticed by the industry, with www.models.com showcasing her as a face to watch.

Ford, an agency with a reputation for not only spotting but cultivating talent, built on Jacquelyn’s early success with runway bookings for resort collections (Proenza Schouler, June 2009) and pre-fall appearances for Emanuel Ungaro.

The obvious move on Jacquelyn becoming a Ford finalist would have been to launch her immediately into Fashion Week. But Ford instead let Jacquelyn develop her skills on the runway, with regular appearances making her increasingly visible – and credible. The drip-feed effect paid off, with Jablonski getting hired for a number of editorials with V and Italian Elle, but later that year, Jacquelyn made an impact that was hard to ignore.

The all-American girl scooped a campaign with the ultimate American brand. Hired to appear in ads for Calvin Klein Jeans, Jablonski’s high-fashion look added edge to the iconic campaign. Her status had transformed overnight from new arrival to the latest must-hire model.

Jacquelyn experienced her breakout runway season in September 2009, walking for names such as Thakoon, Gucci, Prada, Balenciaga, Lanvin and YSL. She was now coveted by every major designer, and www.style.com named her one of their Top 10 Newcomers of the entire season.
While 2009 was undeniably successful for Jablonski, 2010 would prove to be the year where her career really took off. Landing campaigns for D&G and Celine in early 2010, she walked the couture runways in January for Valentino and Chanel.

Her next ready-to-wear season in February saw Jacquelyn walking in an incredible 74 shows. In a season that boasted hit after sartorial hit, Jacquelyn’s astonishing presence on some of the world’s most important runways, elevated her to fashion’s newest superstar, joining the likes of Chanel Iman and Karlie Kloss; models that combined old-school star power with editorial know-how.

Further editorial work followed an extraordinarily successful season, with Jacquelyn appearing in French, German, American and Japanese Vogue. She also landed the S/S cover of French Revue des Modes, and appeared in the A/W look-book for Givenchy.

Jacquelyn’s year has ended with a prolific signing for Tommy Hilfiger’s label, and a 61-show season for S/S 2011 including appearances for designers such as Dior, Dries Van Noten, Marc Jacobs, Proenza Schouler and Sonia Rykiel. Still a runway favourite (anything approaching 30 shows is considered a huge success), Jacquelyn’s future as a new addition to fashion’s latest clutch of multi-tasking models is now firmly established.

Jablonski’s strong editorial features and couture-ready body directly counter the myth that American girls can’t do high-fashion. The outdoorsy, high-energy angle required for campaigns such as Tommy Hilfiger may seem at absolute odds with walking the runway for Chanel Couture, but the skill-set required to master them both are one and the same.

Jacquelyn’s success is not an isolated incident, but forms part of a group of young American models who are wowing the industry. Hannah Holman, Lindsey Wixson, Arlenis Sosa and Kendra Spears fulfil fashion’s fantasy of the all-American girl, but their ability to wear European labels that require edgier faces to bring them to life is something entirely new. The notion that an American can’t win over Paris – the home of haute couture – is rapidly becoming old-hat. Karlie Kloss is the current face of Dior; Karl Lagerfeld has been equally charmed by Chanel Iman and his current infatuation with Jacquelyn’s fellow American, Emily Di Donato, points to the fact that when it comes to high-fashion, American girls have no problem in making their presence felt.

But it’s not a simple case of take-over: the modelling industry has been wholly dominated by European talent for the past decade. Russia, France, Holland and Germany have turned out some of the strongest faces for a generation, and while America did lay claim to producing some of the greatest models of the Eighties and Nineties, its stake in modelling talent has got left behind. Fashion’s tastes for edgy and fashion-forward models got associated with quirky European faces, whilst American talent became increasingly linked with swimwear and lingerie. Success isn’t a dirty word in modelling, but it can be possible to have too much of a good thing.

This new breed of American model takes on every kind of fashion personality – not just the sunny, California girl or the moody, New York intellectual. Jacquelyn’s generation have actively steered away from cliché, and this simple approach has proved devastatingly effective. By ducking and dodging what’s expected, these American models have created careers on their own terms. Although she has been working less than two years, Jacquelyn’s work to date includes 60’s chic, neo-Grunge and post-recession minimalism. A quick scan through her credits and it’s clear that no two projects are alike.

Jacquelyn and her peers understand implicitly that fashion wants models that can embody any age, any era and any mood. Being a one-note wonder, however well-starred, no longer hits the right spot for the designers currently calling the shots. A model’s reputation – more so than ever before – relies on the premise that a new face can take on editorial, runway, covers and campaign work. A high-achiever in modelling today excels across the board.

Jacquelyn’s CV already boasts a wealth of runway experience and campaigns with iconic brands. The fact that Jablonski is also getting booked for couture shows is important too: it is the definitive marker of a great model. Even tougher than RTW, it takes bravado to wear couture and not get swamped by its grandeur. Being fashion-fearless is a definite asset if you’re to conquer couture and the sheer numbers of models making the trip to Paris indicates that when it comes to couture attitude, the Americans finally have it nailed.

It’s taken some time for America’s modelling talent to emerge from behind the shadows of such colossal names as Crawford, Turlington and Banks. The key has been to think (and act) laterally. Jablonski’s success occurred when she borrowed aspects from America’s modelling heritage, but her performances are far from being pale imitations of another woman’s genius. Jacquelyn sits front row and centre in a group of models that are proud to be unique, and their body of work is as much about embracing America’s modelling past as it is about carving a place for themselves in the years ahead.

Daring, diverse and dazzling, Jacquelyn is a perfect example of an American model that is anything but apple pie.

HELEN TOPE

MODEL PROFILES: LINDSEY WIXSON

Born in Wichita, Kansas, in 1994, Lindsey Wixson is the latest model to become fashion’s favourite teenage kick.

Lindsey began her career aged 15, signing with Vision Models in early 2009. The LA-based agency recognised the find they had in Lindsey and shot video footage of the young model, sending copies to other agencies, plus media / fashion websites. The footage eventually caught the attention of website www.models.com who were so impressed that Wixson became their ‘model of the moment’ in June 2009.

Lindsey’s market-value rocketed as a result, and she signed with Marilyn Agency. But Vision Models’ sterling job of marketing paid off again, when their polaroids of her reached top photographer Steven Meisel. Wixson was immediately booked by Meisel to take part in a shoot for Italian Vogue.

Fashion has plenty of early-glory tales to tell, but some models have trouble measuring up to great expectations. Lindsey was not fazed. Making her international runway debut in September, she walked for Italian labels Philosophy di Alberta Ferretti and Miu Miu, plus opening the Prada show as an exclusive.

Designer Miuccia Prada’s ability to spot a star-turn is well-documented, with Mirte Maas, Samantha Gradoville and Barbara Palvin all names whose careers have benefited from the Prada effect. Wixson was no exception, and became the most talked-about newcomer of the season.

In October, she landed consecutive editorials for Teen Vogue and the Japanese edition of Dazed & Confused. She also appeared in the A/W issue of i-D, but her career really took off in 2010.
Right from the New Year, Wixson was creating buzz. In January, she appeared in American fashion bible W, in an editorial shot by Craig McDean. A month later, W magazine’s website featured Lindsey as their ‘This Week’s Model’, taking Wixson from industry favourite to public property.

Wixson’s star-power was cemented when it was announced that she would become the face of Miu Miu. The vintage-inspired label was a quirky choice, but perfect for Lindsey’s brand of unique beauty. Her trademark pout made her instantly recognisable, even from the very early days of her career. This is not always a good thing for a model starting out; especially one who needs to prove his or her versatility, but Lindsey’s weak spot became her greatest asset.

Sure enough, the Miu Miu booking had a galvanising effect on Lindsey’s career. Opening the Autumn / Winter show for the label in the Spring, she also appeared for Missoni, Jason Wu, Marc Jacobs, Prada, Versace and Zac Posen. Lindsey’s breakout season contained bookings from the best design talent in the world.

Wixson’s face not only became a fixture on the runways, but also in editorials. Landing another W editorial in March, she also featured in the July issue of V and a third time for W in August.
Wixson took centre stage in the W feature, ‘Sweet and Vicious’, appearing alongside Barbara Palvin and Ashley Smith. Her potential to do themed editorials was explored by W who cast her as a 50’s femme fatale. Despite her age, Wixson translated the brief of the shoot into a pouty glamour that was both innocent and knowing.

Lindsey’s ability to handle a challenging shoot paid off when she not only renewed her contract with Miu Miu, but also signed up for new campaigns with Jill Stuart, John Galliano and top American department store, Barney’s. All three signings tested what Wixson had learnt so far; the Galliano shoot was pure street fashion, the Jill Stuart beauty campaign asked for yearning and wistful, and the Barney’s ad was on-the-nose, high-fashion quirkiness. Lindsey delivered on every count.

Her aptitude for editorial and photograph work has aligned her with other teenage wonders, Ali Stephens, Hannah Holman and Jacquelyn Jablonski, who at a very young age, have also succeeded in wowing a tough industry. In less than a year, Wixson has made the transition from face-to-watch to working model, and has become one of the most requested faces in the business.

The early Polaroids that charmed Steven Meisel into booking her for Italian Vogue are testament to Lindsey’s early promise. Wearing nothing more than a plain white vest and dark-blue jeans, Wixson’s stance belies her (then) lack of experience. Being so visibly at home in front of the camera gave Lindsey a head-start. The shots, intended to show what a find Vision Agency had made, are so convincing that they could almost be an ad campaign. Some models get to the top by perseverance, others by luck and others just have it, that indefinable quality that takes a teenage girl from ingénue to star. Her fearlessness when interpreting a client’s brief head-on is what puts Lindsey in the latter category.

Lindsey forms part of the batch of newer models that are well on their way to becoming icon-making faces. These girls don’t slot into being termed a classic beauty or a full-on editorial face only really suitable for fashion features. These girls operate in a new sphere, where being a marketable face doesn’t mean middle-of-the-road. Lindsey’s unmissable pout makes her a perfect fit for Miu Miu campaigns, but it also makes her ideal for beauty shoots for Teen Vogue as well as blue-chip editorials in W.

Lindsey’s face is extra special because it has a timeless quality that allows her to participate in themed editorial shoots, and not look like a fish out of water. Being of-the-moment is all very well, but if you can’t switch it up for a retro shoot or handle lots of make-up for a futuristic editorial, then that fashion cachet is only going to be of limited value. It is a curious truth that fashion prides itself on being about the new and the next, but when it comes to models, having a face that defies the trends is always in-demand.

Wixson’s progress is ultimately down to fashion’s love affair with the unusual, but her career now diverges where fashion has taken that obsession and made it mainstream. The shapes that many deemed unwearable as little as five years ago have become a central part of our wardrobes. Modelling has also followed suit, with the real success stories of the past two decades boiling down to one key component: versatility. We have seen Kate Moss leading the way, allowing quirky choices like Coco Rocha to do budget beauty adverts, and glamorous Raquel Zimmermann to sear through the beauty in button-pushing editorials.

It’s not enough to temporarily transfer to the ‘road less travelled’; doing it all is now a standard industry requirement. Far from being tough, it’s a mark of just how far the fashion world has come since the late Corrinne Day photographed a young Kate Moss in the early Nineties. Lindsey’s generation has grown up taking this as the norm, not the comparatively recent development it actually is, and they are working in an industry that’s more open than ever to new standards and definitions of beauty. There is no one look that defines us right now; every facet of modern beauty is covered from the androgynous look of Iris Strubegger to the ultra-girlie image of Sports Illustrated cover girl, Brooklyn Decker.

While fashion’s agenda for the immediate future remains decidedly grown-up, it’s being sent down the runway on models that didn’t do minimalism the first time round. With their influences ranging from cartoons to comic-book-style musical heroines like Katy Perry and Lady Gaga, Lindsey’s generation are the most visually-connected yet. With so many diversions vying for their time, if fashion wants to keep their interest, it has to be bold and it has to be daring.

Fast forward to Spring 2011 and the next season will be a marked departure from this autumn’s quiet sophistication. Next year will be nothing short of transformative; with youthful colour embedding itself in fashion’s consciousness. If this winter was about a reset, a pause for thought, then Spring will be about finding a stance that has less to do with breaking even, and everything to do with rediscovering the joy of the creative process.

It is in this environment that we will see Lindsey flourish. She is ideally placed to take full advantage of fashion’s re-engagement with itself. Fashion is exploring shape and colour with the tenderness reserved for a first love, but with a clarity that's born from experience.

That’s why Lindsey’s career has grown so fast. Lindsey’s face isn’t just about novelty, it evokes newness – the new buds of growth that come after a long winter, and for the fashion world, this winter has been exceptionally harsh. Spring - in its physical, creative and financial sense – can’t come soon enough.

Wixson is hotly tipped to become the next big thing, joining modelling wunderkinds Jacquelyn Jablonski and Karlie Kloss to become the generation that takes fashion from bust to boom. But it’s no fleeting teenage crush; fashion’s fixation with Lindsey Wixson is set to be the real deal.

HELEN TOPE

BECOMING A MODEL

Preparing yourself for a career in modelling is rarely a simple process. Regardless of whether you want to be a fashion model, or work for catalogue, plus-size or the fitness sectors of the industry, there are a number of steps that are crucial to consider before you even step inside an agency.

Models Connect, in addition to offering free model evaluations, also offers realistic and industry-savvy advice on what agencies (not to mention clients) are looking for.

The first step is probably the most important. Modelling is already a crowded industry, and to make your mark it’s crucial to know which part of that industry you will be targeting your efforts on. After all, if you have the perfect build for fitness modelling, schlepping to endless fashion castings will leave you feeling utterly miserable!

Look at yourself in the mirror and assess. Measure your height, waist, bust and hips. Be honest as this will determine what sort of model you will become. If you’re over 5’8”with a face and body built for high-fashion like top model Lindsey Wixson [pictured], then that type of modelling could definitely be a possibility for you. If you want to get into plus-size modelling, height is also a factor but you will need to be at least a UK size 12. If your height is an issue but you have good even facial features and excellent hair and skin, then the highly lucrative avenue of commercial modelling may be your best option. It’s all about assessing your best features – try to imagine yourself through an agent’s eyes. What are your selling points? What makes you unique? This will go a long way to making sure you start on the right path and end up with a modelling career that’s tailor made to your strengths.

The next step is to start safeguarding your assets – that’s you by the way. If you haven’t already begun, make grooming and healthcare an immediate priority. As well as taking care of your hair, teeth and skin, make time for exercise. Contrary to popular belief, you don’t have to go mad spending hours and hours at the gym (and with high-fashion models in particular, being too muscular is a big no-no). Focus on a combination of light cardio and stretching work (eg: yoga or pilates): this will give your body a toned appearance on camera which is especially important for sports or lingerie modelling as there’s nowhere for poor muscle tone to hide!

While overhauling your body, don’t leave out your mind. Models Connect advocates that you think of yourself as a valuable commodity: no-one wants to hire a model that’s never on-time for bookings, unenthusiastic and bored (and not afraid to show it). Modelling is first and foremost a business, so think about what clients want: a model that’s focused, enthusiastic and committed to delivering excellent results. Also prepare yourself for the downside of modelling, as you will definitely encounter rejection at some point. It’s nothing personal, as it really does happen to everyone, even the most successful models in the world have not been right for a casting at some point in their career. Rejection may hurt, but the great thing about modelling is that you never know what the next opportunity will bring. Be open-minded: one booking very often leads to another. Treat every booking (regardless of who it’s for) like it’s the best job in the world. Sounds corny, but the client will be impressed with your attitude, and word will spread.

The next stage is approaching modelling agencies. Models Connect offers excellent advice on finding reputable agencies. It also pays to do a bit of sleuthing yourself: find out who your favourite models are signed with and visit their websites. Most agencies will clearly state their preferred method of contact from would-be models. Some allow you to upload a recent photo of yourself onto their website with your personal details, others have Open Days where anyone can come through the agency doors and be assessed in person. If you need to provide a photo, bear in mind that what’s needed isn’t a pricey portfolio shot. All you need is you, a friend and a digital camera. Take a simple head-shot (head and shoulders) and full-length shot (head to toe) against a plain background. Keep your dress simple (vest and jeans are ideal for both sexes), and keep hair pulled back off the face so agents can see how well your features photograph. Don’t grin for the camera (at least not this time!), just keep your face in a neutral expression and that’s all that agencies really need to determine your suitability as a model.

Good news – an agency loved your head-shot and wants to sign you. Congratulations, you’ve officially become a working model. But this is where the hard work begins. Going to castings (or go-sees) is a major part of being a model. Think of them as mini job interviews, but with better shoes. For castings (unless you’ve been specifically asked by the client to dress differently) think back to how you presented yourself in the photos you sent to the agency. This is perfect attire for castings. It won’t distract the client, and it shows you off to your best advantage, because it signals to the client that you understand what’s required of a professional model – sending out all the right signals is surprisingly easy once you know how. It should go without saying, but being on time is a big part of being a model. When everyone else is ready to start a shoot but you’re running late because you slept in, that’s not good. Just remember: time is money.

The final note is very simple: to get to the top takes more than simply looking the part. To become a model requires more of you than simply just good genetics. You need to be dedicated, hard-working and always ready to self-improve. No-one ever got to the top by resting on their laurels. Go back to the start and think about not what the modelling industry has to offer you, but what you can bring to the modelling world. When you have the answer, you’re ready to become a model.

HELEN TOPE