MODEL PROFILES: KATE UPTON

Born on the 10^th June 1992, Michigan-based model Kate Upton signed with Elite Models in 2009. Just a year later, Upton made the pivotal decision to switch agencies, moving to IMG in 2010. The decision to sign with this uber-agency, that not only manages models, but works with stars from the worlds of music and sport, was the key change Upton needed. IMG is an agency that specialises in self-branding, tailoring their management strategies to an individual client’s strengths and weaknesses. It is entirely plausible to attribute Upton’s current success – and huge popularity – down to smart branding.

Upton started in the sectors of the fashion industry where she would be well-received. Her first campaign booking was with Guess Jeans. Becoming the face of the brand at the age of 18, she stayed with Guess for two years.  Also undertaking some modelling for the 2011 Victoria’s Secret catalogue, this was a classic case of Upton playing to her strengths.

Then came her big break. After appearing in the 2011 Sports Illustrated Swimsuit Issue, she was invited back in January 2012 – to be their cover girl. An American institution, this annual cover can be a star-making deal – recent cover girls include Bar Refaeli and Brooklyn Decker. 

It is not just the preserve of swimwear / lingerie models either: Tyra Banks famously graced the cover in 1996, during the height of her high-fashion career. Like Victoria’s Secret, this magazine offers huge cross-over potential, and Kate’s appearance on this year’s issue had the desired effect: she became a star overnight.

With Upton now on everyone’s radar, a new phase of her career kicked in: in early 2012, she appeared on the Spring / Summer cover of Muse magazine. Photographed by Sebastian Faena for both the cover and accompanying editorial, ‘Blonde Bombshell’, this was Kate’s first foray into the world of high-fashion and she proved herself more than capable of stepping up. 

Upton also appeared in the Spring / Summer issue of V. This was a crucial booking for Kate, as V is an ultra-edgy, highly influential magazine. For Kate to appear in this magazine indicated that, while popular opinion was still locked into Upton’s triumphant turn for Sports Illustrated, the fashion industry was already starting to look ahead and see a different kind of potential.

In May, Kate appeared on two magazine covers: Esquire and Harper’s Bazaar. The latter was photographed by Terry Richardson, along with the prophetically-titled editorial ‘The Shape of Things to Come’. Kate worked Hermes and other old-school labels, channelling full-on glamour. Richardson proved to be an inspired choice of photographer, being someone who is very comfortable at producing highly-sexualised fashion images. Richardson’s photographs may provoke, but they are always grounded in the world of high-fashion.

Upton’s affiliation with Richardson continued into July, when they created the cover for GQ magazine. Treading the line between appealing to men and adding that all-important high fashion gloss, Richardson’s gift for translating sexuality on film is self-evident here. The cover feels fun and spontaneous, a tricky balance but Upton and Richardson get the tone just right.

July was also the month that Upton made her inaugural appearance in American Vogue. ‘Bringing Sexy Back’, an editorial photographed by Sebastian Kim, profiled Kate’s career to date and her newly-unleashed charm offensive on the fashion world. It was a significant nod to Upton: American Vogue’s success rate at spotting the next big thing is unsurpassed.

In a busy month, Upton also appeared in the UK’s Sunday Times Style magazine. A supplement that has become both influential and highly significant (editorials were once presided over by stylist Isabella Blow), Upton is here sold as America’s latest pin-up. She models traditionally ‘sexy’ clothes, but it is styled sharply and cleanly – no sleaze, just fashion.

Kate’s final booking for the summer was with Spanish Vogue. In ‘Fuego en el Cuerpo’ (Body Heat), Upton gives a master-class in how to model swimwear. It is an undervalued area of modelling, despite its profitability. To model swimwear requires not just energy but focus; an awareness of angles and negative space. These tend to be highly technical shoots, replying on just the right angle to create that perfect shot. It is testament to what Upton has learnt in a short space of time, in that she makes the job of modelling swimwear look unnervingly easy. 

Kate returned to American Vogue in September, appearing in ‘The Vogue 120’. Shot by legendary photographer Norman Jean Roy, this mega-editorial featured every current designer and model of note. Working in groups, Upton modelled with Candice Swanepoel and Chanel Iman. Placed side by side, the two ‘glamour’ models meet Iman’s high-fashion experience head-on: there is no weak link in this shot.

This month, Upton goes from cover girl to superstar. Coming of age in a Steven Meisel shoot for American Vogue, Kate, as ‘The New Girl’, models sports-luxe inspired fashion from some American greats:  Calvin Klein, Ralph Lauren, Jason Wu and Donna Karan. The editorial, aiming to sell Upton as the new American sweetheart, directly draws a line between Kate, Jayne Mansfield and Marilyn Monroe. 

As daunting as this proclamation is, Upton’s giddy ascent to stardom does beg comparisons to Mansfield and Monroe. But Upton’s own image is far from that of the ‘doomed blonde’. Depicted as a youthful force of nature, Upton’s appeal is rooted in a girl-next-door philosophy. Upton’s success stems from the fact that she is a girl from Michigan who was smart about grabbing the opportunities that would further her career.  Her July cover for GQ keenly lays out the reason for Upton’s popularity: along with her beauty is an air of accessibility. This cover works because it never takes itself too seriously. It may also be the reason for Kate’s success.

This November has seen Kate upgrade from swimwear and catalogue work to fashion’s Holy Grail: the cover of Italian Vogue. Photographed by Steven Meisel, the cover titled ‘Seductive’ has made headlines around the world. Styled as an 80’s glamour girl, the magazine plays on old ideas of ‘sexy’ and ‘seduction’ by presenting them with a new face. The cover has not received all positive press, with lots of fashion fans being very vocal in their disapproval despite Kate’s stellar performance. Never afraid to court controversy, Italian Vogue has hit a home run with this cover.

Also appearing in the leading editorial of November’s Italian Vogue, ‘Miss Kate Upton’ is given the full Vogue Italia treatment. Kate works every angle here – her previous experience working swimwear and lingerie proves the perfect base for a shoot like this. Upton knows instinctively what works and what doesn’t: ‘Seduction’ may be a mind game, but Kate plays the game like a master. It is, without doubt, one of the most extraordinary transformations the fashion industry has seen. To go from modelling lingerie to the pages of Vogue in the space of a year is incredible progress. 

Upton’s next challenge will be to keep the momentum going. As Kate has been accepted by the flagship publications of the industry, it will be interesting to see if she makes the next step from editorial to runway. While Upton has proved herself in print, runway is notably missing from her CV. Although a catwalk-friendly 5’ 10”, Upton has no high-fashion runway experience to date.

Right now, the odds of Kate making that leap are not in her favour. Upton’s curves would have placed her in good company during the Supermodel period – it is easy to imagine Upton modelling with the likes of Cindy Crawford and Helena Christensen. But for the moment, the emphasis is on tall, lean girls who can handle fashion’s rapidly changing and increasingly-bold silhouettes. 

It all hangs on what will emerge from the collections next February. Prada’s curve-hugging collection from Autumn 2010 is a great example of fashion doing the unexpected: Miuccia Prada’s work begged for a different shape, and models such as Doutzen Kroes and Lara Stone were hired to (literally) do the leg-work. All it takes is another collection like this, or a trend that requires curves to do it justice, and Kate could find herself a runway star as well.

For now, Kate must end 2012 with a huge sense of accomplishment. She started the year as the cover girl for Sports Illustrated, and finished it as a cover star for Italian Vogue. The fashion world was under no obligation to take to her the way they did, but her versatility and ability to grow is what makes Kate that one in a million. Whatever direction her career takes in 2013, Kate really is the shape of things to come.

HELEN TOPE

MODEL PROFILES: ANAIS MALI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: LIU WEN

Born in China on January 27^th 1988, Liu Wen is already on her way to becoming the face of international beauty.

After an appearance in the New Silk Road World Model Contest in summer 2005, she began modelling locally, aged 17. Her career began in earnest two years later, with editorial bookings for Chinese Vogue and Chinese Harper’s Bazaar. Scoring the cover of Chinese Marie Claire in December 2007, she made a pivotal decision in 2008, signing with Marilyn Agency in Paris.

The move to Marilyn proved crucial: in February 2008 she appeared in not one but four separate editorials for Chinese Vogue and made her international catwalk debut, walking in runway shows for Burberry, Chanel, Jean Paul Gaultier, Maison Martin Margiela and Trussardi.

March saw Wen make appearances on the cover of Chinese Elle and inside the pages of Chinese Vogue. Her impact on the ready-to-wear shows in February was discernible as she made her couture debut in July. Walking for both Jean Paul Gaultier and Chanel, Wen’s couture-perfect height made her a must-have booking.

Having put in the legwork, Liu reaped the rewards when she saw her ready-to-wear catwalk bookings rocket to 46 appearances. Her season was so successful www.style.com named her one of their Top 10 Newcomers.

Rounding out an amazing year with two more editorials for Chinese Vogue, Liu began 2009 with a bang. Selected by French Vogue to appear in their calendar, to Wen the assignment was more than just the thrill of being a calendar girl. She was crossing boundaries, shooting daring images with fashion’s agent provocateur, Terry Richardson.

Her ability to head into uncharted territory was noted by ‘New York Look’ who featured her as a rising star. With January spent in Paris for couture season, Liu experienced a mammoth ready-to-wear season the following month with nearly 75 shows. In an industry where 40 shows are enough to get you noticed, over 70 put Wen in the big leagues.

She walked for designers such as Balenciaga, Carolina Herrera, Chloe, Derek Lam, Dries Van Noten, Gucci, Jason Wu, Lanvin, Marios Schwab, Michael Kors, Rag & Bone, Vera Wang and Wunderkind. It was an epic mix of ultra-editorial designers (Schwab, Rag & Bone) and classic, money-maker labels (Chloe, Gucci). This was a star-making season for Liu. If she wasn’t on your radar before, she was now.

Between April and June, Wen appeared in Italian Flair, i-D, Chinese Vogue and British Harper’s Bazaar. Her growing status within the industry saw her couture credits grow to include Dior when she took to the Parisian runway in July.

Undertaking her first editorial for British Vogue the same month, she began clocking up more blockbuster campaigns. Featuring in the Autumn / Winter campaign for DKNY, Wen also made her debut for Gap, Benetton and New York department store, Barney’s. She was becoming a triple threat, handling couture to commercial cool.

Most models consider themselves lucky to experience one amazing RTW season. Wen, after her amazing 75-show run in February, made the headlines again with over 70 appearances on the world’s catwalks in September. She added more designers to her CV, including Amanda Wakeley, Celine, Diane Von Furstenberg, Jonathan Saunders, Peter Pilotto, Rachel Roy and Prada.

In October, Liu went back to her roots, appearing again in Chinese Vogue. ‘Essence of Red’, photographed by Kai Z Feng, saw Liu in a series of red gowns, the editorial an avant-garde exploration of China’s primary colour. Daring and meaningful, the spread showcased everything Wen had learnt on the world stage.

With a career already filling with big moments, in November, Wen hit a high note when she became the first Asian model to walk in the Victoria’s Secret Fashion Show. Televised in America and broadcast on the internet, this was a major first for Liu. Putting Asian beauty on the map, she channelled elegance and charm: a debut perfect for the lingerie brand.

2010 showed no signs of Liu’s career slowing, as she signed up to become one of the faces of Calvin Klein’s clothing line. She undertook another successful RTW season in February, and in March, she appeared in her first editorial for American fashion bible, W.

The spread, ‘Chic Mystique’, portrayed Wen in a new light, as she became a sultry scene-stealer. Liu held her own against models that make these shoots their bread and butter: teaming up with Lara Stone, Shalom Harlow, Jessica Miller and Eniko Mihalik, Wen transforms into one of the girls.

In April, the news broke that Wen would be signed as a campaign regular for Estee Lauder. Also signed were Joan Smalls and Constance Jablonski. The news made headlines around the world, as Liu became the first Asian model to represent the iconic cosmetics brand.

By hiring French Jablonski, Puerto Rican Joan Smalls and Chinese Liu Wen, Estee Lauder made a very real and very meaningful attempt at a beauty campaign that spoke to as many women as possible. The campaign not only presented three women from different backgrounds, but three models that were equally matched in terms of runway, editorial and campaign experience. The casting was inspired with the three models working together to create campaign history. As an idea, it was powerful stuff. As a statement, it was undeniable.

In September, Liu undertook another blockbuster season with 44 shows including Balenciaga, D&G, Oscar de la Renta, Ralph Lauren, Stella McCartney and Tom Ford. The season was capped with a seminal cover of Chinese Vogue. Appearing with models Ming Xi, Shu Pei and Tao Okamoto, they were featured as the mega-stars behind the Asian modelling phenomenon. It was a feat made all the more incredible when you consider that as little as ten years ago, assembling this cover would have been impossible.

Liu appeared in three editorials of the same issue, with focus on everything from streamlined aesthetics to dreamy romanticism. Japan and China may be known for their love of sharp, clean lines; but one look at their love affair with ceramics tells us that ornate, decorative detail is in the blood. The perfect balance of economy and flourish on a Ming vase is a great metaphor for Asia’s take on fashion. As their influence is set to grow over the next decade, it’s not too far a stretch to imagine fashion following their lead: economy and flourish.

Ending 2010 with her second walk down Victoria’s Secret runway, Liu made her American Vogue debut in December, appearing in an editorial shot by Steven Meisel. ‘Asia Major’ was a rock and roll approach to haute couture, marrying the best of Parisian fashion with punk-kid street culture.

American Vogue is never one to let a trend slip by, and their celebration of Japan and China’s success in the modelling world is acknowledgement of the biggest phenomenon since the wave of talent from Eastern Europe. Like Natasha Poly, Sasha Pivovarova and Natalia Vodianova, expect to see Liu Wen, Emma Pei and Tao Okamoto become just as familiar as the bookings continue to stack up.

This year began with Liu adding Givenchy Couture to her CV, and renewing her contract with Calvin Klein. But the year was just getting started: in February she enjoyed her editorial debut with Italian Vogue. Photographed by Miles Aldridge, Liu played it straight, delivering a performance that was both polished and assured.

With a smattering of editorial work for both American and Chinese Vogue, Wen hit another career highlight in September with another magazine cover. Appearing for Chinese Vogue, Wen appeared with Du Juan, Shu Pei, Ming Xi, Sui He and Fei Fei Sun. With all the models dressed in gowns from Gucci’s A/W 11 collection, it was a true ‘East Meets West’ moment with Asia’s brightest talents wearing one of fashion’s leading labels.

The subtext was clear: for anyone who had missed it, this cover was telling the world that Asia is set to become the newest epicentre for high-fashion consumerism. The influence of fashion’s new high-spending fanbase is already starting to be seen with out-and-out luxury making a comeback. This season, quiet camels and muted browns make way for an effusion of colour. The detail is exuberant, projecting an optimism that felt like an impossibility two years ago. Asia’s enthusiasm for ready-to-wear and haute couture, and its willingness to invest in it, is giving the industry cause for hope. If not a fully-fledged solution to the economic downturn, it is, at the very least, a lifeline.

September was a busy month for Liu, working for Numero China, plus a substantial editorial with Dazed & Confused. The month came to a head when Liu made her campaign debut for Dolce & Gabbana. Joining Isabeli Fontana, Kate King and Constance Jablonski, it was the strongest indication yet that Liu was becoming one of those models who are able to work the campaign circuit at the very highest levels. Getting editorials and runway jobs are great, but for maximum visibility, campaigns are hard to beat. It is a fast-track system in turning a fashion girl into fashion’s IT girl.

Ending the year with an appearance in V magazine, Wen joined her agency stable-mates in celebrating the achievements of Marilyn.

With Wen on the books along with Caroline Brasch Nielsen, Eniko Mihalik, Lindsey Wixson and Nyasha Matanhodze, it is clear that Marilyn has a definite viewpoint on what kind of model they want to present. Maybe not as familiar a name as Elite or Storm, Marilyn has made its reputation on the calibre of high-fashion talent it represents. Caroline, Eniko and Lindsey are among fashion’s most sought-after stars, and Nyasha has just made her campaign debut with Louis Vuitton.

The models signed by Marilyn are unapologetically edgy: Wixson’s pout has made her a favourite with Miu Miu and Eniko’s curves have cornered the market in making sensuality part of the editorial experience.

Within this context, Liu fits perfectly as a Marilyn girl. Having a face that can project the core values of brands such as Victoria’s Secret and Calvin Klein makes Wen a valuable agency asset. Her ability to go out on a limb makes her one of fashion’s most exciting prospects.

Her career is filled with firsts: the first Asian model to walk in the Victoria’s Secret fashion show; the first model (other than Kate Moss) to front a premier issue of Numero and the first Chinese model to represent Estee Lauder. Just one of these accomplishments would be impressive: the fact that this is only the backbone of Wen’s CV is astonishing. Flesh it out with her wide range of editorial, runway and campaign work, and you get an idea of just how much this model has achieved. She is not only China’s most valuable player, but a versatile beauty that is rapidly on her way to becoming a global fashion icon.

HELEN TOPE

MODEL PROFILES: MARYNA LINCHUK

Born on the 4^th of September 1987, Belarus-native Maryna Linchuk is one of fashion’s best kept secrets.

Signing up with DNA Models in 2006, Maryna got her first editorial that September with Harper’s Bazaar. A quick starter, Maryna also made her runway breakthrough, walking for designers such as Catherine Malandrino, D&G, Elie Saab, Givenchy, Marchesa and Versace.

Shooting her first Vogue cover in November, Linchuk’s unstoppable progress continued with runway bookings for couture shows in January 2007, walking for both Givenchy and Valentino. Maryna experienced another career high the same month with an Italian Vogue editorial, photographed by Steven Meisel.

In September, Maryna got to open and close the ready-to-wear show for Helmut Lang, appearing in 43 shows overall. Finishing the year with another appearance in Italian Vogue, Maryna’s groundwork resulted in a seriously impressive pay-day. In early 2008, she was signed to front five campaigns, including Belstaff and Mulberry.

In April 2008, Maryna got the backing of French Vogue when they featured her as a top model. French Vogue is particularly good at supporting modelling talent, with Isabeli Fontana and Lara Stone among their favourites. Every Vogue has its own in-house style: Italian Vogue highlights the boldest and newest design influences; American Vogue channels classic elegance and sporty silhouettes, and Russian Vogue favours old-Hollywood style glitz and glamour. Where French Vogue has laid down its colours is in making daring, atmospheric editorials that reference their proud cinematic history. Skim through its pages and you’ll see every French master represented, from Jean-Luc Godard to Francois Truffaut.

This type of work requires a very special kind of model to bring the ideas to life. Striking the right tone is everything, and this takes serious skill. French Vogue needs models who can take a performance down to the finest detail, and Maryna’s instincts, already tested by some of the toughest in the business, were already proving to be world-class.

Following a summer of editorial work for American Vogue, Maryna was again profiled as a top model, this time by Russian Vogue. At this point in her career, Linchuk was still a relatively unknown name, but the support she was getting from fashion’s most prolific magazines was showing the industry at large that she was a talent not to be underestimated.

In September 2008, Maryna filled her runway CV with names such as Alexander Wang, Gucci, Derek Lam, Michael Kors, Oscar de la Renta, Rag & Bone, Stella McCartney and YSL. Her continued success on the runway got the attention of casting agents looking for a new face to front a campaign ad. Linchuk was signed to represent Christian Dior’s fragrance ‘Miss Dior Cherie’. Launched in 2005, the perfume was intended to be an accompaniment to Dior’s iconic ‘Miss Dior’ perfume, introduced in 1947.

Maryna’s signing saw a new approach to the marketing of Dior Cherie. Hiring director Sofia Coppola fresh from her historical biopic ‘Marie Antoinette’, the film presenting Dior Cherie was a heady confection of girlish sophistication and sorbet shades with Brigitte Bardot on soundtrack. With Maryna modelling a ruffled, cerise gown from the couture vaults, the advert is a master-class in bridging old-world sophistication with modern joie de vivre, and it made the perfume an immediate hit.

Maryna’s year just kept getting better, being approached to appear in the annual Victoria’s Secret show. Victoria’s Secret offers the ultimate challenge to models used to the world’s biggest runways. Getting that ready mix of fun and sex appeal is the very reason why the brand has become such a huge name in the States. Maryna’s ability to be at ease in such a new environment made her an instant favourite, being re-booked for both 2009 and 2010.

Adding Armani Prive to her couture CV in July 2009, Maryna made it onto the pages of American Vogue in November, appearing in ‘After Hours: Fashion’s Big Night Out’. Shot by Patrick Demarchelier, it was an extraordinary roll-call of fashion’s brightest modelling talent. From Alek Wek to Raquel Zimmermann, every model of note was featured, and that included Maryna.

Beginning 2010, Linchuk signed up to take part in another couture show for Dior. This time, the theme was equestrian chic. With riding crops and lace veils, the show made headlines, not only for its dressage theme but the way it put couture firmly back in the saddle. One year on, despite all the gloomy predictions for its future, haute couture still thrives, thanks to a new customer base, with serious money to spend.

Maryna also got the chance to work in untried territory, when picked to model for Derek Lam’s A/W campaign. Only a year into producing campaigns, Lam didn’t have the luxury of a huge back-catalogue of images to fall back on. For example, we all get the Prada ‘message’: eclectic, quirky and cerebral. Making a new set of images, creating that message from scratch, is a huge responsibility, not least for the model. Get the tone wrong, and the campaign will struggle to make a connection with the public. Maryna’s success in making Dior Cherie such a huge hit has made her significantly viable in terms of fronting campaigns.

Finishing off the year with a cover for Turkish Vogue, Maryna returned in January 2011 with another cover for German Vogue. Maryna, head-to-toe in pink, feathered couture is hard to miss. The choice of colour is unlikely to be a coincidence as her long association with Dior Cherie has made her a high-fashion purveyor of pink, a shade that’s been reclaimed by the industry after years in the fashion wilderness. Its revival, at Burberry and Chanel Couture for A/W 2011, allows it to take centre stage in a season that will be awash with colour. Pink – in its vibrant, punchy guise – has been given a second chance to wow the fashion crowd, and its charm offensive looks to be paying off. Some might argue whether pink has ever really gone away, but this type of pink is an entirely different animal. Brave and bold – it’s pink with attitude.

Linchuk has begun 2011 returning as a face for Dolce and Gabbana. Taking her lessons from French Vogue, Maryna manages the Italian cinematic style effortlessly. Filling the early part of the year with work from Russian and German Vogue, Maryna returns this autumn to reprise her role for Dolce & Gabbana. Working this year’s big theme of texture – in every possible variation – she features alongside Isabeli Fontana, Liu Wen, Constance Jablonski and Jac.

Already tipped to be one of the big hitters of the A/W season, Maryna’s link with Dolce & Gabbana is already poised to be an association that will reap major rewards as the year continues. Her success boils down to the fact that she is the type of model the industry loves: high-street, sportswear, lingerie, RTW, couture – there’s no aspect of the fashion industry Linchuk’s career hasn’t covered.

The recognition of Maryna’s hard work – the covers, the high-status campaigns – are just fashion’s way of acknowledging what designers have known all along. Maryna has outrun the trend for Russian / Eastern-European models to become fashion’s ‘everywoman’. Her appeal has transcended passing fads to create a career that is truly global. From Dior and Dolce in Europe, to winning over the Americans on the Victoria’s Secret runway; Maryna has become expert in making herself a must-hire all across the world.

As we move into a new decade, not only has the pace of growth changed, but where that cash is being spent. In 2005, Russia’s contribution to the fashion industry was in supplying new faces: Natasha Poly, Sasha Pivovarova, Natalia Vodianova to name just three. But the balance has shifted to find Russia supplying fashion with some of its most loyal and high-spending consumers, and Russian Vogue joins Italy, France, America and Britain to become one of the most important publications in fashion today.

Those who are spending are choosing to spend big. The exuberance of colour and detail on this season’s runways is more than a collective sigh of relief: a label being thankful they have survived the worst of the storm. The details tell a bigger picture of an industry heading into new territory: geographically, financially and creatively. By becoming more inclusive, the fashion industry is opening itself up to new influences, creating a message that’s truly exciting.

Where Maryna slots into this is her wealth of experience in working in fashion’s new territories such as Russia, China and Japan. Her skills honed at editorial level makes her not only a valuable asset right now, but her profile will grow and develop, making her a name to watch. To be a good translator, you need to speak the language and Maryna’s familiarity with all things fashion has made her effortlessly fluent. Maryna’s triumph in being able to translate into every market makes her a truly modern model.

HELEN TOPE