MODEL PROFILES: LAURA KAMPMAN

Dutch model Laura Kampman was born in 1994, signing with New York Models in 2011 aged 17.

Kampman made an impact early on in her career, debuting at the S/S 2012 shows, walking for Calvin Klein and Balenciaga as an exclusive. Her noteworthy appearances made her the focus of press attention, with www.models.com featuring her as one of their season’s Top Ten newcomers. 

At just over 5’ 11”, Kampman’s affinity for the catwalk developed in early 2012 when she was chosen to appear in couture shows for Giambattista Valli and Valentino. Also appearing in that month’s British Vogue, she hit a career highlight in February when she landed the cover of Italian Vogue. Models often have to wait years for such an honour – Laura managed it within months of arriving on the scene. The cover, titled ‘Surreal or Real’, aimed at creating a sophisticated glamour. Drawing on the film icons of the 1930’s and 1940’s, Laura embodies those screen sirens brilliantly, conveying confidence and glamour. In Italian Vogue terms, this cover is almost minimal in its styling – it all rests on Laura’s performance. Laura’s cover is a triumph: with nothing to hide behind, all we see is Laura’s skill at being that bold, beautiful enigma. Whether surreal or real, it just works.

Following her stint at Italian Vogue, Laura had a strong ready-to-wear season in February and March, walking for Balenciaga again, she also walked for Alexander Wang, Christopher Kane, Giles, Helmut Lang, Marc Jacobs, Missoni, Rag & Bone, Rodarte, Sonia Rykiel and Versus. Already a theme was emerging in Laura’s bookings: these designers are not only at the top of their game, but they are all designers who specialise in directional fashion - Laura’s edgy look was a perfect match for their aesthetic.

Her early connection with Balenciaga went to the next level when she was booked for their Spring campaign. Photographed by Steven Meisel, Laura worked with Rosie Tapner, Juliane Gruner and Kirstin Lijegren. A Balenciaga campaign represents the ultimate challenge for any model: working a Balenciaga concept is remarkably tough as it relies on nuance. A label known for playing around with ideas, Balenciaga is unusual in that it never makes the same ad twice. Every season Balenciaga hits the refresh button coming up with an image that is completely different to the one that came before; no common factors, no familiar iconography. Every season, it’s like starting from scratch. Tough work for any model, but guided by Meisel, Laura takes charge of the campaign with an authority that is both astonishing and exhilarating.

The knock-on effect of the Balenciaga advert on Kampman’s career was immediate: from June to August, Laura found herself fully booked. In June she shot editorials for W and Japanese Vogue and in July, Laura travelled to Kiev for Dazed and Confused to shoot an editorial with photographer Yelena Yemchuk. ‘Lady Grinning Soul’ (taking its name from the song by David Bowie) saw Yelena return to her hometown of Kiev to construct an editorial that celebrates the oddity and perversity of high-fashion. Inspired by Bowie’s Seventies androgynous glamour, Laura poses as the fish out of water in retro tailoring from Prada and Miu Miu. At odds with her environment, the editorial becomes a moving exploration of the bravery it takes to express identity through image: dressed in these bold prints, Laura is at once both armoured and exposed.

Laura also appeared in the July edition of V magazine, this time for a spread titled #Instaglam. Drawing on the huge popularity of Instagram, the editorial features models including Franzi Mueller and Marte Mei van Haaster wearing the A/W collections.

August was an especially busy month for Kampman, with Laura appearing in five magazines. Shooting an editorial for British Vogue, Kampman appeared in ‘Best in Show’. Photographed by Daniel Jackson, this humorous editorial trades on the adage of dogs resembling their owners. Featuring military tailoring and rich, plum tones, the models have to work hard in order to avoid being upstaged by their four-footed co-stars.

Laura’s second editorial of the month was for Chinese Vogue. ‘Outer Limits’ explored the outsize trend that has returned after years of the waist reigning supreme. Also featuring Codie Young, Tian Yi, Ondria Hardin and Andie Arthur, the best trend pieces were featured, including the Jil Sander blush coat and Marc Jacobs’ ragamuffin hats. 

One of August’s most interesting editorials was Laura’s work for i-D. ‘Hold Hands Be Free Find the Real You’, shot by Amy Troost, was a super-edgy exploration of colours and texture: all about freedom of expression, it tests every rule we think we know about fashion, and by inverting them, we look again at the individual pieces in terms of their worth and appreciate how they can be put together in new ways. It is this envelope-pushing that has informed Kampman’s career to date: more than just a face that fits, Kampman has a connection to this type of fashion, making it not only interesting, but finding the beauty within. It takes a certain kind of model to connect on this level, and Kampman (not even a year into her career) already has it figured out.

Kampman’s reputation for great editorial work was cemented this autumn, with Laura landing a spot in the A/W Topshop campaign. Photographed by Alasdair McLellan, the campaign also features rising stars Ava Smith, Moa Aberg and Melissa Stasiuk. Coupled with the great production values we have come to expect of Topshop’s campaigns, the images lend high-street a high-fashion gloss. 

Laura returned to the catwalk this September with a RTW season including appearances for Loewe, Maison Martin Margiela, Rick Owens, Anteprima, Giorgio Armani, Rodarte, 3.1 Phillip Lim, Prabal Gurung, Peter Som and MaxMara. With the notable addition of Armani, Kampman’s appeal for the edgier design talents continues. With Maison Martin Margiela presenting a collection for H&M this autumn, Kampman’s links with high-fashion and high-street are as strong as ever.

Kampman’s latest credit is an editorial for Pop magazine. ‘A Chanel Moment’ sees Laura transform to become a glamour girl with poker-straight hair, dressed head-to-toe in the latest Chanel collection. Compare this to her work for Balenciaga, and it’s hard to recognise this as the same model. Laura’s capacity to transform so dramatically is a definite asset, and in light of her body of work with fashion’s directional core, is a surprise that will challenge the industry to see her as someone with cross-over potential.

In previous years, versatility was flagged as a model’s ability to switch from commercial to editorial. Editorial was seen as the ultimate challenge; a true test of a model’s abilities. Now it is seen as a given: virtually every element of the fashion industry strives towards an editorial sensibility. Topshop – the kingpin of the British high street – is highly successful, but its campaigns denote a chain that sees itself as firmly leaning towards editorial.  Our love of editorial presents itself in what we now choose to wear: high-fashion details such as the peplum waist and studded slipper shoe, far from being ‘challenging’, are widely available and highly coveted.

With high-fashion being embraced as something attainable, editorial faces are becoming the norm and being able to flip to a more commercial look is being seen as the unique selling point. Laura has entered an industry that has changed significantly over the past five years; copying trends verbatim has been replaced by individual expression: simply put, it’s not what you wear, but how you wear it. A principle clearly demonstrated in i-D’s editorial, layering and mixing textures has become the next step in wearing clothes in a way that expresses individuality. With clothes so freely available both in store and online, buying that one-off piece (without going fully retro) is virtually impossible. The solution? Mix it up.

As fashion trends spark a global following, creating a personal style and stepping away from head-to-toe looks is rapidly being seen as the more modern way to wear clothes. Individuality is the new buzzword for fashion, and as a result, the faces that represent high-fashion have to be just as unique. Laura’s features are perfect for carrying off the cerebral chic of Balenciaga, as well as translating those trends in editorial. 

Kampman’s success is all down to playing to her strengths: it’s more than the sum of her features. Her ability to understand and interpret directional looks is invaluable in today’s fashion industry. As fashion travels ever closer to the edge, pushing us to be ever bolder in what we wear day to day; talents like Kampman will be the best means of passing on the message. Be brave, be individual – and do it now.

HELEN TOPE

MODEL PROFILES: MARIA BRADLEY

Born on February 21 1994, Maria Bradley signed with Chicago-based agency Factor Models in 2011. Aged 17, Bradley undertook her first major runway season that September, with a select group of designers including Alexander Wang, Balenciaga, Proenza Schouler, Tommy Hilfiger and Versace.

An individual booking with any of these designers would represent a highly significant achievement for a new model. Collectively, this debut of less than 10 shows may be small, but it’s perfectly formed. Maria walked in the Balenciaga and Versace shows as exclusives – an affirmative nod from two of the biggest, most influential names in fashion.

Leaning more towards the edgier side of fashion’s spectrum, Maria’s success with Balenciaga is understandable, but her booking with Versace is perhaps more of a surprise. Traditionally aligned with high glamour, Versace has recently undergone an image revolution, with its campaign this time last year fronted by super-edgy model Saskia de Brauw. Taking the ultimate glamour-girl label in a whole new direction, coupled with Christopher Kane’s effortlessly cool work at Versus, this Italian powerhouse has toughened up. Compare its campaigns of ten years ago to its latest signing, Elza Luijendijk and it shows how a major label progresses and evolves.

In late 2011, Maria also signed with DNA Models, based in New York. In January 2012, she made her debut for British magazine, ‘Dazed & Confused’. Following that with an appearance in British Vogue, Bradley’s editorial looks were already translating well.

In February 2012, Bradley experienced her first runway season as a ‘must-have’ girl. Clocking up an amazing 50 shows, she worked with heritage brands to blockbuster labels including Chanel, Donna Karan, Gareth Pugh, Helmut Lang, Marc Jacobs, Michael Kors, Rag & Bone, Sportmax, Valentino, Victoria Beckham and YSL.

This roster of bookings has all the hallmarks of belonging to a long-established model. Virtually every design ‘niche’ is represented here, and it’s partly down to Maria’s androgynous looks. Once considered a niche in itself, androgynous models now have the advantage of working in a much more fluid fashion industry. Her features make her ideal for all kinds of work – with a bit of styling she is ready for the high-living glamour of a Michael Kors show; stripped back, she is spot-on for the minimal aesthetic of Helmut Lang.

In March, Maria returned to the editorial circuit again, this time appearing in cult magazine, i-D.  Photographed by Amy Troost, the spread was named ‘Don’t Be a Drag, Just Be a Queen’. Taken directly from the lyrics of Lady Gaga’s single ‘Born This Way’, Maria modelled warrior-woman, tough-as-nails fashion.

In May, Maria took to the runway, this time for resort season. Appearing in resort (or cruise) shows for Jonathan Saunders, Reed Krakoff, Narciso Rodriguez and Alexander Wang, the highlight of the Resort 2013 season was undoubtedly Chanel’s show held at Versailles. Maria modelled in this show, in which Karl Lagerfeld indulged his taste for high-drama. With the models styled in pastels and hi-top trainers, Lagerfeld worked with the classic Chanel dichotomy of masculine and feminine. Scoring serious column inches for its lavish production values, Chanel Cruise is as much an event as the main ready-to-wear shows.

The following month, Bradley made her inaugural appearance for W. Modelling for ‘City Slickers’, an editorial photographed by Craig McDean, Maria modelled the summer trend, sports-luxe. Maria exuded confidence in this shoot, no doubt explained by the fact that her hobbies include football, ski-ing, cross-country running and basketball. In this shoot, Bradley does not need to fake it: her enthusiasm for sport makes her a natural.

Repeated bookings with clients are one way of telling whether you’re on the right track, and Bradley’s career is studded with examples of clients coming back for more. Bradley returned again to the pages of W in July, and in the same month, she returned to ‘Dazed & Confused’, modelling with Prada’s latest it-girl, Katryn Kruger.

In August, Maria shot her third editorial for W magazine, this time in a portrait series called ‘Natural Selection’. Focusing on fashion’s new-season obsession with texture, Bradley worked with models Ophelie Rupp, Ondria Hardin, Jeneil Williams and Laura Kampman.

September’s RTW season saw Maria return to the runway, this time walking for Peter Som, Tommy Hilfiger, Thakoon, Alexander Wang, Prabal Gurung, Belstaff, Vera Wang, Diesel, Michael Kors, Reed Krakoff, Proenza Schouler and Christopher Kane. Look closely, and you’ll see just how many of these names Bradley has already worked for.

Maria’s editorial career took a step up this month, with an appearance scheduled for the October issue of Russian Vogue. ‘Dark Side’, photographed by Ben Toms, sees Maria transform for a beauty shoot that showcases the minimal make-up that’s bang on trend for this autumn. Re-writing the rules on the berry tones usually favoured for this season, this neutral take on autumn beauty is a breath of fresh air. A perfect complement to this season’s decadence; this make-up is low on effort, but delivers full-on impact. Bradley is an ideal choice for this type of shoot, with a very modern type of beauty just right for modelling a very modern type of make-up.

With Bradley now celebrating a year in the modelling world, a sign of just how far she has come in 12 months arrives in the form of bona-fide industry approval. Bradley can now claim to be one of a very elite group of new models, labelled as stars of the future by www.models.com. She joins successful newcomers including current Prada campaign girl Madison Headrick, British beauties Lara Mullen and Rosie Tapner and Givenchy campaign favourite, Dutch model Stef van der Laan.

What is noticeable about the popular website’s list is just how many of these new faces are unashamedly editorial. Having cross-over potential used to be modelling’s Holy Grail; girls who could book Victoria’s Secret as well as Chanel Couture. But, as ever, fashion loves to change its mind. The new season campaign for Givenchy is a textbook case in point in that it is 100% directional in tone. The bold, uncompromising image looks more like a spread for Italian Vogue than a traditional campaign. This isn’t about maintaining a consumer-friendly brand, rather more creating a strong, core identity. In short, Givenchy is marking its territory. A strong, memorable campaign means a boost in sales and good sales mean survival for another year. The face that has to front this, of course, cannot be anything but extraordinary. Brands are clamouring for these newer faces, the faces that aren’t the safe choice by any definition.  This new season is seeing a tide change in how labels are representing themselves: out with familiarity, in with beauty that’s as challenging as it is beguiling.

Maria Bradley joins models such as Madison Headrick and Stef van der Laan to become a ‘statement face’. Bradley can adapt, and brilliantly, but at heart, she is a model squarely focused on the androgynous end of the fashion market. It is here where the greatest revolutions are taking place: androgyny is no longer limited to a fashion sidebar, but it has become the modern industry’s greatest asset. In other words, true versatility.

Bradley’s great run of editorial and runway work is just the precursor to a longer, even more successful career. Bradley is the ideal candidate for future campaigns that will take their lead from Givenchy. Faces that will not only sell, but persuade at a deeper level – it’s only a matter of time before Maria becomes the rising star every label must have.

HELEN TOPE

MODEL PROFILES: ERJONA ALA

Born on 12^th July 1995, Norwegian model Erjona Ala made her debut in the modelling industry at the age of 15. Competing in the International Elite Model Look contest in 2010, she narrowly missed out on first place, coming in as the runner-up. However, Erjona still caught the attention of the industry, signing with Ford Models the following year. 

She made her catwalk debut in March 2011, walking in the Balenciaga show as an exclusive – an incredible honour for a newcomer. Her spot in the Balenciaga show made her an automatic standout: www.models.com featured Ala as their ‘model of the week’ as a result.

In June, Erjona modelled in resort shows for Marc Jacobs, Alexander Wang, Louis Vuitton and Proenza Schouler. She made her couture debut the following month, walking in the Autumn / Winter show for Alaia Couture. But her big runway moment came in September, when she appeared in a mammoth 65 shows. She opened shows for Monique Lhuillier, Cynthia Rowley, Clements Riberio, Margaret Howell, Marios Schwab, Temperley and Haider Ackermann. She also scored closing spots with Sonia Rykiel and Thakoon.

For a model just months into her career, a season of this magnitude is still a rarity in an industry where a reputation can take years to build. Not only did Erjona walk in some of the biggest shows of the season, she was selected to open and close several high-prestige shows. Erjona’s look proved a winner on the runway circuit, neither leaning too strongly in either direction of editorial edge or mainstream glamour. It helps explain why Erjona would appeal to designers with aesthetic viewpoints as different as Monique Lhuillier and Marios Schwab. When a model’s look ‘connects’ with designers on this level, the effect tends to be incendiary. Like her peers Lara Mullen and Romee Strijd, Erjona has made her reputation, not through covers or campaigns, but the catwalk. Even in an increasingly digital age, the continuing importance of the catwalk should not be overlooked. 

With fashion undergoing a virtual reset every six months, a successful show creates its own momentum: the fabulous Gucci collection for Autumn / Winter 2012 created a huge stir on its debut in February, and its profile has been steadily growing over the past few months, culminating in an amazing cover spread for Italian Vogue. The catwalk still sets the pace: with campaigns, editorials and blogs relying on what comes down the runway. The magic of seeing a great collection coming down a runway in real time hasn’t lost its appeal. 

Erjona’s career then bridged out into editorial work, with a major spread in W magazine’s October issue. ‘Sects and the City’, photographed by Craig McDean, was a series of group shots featuring different fashion ‘sects’. Erjona modelled with Milou van Groesen, Ming Xi, Jess Gold and Cole Mohr in Twenties-style glamour, pre-empting the launch of Baz Luhrmann’s film The Great Gatsby’ (due for release next year). Erjona becomes a dead ringer for screen siren Louise Brooks, in a severe bob, floor-length gown and pearls. 

In March 2012, Erjona scooped the cover of British magazine ‘Dazed & Confused’. Photographed by Roe Ethridge, the ‘2012: if it’s not exciting, you’re not doing it properly’ issue, featured Erjona surrounded by banks of flowers, channelling 1980’s androgyny in washed denim. Erjona also appeared in their Spring / Summer season preview. Modelling luxury sportswear, Erjona worked the trend that, after two summers spent on the sidelines, is now feeling the love. With Team GB grabbing the golds, sportswear feels less niche and more on-trend. Erjona proved ahead of the curve, giving the sportswear a sleek sophistication; moving it away from its track and field associations to a more urban, fashion-led look. 

Erjona went ultra high-fashion in June with a spread for Bon magazine. Photographed by Marcus Ohlsson, ‘Television / Night Vision’, is right at fashion’s sharp end, establishing Erjona’s ability to work a complex shoot where themes are densely-layered and the model’s performance has to respond in kind. Erjona proved a brilliant choice for this shoot, with her looks easily lending themselves to such a premise. It often takes years for a model to be able to perform at this level – Erjona coolly handled the pressure, proving she could even take on fashion’s toughest assignments.

Her CV of edgy editorial and catwalk bookings paid off in June when it was announced that she would form part of the Autumn / Winter Louis Vuitton campaign. Photographed by Steven Meisel, Erjona joined Elena Bartels, Hedvig Palm, Julia Nobis, Marie Piovesan and Ros Georgiou. Posing in a train carriage, the models manage the blend of retro and modern that sums up the look of Vuitton.

Moving on from his blockbuster Spring / Summer collection, Vuitton creative director Marc Jacobs returns to his quirky roots this winter with clothes trimmed in burgundy, with models clutching leopard-print totes. They are classic colours and prints, but given the Jacobs treatment: everything is fringed, furred or otherwise embellished. The idea of excess is at the centre of the Autumn / Winter season. Taking on a more-is-more approach, designers are adopting decadent fabrics such as velvet, fur and brocade to suggest wealth and a feeling of plenty. While some commentators have given the Louis Vuitton collection (and campaign) mixed reviews, this ad represents the core values for the coming season. The collection may be divisive, but in terms of what it says about fashion for the rest of 2012, it is impossible to ignore. For Erjona, the booking was nothing less than a stunning coup.

The most recent booking on Erjona’s CV rivals the Vuitton ad in terms of covetability, with Ala appearing on the July cover of Italian Vogue. If this wasn't enough of a score, the July issue also features a first look at the international collections - and Erjona was invited to the party. 

How Italian Vogue presents the collections for the upcoming season sets the bar for the rest of the fashion industry: much imitated, but never bettered, Italian Vogue still remains the benchmark in terms of editorial: it is an important and highly prized booking for any model to get. Photographed again by Steven Meisel, Erjona takes to the cover with Julia Nobis, Lida Fox, Mackenzie Drazan and Vanessa Axente. All dressed in dark chiffon gowns from Gucci, this fold-out cover has a supernatural, gothic theme at its heart. Italian Vogue’s message is clear: embellishment and luxury may be the focus, but they are not the same animals they were five years ago. This time, the playground of luxury has a macabre feel: the models are ‘at play’: on swings, on bikes, but the effect is anything but playful. Here, luxury is not something easy-going and uncomplicated: the right to continue making this kind of fashion has been hard-won. Fashion has come through the eye of a financial storm, but emerges as a different industry. The ideas are back, but our notions of decadence and glamour have changed and matured. Gucci’s darkly seductive collection is glamour with a twist, and has made a major impact, both in terms of editorial and appearances on the red-carpet. But Gucci is not this season’s lone wolf: every designer this season has contributed to the new breed of glamour – still beautiful, just a little older and a little wiser. 

Gucci deftly taps into the zeitgeist this season, and for a model, there’s no better collection to hitch your wagon to. Erjona’s association with Gucci – and the cover of Italian Vogue – has cemented her reputation as one of fashion’s rising stars. A choice booking for both catwalk and editorial, Erjona’s star is not just on the ascent, superstardom is within touching distance. In the space of just two years, Erjona has gone from runner-up to fashion’s front runner. 

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