MODEL PROFILES: BETTE FRANKE

Born in the Netherlands on December 3^rd 1989, Bette Franke was discovered at the age of 14. Whilst out shopping with her mum in Amsterdam, Franke was spotted by Dutch modelling agent Wilma Wakker.

Franke made her international catwalk debut two years later, opening and closing the Jil Sander show in October 2005. Also appearing for Dries Van Noten, Hermes and Emanuel Ungaro, she was named ‘this year’s model’ by WWD. 

Bette’s rise was meteoric, with two contracts signed in early 2006: one for the new Stella McCartney fragrance ‘Stella in Two’, and a cosmetics fragrance with YSL. Franke had signed for two of the biggest brands just a year into her career. Her distinctive face – an intense gaze coupled with the classic sexbomb pout – helped to separate her from the slew of European models flooding the industry.

Returning to the runway in February 2006, Franke added Alexander McQueen, Balenciaga, Chloe, Givenchy, Lanvin, Marc Jacobs and Prada to her list of credits. She was dubbed a rising star by www.style.com and scored a role in the new Dolce & Gabbana campaign.  Her big-money signings kept coming with a solo campaign for Oscar de la Renta and appearances for Calvin Klein and Hugo Boss.

Franke’s look leant itself so deftly to campaign work, it wasn’t until August 2006 that her talents were applied to major magazine editorials. Appearing for the first time in French Vogue, Bette modelled with Jessica Stam and Han Jin. Bette was a shoo-in for French Vogue, at the time still under the directorship of Carine Roitfeld. Her sultry looks were perfect for French Vogue’s penchant for paying homage to icons such as Bardot and more recent faces such as Emmanuelle Beart and Isabelle Adjani. Described by designer Anna Molinari as having a ‘strong personality and harmonious curves’, Bette’s charm cast a spell that was clearly hard to resist.

Bette had her big runway moment in September 2006, with a mammoth 62-show season. Franke booked shows with Alberta Ferretti, Balmain, Chanel, Jonathan Saunders, Marni, Missoni, Roberto Cavalli, Vera Wang and Versace. A year and a half into her modelling career, Franke was becoming a favourite with the biggest designers in the world.

Shooting her second French Vogue editorial in October, in 2007 she continued to make in-roads with her campaign CV, becoming the face for Blumarine and Celine. Her career hit another high point in October with her very first appearance in Italian Vogue. Photographed by Nathaniel Goldberg, ‘Morning Beauty’ saw Bette modelling exquisitely detailed eveningwear. Beautifully nuanced, Franke gave a performance that lacked for nothing.

Bette’s career moved up another notch with a cover try for Japanese Numero in November. Appearing in the ready-to-wear season in February 2008, Bette booked shows with Anna Sui, Derek Lam, Hussein Chalayan, Michael Kors and Rue du Mail. It was one of her most aesthetically-diverse seasons to date, with Bette working the austere chic of Chalayan with Michael Kors’ Park Avenue glamour. 

Bette’s next RTW season saw her opening shows for Erin Fetherston and Jenny Packham in February 2009 (long before Packham had the Royal seal of approval). Franke’s ability to get picked by up-and-coming designers continued later in the year with Bette walking in shows for Todd Lynn and Mary Katrantzou. Franke ended the year with consecutive editorials for Italian Marie Claire, by photographed by Thierry Le Goues. 

Normally a regular on the catwalk, Bette did not return to the runway until September 2011, but her timing was impeccable. Making her comeback in style, Bette appeared in 54 shows including Alexander Wang, Burberry, Isabel Marant, Nina Ricci, Tom Ford and Valentino. She returned on top form in a season that was all about celebrating the feminine. Spring 2012 has already made its presence known, with pastel colours and delicate fabrics dominating the high-street. This look was just tailor made to make the most of Franke’s features. While some models offer quiet consistency, others shine when the mood of the moment coincides beautifully with what they have to offer. Franke was uniquely placed to take advantage of fashion’s softer season.

Bette ended the year with an appearance in V magazine. Profiling her agency, ‘DNA Powerhouse’ Franke joined current face of Armani, Milou van Groesen, Lindsay Ellingson, and Victoria’s Secret regulars Doutzen Kroes and Alessandra Ambrosio.

Bette’s return to fashion included her biggest couture season to date in January 2012. Walking for Chanel, Dior, Elie Saab, Giambattista Valli and Valentino, Franke’s love affair with the runway continued with another huge RTW season of over 50 shows. Franke’s standing in the industry had lost none of its power, with Bette appearing alongside new modelling talents in a piece for British Vogue. ‘Spring Forward’ featured the best of the S/S collections, including new faces Romee Strijd, Kati Nescher and Codie Young.

Her editorial credits kept coming, with a spread in February’s Harper’s Bazaar and an editorial for Spanish Vogue in March. ‘Uno, Dos, Tres...Mambo!’ saw Bette mastering classically fiery prints from Pucci, plus sultry picks from D&G and Sonia Rykiel.

Then came Franke’s biggest signing to date. Shot in Mexico by Deborah Turbeville, Bette was the latest name to become the face of Valentino. Working with Zuzanna Bijoch, Fei Fei Sun and Maud Welzen, Franke modelled the delicately-worked lace pieces against the backdrop of ancient ruins. Romanticism writ large, this was a perfect collision of model and campaign, celebrating Valentino’s new (and highly successful) exploration of soft, feminine fashion.

Spring 2012 has been Bette’s most prolific season in years, with an amazing 5 campaigns in circulation. Working with male model Harry Gilliam in the new Hermes campaign, Bette joins Anna de Rijk for Hogan and is photographed by Mikael Jansson for Dior Eyewear. Her laser-beam stare comes into its own here, with Bette’s beauty shining through the ad. In an age of laser surgery and contact lenses, eyewear is a tough sell. Bette’s performance in this campaign will have you reaching for your specs.

With two high-fashion editorials in April’s Dazed & Confused and Dutch Vogue, Bette has never been in higher demand. Modelling Twenties-inspired flapper fashion from Gucci, Ralph Lauren and Etro for Vogue and channelling psychedelic pin-up meets Marie Antoinette for Dazed & Confused, Franke is at the top of her game.  

It’s no surprise that this has been Bette’s season. Her looks lend themselves so perfectly to the big trend of the moment that she couldn’t help but clean up. No-one can deny that Bette’s career has been strong, packed with editorial and runway credits, but to get to that next level, a little luck can go a long way. As fashion turned to its more feminine side, Franke grabbed onto that opportunity, and in the process became one of the most popular models of the past 12 months. 

To be a career veteran at the age of 22 is only something that could happen in the modelling world, but Franke finds herself with a career that has never looked better, at a point where other models are contemplating their Plan B. 

Bette’s steady stream of editorial and runway work has ensured that she is now as hotly pursued as a newcomer fresh from their first season. Nine years after her remarkable discovery, Bette’s career is still managing to defy the odds and astonish us all.  A perfect marriage of skill and instinct, Bette Franke is proof that is never too late to be what you might have been. 

HELEN TOPE

MODEL PROFILES: ANNA SELEZNEVA

Anna Selezneva was born on July 29^th 1990. At 21 years old, Anna is already one of fashion’s most-established names.

Russian-born Anna signed with Silent Management in 2007, making her runway debut that October, walking for labels such as Dries Van Noten.

Her impact on the industry grew rapidly, with Anna scoring opening and closing honours in her next ready-to-wear season, opening shows for Balmain and closing for YSL. A huge hit in Paris, Selezneva also walked for Hermes, Lanvin and Louis Vuitton.

Anna’s fresh-faced classic beauty got her noticed by the magazine industry too, with V ranking her one of the Top 10 Models of Autumn / Winter 2008. Also signing a fragrance contract representing the new Vera Wang fragrance, ‘Look’, Selezneva began to create a serious stir, with consecutive magazine covers in September for both French and Russian Vogue.

The French Vogue cover, photographed by Mert Alas and Marcus Piggott, became a contemporary classic. Anna, evoking supermodels of the Eighties, faced the camera head-on to make an unforgettable impression. Three years later, it has become an image closely affiliated with brand Selezneva: cool, modern glamour.

Anna’s stock began to rise even further, walking in the September shows for Calvin Klein as an exclusive. Her popularity among the world’s designers soared as she was chosen to open S/S shows for Alberta Ferretti, Balmain, Ungaro, plus closing shows for Valentino and Rue du Mail. A slew of editorials followed Anna’s success on the runway, with appearances in V, French Vogue and Russian Vogue.

2009 saw Anna take on even bigger challenges, starting with a shoot with Terry Richardson for the French Vogue calendar. She also made the cover of Italian Vogue in January, working alongside Anna Jagodzinska and Viktoriya Sasonkina. In a cover called ‘Revolution 2009’, Italian Vogue celebrated the explosion of Russian modelling talent with all three models featuring in a high-fashion beauty shot. Wearing flesh-coloured skull-caps, the models worked their Slavic beauty to make a highly original and striking cover.

February saw Anna enjoy her busiest runway season to date, with over 40 appearances on the world’s catwalks. Again opening the show for Balmain (a label gaining in popularity through its revival of the Eighties bold shoulder), Anna also closed shows for Herve Leger, Rodarte and Etro.

She undertook cover duty again in March, this time for Japanese Vogue. Her standing within the modelling industry was cemented when she signed up to front YSL’s fragrance ‘Elle Shocking’. Photographed wearing the famous YSL Le Smoking jacket, Anna’s unique mix of classic beauty and je ne sais quoi helped the fragrance become one of YSL’s biggest success stories.

Filling the next few months with editorials for V, i-D and French Vogue, Anna had her first couture season in July with shows for Elie Saab and Valentino Couture. Her connection with Valentino continued into the autumn, with the opening slot for the RTW show going to Selezneva. Also closing the show for Burberry, Anna was continuing to charm designers from season to season.

Anna ended 2009 with a bang, appearing in a now-famous Italian Vogue editorial, photographed by Steven Meisel. ‘Meiselpic’ was a Twitter-inspired spread featuring top models, past and present. Selezneva’s status moved from newcomer to established, as she took her place among models such as Gisele, Jamie Bochert, Lara Stone and Christy Turlington.

Selezneva began 2010 undertaking another editorial with Italian Vogue. Steven Meisel’s ‘Runway’, took the backstage scenes at Fashion Week and turned them into high-fashion montages. Meisel again used the cream of the fashion crop, hiring new faces such as Gwen Loos and Jac Jagaciak who both got their big break on this epic editorial.

Busier than ever, Anna took on campaign duty for Emporio Armani and appeared in back-to-back editorials for French Vogue, Japanese Vogue, Numero and Harper’s Bazaar. With her credits growing month to month, Selezneva returned to Paris in July to appear in the couture shows, adding Dior and Chanel to her CV.

Autumn 2010 saw Anna take on two massive campaigns for two of the biggest labels in fashion: Ralph Lauren and Versace. An obvious choice for Lauren’s classic palette of Americana, Selezneva was a surprise hit in the Versace ad, working with models such as Iselin Steiro and Valerija Kelava. The ad eschewed the hyper-groomed Versace siren look, favouring a youthful, street-style glamour. It was the start of a new era for the Italian label, working hard to win over a new generation of fans, with the brand going full circle in its reinvention with the hiring of Saskia de Brauw in 2011.

Anna renewed both her contracts with Emporio Armani and Ralph Lauren in 2011, beginning the year with more couture shows (Armani Prive, Valentino and Chanel). Selezneva continued the year with cover and editorial credits, working for French, Russian and Japanese Vogue. The editorials ranged from high-fashion shoots with Hedi Slimane for Japanese Vogue to opulent, fine jewellery spreads for Russian Vogue.

With a strong call-sheet for Spring / Summer 2012, Anna is still proving an irresistible force for many of fashion’s biggest names. Walking for labels such as Chanel, Dior, Isabel Marant and Gareth Pugh, Selezneva remains at the top of her game four years into her career.

The reason for Anna’s ongoing success isn’t hard to figure. Even in an industry built around beauty, faces like Anna’s simply don’t come around that often. Beautiful by any standard, Selezneva has become an established figure in modelling because her perfect proportions make her able to sell virtually any product to anyone. Regardless of whether it’s diamonds to the Russian elite or American style for the devotees of Ralph Lauren and Michael Kors, Anna’s face is a perfect fit every time.

Anna has not only survived in this industry, but excelled because her beauty can handle fashion’s trickier aspects. The prospect of modelling for left-field labels such as Lanvin and Balmain can often mean classic beauty being a liability rather than an asset. Anna is a favourite with these designers because she understands what their label demands, and delivers every time. Her edgier editorials with magazines like Numero and V should by rights belong to quirky, off-beat beauties, but Selezneva convinces because she can play against the commercial aspect of her beauty.

Not afraid to get ugly is what has made Anna not just another beauty, but a true fashion superstar. Challenging, avant-garde work courtesy of Japanese Vogue works a different set of fashion muscles compared to a campaign with Calvin Klein, but mastering both requires genuine insight. Anna’s intelligent approach to each assignment has made her consistently in-demand across the world. She tailors her beauty to every new editorial, campaign or cover, as some will require it takes centre stage, while other bookings will insist that her features be played down.

Success stories like Anna’s are unusual because classic beauty hasn’t been in vogue for some time. We have seen doll-like, Pre-Raphaelite beauty; streetwise androgynous beauty and quirky faces that are all about that one killer feature. Between Lindsey Wixson’s pout and Arizona Muse’s strong, determined brows, conventional beauty hasn’t had much time in the spotlight. Seen as inflexible or even dated, designers have chosen to side-step classic beauty in favour of edgy faces that offer themselves up as a blank canvas. Anna is no blank canvas, but her adaptability in front of the lens has meant that fashion has had to take a fresh look at what was once termed ‘commercial beauty’. With newer faces such as Joan Smalls and Emily Di Donato scooping major campaigns, the line that was once drawn, clearly marking the territory between commercial and high-fashion has now been blurred. It isn’t a case of taking preference of one type of beauty over another: now there is room for both.

Selezneva has succeeded where others have failed because her modern, custom-made approach has made her perfect for high-fashion. Even with a face most would consider essential for working in the fashion industry, Anna comes equipped with the knowledge and awareness that beauty isn’t always enough. Fashion is consistent in its need for change, and being a one-note performer will ensure a career that expires before its time. Anna’s willingness to embrace an aesthetic that plays against her beauty has made her not only relevant, but a contemporary tour-de-force. Anna’s career is a great example of playing the hand you’re dealt. Beauty is a great place to start, but fashion will always ask for something more.

HELEN TOPE

MODEL PROFILES: ARIZONA MUSE

What’s in a name? In fashion, it seems a great deal.

Having previously worked under her real name of Zoe, Muse’s fortunes took a turn for the miraculous when she appeared in the September 2010 Prada show. It was a booking that in no small way transformed her career.

Born in New Mexico on September 18th 1990, the re-named Arizona is now being heralded as the face of a generation. It is somewhat surprising, but Muse’s early career was something of a slow-burner. Signing with Next Models in 2008, her first credits included a beauty editorial with Allure and an appearance in the S/S issue of French Revue de Modes.

Arizona’s modelling plans went on pause in 2009 when she discovered she was pregnant. Taking a year-long break, Muse gave birth to son Nikko and returned to modelling the following year. Her agency suggested a fresh start and together they decided on a name change, swopping Zoe for Arizona (chosen because Muse was living in Tucson).

The name-switch had an extraordinary effect on Arizona’s career. It made her memorable with clients, but it wasn’t just the name that started getting her noticed. Her unusual look – short, softly-bobbed hair and heavy eyebrows – made her a stand out in a sea of new faces, lending her look character and depth.

In September 2010, Arizona finally got the breakthrough she needed. Chosen by Prada, she not only modelled in their runway show in the opening and closing spots, but did so as an exclusive. The effect of the Prada booking was immediate, catapulting Muse into the spotlight.

Having already launched the careers of newcomers Samantha Gradoville, Joan Smalls and Barbara Palvin, Prada was taking a gamble on the relatively untested Arizona, but not only did they put her in the main show, but they also had her headline the Miu Miu show, making her the face of the brand for that season.

In addition to this storming debut, Muse got to open shows for Kenzo and Rochas, and also walked for designers such as Marc Jacobs, Herve Leger, Narciso Rodriguez and Proenza Schouler. But it was the Prada show that got everybody talking. An appearance at Prada has serious star-making potential. As an unknown, getting to open and close this prestigious show is unheard of. Prada’s success rate in selecting new model talent is exemplary – some of today’s best models, such as Sigrid Agren and Ali Stephens, got their break walking for Prada.

Unsurprisingly, Arizona’s runway debut got her featured as a Top 10 Newcomer in www.models.com and a face to watch by www.style.it. Arizona’s comeback had been, by any standard, a huge success. But if 2010 had marked her return to the fashion industry, four months into 2011, Arizona is already proving hard to ignore.

The year started with the news that Prada had selected Muse to be the face of their ad campaign, along with Mariacarla Boscono, Tatiana Cotliar and Kinga Rajzak. Bold, fun and a sartorial breath of fresh air, the Prada ad is the campaign of the season. Miuccia’s quirky symphony of no-nonsense stripes and baroque swirls has already become the defining look of Spring / Summer 2011: no rules, just fun.

The campaign bookings kept coming, with the announcement that Arizona was to replace Daria Werbowy as the face of YSL. Taking the campaigns for both beauty and fashion, Muse also filmed a campaign video directed by Inez van Lamsweerde and Vinoodh Matadin. Shot in Marrakech, the video is coolly hypnotic and a terrific example of how campaigns could develop in the future.

In print, Muse’s presence was also felt loud and clear. Taking the January cover of Italian Vogue with Freja Beha, Dubbed ‘2011 Allure’, the vintage-inspired cover was coupled with a couture shoot photographed by Steven Meisel.

On the runway, Muse made her couture debut at Paris, walking for Chanel, Elie Saab and Valentino. The fashion world doesn’t tend to be shy about proclaiming its likes and dislikes. Arizona’s inclusion in this most exclusive of worlds, sent a message that, Prada effect or not, 2011 was going to belong to Muse.

February saw Muse appear in a huge amount of prime editorial work, switching from classics done the Vogue Italia way in ‘So Pure, So Modern’ to angular, awkward joy for Chinese Vogue in ‘Spring Blues’. Also appearing for British and American Vogue, it was the latter magazine that finally cemented Muse’s reputation as fashion’s next big thing.

In the February issue of the magazine, editor-in-chief Anna Wintour dedicated the subject of her editor’s letter to Arizona. Comparing her to Linda Evangelista and Natalia Vodianova, Wintour revered Muse as the model that would take the industry by storm, but the industry was catching on quick. Wintour’s letter made headlines around the world, and when it came to Fashion Week, Muse emerged as the major star of the season, appearing in 64 shows.

Walking for every major label including Burberry, Chanel, Dolce & Gabbana, Marc Jacobs, Oscar de la Renta, Prada, Valentino and Versace, this is a booking list that some models would take years to achieve, if they were lucky enough to reach that level in the first place. Anna Wintour’s championing of new talent isn’t just reserved for designers such as Thakoon. Wintour wants fashion to be the best it can be, and that includes giving credit – and opportunity – where it’s due.

Arizona was well on her way to becoming a success without the nod from Wintour, but for any doubters, she has more than proved that she is worthy of such accolades. There isn’t a lot of room (or patience) for mediocrity in the fashion world. Right now, in this economic climate, the fittest really do survive.

Muse’s ability to score bookings en masse was taken to another level in March, when she appeared for three major magazines. She worked with Raquel Zimmermann and Freja Beha in a street-punk themed shoot for American Vogue; a surrealist editorial (‘Audace Manifeste’) for French Vogue and couture elegance in black and white for Numero.

But further to this, Arizona also made the cover of British magazine ‘Dazed and Confused’. The magazine shot four separate cover tries and instead of selecting one, used them all, squeezing them onto one cover. Called ‘Birth of a Muse’, it was Arizona’s first solo cover (even if she was effectively sharing the limelight with herself).

April ’11 has seen Muse appear in two more editorials for Chinese Vogue, making her truly international in her appeal. What Arizona offers these clients is not just a memorable face. Her work this year highlights a model that is no novelty, but already equipped to excel. Muse’s range is extraordinary, but Google the YSL campaign video and you’ll see that her real gift is movement. Modelling on film is incredibly difficult. There are no kind angles, no spots where you can hide areas of weakness. Shot from every possible viewpoint, the YSL campaign film is almost merciless – but that is the point. Not every model could do it.

Muse’s ability to move well, whilst still modelling from head to toe, is remarkable and rare. Wintour’s comparison of Arizona to supermodel Linda Evangelista is accurate, but Arizona’s ability to create movement recalls models such as Naomi Campbell and Tyra Banks – two models who transformed catwalk from perfunctory to performance. They may not have had campaign videos to worry about in the Nineties, but if they did, they would have seen Arizona as the one to beat. As fashion continues to work in tandem with technology, being able to master this new type of campaign will rapidly become a skill update for all new models.

What is unusual about the hype surrounding Arizona is that it’s justified. Her run of print work – an incredible 13 editorials so far this year – also picks up the strength Muse has when it comes to more traditional fashion media. Her already-impressive catalogue of work neatly illustrates why she’s such a catch for the fashion world. From her moving series of pioneer portraits for American Vogue, to her striking, Dali-esque shoot for French Vogue, Arizona is never the same woman twice. Her talent at transforming, taking her from Parisian couture to New York punk, is usually the calling-card of a model that’s been doing editorial for years. Muse’s relatively limited experience, prior to 2010, is what makes this comeback all the more incredible.

Arizona’s career trajectory, if the first few months of the year are any indication, will be nothing short of supersonic. It’s rare to see a model met with such fanfare –the excitement that Arizona has generated sets her apart as a phenomenon not seen since Kate Moss. There have been other fashion favourites since Moss – Bundchen, Stone, Pivovarova – to name a few, but Muse does appear to have that indefinable star quality. Match that with an almost-seasoned approach to editorial and runway, and this all makes for a model that seems destined to carve out a space for herself that is not so much top model, but supermodel.

Already revered in the mainstream press, and a hot topic in the blogosphere, the rising star of Arizona Muse seems an irresistible force as she gets ready to become the most prolific model of the year. It’s no mean achievement for a model that was barely known even by those in the fashion industry a year ago.

Muse’s story may read like pure inspiration, but it is her blend of skill across the board that will keep her from burning bright and fading out fast. As she begins to emerge as one of the year’s iconic faces, Arizona is set to become fashion’s latest – and most remarkable – Muse.

HELEN TOPE

MODEL PROFILES: TANYA DZIAHILEVA

Born in Belarus in 1991, Tanya Dziahileva had an early start in modelling. Signed to an agency at the age of 14, her debut on the Spring / Summer 2006 catwalk saw her appear for Prada, Chloe, Chanel and Alexander McQueen.

Tanya’s launch into high-fashion continued with editorial work for British Vogue in February 2006 and a campaign for Hugo Boss featuring Tanya with Agyness Deyn. Both models were a telling choice for the brand; Deyn had just broken into the industry herself, with her unique street style and peroxide hair already making waves.

Aged 15, Tanya scored her first major solo campaign when she became the face of YSL, photographed by Juergen Teller. Normally such a high-profile booking would daunt even an experienced model, but Tanya handled the pressure and expectation like a seasoned professional.

2007 saw even greater success, with Tanya booking a campaign for Lanvin, photographed by the legendary Steven Meisel. If Tanya felt nerves, she didn’t show them – and within months she had also secured a fragrance contract with Nina Ricci and became the face of the Michael Kors brand, replacing Carmen Kass.

The model-switch represented a key change in fashion’s tastes. Michael Kors, a label synonymous with American luxury chic, Tanya was not the most obvious choice, but her hiring was a sign that fashion was already beginning to shed the idea of a certain type of model for a certain type of campaign.

Tanya’s first runway season of 2007 saw her walking in shows for Alberta Ferretti, Calvin Klein, Chloe, Dior, Givenchy, Marni, Oscar de la Renta, Proenza Schouler, Vera Wang and Zac Posen. Her booking sheet was a smattering of newly-formed design houses, such as Proenza Schouler and Zac Posen, plus more established labels like Oscar de la Renta and Givenchy.

But her breakout season came in September when she was hired for 71 shows. She was also picked to open the Versace show, and closed four shows including Phillip Lim, Celine and Valentino. Incredible as these achievements were for a model that was only 16 years old, 2008 would ultimately be Tanya’s blockbuster year. She landed two major campaigns; one with Anja Rubik and Maryna Linchuk for DSquared, and the second with global brand Ralph Lauren.
Tanya’s growing status as one to watch was cemented further when she booked over 70 shows for February 2008. The same month, she got her first cover, with Russian Vogue. The seal of approval from Vogue took Tanya’s career to the next level, getting her bookings in the couture shows in July. Standing at 5’ 11”, Tanya was height-perfect for couture and made appearances for Armani Prive, Dior and Valentino.

Couture’s reputation for being notoriously tricky to model is well-founded, but Tanya’s body of runway experience meant her debut in Paris was earned fair and square. Far from being elitist, haute couture is probably the fairest sector of the industry when it comes to hiring: ability wins over hype every time. Couture modelling requires a level of skill beyond ready-to-wear, with models being asked to effectively play a character – whether that’s giving Armani’s space-age glamour gowns a touch of gravity, or embodying John Galliano’s haughty equestrian fantasy. Haute Couture is a hybrid of fashion meets theatre, and Tanya disproves the myth that having a memorable face means you can’t be adaptable.

In August, Tanya did her first major editorial with U.S Vogue, shot by Steven Meisel, followed by a slot in Japanese Vogue and a feature in Russian Vogue where Tanya was dubbed a ‘top model’. Russian Vogue has a particularly good track record of recognising model talent: their decision to devote an entire issue to Natasha Poly launched her career into the stratosphere.
Tanya’s runway season in September was further proof that if a top model needs to be versatile, she met that requirement in spades. Opening and closing shows for Elie Saab and Yohji Yamamoto, Tanya’s ability to morph from one aesthetic to another couldn’t be clearer: it’s hard to think of two designers more different than Saab and Yamamoto. Saab’s reputation as a perfector of red-carpet glamour and Yamamoto’s clean, post-modern vision make them direct opposites, but Tanya’s keenly-honed runway skills meant she booked appearances for both.

September ’09 saw Tanya skip New York, London and Milan Fashion Weeks, concentrating solely on Paris with bookings for Alexander McQueen, Dior, Hussein Chalayan and Lanvin. But her experience of dealing with challenging catwalk was tested to its limit in March 2010 when she was asked to participate in a runway show, housing the final collection by Alexander McQueen, only a month after his sudden death. Part of a select group of seven models, the resulting show was subdued, but the work, stunning.

Tanya’s working relationship with the designer came full circle when she was asked to take part in an editorial for U.S Vogue. Called ‘Noble Farewell’, the layout showed Tanya and other models also featured in McQueen’s final runway show, wearing the collection and about to be packed away in crates, preserving McQueen’s work for all time.

It’s hard to fully gauge a designer’s worth during their lifetime, but the moving tribute paid by American Vogue was industry wide in its impact. Tanya’s final note of 2010 was another act of homage to McQueen. Fronting the September cover for Spanish Vogue, Tanya modelled one of Alexander’s now famous final looks. The heady baroque design was anchored by Tanya’s quiet and dignified gaze. No tricks required; this was modelling done so deftly that it looks like Tanya is doing nothing at all. A true sign of a top model is their ability to do more by doing less, and it’s a skill Tanya has mastered absolutely.

Her face has become one of the most recognised and recognisable in the industry, and even though her name is somewhat less familiar outside fashion circles, Tanya has become a supermodel by stealth. Her mix of quirky beauty and traditional supermodel traits sees Tanya competing – successfully – with newer models, even though her career is heading into its 6th year.

Tanya’s status as one of fashion’s most prized models has been hard-worn, with Tanya being catapulted into the spotlight when she was just 14. Acing an YSL campaign shoot at 15 years old is an extraordinary accomplishment. Her exhaustive body of work, featuring runway, editorials and campaigns with every major designer in the world, points to a model that thrives on hard work.

Tanya’s launch into the fashion world in 2005 came a decade after models Kristen McMenamy and Stella Tennant created a storm as faces that were ‘ugly / beautiful’. The mid-Nineties saw models appear whose look was unusual and challenging, a significant departure from the glamorous faces that populated the Eighties. Especially loved by European designers, such as Karl Lagerfeld and Jean Paul Gaultier, public opinion was strongly divided. Many didn’t get the appeal of such faces, others saw it as further proof that ‘high fashion’ had very little to do with ‘real life’. As vague as both these concepts are, the willingness of fashion to make beautiful clothes just that little bit ugly, transformed the industry. This was fashion taking the blinkers off and looking out on a wider definition of beauty. Poses became more angular, less defined: supermodels like Tyra Banks and Kate Moss began to appear in editorials where their bodies were slumped and their eyes cast away from the camera. The guiding principles were awkward rather than poised, quirky rather than sunny.

These new ideas on how to present high-fashion trickled down through the industry with modelling agencies finding themselves not automatically looking for ‘money girls’ – the kind who sell perfume by the barrel-load – but girls who could not only do, but embody, one word: editorial. But as editorial took hold, everyone wanted a piece of the new look. The quirky girls began getting hired not just for the high-fashion jobs, but for everything. It was nothing short of a revolution.

Tanya, along with Agyness Deyn and Coco Rocha, has become one of the first quirky girls to get the big-budget, big-name campaigns that were normally reserved for more conventional beauty. But Tanya isn’t considered a token choice: she has become one of the leading faces of a generation that accepts diversity as the norm. What’s considered on-trend alters constantly, but faces like Tanya’s have changed fashion’s mind about what beauty really is, and that idea refuses to budge.

Tanya’s portfolio boasts the expected avant-garde shoots and campaigns, but she is also a cover girl several times over. With seven Vogue covers to date, Tanya’s career is part of a much larger success story for modelling in general. With current hot-ticket Joan Smalls just announced as the new face of Estee Lauder for 2011, widening the terms of beauty has allowed models from every ethnic background to not only enter the industry, but to get their shot at those big-name bookings.

This revolution started on the runway, and this embrace of every kind of beauty came full circle during Jason Wu’s show last September. Featuring models from European, Asian and African-American backgrounds, it is incredible to think that ten years ago; this gathering would have been unthinkable, simply because it would have been impossible. Finally, their faces fit.

HELEN TOPE

MODEL PROFILES: SIGRID AGREN

Born in Martinique on April 24th 1991, Sigrid Agren is the model who became the Chanel girl for a whole new generation.

Agren started her career in 2004 when she won the local Elite Model Look contest. Winning the semi-finals in 2005, she subsequently signed with the Elite agency. An early-starter even by modelling standards, Sigrid took the decision to put her career on the back-burner in 2007 to concentrate on school, and returned to modelling in 2008, signing with New York Model Management.

In June 2008, she appeared in her first major editorial, for Teen Vogue. Just days later, http://www.models.com/ named Agren a future industry star. In September, she made her debut at Fashion Week. Despite having only a clutch of editorials behind her, Agren’s runway booking sheet was filled with the best of international design talent. Walking for Calvin Klein, Rodarte, Donna Karan and Ralph Lauren, she also opened shows for Alexander McQueen, Karl Lagerfeld, Sonia Rykiel and YSL. Closing shows for Prada and Louis Vuitton, Sigrid’s look had struck a chord with the industry. With such an incredible start to her international career, it was no surprise when http://www.style.com/ named Agren one of their Top 10 Newcomers.

Her career as one of fashion’s favourite runway girls gave way to editorial and campaign work. In early 2009 she became one of the faces of Prada, appearing alongside Anna Jagodzinska and Katrin Thormann.

January saw Sigrid walk her first couture runway season, appearing for Chanel, Dior and Givenchy and opening the show for Valentino. Sigrid continued to rack up opening and closing spots as Fashion Week arrived a month later. She opened shows in New York, Paris and Milan, walking for designers such as Diane Von Furstenberg, Alberta Ferretti, Valentino and Chloe. In addition to also closing the Chloe show, she also scooped closing honours for Carolina Herrera, Donna Karan, Nina Ricci and Roland Mouret.

After appearing on the Autumn / Winter couture runways, Agren’s delicate looks made her a select choice for campaign work. She signed a contract with YSL Cosmetics, replaced Kate Moss as the face of Stella McCartney and became the face for powerhouse-brands Calvin Klein and Chloe. Sigrid’s easy-to-market look made her a fail-safe when it came to securing campaign work, but her next editorial booking made sure that the fashion world knew she wasn’t a one-note wonder.

Shooting for Italian Vogue, Agren appeared in a couture layout with models Heidi Mount, Rose Cordero, Toni Garrn, Imogen Morris-Clarke, Jourdan Dunn and Constance Jablonski. Named ‘A Dream of a Dress’ and photographed by Paolo Roversi, the high-fashion shoot was dark, atmospheric and dripping with glamour. It was absolute proof that Sigrid could master fashion’s dark arts, not just the campaigns and covers.

In October, she undertook editorials for Numero and Russian Vogue, choosing to sit out the S/S 2010 runway season. It did her career no harm whatsoever, as she renewed her contract with YSL Cosmetics in early 2010, returning to the runway in January for the Prada Menswear show.
Sigrid also appeared in Italian Vogue again, this time photographed by the legendary Steven Meisel. Named ‘Runway’, the shoot was a massive project that included the best of new and established catwalk talent. Sigrid was joined by Lara Stone, Frida Gustavsson, Natasha Poly, Kendra Spears, Kasia Struss, Mirte Maas and Iselin Steiro to name just a few. The documentary-style, behind-the-scenes shoot was a huge success and real-life imitated art when Sigrid found herself undertaking the biggest runway season of her career.

Walking in 71 shows, Agren appeared for Jaegar, Matthew Williamson, Bottega Veneta, Balenciaga, Prada, Lanvin and Gareth Pugh. Closing shows for Thakoon, Derek Lam and Calvin Klein, Agren’s fashion moment had finally arrived. Appearing in some of the biggest shows of the season, her profile soared.

In March, she undertook an editorial for W; April saw her being cited as a top model by Teen Vogue and May and June saw back-to-back fashion spreads for Numero and Japanese Vogue.

But her biggest moment was still yet to come. Already a fixture on beauty billboards for YSL, Sigrid landed the booking of a lifetime when she was chosen to represent Chanel’s new fragrance Chance. Launched back in 2002, Sigrid was to be the face of the fragrance’s latest incarnation, Eau Tendre. A soft, summery companion to the main perfume, it was a huge coup for Agren.

Shot by Jean Paul Goude, the campaign featured Sigrid sat clutching a huge bottle of the perfume and accessorised only with a garland of pink flowers. Pitched as sweetly romantic, the advert is deceptively simple in concept, but ultra-sophisticated in its execution. Aimed at younger consumers, Agren (still in her teens herself) was the perfect choice as the Chanel girl for a generation who have grown-up worshipping the brand.

After her seal of approval from Chanel, Agren became the go-to girl for this coming season’s campaigns. She will appear in the Prada Menswear ad with Angela Lindvall and the campaign for Celine with model Emma Balfour. Sigrid can also be seen in the new campaign for Italian designer Alberta Ferretti, appearing alongside top-model Jac. Shot in sepia tones, the campaign is a yin & yang concept with Jac dressed in black and Sigrid in white. Dreamy and sensuous, the calling-card of all Ferretti campaigns, Sigrid’s career has come full circle.

Agren is making a name for herself as a model that doesn’t have to choose between campaign and editorial work: she is someone who is equally at home on a beauty shoot as she is working on an editorial for Italian Vogue. For a model who doesn’t even reach her 20th birthday until 2011, Sigrid’s body of work already outranks the majority of her contemporaries.

Sigrid’s success is owed much to her ability to be adaptable, a quality that in today’s industry is as in-demand as being photogenic. Much has already been written about the impact of the economic recession on the modelling industry. For blonde models, however, it has been nothing but good news.

In times of crisis, clients tend to go with the familiar, and modern beauty (especially when its best face forward for covers and campaigns), is often equated with blonde models. Seen as approachable and sunny, blonde models like Agren have seen their workload increase significantly over the past year, because of their wide-ranging appeal.

Sigrid’s high-profile campaigns with YSL and Chanel have both utilised her ability to take a great beauty shot. She may be a natural at scooping cosmetic and fragrance campaigns, but Sigrid has smartly balanced this with high-fashion editorial and runway work. Appearing for designers such as Gareth Pugh, Thakoon and Lanvin has lifted Agren’s stock from safe-as-houses blonde to a model whose career is well-rounded and without a doubt, on the rise.

Even the briefest glance through this month’s fashion magazines will tell you that the tide is beginning to change. Gone are the disco shoes, the extravagance and glamour for glamour’s sake. Here to stay is a new mood: pared-back but not dumbed-down. With even Marc Jacobs revisiting and remodelling the camel coat, fashion’s new direction is about shape, texture and finish.

The good news for blue-chip models like Agren is that this is fashion with substance, and her appearance this February in some of the most talked-about show of the season (Burberry and Prada), is raising her value on the modelling market to make her one of the most coveted girls working today.

First hired as the winsome, delicate blonde, Sigrid is rapidly winning herself a reputation as a model of endurance. Far from being fashion’s soft option, girls like Agren are the true backbone of this industry. With a 71-show season under her belt already this year, only three more words are needed: watch and learn.

HELEN TOPE

MODEL PROFILES: CLAUDIA SCHIFFER

Quite simply one of the most famous faces in the world, Claudia Schiffer marks an indelible place in modelling history.

Discovered in a German nightclub at the age of 17, Schiffer’s rate of progress into the heart of the fashion industry was astounding. Charming Karl Lagerfeld during her first time in Paris, Claudia was modelling for Chanel Haute Couture by the time she was 20.

Born in Rheinberg, Germany, on August 25th 1970, Claudia Schiffer grew fast – by age 16 Claudia was already 5’ 11”. Her height meant that for the shy teenager, blending into the background was not an option.

This innate ability to stand out in a crowd changed Claudia’s life in 1987 when she was discovered by Metropolitan Agency boss Michel Levaton. That same year, Claudia abandoned her plans to become a lawyer, and flew to Paris to pursue modelling.

In 1989, Claudia was propelled to stardom by becoming the face of Guess? Jeans. Her look, quite different from that of Crawford, Evangelista and Campbell, was widely feted in the press. Dubbed the ‘new Bardot’, after film icon Brigitte Bardot, the impact on Claudia’s career was nothing short of incendiary.

Catapulted to the top, Schiffer began working with the biggest names in fashion. In August and November 1990 she fronted the cover of American Vogue, having already scored the cover of Italian Vogue in March. Photographed by Steven Meisel, Claudia’s high-fashion credits rapidly began to build. By 1995, she had posed for over 100 magazine covers from across the world. In 1992, she was the American Vogue cover girl four times, landing the spot in April, May, June and September. Claudia did campaigns with Chanel and Escada, also representing Chloe, Dolce & Gabbana and Valentino.

To list every one of Claudia’s credits would be an exhaustive process. After Kate Moss, Claudia was one of the most sought-after faces of the Nineties. Making cameo appearances in cult films like ‘Wayne’s World’ cemented her as a celebrity too. Like her predecessor Cindy Crawford, Claudia’s looks appealed to both men and women, and Claudia was determined to make the best of it.

The ‘supermodel’ phenomenon reached new heights when Claudia teamed up with friends Naomi Campbell, Christy Turlington and Elle McPherson to launch the opening of the ‘Fashion Cafe’ in 1996. A restaurant built around the concept of fashion, the venture did not connect with the public, and the cafe closed in 1998.

The era of commanding $10,000 a day (at least) was coming to an end. With new quirky girls like Kristen McMenamy enthralling the industry, the notion of ‘supermodel’ seemed out of step with popular culture. High-octane glamour didn’t translate to a generation of teenagers wedded to their flannel shirts. Some did well out of the Grunge era, but as models like Kate Moss rocketed; Schiffer found her career momentum beginning to slow.

In these quieter years, Claudia’s personal life blossomed, marrying film producer and director Matthew Vaughn, becoming a mother to son Caspar in 2003 and daughter Clementine in 2004.
Claudia’s professional career, with just a few campaigns here and there, seemed to be on the downturn. But as her children became ready to go to school, Claudia began to do the school-run with them in Notting Hill. Naturally the presence of a supermodel standing outside the school gates would attract some attention, but Claudia’s relaxed and stylish approach to school-run dressing sparked media frenzy.

Claudia’s ability to wear classic shapes and pair them with newer trends had magazine editors clamouring to run how-to guides for their readers who wanted a piece of the Schiffer style for themselves. A new style icon was born.

In 2007, Claudia’s career sparked back to life. Renewed interest in her led to seriously prestigious campaigns. In autumn 2007, she appeared in the Salvatore Ferragamo campaign after landing the cover of French Vogue in August.

Claudia’s return to high fashion was made official in 2008 when Karl Lagerfeld named her the new face of Chanel, 18 years after she had first walked in his couture show. As comebacks go, this was truly extraordinary.

The offers of work continued to flood in as Claudia joined fellow Nineties icons Naomi Campbell and Stephanie Seymour for the Louis Vuitton ad campaign. June and July 2008 saw back-to-back covers of Spanish and German Vogue, and in May, Schiffer attended the Costume Institute Gala in New York. Her plus-one was fashion legend Valentino. 2009 followed suit with editorials for French and Italian Vogue, and Claudia at the end of the year became the face of YSL.

This return to the spotlight was more than fashion allowing its former ‘Bardot’ one last curtain call. Claudia’s return to modelling is in part down to her perseverance, but more significantly, it can be attributed to the renaissance of the blonde.

The revival of blue-eyed blondes in the modelling industry is a response to advertisers’ demand for wholesome, reassuring faces. Even with projects that are ostensibly high fashion, many models who find themselves in this bracket are seldom out of work.

Social commentators have prescribed this shift down to simple economics: advertisers want a time-tested formula to sell their product. The last thing anybody wants to do in a recession is take unnecessary risks and getting a blue-eyed blonde model to represent your brand is the safest bet of all.

In this climate, the buzz surrounding new girls Dorith Mous and Hannah Holman is not unexpected. Models like Schiffer, Raquel Zimmermann, Lily Donaldson and Toni Garn are all scooping the major ad campaigns including Chanel, Fendi, Prada, Marc Jacobs and Versace. If fashion’s big guns all want blue-eyed blondes, this is more than mere coincidence.

Everyone, regardless of where they stand in terms of personal likes or dislikes, responds favourably to blondes. It is the thrill of the exotic: in a society increasingly dominated by brunettes, blonde represents something beyond the ordinary and everyday. That kind of association is what has big brands clamouring for Schiffer. With her already-established celebrity status, Schiffer is well-placed to revive any flagging brand. A good model equals great buzz, but a great model like Schiffer? Her degree of influence is immeasurable, because she brings together the best of fashion and celebrity.

It is no accident that Claudia’s return to the epicentre of high-fashion has been so celebrated. Whatever she is selling, Schiffer has favourably altered the bottom line of any product she represents. Advertisers want models with wide-ranging appeal, and no-one meets that brief better than Claudia.

Claudia’s second wind is more than a passing nostalgia for 90’s supermodels; she embodies a type of perennial beauty like Christy Turlington. Claudia’s strength is that she doesn’t belong to a particular decade or trend, which is why she can slot so easily into current campaigns for Chanel and YSL without missing a beat. Not being tied to a particular look, Schiffer has blended in by standing out.

A true fashion veteran, Claudia Schiffer has made longevity an art form. Her return to high fashion is about more than just good timing. If Schiffer was an average model, her career would have fizzled out years ago. But her doe-eyed sex appeal paired with an ability to be authentic and credible has proved an irresistible combination. Luck has certainly played its part in Claudia’s career, but it is hard work that has kept her on the radar.

Not afraid to take lower-prestige campaigns during the quieter periods of her career, Schiffer’s resolve to stay on the fashion map indicates someone with backbone. Out of all the supermodels who have recently returned to favour Claudia’s comeback feels a little more permanent, because she has every intention of sticking around. With Schiffer, there are no Plan B’s, no clothing range or lifestyle brand. There is only Plan A.

With an astonishing back catalogue of work, Claudia Schiffer is probably the most misunderstood of fashion personalities. She was the sex-kitten of the Nineties, the girl who nearly married a magician and now the poster-girl for stylish mums everywhere. But her latest reincarnation is perhaps truest to the woman herself. The uber-groomed blonde basking in the spotlight in the latest Ferragamo advert – that is the real Claudia. There is a real tenacity to Schiffer that is liable to be overlooked, but beneath the clichés and misinterpretation, there is a model of surprising depth and versatility.

If you remain unconvinced that Schiffer’s career is anything other than being in the right place at the right time, consider this. Schiffer holds the world record for the most magazine covers in modelling history. Recent estimation puts the count at over 700 covers. This is not success by chance, but by design.

Twenty years on from her discovery, Schiffer’s standard as one of the most recognisable models in the world remains quietly, but firmly, assured.

HELEN TOPE

MODEL PROFILES: TYRA BANKS

Born December 4th 1973, Tyra Banks has become one of the biggest names in fashion. A truly modern woman, Banks has made her name in modelling and television, bringing the two together to form one of the most successful reality television franchises in history.

A career made of firsts; Tyra signed with Elite Model Management aged 17. Banks’ modelling career began in Paris, when during her first week in the fashion capital; she wowed so many designers that she booked a (then unprecedented) 25 shows – a record for a newcomer.

She became the first black model to feature on the covers of GQ and Sports Illustrated magazines, and only the third African-American model to secure a cosmetics contract. The contract was with Cover Girl, an affiliation that continues to this day with Tyra’s show America’s Next Top Model.

One of the most sought after faces of the Nineties, Tyra was a consistent presence in magazine editorials and did campaigns for brands as diverse as Ralph Lauren and H&M, plus runway duty for designers Bill Blass, Chanel, Oscar de la Renta, Michael Kors and Yves Saint Laurent. Banks also scored numerous magazine covers ranging from Cosmopolitan, Elle, Vogue and Harpers Bazaar. In 1997, she received the VH1 award for Supermodel of the Year, and in the same year, became the first ever African-American to grace the cover of the Victoria’s Secret catalogue.

If Tyra’s career had stopped at this point, there would be plenty to discuss. Her pro-active barrier-breaking paved the way for girls like Chanel Iman and Jourdan Dunn. Banks bridged the gap between commercial and high-fashion like few other models: her work with lingerie brand Victoria’s Secret made her a household name in America, while still commanding respect in the world of high-fashion.

Nearing the end of her own modelling career, Banks began to examine what else was on offer. She did some television and film work, and found her interest in television re-ignited (she had initially planned, before modelling, to go to university to study television production). Tyra came up with the idea of merging her two passions: television and fashion. She would create her own reality show. The concept would be simple: ordinary girls from across America would have the opportunity to audition for the show and a small group would be selected to travel to New York to live and work as models. They would go on photo-shoots, participate in challenges, and every week, one hopeful would be eliminated. The process would be repeated until there was only one girl left: America’s Next Top Model.

The first series (or cycle) was aired in 2003 on a small television network in the States. It was an unexpected hit, and Tyra suddenly found herself in great demand. In 2005, she made the decision to officially retire from modelling to concentrate on her television career, and we all know what happened next.

America’s Next Top Model became more than a successful reality show, it became a phenomenon. Watched in 170 countries, the format was shipped out to 17 countries that now hold their own respective model searches. Many of the contestants have found success, including Alice Burdeu (winner of Australia’s Next Top Model series 2) who has become a favourite on the runways of Europe and New York, walking for the biggest names in fashion, including Marc Jacobs, Lanvin and Alexander McQueen.

The show has captured the imagination of the public and the desire to see the next series shows no signs of slowing down. Six years on, with the 13th cycle due to air in the UK this January, ANTM is still hot property and there are few other shows that can make such a claim.
The real triumph of the show is what it has done for modelling’s PR. Previous to the show, modelling was perceived (rightly or wrongly) as a closed book, but Tyra’s idea to overcome this was to explode myths and break down stereotypes, proving that when it comes to high fashion, the only thing to fear is fear itself. Knocking sideways the idea that models are invariably blue-eyed blondes, the public’s fashion education began in earnest.

You will now be hard-pressed to find a fashion-conscious teenager that doesn’t know the meaning of ‘editorial’. The exploration of the fashion industry, from the inside out, proved to be the show’s calling card. The viewer was given privileged access to what goes on at a photo-shoot, taking an in-depth look at the respective roles of the stylist, photographer and creative director, seeing how they work with a model to create an image. It did modelling a tremendous service in showing that fashion is first and foremost a business.

It also shows the (decidedly unglamorous but very necessary) process of go-sees - another term every teenager is now familiar with. Contestants during every series are expected to visit designers, giving them a real flavour of the day-to-day business of a working model. By attempting to replicate the real-life model experience as closely as possible, Tyra educated both the contestants and the viewers in how fashion really operates.

The show also educated aspiring models as to what the fashion industry wants, and despite its ever-changing perimeters, the essential wish-list stays the same: versatility, personality and an unforgettable walk. Even now, these are non-negotiable if a model wants to make the transition to supermodel.

The secret to the show’s success is that it doesn’t just want to find the next big thing, but a model that can, like Tyra, do it all. A few years ago, the idea of a model that commands the runway, does print work and campaigns, all with equal aplomb, was seen as unrealistic. But Tyra’s insistence on finding girls who could be all-rounders has paid off. Post-recession, the fashion world is looking for ways to pull in more revenue, and the models that are doing well are those who are triple threats.

Take a look at the names of the moment – models like Lara Stone, Agyness Deyn, Chanel Iman and Karlie Kloss. Lara has shot campaigns for Hudson Jeans and is now the Spring / Summer face of Versace; Chanel walked her first Victoria’s Secret runway earlier this month, and Karlie is about to appear in a campaign for Dior. Between them they have sold everything from cut-price cashmere to lingerie, and this is the way ahead. Limiting yourself to one branch of modelling means limiting your money-making potential, and these days, no-one can afford to be elitist.

The decision to allow the public to see the process behind the image was a canny move on the part of Banks. Even though we have seen so much of what goes on behind the scenes, the magic is not lost. The transformative ability to turn an ordinary girl into a goddess with the help of lighting, styling and airbrushing still manages to draw us in. Fashion is no longer just about the polished, finished product.

It is this very process that keeps us watching America’s Next Top Model. Over a decade spent working in the industry has given Banks an insight into fashion is that both knowing and forgiving. Banks has re-aligned people’s expectations of the fashion industry. Fashion is about standing out, not fitting in, and America’s Next Top Model cracks the myth that fashion is about conformity: it consistently celebrates the unusual, the edgy and the editorial.

Tyra’s pet project has transformed the way we see the modelling industry, changing it from a spectator sport to something far more approachable. It’s more than entertainment – it’s given modelling a whole new level of respect. Blowing apart the notion that modelling is for simpletons, the show ardently proves that posing for the camera, as with any skill, is harder than it looks.

In less than twenty years, Tyra’s career has gone from ingénue, to entrepreneur, to media mogul. In 2005, she launched her own talk-show, aimed at young women, and can now count herself as one the most successful models of her generation, with an estimated income of $23 million in 2008 alone.

With news breaking this week that Tyra is to cancel her talk show but continue working with ANTM and foster new projects, where her career goes from here is anyone’s guess. Having left an indelible mark on the modelling world, she has made her fortune by preparing the next generation of models for the challenges that are already being faced by the fashion industry. Far from being out of touch, Banks understands very clearly where modelling and fashion are headed, and what is for certain, is that somehow, somewhere, she will continue to be a part of it.

HELEN TOPE