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: RAQUEL ZIMMERMANN

One of the best-known names in the fashion industry, Raquel Zimmermann has made a career out of being the ultimate ‘go-to’ girl.

Known in fashion circles as the body that can wear any trend, Raquel (born May 6th 1983) is another modelling success story straight from Brazil.

Discovered at age 14 in Porto Alegre, Zimmermann’s career took shape in February 2000 when she debuted in Paris at the Spring / Summer Chanel and Valentino shows.

An instant hit on the runway, Raquel’s striking presence lead to early success. Signing a contract with Dior cosmetics in 2001, Zimmermann appeared on the cover of Italian Vogue in November 2002, photographed by Steven Meisel. A whizz at spotting new model talent, Meisel took to Raquel, photographing her again for Escada in 2004.

In December 2002, Raquel landed her first spot walking for Victoria’s Secret. Still a relatively new face on the runway circuit, Raquel may have seemed a surprising choice, but it became clear to everyone watching that she had definite cross-over appeal. Standing at 5’10”, Zimmermann’s body was perfectly proportioned for anything fashion could throw at it.

Committing to a second Victoria’s Secret show in 2005, that same year also saw Zimmermann sign up for campaigns with Gucci and Hermes, ending the year with the cover of Japanese Harper’s Bazaar.

2006 saw Raquel’s third Victoria’s Secret appearance, plus runway duty for Viktor & Rolf. This affiliation with the design duo reaped major rewards when Raquel was announced as the face of Viktor & Rolf’s collaboration with H&M.

The success continued in 2007 when Raquel replaced Angela Lindvall as the face of Fendi. She also became a Chloe girl, fronting campaigns with Trish Goff and Anja Rubik.

May 2007 was a very good month for Raquel when the latest edition of US Vogue hit the newsstands. Steven Meisel’s now-iconic cover named Raquel as one of the world’s next top supermodels. A transformative experience for everyone involved, the impact of that cover turned editorial girls like Coco Rocha and Agyness Deyn into fashion superstars. It didn’t harm Zimmermann’s career either. 2007 ended with a major fragrance contract with Gucci and a campaign for Italian label DSquared2. The Gucci fragrance commercial was shot by ‘Blue Velvet’ director David Lynch, and Raquel’s connection with the super-brand continued into show season, closing the Spring / Summer Gucci show along with appearances for Rodarte, Proenza Schouler and Alexander McQueen.

In December 2007, Raquel had her ‘can-wear-anything’ mantra put to the test, when she was photographed for W magazine, wearing a rat-infested coat designed by Gareth Pugh. The image, captured by Craig McDean, proved once and for all that Zimmermann was the ultimate clothes-horse.

Accolades followed in 2008, as modelling website http://www.models.com/ named Raquel their no. 1 model, overtaking established name Gemma Ward. Raquel’s unique blend of sexuality and fashion know-how was becoming something everyone in the fashion industry wanted a piece of.

Her 2008 runway schedule showed just how far Zimmermann had come. In February she opened the Stella McCartney show and closed the Oscar de la Renta and Chanel shows. In September, she opened shows for Zac Posen and Alexander Wang, closing shows for PHI, Christopher Kane and Stella McCartney. It is a roll-call of the best and brightest of modern design talent. After years of strictly-editorial girls ruling the runways, fashion had fallen back in love with the sex-bomb.

The following year, as the fashion world endeavoured to respond to consumers’ desire for wearable luxury, Raquel’s popularity began to soar with the more traditional labels, walking for Hermes, Loewe and Valentino in February 2009. As the credit crunch began to bite, Raquel’s ability to switch from sex-bomb to sophisticate worked in her favour.

Becoming the face of Marc Jacobs and Oscar de la Renta, Raquel landed four Vogue covers in the space of a year. The final cover was for Brazilian Vogue, a fitting conclusion to the decade for a girl who had conquered the fashion world.

Zimmermann’s enduring appeal is representative of a new breed of model that has redefined how fashion interprets sexuality. Never choosing the obvious route, even the most daring of Zimmermann’s work is underpinned with knowledge of fashion’s past and present.

This is what separates fashion from the world of men’s magazines. Even looking at a GQ shoot, the difference between that and a Vogue lingerie shoot can be subtle, but you know instantly which is which, and that’s all down to how the model tells the story. Modelling, in its finest moments, is all a matter of interpretation.

Zimmermann’s take on sensuality has meant that she can do editorial work, including couture, and then shift to flat-out sex appeal for a Gucci campaign and never look uncomfortable or out of place. This technique owes a great debt to models like Elle McPherson and Janice Dickinson. Teaming a fashion-friendly body with a face capable of registering any emotion, McPherson and Dickinson, no matter how heady the mix of sex and fashion got, never forgot that to create a successful photograph, there couldn’t be a disconnect between the face and the body. To get it right, both had to work in perfect harmony.

Like McPherson, Zimmermann has successfully transferred her look across every aspect of the fashion business. No-one wants a model that is a one-note wonder, and Zimmermann continues to enthral the fashion industry because she can offer absolute versatility. That is why Raquel has continued to excel long after most models retire: quite simply she is one of the best multi-taskers in the business.

Raquel possesses the couture sensibility necessary to carry off fashion’s grandest designs, but she is not cornered in that high-fashion world. Putting aside the fads for quirky, off-centre looks, what repeatedly scores in fashion is a body that can wear anything: no trend is too big or overwhelming. Raquel’s perfect frame, capped off with the couture-perfect height, means that for her, there are no limits.

Raquel’s look is sex appeal tailor-made for the 21st century. A world away from the plastic-fantastic era of Botox and acrylic nails, Zimmermann’s strength is all about what lies underneath. Her genetic good fortune may have got her foot in the door, but staying at the top required Zimmermann to learn how to manage her sensuality: it shines through every picture, whether it is a French Baroque couture shoot or a fun, graffiti editorial with Mario Testino. It enhances the picture, but never gets in the way.

Raquel’s success, particularly in haute couture, has defined her career from fellow Brazilian, Gisele Bundchen. Trying to follow the toughest act in modelling history was always going to be a non-starter for any new model. Zimmermann did the smart thing and played up her couture-ready body and the fashion world eagerly took the bait.

The hard work done by models like Elle McPherson and Cindy Crawford has meant that fashion consequently reads ‘sex-bomb’ in a much more sophisticated way. Raquel’s appearances for brands like Gucci and Dolce & Gabbana are all about the grown-up bombshell. This modern interpretation of what is ‘sexy’ has redefined who can sell what. By blurring the boundaries, Zimmermann can work for designers who aren’t normally known for their love of va-va-voom. This change of pace, something that has really taken off during the recession, means that sex appeal in the fashion industry has become something quieter, more controlled – but undeniably powerful.

As fashion edges into a new decade, it has made a decision to rethink the big ideas. Models like Raquel Zimmermann are changing pre-conceptions about what a model can do, and there is no longer a set idea about how a brand might represent ‘sexy’ or ‘editorial’. Raquel’s sex appeal always tells a story, and like Crawford, McPherson and Dickinson, Zimmermann has mastered the art of making sexy cool.

A tour de force at breathing personality into couture, Zimmermann may be under the public’s radar, but in fashion, nobody does it better.

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

MODEL PROFILES: ANJA RUBIK

Born 11th June 1985, Anja Rubik’s success stems from fashion’s ability to turn a classic beauty into a very modern commodity.

Anja, born in Poland, took an active interest in modelling from early childhood. At the age of 15, she decided to pursue the goal of becoming a model and took part in a local modelling contest. This would prove to be a pivotal decision: there Anja was spotted by a Parisian agency that immediately recognised her potential.

Anja’s debut into the fashion world marked her from the outset as someone to be reckoned with. She debuted at the A/W shows in Paris, walking for Givenchy, Rochas and Nina Ricci. A hit with Paris, Rubik moved to New York two years later to pursue modelling full-time.

Success came quickly for Rubik. In February 2003, she appeared in the A/W shows for Burberry, Jil Sander and Stella McCartney: all names that can seriously boost a girl’s portfolio.

With http://www.style.com/ naming her the rising star of 2005, Rubik landed contracts with Emporio Armani and Emanuel Ungaro. In the autumn of 2005, she became the face of the Jimmy Choo brand and walked S/S runways for Donna Karan, Marc Jacobs, Ralph Lauren and Proenza Schouler.

In 2006, Anja’s career went supernova when she signed a contract with cosmetics giant Estee Lauder. If Rubik needed proof that her career was moving in the right direction, this was the moment that did it. A long-established beauty brand, to sign up Anja (at that point still relatively unknown) was a gamble, but one they clearly felt justified in taking.

With a campaign shoot in Alaska for all-American label Tommy Hilfiger, Rubik capped off an amazing year with 50 runway appearances including couture shows for Dior, Chanel, Jean Paul Gaultier and Valentino. Being selected for a couture show is the one of the highest accolades a model can receive, and with Anja’s popularity continuing to grow in Paris, the demand for the face that merged the best of commercial and editorial also showed few signs of letting-up.

With eight Vogue covers to date, Anja Rubik has become one of the top beauty faces working in fashion today. In addition to her numerous fragrance, beauty and eyewear contracts, Anja has walked runway for every notable designer, ranging from Dolce & Gabbana to Loewe, Vera Wang, Thakoon and Gareth Pugh.

Classic beauty, like the little black dress, never really goes out of fashion, and like the LBD, Anja’s look is one that will always be in style. Anja’s list of credits bear testament to the fact that there is always a place in fashion for beauty. Whatever fads come and go, classic beauty finds favour in the fashion industry because it is creates immediate style shorthand by utilising pop culture icons like Marilyn Monroe and Grace Kelly. The blue-eyed blonde continues to fascinate because the look is loved by designers, used over and over again by advertisers to sell virtually any product, and directors such as Hitchcock dedicated much of their careers to exploring our obsession with the blonde.

Nowhere is this ongoing obsession more evident than in Anja’s signing with Chloe. The signature fragrance for the French label, only launched in 2008, feels far more established, but the campaign, introduced to the fragrance industry in late 2007, featured Anja alongside actors Chloe Sevigny and Clemence Poesy. The trio, simply styled, represented a very fresh, modern slant on femininity. Deliberately underworked, Chloe’s brand of new femininity has been so successful that the fragrance can already claim modern classic status.

Luxurious and aspirational, but striking the crucial balance between cool and allure, the success of the perfume has proved that the reported demise of the print ad is somewhat premature. By adopting a clear-headed approach to marketing, its subdued glamour has made the fragrance a worldwide hit, ensuring that not just the fashion literate have heard of Chloe.

By hiring Rubik as the only model to front the brand, Chloe cleverly tapped into Anja’s accessible and easily identifiable beauty. No previous knowledge of fashion required: anyone can look at a Chloe advert and understand the connection between model and product. Anja is the perfect match for Chloe because she herself represents a modern femininity that has nothing to do with flounces or frills. It dials into a simpler aesthetic: something that is refreshing in an age where even reality TV contestants are groomed to within an inch of their lives.

Anja’s reputation rests on her ability to make elegance approachable. Ice-cool hauteur isn’t in vogue anymore: advertisers can’t afford to alienate consumers, and the models who are doing well right now are the ones who can tell a story in a single frame. Being relatable isn’t the same as being over-commercial or not high fashion. Making that link with the person buying the magazine or passing the billboard is a skill and one definitely worth cultivating.

High-fashion and beauty have not always been synonymous, but Anja, with her impressive CV of covers, editorials and runway credits, clearly operates within the realm of high-fashion, but is still recognisably beautiful in the contemporary sense of the word. Being ‘pretty’ used to be a distinct disadvantage if you wanted to get taken seriously, but not anymore. The respective successes of models like Lara Stone and Jessica Stam show that fashion has widened its own horizons to allow faces like Anja to not only work in the modelling industry, but to succeed and excel.

Faces like Anja get the attention that they do because they simply don’t come around that often. Finding that lucky mix of genetics that permits Anja to be equally convincing in couture as she is in a Gap commercial is a rarity even in the modelling world where outstanding beauty is par for the course.

Its rarity is what makes beauty so desirable. Everybody wants it; and those who do have it are the subject of intrigue, fascination and envy. It’s still, even in these times of shaky finances, the most potent form of currency we have. Anja’s extraordinary body of work shows that, whatever is on fashion’s agenda, beauty takes pride of place. It not only sells magazine covers and bottles of perfume, but it sells the promise of something better than we already have, and at the end of the day, that is what fashion is all about. A face that represents the ultimate in versatility, Anja Rubik is well on the way to becoming one of the most formidable forces in fashion history.




HELEN TOPE

MODEL PROFILES: CARMEN KASS

Carmen Kass has been a visible presence on the world’s runways for over a decade.

Born in Estonia, 1978, Kass is working (and working hard) at an age where most models are getting comfortable with the idea of being retired. But Kass is still commanding attention, with current campaigns including Michael Kors, Narciso Rodriguez and Max Factor.

To be relevant for this long, and without the backing of a media empire, takes some doing. Truly a ‘model’s model’, Kass is well regarded within the industry, and still maintains a steady balance of editorial print work with runway appearances. Her longevity has endured because Kass delivers impact on all fronts. Most models have a leaning towards a particular medium, or actively prefer print work (editorials and covers) to runway, but Kass is uniquely placed because she is equally strong at both disciplines.

Kass was discovered in 1992 by an Italian modelling scout. Travelling through Estonia, the scout stopped off at a supermarket and discovered 14-year-old Carmen.

In 1996, Kass moved to Milan (and then Paris) to pursue a modelling career. She did not have to wait long for success, as in September the following year she found herself walking in runway shows for Chanel and Versace. Not a bad start by anyone’s standards.

Her career blossomed, with fragrance contracts from Dior in 2000, a Pirelli calendar shoot in 2001 and several runway credits including Givenchy, Balmain, Marni, Oscar de la Renta and Valentino Couture.

It became self-evident very early on in Kass’ career that she would make an indelible mark on the runway. Her walk, once seen never forgotten, quickly became her signature. The stride that embodied confidence and sensuality was a fashion crowd-pleaser in the years before the Brazilian stomp became the industry standard.

Hired to walk in the Victoria’s Secret Fashion Show in 2002, Carmen (at that point not well known outside fashion circles) worked the runway with effortless aplomb. Kass, not necessarily the most commercially beautiful, stormed the show and was consequently signed up for the next show in 2003. Hiring Kass was a gamble for the lingerie brand, but it was a decision that paid off and explains why they are so keen to hire new names, their latest recruits including Chanel Iman and Rosie Huntingdon-Whiteley.

The strength of Kass’ walk helped her forge connections with designers: she opened and closed the Oscar de la Renta shows for Autumn & Winter, and Spring & Summer 2002, doing exactly the same for Roland Mouret’s shows in 2005. Her walk took her to the heart of couture, walking for Givenchy, Valentino and Versace, plus additional catwalk credits with names such as Gucci, Carolina Herrera and Yves Saint Laurent. In 2004, it was reported that she was now able to command $200,000 for every catwalk appearance. Clearly designers considered it money well spent.

In 2006, Carmen entered the ‘campaign’ phase of her career, signing contracts with DSquared, Michael Kors and Chloe, and in 2007, landing 10 campaigns in 1 year including Versace, Gap, Ferragamo and, once again, Michael Kors.

Her affinity with the Michael Kors label continues to this day, as Kass remains the face of his fragrances, as well as opening and closing his catwalk shows in 2008 and opening the Spring & Summer 2010 show in New York just this September. Also walking for designers such as Isabel Marant, Balmain and Proenza Schouler, it is astonishing to think that Kass is still working with the best of the cutting-edge designers 12 years after her catwalk debut.

Her ongoing popularity isn’t hard to analyse. Notoriously difficult to replicate, Carmen’s walk defies interpretation. A good walk may be an advantage for any model, but a great walk really does last forever.

Imbibing clothes with personality while keeping them the area of focus, is the most difficult part of runway modelling (after mastering the heels). A model’s job is to give a designer’s vision a sense of identity and purpose on the runway so buyers and editors can assess the collection and crucially who would be its potential customer. To get an idea of how to pitch a designer’s work to their reader or customer, the coal-face of the fashion industry has to be able to recognise, at a glance, who the designer is really designing for. Fashion is about fantasy, yes, but at the end of the day, fantasy doesn’t pay the bills. Having a great model that understands this is the best asset a designer can have. Carmen Kass, with that cool, analytical brain, understands very clearly the fiscal connection between fantasy and reality. One feeds the other, and together they form a coherent brand for the designer. Knowing your customer is as crucial as having a sartorial point of view. Trying to survive without either is virtually impossible.

A competent walker will always find work, but someone who really makes their walk a part of themselves will see the benefits. Carmen is so well-loved because she is a true original: there is no-one else like her. She is not a headline-grabbing ‘classic beauty’, but her look has stayed the distance because it is versatile, and unique.

The importance of the runway walk is once again front row and centre with new kid Karlie Kloss. The American model has wowed the fashion circuit with her controversial ‘death stare’ swagger. Like Carmen, Karlie’s fame is attributed to her ability to imbue any designer’s collection with personality and character. Such is her popularity online; that a video of her giving a runway tutorial claims over 45,000 hits. Now with a fragrance contract with Marc Jacobs to her credit, Karlie is hitting the big-time and looks destined to follow in Carmen’s footsteps, racking up 64 shows in autumn 2008. Whether Karlie’s ascent would have happened so quickly without that devastating sucker-punch of a walk is impossible to gauge, but it proves that a seriously good walk can still take you places in the fashion world.

What is fascinating is how interest in fashion has not only developed, but diversified. There is a definite shift of attention towards the ‘live’ element of fashion: its runway shows. With facilities like YouTube, having a pass to Bryant Park is no longer required to see the latest shows.

Virtually all the major players of Spring & Summer 2010 are already available to view online.
Done right, runway shows can be miniature pieces of theatre, with the big names really putting in the hours to make a truly memorable show. Alexander McQueen, Marc Jacobs and Prada all make the effort to produce a show that will be talked about as much as the clothes. Again, its fantasy paired with reality: pitching a dream to sell a jacket. What’s more, it works.

Prada’s pre-historic theme with models teetering on 6” heels; any Alexander McQueen show of the past 5 years, and Marc Jacobs taking us on a guided tour of American fashion history. These moments become markers in fashion’s progress because, unlike theatre, we can re-play and re-visit them on demand. They become as much of the fashion experience as buying a copy of Vogue or visiting a boutique. Technology is fusing fashion to the next decade, and where it goes from here – well, you can’t help but get excited by the possibilities.

Just when you thought fashion had lost the personal touch, it has found a way to make itself accessible. In the next decade, the challenge will be pursuing this line of thought. Designers are realising the power created by making that one-on-one connection, and the return to favour of models that exhibit guile and daring on the catwalk is no accident. Aloof and abrupt just doesn’t cut it anymore. We want personality and wit but most of all, we want to be entertained.

HELEN TOPE

MODELS CONNECT: HOW TO FIND AN AGENCY

In the search for an agency, technology can be your best friend. However, typing in ‘modelling agency’ into any search engine will result in you getting more information than you can handle, and much of it, indiscriminate and irrelevant to the type of career you want.

Research

Start off by researching models you admire. Find out who represents them – this is a good starting point to ensure you only make contact with legitimate agencies. Do your homework, find out who the top agencies are and visit creditable sites like www.models.com to see which agencies hire models that most closely represent your look. Success in modelling is all about marketing, and doing it with insight and intelligence. Try to imagine your own look in an existing market – where would you place it? High fashion, commercial, plus-size, sports and athletic modelling – it’s a big modelling world out there. Having an awareness of where you might fit in is crucial.

Don’t be afraid to contact the bigger agency names. Yes, they are inundated with photos every day, but each one of these is checked to see if that person has modelling potential. Don’t assume that you’re better off trying just the smaller agencies. Be ambitious for yourself, contact every relevant agency, but be prepared for knockbacks. They come with the territory, and this point in your career is just the beginning. Try not to take rejection personally, because it rarely is. It’s just business.

Modelling may seem like an artistic pursuit, but the fact is for everybody concerned, it is a money-making venture. Think ahead: formulate, plan and plot your course of action, even if it’s only week by week.

Enthusiasm is infectious, and showing agencies that you have a ‘game plan’ can be the thing that tips the decision in your favour. If you’re really serious about becoming a model, make fashion your business. Read the trade publications (Vogue, W, Elle, Nylon, Harper’s Bazaar). Study who is out there, and why they keep getting re-hired. What are they doing that’s right? It’s rarely down to dumb genetic luck. The very best models get to the top because they are fearless about pursuing their goals. If you are really passionate about a career in fashion, let it show.

In person

When you’ve found an agency that captures your interest, look closely at their website. Many model agencies have very specific means of application. Some like you to send in a couple of photos in the mail: usually one head-shot and a full-length body shot. Others prefer you to upload a recent photo of yourself onto an online form, plus your personal details such as age and height. Others hold regular Open Days where would-be models are invited to attend an appointment with a booker to assess their suitability.

Open Days are becoming increasingly rare, with limits on time and resources to carry them out. If the agency you’ve found specifies a particular date and time, stick to it. Don’t assume that the booker will still be free to see you half an hour after the set time has elapsed.

Treat an Open Day appointment like a prospective go-see, only this time the agency is the client. Be friendly, attentive and polite. Mounting a charm offensive won’t hurt your chances one bit, and shows you understand what kind of behaviour would be required at a real life go-see.

Go prepared and present yourself as a model: your hair pulled back, clean, moisturised skin and no make-up. When picking clothes, it pays to go simpler. A vest and a decent pair of jeans are classics for a reason. Don’t make the rookie mistake of piling on every fashionable item in your wardrobe. An agent isn’t interested in admiring your fashion mojo: they just want to see potential.

Whatever the outcome of approaching an agency ‘in person’, don’t be afraid to ask for feedback. This can provide invaluable insight in helping you find a model agency sooner rather than later. Learning what you do wrong can really help you in the long-term. Mistakes can be corrected, but a know-it-all attitude? That’s not so easy to fix.

The key thing to understand about finding an agency is that to find success, a multi-angled form of attack is advisable. There are the lucky souls who get snapped up by the first agency they approach, but the reality is that for most people, it takes a little more work.

To get the result you want, it pays to cover your bases. After all, if you were job-hunting, no sane person would download their CV onto a recruitment website, sit back and wait for the phone calls to come pouring in. As with most things in life, if something’s worth having, it’s worth that extra effort to get it.

New technology: online model agencies

One angle you may not have considered is online model agency. They are steadily growing in profile, and while never a guarantee of securing work, it is definitely worthwhile exploring this option.

When looking for representation, it is important to know that the role of an online modelling agency is very different to that of a traditional agency. The main role of an online modelling agency is to primarily house electronic portfolios. They provide online space for you to display your photos on the internet.

The agency will offer a basic portfolio space on their website for little or no cost, and if you want something a bit more advanced, be prepared to pay an additional fee for running costs. This is a legitimate expense, as the more involved a person’s e-portfolio becomes, the more space and upkeep it requires.

The benefit of using this type of agency is that your work can be viewed by interested parties from around the world, thus maximising your earning potential. But online modelling agencies do not offer any of the other services routinely featured by more traditional agencies – do not confuse the two, or risk disappointment.

However, there are some similarities to bear in mind when shopping for an online agency. As with normal agencies, NEVER sign up to any agency that promises you work. No agency, however prolific, can guarantee a model work. The industry is notoriously fast-paced, and work fluctuates at all levels.

When choosing an online agency, look at the e-portfolios of other models on the website. Do their photos suggest that this model aspires to be in the same sector as you? Always try to match yourself to an agency’s existing book of models – you are far more likely to get work this way than trying to squeeze a square peg into a round hole. Also, if the agency seems clearly focused, in terms of what is offers prospective clients, this is also good news as a client will be more inclined to scout the better-developed sites for talent than the ones that are clumsily managed.

When selecting portfolio shots, keep in mind what constitutes a portfolio shot. Beware any e-portfolios with models posing with parasols or staring winsomely off-camera. This is the calling card of a makeover shoot, and as such is completely unsuitable for a professional portfolio. Whatever the cost of the shoot, a soft-focus glamour shot of you wrapped in a feather boa is unlikely to win over any client. Models Connect offers specific advice on the difference between portfolio and makeover photos. If in doubt, keep your fledgling portfolio shots simple, direct and uncluttered. No parasols necessary.

Keeping your expectations in line is another thing to remember when posting your shots to an online agency. As a method of securing work, it can be a long shot, but something worth doing if you are serious about securing a foothold in the industry. The more methods you try, the higher the likelihood of securing a response will be.

Where Models Connect can help

Models Connect can also assist you with your search. The website (www.modelsconnect.net) functions as a halfway house between a virtual agency and the ‘real’ world. It houses e-portfolios like an online agency would, but where Models Connect differs, is that it can offer a level of service including advice, tips and most importantly, the potential for booking jobs with its selection of clients.

To get the best results from Models Connect, you can sign up to have an online profile that can only be viewed by Models Connect’s base of vetted and approved clients, but you can also access your account and forward your details onto other agencies or interested parties, and manage your own career.

Where Models Connect’s main strength lies in how it can connect you to a body of clients, who are actively searching for new faces, for a wide variety of projects. Upon signing up, you will be assigned your own booker, who will ensure that if you’re suitable for a potential job, that client will be made aware of you.

Combining your search for an agency using the latest technology and exploring more traditional routes is the best means of achieving your goal. Think proactively, and this will translate into action, which shows potential agencies and clients that you are serious about building a career in the fashion industry.

Approach your search for an agency with intelligence: plan and strategise. Needing, at the very least, a Plan B in the modelling world is absolutely essential. Do your research, be aware of scams (see Models Connect for advice on how to avoid scams), remain alert to opportunities and keep an open mind. Your future could be closer than you think.

HELEN TOPE

MODEL PROFILES: COCO ROCHA

Born September 10th 1988, Coco Rocha has secured her reputation on her ability to merge avant-garde with commercial.

Raised in Canada, but of Irish, Welsh and Russian descent, Rocha holds a unique place in modelling history. Combining modern athleticism with unique features that manage to be timeless, Coco represents the best of both worlds.

In 2002, Coco Rocha was discovered by agent Charles Stuart at an Irish dancing contest in Vancouver. Rocha had never previously considered a career in fashion, but she signed with Elite, and began to discover her value in the fashion world.

Rocha’s career started slowly but began to take off in 2006. Her first major breakthrough was appearing in a Balenciaga ad campaign. Wearing oversized platform wedges and a bowler hat, Rocha’s arrival on the fashion scene set the tone for the rest of her career: quirky, original and unexpected.

Her next notable assignment was a shoot with Steven Meisel for Dolce & Gabbana. Famous for being a ‘hit-maker’ in the fashion industry, Meisel has a gift for spotting new model talent. After working with Rocha, Meisel immediately rated her as a model that was worth watching. Website http://www.style.com/ was of the same opinion later that year when they named Coco their ‘rising star’.

The body of 2006 was a collective of great experiences for Rocha. An Italian Vogue editorial with Gemma Ward; a spot in the Chanel Couture runway show and additional shows for Vera Wang and Balenciaga. Coco topped off a brilliant year with an editorial in French Vogue, shot by legendary photographer Terry Richardson.

2007 would prove to be a seminal year for Rocha. Beginning the year by renewing her contract with Balenciaga, Coco also signed up to do a campaign for Lanvin. In February, Rocha achieved two Vogue covers in the same month, posing on the cover of Italian Vogue with Hilary Rhoda, plus an additional cover for Japanese Vogue with Russian model Sasha Pivovarova.

By themselves, these are noteworthy achievements, but in every great model’s career, there is a moment, a tipping point where everything falls into place. This moment came for Rocha in April 2007. She was booked to appear in the Jean Paul Gaultier runway show. Gaultier, charmed by the Canadian, found out about her dancing background and insisted she open and close the show. But Coco wasn’t to walk down the runway: she had to dance it.

Coco’s exuberant bursts of Irish dancing caused a sensation. Anna Wintour dubbed it ‘The Coco Moment’, and Rocha had arrived. The ‘moment’ lasted beyond the initial rush of publicity and translated into very real accolades. The next month, Rocha was featured on the cover of American Vogue. The theme of the cover was already decided: the world’s next supermodels.

Coco was in rarefied company. She shared the cover with Caroline Trentini, Raquel Zimmermann, Sasha Pivovarova, Chanel Iman, Jessica Stam, Hilary Rhoda and Agyness Deyn. Two years ago, these names were specialist knowledge only. Two years on, every one of these names evokes a face, an image and a glittering career. Vogue’s star-spotting was absolutely on the money.

On paper, the concept of Coco as a model should never have worked. Her years of dance training, while doing great things for her posture, should’ve worked against her. Contrary to popular belief, dancers don’t usually make good models, as their training forces them to resist the broken-down, angular poses required to model some of the extreme silhouettes in contemporary fashion.

But Coco took the best of her dance training and channelled it into the requirements of modelling. Applying an intelligent approach to movement, Coco’s popularity with photographers and editors boiled down to her ability to create shapes and lines for the camera.

Look at Coco’s body of work and you will see in her photos that she is a mistress of movement, providing a masterclass in how to create photos that are visually dynamic. Her energy, applied with restraint where needed, translates brilliantly onto film. Rocha is a rare breed: a dancer whose skills adds to, rather than impedes, the modelling package.

In September 2007, she opened a Chanel runway show, scoring the ultimate ‘insider’ job. If you are hired by Lagerfeld, you must be doing something right. In 2008, Coco was photographed for the famous Pirelli calendar by Patrick Demarchelier, and featured in a US Vogue editorial, dressed as famous cartoon characters. Who better to interpret Catwoman and Poison Ivy? Coco managed a difficult task with wit and verve, while still keeping the overall tone fashion-friendly.

Coco’s versatile face made her useable for commercial projects as well as the high-fashion fun. In 2009, she became the face of DeBeers diamonds and has a long-running series of campaigns with YSL skincare and fragrance, plus clothing campaigns for designers as diverse as Zac Posen and Liz Claiborne.

This disparity explains what makes Coco so in demand. She bridges the gap between the worlds of mainstream fashion and the avant-garde. Look again at the list of girls featured on the 2007 ‘Supermodels’ Vogue cover. The list shows how fashion’s take on beauty has shifted over the years. Girls like Agyness, Jessica, Coco and Sasha would’ve been sidelined in the Nineties as purely avant-garde faces.

Over a decade ago, as a model you were either positioned by your agency as an edgy, avant-garde girl or glamour personified. The careers of models such as Stella Tennant and Kristen McMenamy in the 1990s were sharply defined from those of more mainstream girls like Niki Taylor and Christy Turlington. Stella and Kristen did couture, Niki and Christy sold lipstick. Tastes for models would come and go: one year, it was all about the quirky, androgynous models, the next, fashion would celebrate classic beauties. What Coco and her peers represent is a departure from this idea that beauty has to be one thing or the other to be relevant. It has instead been replaced with a merging of the two ideals. Beauty can be just as sellable when it is off-centre, as it is in a Valentino gown.

The idea that a quirky-looking model could be editorial and commercial is something that has only truly evolved through this past decade. The complex requirements of a label like Balenciaga makes certain demands of a model, but now the mid-range labels, and even high-street brands are beginning to catch up.

Retail branding in the same decade has not just had an overhaul; it has been rewritten from scratch. High-street brands such as Reiss, Gap and All Saints are marketing themselves with the same level of sophistication as the designer names, because this is what the consumer now expects. Shopping isn’t just about the clothes you leave the store with; it’s about the whole experience. From the decor to the sales staff, the bar has been visibly raised and those stores doing well are outperforming their competitors because they have embraced everything high-fashion has to offer, including its models. Coco has secured so many contracts with brands on the high street because she offers a taste of high-fashion beauty that is both editorial and relatable.

Coco‘s quirky, off-beat appeal has seen her working with everyone from Gareth Pugh to Gap. Conservative designers love her, legends like Meisel and Wintour are fascinated by her. There is never a sense, in looking at Coco’s career, that there is a place where she doesn’t belong.
Models like Coco represent the future of modelling because they are the very definition of versatility. Seeing someone like Coco succeed shows how fashion has worked, actively and consciously, to become more inclusive to models that fall between the extremes of ‘quirky’ and ‘classic’. Coco’s amazing run of success has paved the way for new models such as Karlie Kloss, who has just signed a deal with Dior. The new girl personified by Coco is avant-garde, and she is establishment: part of the fabric of fashion, she is here to stay. Quirky isn’t a passing phase anymore.

HELEN TOPE