MODEL PROFILES: SASHA PIVOVAROVA

Four years may be a long time in politics, but in the world of fashion – it’s even longer.

From 2005 to 2009, the world has turned on a dime, and the fashion world has had little choice but to change and adapt to circumstance. Nowhere is this shift more evident than in the career of model Sasha Pivovarova.

Born in 1985, Sasha’s career in modelling began in 2005 when a photographer friend introduced her to IMG. Just a few months later, Pivovarova was making her debut at the Prada show in Milan.

Sasha, born and bred in Russia, built on her grand beginnings and steadily began the ascent to the top of the fashion world. Opening and closing shows for designers as varied as Preen, Balenciaga and Chloe, Pivovarova also worked with top photographers Steven Meisel and Patrick Demarchelier, shooting Vogue covers for France, Italy, Britain and Japan.

Her start in the modelling industry, with Prada, yielded results when the design house signed her up for an exclusive three-year contract. She also scored another first when she walked for Prada at six consecutive shows. Sasha modelled their ready-to-wear fashion along with eyewear and perfume. The relationship between model and brand set, Sasha was the face of Prada.

Sasha’s incredible success was not an isolated incident, but belonged to a wave of East-European and Russian models who invaded the fashion industry. Spear-headed by Daria Werbowy, the girls from the far side of Europe were (and continue to be) in huge demand.

Pivovarova, along with Natasha Poly and Natalia Vodianova, formed a charm offensive on the fashion industry. Their brand of beauty – aristocratic features paired with a definitive editorial edge – left the fashion world helpless to resist. Mastering both sides of the coin – having a strong, editorial look equally matched with conventional, knockout beauty – provided designers with the best of both worlds. These girls married a sense of the exotic with the familiar, and that Baltic beauty was what kept getting Sasha booked over and over again: it worked within designers’ comfort zones and produced a portfolio worthy of envy.

This glamour age in modelling coincided with our own ‘boom ‘era. It may have been short-lived, but high-end brands were doing well, and luxury brands were doing even better. No-one thought the worse of a celebrity for laying down serious cash for a must-have handbag. No-one had heard of the term ‘credit crunch’, simply because it hadn’t been invented yet. There was no need: everyone was doing just fine.

Fashion’s love affair with Russia was not just directed at the models it was producing. As the good times continued the number of affluent Russians ready to spend sky-rocketed. This meant a golden time for luxury and designer goods. Billionaires were buying designer goods in huge quantities, making Russia a key market for high-end fashion. For the first time, Russians were buying the fashion as well as starring in its runway shows and campaigns.

The celebration of decadence and luxury continued as Sasha scored a contract with Armani – another brand that translated particularly well in Moscow. Sasha’s career could not have been riding much higher: she was the model of choice for editorial shoots as well as raking in big bucks for big-name campaigns and endorsements. It was, in essence, the career models dream about when starting out in the industry.

But in 2008, the economic bubble burst. The property market collapsed, consumers lost confidence and the luxuries market seemed more than a little shaky.

An ordinary model might have quaked at the prospect of losing contracts. But Pivovarova was made of sterner stuff. With that quintessentially Russian toughness, Sasha held her nerve – and more crucially – kept her cool. She kept an open-mind too and found that the work did not disappear: it merely changed focus.

The high-end brands concentrated less on ready-to-wear (because, let’s face it, the first thing that goes in any budget-trim is the £3,000 coat), and re-shifted their priorities to the fashion consumables: accessories, cosmetics and perfume.

Where Sasha had advertised Prada dresses, she now advertised its perfume, which went on to do rather well. Her selling savvy transferred effortlessly to the smaller items, because she understood that selling a product (regardless of its price) relies on a model’s ability to sell a dream. A pair of sunglasses isn’t just two lenses and a frame: they are a gateway into another world.

Sasha’s easy-to-read beauty played well to the cosmetics and fragrance market. Her flawless skin and perfectly-set features ensured that if someone couldn’t afford an Armani evening gown, they would definitely be tempted to purchase a lipstick. After all, no-one stops buying lipstick, no matter how bad things seem to get. This seismic shift in marketing luxury is what has saved many designer names from going under in the worst recession since the 1930’s. They go with what people can realistically afford, and sell them the aspiration of luxury in a way that doesn’t pander or patronise. Those who have used this strategy have made millions.

Sasha has profited from this about-turn in her career by going with new opportunities and making the most of them. She has since the downturn worked for mid-range brands such as Gap and Zara, and now has an exclusive contract with skincare brand, Biotherm. By using models of Pivovarova’s standard, these firms are showing that they understand how to sell a product to a cash-strapped public and still stay in business. They use the best faces available, because with them, they bring the memory of better and more affluent times. More than ever before, models are not selling a tube of lipstick or a bottle of perfume: they are selling the idea of hope.

Sasha’s career has gone on from strength to strength, not just because of her extraordinary beauty, but because she kept an open mind and adapted herself to new opportunities. Many models would consider going from Gucci to Gap a bit of a step-down, but Pivovarova has been smart about lending her modelling kudos to these brands and both model and company have succeeded where others have notably failed.

Almost five years into a phenomenal career, Sasha is looking to the future. Having maintained an interest in art, she is developing her talent and has already exhibited in New York and Paris, with some of her work even featuring in French Vogue.

Whether she chooses to continue with fashion, or concentrate on art, what is for certain is that she has conquered the fashion world completely. She has been the face of luxury and the selling point of populist brands and accomplished both with impeccable style. Whatever the future holds next for Sasha, like the best military general, she knows that whatever has been done, there is always more to accomplish: it is a smart philosophy to live by, both now and for the times to come.

HELEN TOPE

MODEL PROFILES: ALICE BURDEU

Although not a name well known beyond the immediate fashion circle, Alice Burdeu is one of the rare success stories to come out of the reality TV show franchise, ‘America’s Next Top Model’.

The programme, devised by former supermodel Tyra Banks, has been so hugely successful that a number of countries across the world have adopted the format for themselves.

Alice Burdeu, born in 1988, auditioned for Cycle 3 of ‘Australia’s Next Top Model’ in 2007. At 5’ 11” she towered over her competitors. She looked conspicuously out of place – her (newly-dyed) red hair and alabaster skin marked her out immediately as someone different – and someone worth watching.

Despite her painfully shy demeanour, Burdeu produced a body of work that was in a different league. In person, she appeared awkward and bashful, but on film she became bold, daring and in terms of fashion edge, completely on-target.

Burdeu made it to the final and won – Alice was an obvious winner, but she was given some crucial advice by the judges. Her look would not suffice for Australian companies wanting upbeat, sun kissed girls to promote their products. Alice’s future was in New York. She took the advice and travelled to America. She impressed Elite Model Management so much they signed her up immediately.

Six months later, Alice debuted at New York Fashion Week. Her list of catwalk credits proved she was no slow-burner. Straight out of the gate, Marc Jacobs, Proenza Schouler and Marchesa all booked Burdeu. For any working model, it would be impressive – but for an absolute beginner, it was an extraordinary coup.

The advice she had been given was absolutely right. Her delicate, editorial look of pale skin and a shock of red hair which looked so out of place on ANTM was a perfect fit for high fashion.

Following New York Fashion Week, the successes began to mount up. Burdeu took part in a D&G campaign shot by Mario Testino, scored 3 Australian Vogue covers and a multi-page editorial spread with British Elle. She became the face of Blumarine Resort, and won another ad campaign (this time with Sonia Rykiel). Getting noticed by the fashion press, Alice was profiled in http://www.style.com/ as a rising star, with http://www.models.com/ capping off the year by naming her one of their Top 10 newcomers to the industry.

This heady whirl of achievement is dazzling, but is all the more surprising considering Burdeu’s background. Eleven seasons in, the original ‘’America’s Next Top Model’ has, to date, failed to produce a model of Burdeu’s calibre.

The reasons for this disparity are not entirely straightforward. The fashion world has seemed reluctant to take on previous winners, with many being forced to branch out into acting or presenting in order to get noticed. Maybe there was an assumption that if someone needed the springboard of a television show, they couldn’t be up to much as a model.

Burdeu wrong-footed this assumption from the get-go: her editorial look propelled her to the top of the industry. However, Burdeu has made it to the top because she is both the exception and exceptional.

Her mournful, Isobel Archer-like quality has made her a favourite in Europe because she embodies that sensibility so completely that it is impossible to resist. Burdeu possesses the ability to seamlessly translate trends with intelligence and insight, and this instinct cannot be taught.

The fact that she has been, so early in her career, accepted into the fashion clan, makes it clear that a good model can be coached, but a great model cannot. Alice’s level of success shows that being a winner in real-life remains very much hit-and-miss. While it can be a rude awakening for some contestants, it is a reminder that the level of success Burdeu has achieved is a rare thing indeed.

ANTM is a television phenomenon, and has done a stellar job in opening up the modelling world to a much wider audience. Once a ‘closed book’, teenage girls know what a ‘go-see’ is, and what constitutes a good portfolio. While this knowledge can only be a good thing, ANTM has also changed the way people view the modelling business.

With a 12-week format, contestants compete against each other in a bid to win a 1-year modelling contract handed out at the end of the series. But while the prize is guaranteed, success is not.

Alice’s meteoric rise proves that the reality show can breed winners, but Burdeu succeeds where so many others have failed because she listened to her instincts. A quick study and willing to not only listen to advice but act on it, Burdeu’s star shines as brightly as it does, because she left the show knowing that a ‘success story’ does not end when the cameras stop rolling. To truly excel takes more than just ticking boxes. Ambition is not nearly enough.

As her demand continues to grow, it is probable that Burdeu’s link with the modelling contest will someday be forgotten. A hit in Paris, she is already working with the biggest names in the fashion world, clocking up runway miles for Lanvin, Alexander McQueen and Louis Vuitton.

The fashion industry‘s welcome to Alice was so immediate because they recognised something special. Burdeu’s awkward stance lends itself perfectly to high-fashion runway, and her bird-like features sit comfortably in what is considered beautiful right now. It is not a face that belongs on a sunscreen commercial, but an intriguing face that inspires more by giving away less. Fashion loves romance, and Alice has that magic – the indefinable something that engenders desire. She tells a story, and we want to know more.

Not resting on her laurels has ensured Burdeu her part in fashion’s future. She has taken the prize and won the game because, quite simply, she is the real deal.

HELEN TOPE

MODEL PROFILES: CINDY CRAWFORD

For many, Cindy Crawford was the face of the Eighties. Her sophisticated, sultry look ran against everything the decade represented, but in spite of that Crawford brought ‘sexy’ back to the modelling industry, and made curves big business.

Born in 1966, and discovered at the age of 16 by a local newspaper photographer, Cindy broke into the industry when she entered the Elite Model Look of the Year contest a year later. She did not win the competition, but Elite were so impressed by her potential, that they signed her up anyway.

Cindy’s inauguration into the fashion world coincided with the ‘boom’ years of the Eighties, where people had plenty of disposable cash, and were in a mood to spend.

Classic American designers like Ralph Lauren did especially well during this era: the ‘preppy’ look (think 1950’s college student) was especially popular and people were definitely willing to pay top dollar for it.

The craze for labels started here. In the 70’s, top fashion labels such as Halston were only worn (and known) by a select few. In the Eighties, all that changed. Advertising made high fashion visible, desirable and most importantly, attainable.

Labels became a second language both here and especially in America. They spoke of status and wealth, taste being a secondary concern at this point. All that mattered was wearing the ‘right’ labels. It was more a case of who you wore, rather than how you wore it. Which goes some way to explaining some of the sartorial delights you can see if you google Eighties fashion.

This is the world Cindy Crawford stepped into when she signed up with Elite. High-fashion at the time was devoting its energies to pursing the income of the glitz and glamour crowd, and as we know, the Eighties were all about excess.

Bouffant hair laden with hairspray, and heavy make-up, made catwalk models appear years older than they actually were. This allowed customers to envisage themselves in the clothes. Designers wanted their clothes to sell, and flattered their customers by making the models look like them.

It was a canny ploy. Everyone now wanted to look worldly and sophisticated, and the concept of natural beauty was left behind, as much a part of the discarded Seventies as tank-tops and T-Rex.

This pursuit of mannequin-like perfection meant that Cindy Crawford’s impact on the modelling scene was not immediate, as the industry did not fully appreciate what it was she had to offer.
Her now-trademark mole was airbrushed off many of her earliest photographs, including a cover for Vogue. Crawford has since admitted that at the time, she felt under pressure to conform and have the mole removed – to create that perfect blank canvas – but she stood her ground and the mole stayed.

At the time it was a small decision, but in terms of her career, absolutely pivotal. Cindy Crawford flew the flag for natural beauty and the mole saved her from getting lost in the crowd. The ‘imperfection’ made her stand out, and being remembered is half the battle in getting work within the modelling industry.

As modelling jobs began to stack up, Crawford made a reputation for herself. Her curvy physique and dark features caught the attention of people outside the immediate fashion circle and created a stir in the wider media. She was a refreshing antidote to the 80’s mega-macho pop culture of cold beer, fast cars and beautiful women. A complete opposite to the coldly perfected faces in fashion, her fresh-faced beauty captured the public’s interest. Here was a model they could empathise with: someone who was warm and engaging, but still undeniably beautiful. The girl-next-door got an upgrade, as Crawford became a pin-up for teenage boys across the globe.

As her popularity grew, Crawford widened people’s perception of what sexy could be: a girl with beauty and brains, and unapologetic about having both? That was something new. She switched the idea of the ‘sexy American girl’ from a ditsy blonde bombshell to a sultry brunette ‘with brains and charm’, to quote US designer Michael Kors. Her image ran counter to every expectation, and her popularity soared because she was so different. People were ready for someone who was a non-conformist, and smart with it.

Expanding these horizons has been absolutely fundamental to the modelling industry, because if sexy only equals blonde hair and blue eyes – that’s a somewhat limited brief. Cindy was one of the first models to appeal equally to both men and women. Her unique mix of natural beauty and intelligent sex appeal made her a favourite with both.

Her success in the fashion world (including campaigns with Escada and Revlon, and covers with Vogue, W, Harpers Bazaar, Elle and Cosmopolitan) shows that she understood very clearly the difference in modelling for a predominantly female market, and modelling for a campaign specifically targeted at men. Her expertise in crafting her image towards a product, designer or campaign has been crucial to the development of modelling. Models like Tyra Banks and Gisele Bundchen owe a great debt to their predecessor.

As her name became better known, Crawford moved from fashion to television, as popular adverts (including one for Pepsi) proved that television couldn’t get enough of Cindy’s down-to-earth charm. She scored a lucrative job hosting MTV’s ‘House of Style’ from 1989 to 1995. The fashion news and features programme made contemporary fashion a visible presence in living rooms across the world. Cindy’s easy-going personality and natural flair in front of the camera ensured people stayed watching.

The popularity of the style show coincided with the era of the ‘supermodel’: a small, elect band of models who could command huge fees for just one day’s work. Cindy was part of that group, alongside Claudia Schiffer, Linda Evangelista, Naomi Campbell and Christy Turlington. They were not just models; they were celebrities in their own right.

Their fame turned to notoriety when Linda Evangelista famously told an interviewer that she wouldn’t consider getting out of bed for anything less than $10,000. There is now some discussion as to whether Evangelista made that comment in jest, but its controversy sparked a backlash against these models. Where they actually worth the astronomical fees they commanded?

At this point, Cindy Crawford sidelined into more television and film work, allowing herself to quietly drop off the fashion radar. It was good timing on her part, as fashion lost interest in the ‘Supers’, and fell in love with a new generation of androgynous girls spear-headed by a newly-discovered Kate Moss. They were younger, but more importantly, as the 80’s economic bubble burst, they were cheaper.

As fashion moved on, Cindy Crawford developed her business acumen she had cultivated during an unusually long modelling career. Tailoring a skincare line and home furnishings brand, she devoted the next decade to doing what she did best: selling.

Cindy Crawford was one of the first models to ‘do it all’: modelling, acting, presenting and big business. Crawford was perceptive enough to take notice of what was going on around her, and not take success for granted. Her astute business sense and ability to openly evaluate her own strengths provided a stand-out business model for the next generation following her.

Fashion once sneered at the concept of ‘sex sells’, perceiving it be something low-rent and nothing to do with the rarefied world of haute couture. Now it is difficult to imagine the fashion world without it. From catwalks to editorials, a smouldering look now sells everything from sunglasses to face cream. Cindy proved that sex appeal could be something subtle and aspirational – something that would enhance high fashion rather than act as an unwelcome distraction.

Cindy Crawford also opened doors for models to be able to do ultra-sexy swimwear shoots, alongside more traditional modelling fare of beauty campaigns and couture shows. Crawford proved it is possible to do it all, and do it on your own terms.

By not conforming, Crawford created a new type of career that had a huge impact on the modelling industry itself. A model entering the market today does not have to pick and choose as to whether she can be sultry, or high-fashion. It is possible to pursue both avenues and retain your credibility.

Crawford altered our perceptions of what ‘sexy’ looks like, and did so while holding onto her intelligence and much-needed sense of humour. It has kept her in the public eye for more than 20 years, and her place within modelling history remains, and will be for the foreseeable future, undisputed and unrivalled.

HELEN TOPE

MODEL PROFILES: Ali Stephens

Just when you think you have fashion all figured out, it has a habit of going and changing on you. It’s all part of its charm.

For the past two years, the high fliers of the modelling industry have been faces who pack a punch. Edgy, confrontational and even controversial, these faces are unforgettable and dynamic.
They lend an age of cool to any designers’ clothes, and it is their personality, rather than versatility, that sells. But fashion operates in cycles (or seasons if you prefer), and every face has a shelf-life.

In March 2007, a teenage girl from Utah was discovered by an agency scout whilst out shopping with her family. Six months later, Ali Stephens (now signed with Elite) made her debut at the Spring / Summer Prada show in Milan. To put it into perspective, it is the equivalent of winning an Oscar for your first film role.

Stephens was an instant hit, and a very new look for the industry. She was 16 years old, tall, lean and classically beautiful.

Previously, Ali (born in Salt Lake City in 1991), who had spent all of her energies in winning cross-country competitions for her school, and thinking about which college to apply to, found herself, after a chance encounter at a mall, at the epicentre of a fashion frenzy.

Designers were immediately struck by Stephens’ fresh-faced look and clamoured to sign her up for shows. Just two years on from being discovered, Ali can now claim Chanel, Balenciaga, Givenchy, Louis Vuitton, Nina Ricci and Miu Miu among her catwalk credits. Appropriately for a runner, Ali Stephens has taken the fashion world at phenomenal speed.

Using her skills as a cross-country champion, Stephens learned the ropes quickly and overtook her competitors. She now excels – the girl who was once a self-confessed fashion novice now cites Balmain and Alexander Wang as her favourite designers. Knowing the industry is vital for succeeding in it, and an important lesson Ali learned fast. Fashion-literacy is something no model can afford to be without.

Ali’s popularity among designers is attributable to her versatile look. Rolling out high-profile campaigns for design houses as prestigious as Calvin Klein, Chloe, Missoni and Prada Sport, shows that Ali’s strength is moulding her image to whatever the brand requires. It is Modelling 101, but perversely, the hardest principle to master with any degree of success. To be truly versatile is not just down to genetic blessings (although it doesn’t hurt), it goes hand-in-hand with hard work: perseverance and listening to what a client wants. Ali makes every campaign shoot work because she is believable and equally convincing in each ‘role’.

That dedication to getting it right is why she gets re-booked time after time. Ali is part of a wave of models that team edge with effortless beauty to embody the best of both worlds. Ali Stephens is the Classic American who outperforms them all – she taps into the aesthetic of clean-cut, all-American girl who is transformed by a gown or a pair of sunglasses into something entirely new.
It is this transformative effect, the tomboy-to-fashion-princess moment that is at the core of what makes fashion compelling. Fashion, when it’s right, can change the way we feel about ourselves, and that transition spells magic.

For the industry now struggling to maintain consumer interest, it is this pull that keeps costumers coming back for more. The addictive quality of ‘who can I be today?’ is hard to beat, even in tough times like these.

Stephens’ ability to shift from dreamy-eyed ingénue to Label Mabel shows that her career is secure. She can adapt herself to any trend, past, present or future.

When fashion refers to the term ‘All-American’, it conjures up images of bronzed skin, athletic build and frankly excellent teeth. It is bold, winning and practically impossible to resist. Chalk it up to the current wave of nostalgia for the quietly-assured sophistication of models like Christy Turlington (who herself is experiencing a career second act at the moment), or the fact that America finally has everyone on-side again for the first time in nearly a decade, but the popularity of girls like Ali Stephens is not by chance.

Ali’s look harks back to the classic American model, very much of value during the late Eighties and early Nineties. A girl like Ali sells product not by shock value, but providing a timely reminder that fashion is about making women feel beautiful. There is something to be said for a model that is not a trend-setter, but a trend-interpreter. She shows us how it can be done, and this, going beyond all the hype and window-dressing, is what designers crave most of all.

By using aspirational models like Stephens and Turlington, fashion is tapping into the desire to create, not compromise. No-one feels threatened or offended by the Turlington-brand of beauty: it creates desire in male consumers, but does not alienate the woman looking to make a luxury purchase. For any client, this is a win-win situation, which explains why this look keeps reappearing with every new generation of models. In selling terms, Stephens’ look is both reliable and consistent in achieving sales, and that is something everybody wants.

If she wants, Ali can have a career as long-lived as Christy Turlington and Erin Wasson. Whatever else is happening in fashion, this type of look will always be in favour, and therefore, in demand. Stephens’ career, already well-starred, will sprint ahead over the next five years, while other, more ‘of the moment’ faces may stall as the whims of fashion change against them.

From fashion-unknown to the top of everybody’s ‘must have’ list within the space of two years, Stephens has proved herself the ready successor to Turlington. Her success is down to more than good timing, or plain good luck. With her willingness to learn, and learn fast, Ali Stephens is part of a generation of girls who are smart, timeless and headed straight for the top.

HELEN TOPE

MODEL PROFILES: TWIGGY

Born Lesley Hornby in 1949, and discovered in 1966, Twiggy is the perfect example of how the right model at the right time can act as a catalyst to create an entirely new brand of culture.

Sixteen-year-old Twiggy’s spare frame and sharp, bird-like features meant that her ascent into modelling stardom was not an easy one. Fashion had very particular ideas about what constituted beauty, and Twiggy, in no uncertain terms, did not meet those ideals.

After the Second World War, while the fashion world took stock, Paris grabbed the reins and became the fashion capital of the world. Christian Dior created an entirely new kind of womenswear. Dubbed the ‘New Look’, the emphasis was on fiercely drawn-in waists, full skirts and exquisite tailoring. It was an intentionally lady-like look that spoke of refinement and afternoon tea at the Savoy. Its elegance was a deliberate attempt to separate Dior from the ‘make-do-and-mend’ era of the 1940’s. Luxury was key.

To go with his vision, Dior needed elegant and refined models to show off his designs to their best advantage. Many of the ‘models’ he ended up using were high-society girls and heiresses – the girls who were modelling his clothes would be on first-name terms with the women who would end up purchasing them. Never had the line between model and consumer been so thinly drawn.
Dior’s supremely poised girls were the real deal, but they were not professional models in the contemporary sense of the word. Dior was willing to sacrifice grace for good breeding.
The ‘New Look’ was a sensation – it made Paris the undisputed fashion capital, and Dior a legend. If fashion had stayed here, our perception of what fashion is, and what is does for us, would be very different – but the true constant of fashion is change. As the Sixties rolled around, the corseted Dior Look began to lose its lustre. It was time for a revolution.

Twiggy’s year was 1966. After being discovered by Nigel Davies, she was persuaded to chop off her hair and a brave new look was born. On advice, she changed her name, and chose ‘Twiggy’, her childhood nickname. She then undertook a small photo shoot with photographer Barry Lategan – an event that would not only change her life, but have an enormous impact on the world at large.

The bold, black and white images were a revelation: uncompromising, high-fashion and quirky. Twiggy’s cropped hair and drawn-on eyelashes gave her a startling, bird-like quality. Her slim, androgynous body was in absolute contrast to the Dior classic hourglass shape.

Twiggy’s thoroughly modern look swept the UK. The Sixties were an unprecedented period of transformation: people wanted to embrace change in whatever form they found it. The post-war hangover mood of the 1950’s was shaken off and in its place was a mood of possibility – anything and everything was permissible.

The most striking changes were taking place in popular culture: the end of the 1950’s brought with it the advent of rock’n’roll. Elvis Presley was the King-in-training, and the modern teenager was born.

It is now hard to imagine, but before the Fifties, the cultural concept of the teenager did not exist. The sweeping rock’n’roll movement brought with it a new identity for young people to cling to: it was rebellion, sex appeal and individuality – for the first time, teenagers had their own definitions of music and style. They no longer dressed like their parents.

Fashion in the Sixties became democratised. Along with the popularisation of casual fabrics like leather and denim (made desirable by film stars such as Marlon Brando and James Dean), fashion became cheaper and more readily available. Fashion brands sprang up on the high street, but one did not need a double-barrelled surname to gain access to an atelier. Brands like ‘Biba’ produced high-fashion looks for pocket-money prices: fashion was now available to everyone.

This wave of democracy held up Twiggy as the gold standard: before her, there had never been a working-class supermodel. She was the everyday girl who became the face of the Sixties, and the class barrier (within the fashion world anyway) was broken for good.

Twiggy’s unique selling point was her youthfulness. Her body suited perfectly the A-line dresses and miniskirts created by designers such as Mary Quant. For the first time in fashion history, the teenage body was held up as the ideal. Twiggy’s strongly androgynous look paved the way for models like Linda Evangelista and Agyness Deyn – girls for whom femininity is not served straight up, but with a twist. Twiggy’s gauche, knock-kneed appeal made fashion young again, right at the point where it was in danger of retreating into permanent middle-age.

Twiggy’s most enduring legacy (in a career that has spanned four decades), is the kick-start she gave to modern fashion – models would look very different today if it were not for Twiggy. Her long-limbed, fashion-friendly body became the new ideal. Twiggy’s debut into fashion was a celebration of originality, and Dior’s ‘New Look’ made way for the new look – something that possessed major staying power.

Twiggy’s charm offensive on the fashion industry, taking it very much by surprise, brought the concept of ‘model’ centre stage. Before her arrival, fashion had been guilty of taking itself too seriously. She imbibed the colourful new fashions with personality – much debate has been centred on Twiggy’s ultra-slim figure, but the fact remains that she would not have been half as successful if she had not learned early on that a good model is more than a clothes hanger.

The difference between her and the 50’s Dior models is clear-cut. They gave the ‘New Look’ an air of sophistication, but Twiggy gave 60’s fashion her body and soul. Her wit and exuberance are what gives the Lategan images their punch. A great photographer, a great model and a great idea created a moment of magic that still, even 40 years on, has the power to charm and bewitch. It is this collaborative spirit that best sums up what the Sixties were all about, and why Twiggy’s images continue to inspire us today.

The best fashion moments arrive when they are least expected. No-one expected Twiggy’s notoriety to last beyond a month, but her impact on culture, fashion and modelling has been insurmountable. She changed the way we think about beauty and made fashion fall in love with the awkward, gangly girls. There is always room for the polished and poised, but Twiggy taught the world of fashion that the unexpected can create something truly wonderful.

If fashion equals youth, Twiggy is the answer.

HELEN TOPE

MODEL PROFILES: GISELE BUNDCHEN

Gisele Bundchen is a model who has made a fortune from bringing glamour back to the catwalk.

Born in Brazil in 1980, after being scouted at a shopping mall in 1994, Gisele made her high-fashion debut on the July 1999 edition of Vogue. The accompanying editorial spread dubbed her keynote appearance as ‘The Return of the Sexy Model.’

Up until that point, fashion had been greatly preoccupied with finding models who embodied the notion of ‘extreme beauty’: models who, in real life, would not necessarily be considered conventionally beautiful, but who possessed a quality of other-worldliness, something that worked particularly well alongside the extreme shapes and silhouettes that were popular within the world of couture fashion at the time.

The fashion world’s preoccupation with ‘oddness’ was in a part a reaction to the storm of controversy over the perceived ‘heroin chic’ trend. Very slim models were in favour, with Kate Moss’ Calvin Klein ads still in circulation. In the popular consciousness, models could not have been further away from the image of the girl-next-door.
Where fashion leads, modelling must follow, and agencies were struggling to find the next new face that would ignite the fashion world, and baffle the public. What was deemed fashionable, and what was considered to be beautiful, had never been further apart.

By the end of the Nineties, the models who worked the most were not conventionally beautiful, and completely unknown to anyone beyond the immediate perimeters of the fashion industry. The decade that had begun with a George Michael music video featuring supermodels Christy Turlington, Naomi Campbell and Linda Evangelista, had come full circle. Models were no longer celebrities: the era of the supermodel appeared to be at an end.

The discovery of Gisele quite literally prompted a new age in modelling. Her body type ran against everything that fashion was about, but it seemed that the fashion world (whether it realised it or not) was ready for a change.

Gisele was an instant hit, with repeat appearances on Vogue covers in November and December 1999 and January 2000. With such an emphatic seal of approval from the world’s leading fashion magazine, the fashion crowd leapt on the Bundchen bandwagon with abandon.
Gisele’s classically versatile look made her ideal for virtually every design house in the fashion industry. She walked every major runway in every Fashion Week around the globe, and completed ad campaigns for designers as diverse as Valentino, Missoni, Versace, Lanvin and Michael Kors.

The fashion world quickly came to realise that traditional beauty and sex appeal could be applied to any fashion equation. Previously seen as the modelling one-trick-pony, designers came round to the idea of beauty being versatile. You want smouldering sexuality? Done. Radiant, sunny charm to sell beachwear? Easy. Edgy, contemporary cool? Gisele’s brand of beauty worked here too.

Her huge popularity within the fashion world is easy enough to explain: she has everything a designer wants in a model. Tall, toned, curvy and oozing confidence, Bundchen is hugely successful because she is a (very) rare example of a model with no weak links. Many of the world’s most familiar faces have issues, whether it is a slightly prominent chin, a high forehead or being just that smidge too short. Everyone has something they like to hide from the camera’s discerning gaze.

The reason why Gisele took the industry by storm is her legendary physique – nothing is out of proportion, everything works in complete harmony. If symmetry is the golden standard by which all models are measured, Gisele’s classic feminine features suit any fashion viewpoint.
But it would be a mistake to assume that Gisele’s success is entirely down to those legs. Bundchen is the highest-earning supermodel in the world, with an estimated fortune of $150 million – and counting. However in demand you are, there are only so many catwalks you can walk down, and Vogue covers only appear once a month. Gisele has cleverly taken her popularity and multiplied it into cash by using her most valuable asset - her image.

Gisele has become the face of products well beyond the realm of the fashion industry. Her type of easy-to-read beauty translates to almost any product, and advertisers cannot get enough. Endorsements are what have secured Gisele her millions. Her long-standing contract with lingerie brand ‘Victoria’s Secret’ made her a small fortune, and the high profile of the brand helped Bundchen, in turn, become a household name. When most models are still only known by fashion insiders or media commentators, Bundchen (along with Kate Moss) has achieved a degree of celebrity: someone who has never picked up a fashion magazine in their life will be able to identify Gisele, or at the very least, recognise her face.

Gisele’s standing as the richest model on the planet has not only been boosted by her hefty portfolio, but has been assisted by her considerable business sense. She has developed a footwear line of flip-flops called ‘Ipanema – Gisele Bundchen’. Their success is such that they have even outsold the legendary brand ‘Havianas’ , making them the most popular range of flip-flops in the world. Gisele has taken her profile in the fashion world, and cannily applied some business know-how to make her fame work for her. Out of all the names currently working in the modelling industry, Bundchen understands most clearly the link between image and commerce. Her adaptability has made her extremely bankable, and it is this asset that Bundchen plays on best. If he were looking for the world’s most glamorous Apprentice, Sir Alan could do worse than give Gisele a call.

Gisele’s impact on the fashion world should not be under-estimated. Bundchen’s endlessly adaptable looks not only changed the modelling world, but the trajectory of modern fashion itself. By the end of the Nineties, it was time to leave grunge behind and side-step into something more glamorous and feminine. This sizeable shift is not entirely down to Gisele, but her arrival on the modelling scene could not have been better timed. Her launch onto the modelling scene cured fashion’s identity crisis – she inspired everyone on how to move forward.

Ten years on from her debut at Vogue, Gisele’s legacy is simply this: she has brought the power of beauty back to the core of the modelling industry. There is still a place for the unusual faces, but Bundchen’s timeless beauty reminds us that, if it is to succeed, fashion above all must engender desire. Beauty makes fashion glamorous, aspirational and fun, and in these tough times, that is exactly the approach fashion should be taking.

HELEN TOPE

MODEL PROFILES: KATE MOSS

Kate Moss is the most influential model working in fashion today. The girl from Croydon holds a special place in modelling history: she is someone, who on paper, should never have succeeded as a model.

Kate’s career began when she was discovered at a New York airport by Storm agency founder Sarah Doukas in 1988. Kate’s meteoric rise through the fashion ranks began with a photo shoot for ‘The Face’ magazine with photographer Corinne Day. The edgy, cool shots spread through the fashion world like wildfire. It was here that Kate was first cast as the ‘anti-supermodel’. Her teenage, waif-like body could not have been more different to the Nineties’ clutch of supermodels: Cindy Crawford, Claudia Schiffer, Naomi Campbell and Linda Evangelista. They were conventionally beautiful and uber sexy. The remit for models was a womanly but slender figure – something that could comfortably fill out a Versace gown.

Kate Moss did the rounds at teen magazines, but it wasn’t until 1993 that she got her first big break. Kate’s inauguration into the public sphere occurred thanks to the vision of American designer Calvin Klein. The now-iconic black and white minimalist ads made Kate the embodiment of progressive, modern fashion – a perfect segue from the Eighties hangover of glamour and sequins. She was small, quirky and unconventional. Perfect for the Nineties.

Kate’s career blossomed virtually overnight. She began to work with the biggest designers, photographers and publications in the fashion industry. Her slight figure courted controversy as the press labelled her look ‘heroin-chic’ (based on the extreme emaciation of drug addicts), but Kate kept her cool and carried on working. Her unwillingness to get drawn into a debate on whether she was a good example to teenagers or not proved to be a canny move. The world of fashion does not stay still for long, and soon the ‘heroin chic’ look fell out of favour. But Kate remained. What she famously lacked in height (Kate, at just over 5’7”, is significantly below the standard industry requirement of 5’10”), she made up for in versatility. The fashion industry saw that in Moss, they had a face-in-a-million. A face that could sell any look: glamorous, editiorial, commercial.

By 2003, as well as her ‘mother agency’ Storm, she needed three additional agencies to manage the deluge of requests for her time. The fiscal years of 2004-06 saw Kate become the second highest-earning model in the world, second only to Gisele Bundchen. In addition to this, Kate has (to date) appeared on 24 British ‘Vogue’ covers, and 17 covers of the US style bible ‘W’. By anyone’s standards, this is an impressive track record.

If Kate had stuck to modelling, this alone would have ensured her longevity, but Kate’s popularity outside the perimeters of the fashion world was something entirely new. Everywhere she went, whatever she did, her style was obsessively chronicled across the world’s media. She wasn’t just a model: she was a pop-culture icon.

For years, the fashion press speculated on whether Kate would ever branch out into fashion design. April 30th 2007 saw the launch of the first Kate Moss / Topshop design collaboration. Kate red-ribboned the collection at Topshop in Oxford Street, appearing in the window as a live mannequin. It caused a sensation and the public, were they in further need of convincing, were hooked.

Financially, the first collection was a huge success, but there was some controversy over the term ‘designer’. Some doubted Kate’s credentials – had she any say in the development of the collection at all? Kate set the record straight by confirming that she did not design the clothes herself, but rather acted as a muse to the TS design team; bringing in samples of her own clothes to act as jumping-off points, and to discuss fabrics and finishings, as well as modelling the finished articles for the TS promotional campaign.

The collection, despite its success, initially received some mixed reviews. Some dubbed it ‘Duplikate’ – clothes for a generation of girls who have grown up watching, admiring and copying their fashion idol, although to criticise such a collection on these grounds is somewhat missing the point. The brilliance of the collaboration between Moss and TS simultaneously paid homage to, and took advantage of, her status as a style icon.

The first and subsequent Topshop collections have been designed for and marketed towards a generation who have dressed under the umbrella concept of ‘celebrity style’. They see, they like, they wear.

Where Kate has engaged with the public most successfully, is how she has ignited popular fashion trends. In recent years, she has spear-headed trends as diverse as denim shorts, Ugg boots, ballet flats, skinny jeans, the waistcoat and the leopard-print scarf, all of which have scored big with consumers across all age and income brackets. In an age where film stars recruit stylists to dress them before popping out for a latte, Kate understands that true style is innate, which is why the public respond to her in the way they do. A scarf thrown on at the last minute before heading out the door becomes a worldwide fashion blockbuster because it is spontaneous, unstudied and fun. Kate Moss has made an indelible mark on how we dress, and present ourselves to the world.

Kate has also steadfastly refused to play the fame game. Notorious for her lack of interviews, Kate Moss has remained at the top of the game by remaining an enigma: a tactic that has garnered more press attention than the ‘confessional’ attitude of D-list celebrities. It is this Garbo-esque silence that has proven to be Kate’s most irresistible play.

What makes Kate Moss so unique in comparison to other models, is her comparative ordinariness. Before her, models were statuesque, utterly beautiful and frankly, more than a little intimidating.

Kate has blown apart the conceptions of what a model should, and can, be. She is the ultimate outsider (‘wrong’ in so many respects), who ended up persuading the fashion industry to see style and beauty from her own unique point of view.

Kate’s legacy is one of embracing frailty and imperfection. This is why the public, and in turn, the world’s media, have embraced her so wholeheartedly. She is, on the face of it, just an ordinary girl. Kate never claimed to be a role model, just a model. She has no interest in being put on a pedestal – for Kate, modelling begins and ends with fashion, not celebrity.

When Moss is remembered, it will not be for the scandals, or the feted rock’n’roll lifestyle – it will be for her unabiding love for fashion. It shines through every photograph. Kate has a profound respect and appreciation for the creative process that makes fashion work. It is Kate’s understanding that the worlds of fashion and modelling progress hand-in-hand, that has made her the most sought-after name in modelling today.

It is a mistake to think that because someone chooses to remain silent, it is because they have nothing to say. Kate Moss has made a fortune on the belief that beauty is not perfection. The best of her work shows that her message is about the importance of accepting one’s flaws. Kate knows instinctively that there is no point in pretending to be perfect. There is much more mileage in being imperfect: in the long run, it makes life (and fashion) much more interesting.

HELEN TOPE