MODELLING SCAMS: AND HOW TO AVOID THEM

Models Connect is a great place to get reliable information and advice. If you want to find out more about the potential dangers of modelling scams, you can visit our site at http://www.modelsconnect.net/.

So you want to be a model: you know there are pitfalls out there, but what are the obvious things to avoid? When starting out, the internet can seem like a great resource (and it is), but be wary of the following dangers which are listed in greater detail at http://www.modelsconnect.net/modelling_agencies/scams.html:

· Online modelling invites (especially via an unknown ‘friend’ or contact on Facebook);
· Companies asking for large sums of money to put you through an assessment day to grade your suitability for the modelling world. Models Connect offers a free evaluation when you register at: http://www.modelsconnect.net/index.php5?do=talentSignup
· Finally, Models Connect recommends you avoid any agency that charges something called a ‘casting fee’ or asks you to spend thousands on a professional portfolio. Portfolios are created at the agency’s cost once you sign with them, and they gradually recoup the costs when you begin booking jobs, by skimming a small percentage off your earnings. This is standard practice for modelling agencies: the pre-signing portfolio scam is the oldest modelling scam in the book. Don’t fall for it.

Another pitfall can be via those shiny leaflets, often found stuffed in-between the pages of glossy magazines, offering you a makeover and a day’s shoot at a professional studio. If you want a fun day out having your make-up done and posing for a few photographs, all well and good. But it’s worth bearing in mind that if you are an aspiring model, that these makeover days aren’t a good way of getting a leg-up into the industry. These studios do not have any link to the modelling industry. As a fun day out, they’re great. But if any makeover studio promises you advice, or worse still, access to professional industry contacts for a fee, avoid like the plague. These people are not your friend! Still not convinced? Go to Models Connect and see this page on its website, http://www.modelsconnect.net/?page=66 as it very clearly illustrates the difference between makeover and portfolio shots. Just remember the golden rule: if there’s a straw hat or feather boa involved, it’s not portfolio-worthy!

Models Connect offers an evaluation process that is quick and easy. If you do have model potential, you will be able to find out (free of charge) and more crucially, what area of the modelling industry you might be best suited for.

The most important thing to remember about avoiding modelling scams is that there is no guarantee of work – ever. It sounds grim, but even the top agencies, like Elite, Storm and Models 1 don’t know what or how much work will be coming their way from week to week. If an agency tries to sign you, promising they can get you work – step away from that contract!

Modelling is, by its very nature, an unpredictable business. You can be run off your feet one month and left twiddling your thumbs the next. If you do manage to get a meeting with a reputable agency, don’t be surprised or offended if they seem very guarded in what they can offer you. The general rule when looking for agencies and avoiding scams is how much does this agency promise me? If they confidently predict riches beyond your wildest dreams, be very, very suspicious.

It does pay to be on your guard, but it’s also worth noting that modelling does have some expenses. Models Connect lists the following as costs you will be expected to meet yourself:

· Grooming (hair / make-up / gym / dental upkeep and maintenance)
· Travel (to and from castings, even if you do get the job!)
· Z cards (known as a model’s business card. Some – but not all – agencies ask for a small contribution for design and printing costs. Other (usually bigger) agencies can absorb this cost themselves)

The trick to avoiding modelling scams is to remain alert: if something sounds too good to be true, it probably is. Check agency credits, client lists – everything. Don’t be too eager to sign on that dotted line and don’t be afraid to ask questions.
Dive headfirst into the first opportunity that comes along at your peril: it could end up costing you a lot more than you think.

For up-to-date advice, blogs and news on the modelling world, plus a free evaluation, register with Models Connect today at http://www.modelsconnect.net/

HELEN TOPE

MODEL PROFILES: OLGA SHERER

Born on 29th July 1987, Olga Sherer is a couture model with a unique approach to the demands of high-fashion, making her a constant presence in an ever-changing industry.

A native of Minsk, Belarus, Sherer began her modelling career in March 2005, making her runway debut for Issey Miyake. Her CV was somewhat sparse until February 2007 when she took the industry by surprise with a 72-show season, including Alberta Ferretti, Alexander McQueen, Chanel, Dior, Erdem, Hermes, Lanvin, Prada, Rodarte, Vera Wang and Versace. Reading like a list of who’s who in the fashion world, Olga’s dramatic emergence from bit-player to leading lady was all a matter of timing.

Between 2005 and 2007, the fashion world experienced a revival of Pre-Raphaelite-style beauty. Suddenly models that wouldn’t look out of place on a Victorian canvas became hot property. Names like Lily Cole, Lily Donaldson and Gemma Ward set the industry alight with a new type of beauty that wasn’t glamazon or editorial. Their classically ‘pretty’ looks worked well with the feminine trends and Olga’s striking red hair coupled with her painterly, wistful beauty made her an instant hit.

What also worked for Sherer was her aristocratic look and couture-perfect physique, allowing her to cross-over from romantic to avant-garde work with ease. This meant that Olga’s triumphant success on the runway translated into editorial work, appearing for W and an editorial for Italian Vogue, photographed by Greg Lotus.

She then became the face of Lanvin’s Autumn / Winter campaign. Shot by Steven Meisel, the campaign featuring Olga in a yellow dress became one of the most striking images of the season.
Her success also allowed her to land coveted slots, opening and closing shows. In September, she opened shows for Luca Luca, BCBG and Luella Bartley; closing shows for Paul Smith, Matthew Williamson, Fendi, Pucci, Lanvin and Moschino. It was a stunning 73 show season, with Olga being paired with designers who specialised in using colour and pattern. The punchy impact of Olga’s red hair made her an automatic stand-out in a market dominated by blonde and brunette models, and also provided a brilliant backdrop for the zesty colours used by designers like Williamson and Smith.

In October, Olga got her second editorial with Italian Vogue; this time photographed by Steven Meisel, and in January 2008 got her third editorial with the magazine, plus work for V and Numero.

Renewing her contract with Lanvin, Olga had another brilliant show season in February opening shows for Narciso Rodriguez and Bottega Veneta, and closing shows for Ralph Lauren, Kenzo and Tuleh.

In July, Olga got booked for the couture season, including Armani Prive, Christian Dior, Jean Paul Gaultier and Valentino. Standing at 5’ 11”, Sherer proved she was born to wear couture. Olga was brilliant at embodying the concept of collections, with a presence that paid dues to the couture models of the 1950’s. Sherer’s knack for working haute couture made her consistently in demand right at the very top levels of the industry.

In the latter part of 2008, she got a series of high-profile campaigns including D&G, Bottega Veneta and a cosmetics campaign for Dior. Olga even went international with editorials for Chinese, German and Russian Vogue, with Russian Vogue featuring her as a top model.

In September, she appeared in the ready-to-wear season, closing shows for Paul Smith, Missoni and Rick Owens, also appearing for Alexander McQueen, Hermes, Lanvin and Valentino. Even the RTW component of her CV leant towards designers whose collections borrowed from the principles of couture: Rick Owens’ work is all about deconstruction (a feat that is impossible without an intimate knowledge of how clothes are made), and of course Lanvin, whose dresses are an intricate masterwork of drapery and folds.

In December, Olga took part in a multi-model editorial for V called ‘Couture after Dark’. Shot by Cedric Buchet, the spread was an electrifying series of pictures illustrating that couture is as much of the 21st century fashion experience as ready-to-wear. Working alongside models Ali Stephens, Karmen Pedaru and Siri Tollerod, the shoot was dynamic, daring and utterly modern: a perfect match for Olga’s strengths.

In January 2009, Olga continued with another couture season, this time working for Armani Prive, Dior, Christian Lacroix and Valentino. She scored her 4th editorial with Italian Vogue in February, and hit a major career high-point when she was selected to become one of the faces for a Marc Jacobs campaign. Olga finished off the year with a show season walking for Carolina Herrera, Dior, Elie Saab, Marc Jacobs, and Michael Kors and an editorial for Russian Vogue.

February 2010 saw Olga return to the runway with another packed season. Wanted for shows like Aquascutum, Bottega Veneta, Lanvin, Margaret Howell, Mary Katrantzou, Prabal Gurung and Vanessa Bruno, Olga’s booking sheet was an even spread of established labels and prestige brands, ranging from the Parisian glamour of Lanvin to the very British chic of Margaret Howell. Also working for new talents such as Katrantzou, Sherer was again working with designers whose work hinged on pattern and colour.

With mid-year work ranging from editorials for i-D and a celebration of Russian modelling talent by Russian Vogue coming in December, Olga Sherer’s star continues to shine high and bright.

What is immediately clear is that the main focus of Olga’s career has been haute couture. With a reputation for being the most difficult area of fashion to understand and appreciate, modelling couture is the toughest hurdle for a model to master. Height and good cheekbones aside, haute couture places very specific challenges on a model; it remains, despite the changes in fashion over the last fifty years, very different to the world of ready-to-wear. Still a byword for exclusive (and very expensive) fashion, couture modelling requires a set of skills that test even the most confident model.

Couture is as much about drama as it is about design. To make couture work beyond the runway, you have to tell a story. Big clothes require big narratives, and Olga’s work on editorials such as ‘Theory of Evolution’ for Elle, or ‘Couture After Dark’ for V, showcase how clearly she understands the balance between grounding couture in some sense of reality, and allowing the magic of the clothes come to life. A model isn’t just needed to physically cart a ball-gown down the runway; she’s needed to flesh it out so the dress becomes something other than a mass of material and stitches: it becomes couture.

Modern couture is often drawn as extravagant and out of touch, but what models like Olga bring is a sense of history that blends the old with the new. On the face of it, older and newer styles of modelling seem poles apart, but look closer and there are similarities. Google Jean Shrimpton and her defiant, straight-down-the-lens stare would fit right in with any current campaign for urban fashion.

It works the other way too: visit You Tube and find the Spring / Summer 2010 show for Dior Couture. The equestrian-themed collection allowed the likes of Karlie Kloss and Iris Strubegger to trot down the runway as haughty country-club fillies, with designer John Galliano even getting in on the act. The collection was the show everyone talked about because it tapped into the sense of occasion required to justify the time and effort spent on creating museum-worthy fashion.

Couture is all about creativity in its purest, most undiluted form. Models like Olga have succeeded in the world of modern couture by fusing 1950’s romance with contemporary avant-garde. A grasp of where modelling has been is just as important as knowing what’s happening now. Fashion may be about the newest and the next, but it’s constantly borrowing from the past, and that’s true of modelling too.

A virtuoso performance on a couture runway owes a great debt to the women who walked before; models like Lisa Fonssagrives, Suzy Parker and Dorian Leigh. They helped to define what we now understand as haute couture, and Olga Sherer’s ability to be both contemporary and other-worldly is translating the oldest branch of the fashion industry for the next generation, ensuring its longevity and its survival.

HELEN TOPE

MODEL PROFILES: ELSA SYLVAN

Debuting where most models reach their peak, Swedish-born Elsa Sylvan has made avant-garde fashion her speciality.

Born on January 23rd 1987, Elsa was discovered at ‘Grona Lund’ (a fair park in Stockholm) and began her modelling career in 2006, signing with DNA Management, New York. In October that same year, she debuted at the Givenchy show in Paris and in February 2007 walked the Autumn / Winter shows for Marc Jacobs, Proenza Schouler and Zac Posen.

In addition to this extraordinary start, she opened the A/W show for Comme des Garcons, and made appearances for Ben de Lisi, Amanda Wakeley, Blumarine, Erdem, Giles Deacon and Max Mara. This trail-blazing start got the attention of major fashion brands, with Elsa scoring campaign slots for Benetton and Sportmax.

In September, she made the cover of Swedish Elle, and it was a first that would shape and define her career. Elsa’s strong, editorial features found her naturally leaning towards cutting-edge design, and this in turn made her popular with the European editions of such magazines as Marie Claire, Elle and Vogue who saw in Elsa the perfect mannequin to master tricky avant-garde. In the same month, she also landed her first editorial with Italian Elle, photographed by Marc De Groot, and in October she was featured in the 20th anniversary cover of Italian Elle. Sylvan had made her mark.

In October, she walked Spring / Summer shows for Akris, Lanvin, Nina Ricci and Vivienne Westwood, plus appearances for Comme des Garcons, Costume National, Kenzo, Wunderkind and Yohji Yamamoto.

Elsa followed this with a Spring / Summer season walking the couture shows in January 2008, appearing for Chanel, Christian Lacroix, Givenchy and Valentino. More editorial work followed. In March, she worked for British Harper’s Bazaar; April and May saw back-to-back editorial appearances in Numero and an editorial for W, photographed by Craig McDean, was set for June.

Elsa also began to feature on campaign directors’ wish-lists, winning a spot with Calvin Klein Jeans modelling alongside Ali Stephens and Toni Garrn, and a solo spot for UK fashion firm, French Connection. In the same way that Jourdan Dunn brought editorial prestige to Topshop, Elsa’s edgy powerhouse shots bought French Connection serious respect.

Elsa skipped runway duty at New York and Milan, but emerged in October as one of Paris Fashion Week’s most in-demand girls. Walking for Balenciaga, Chloe, Chanel and Louis Vuitton, Elsa was landing the type of work most models dream of getting, and still the best was yet to come.

Appearing in Italian Marie Claire in November and Italian Elle in December, 2009 brought high-status signings for Elsa with a campaign for D&G (shot by Mario Testino), and a guest-spot with Balenciaga. February’s show season saw Elsa walking for Gucci, Chanel, Marc Jacobs and Alberta Ferretti, closing showings for Balenciaga and Yohji Yamamoto. Sylvan may have been landing major campaigns, but her affinity with avant-garde fashion continued to flourish.

Elsa scored a career first in August, with an editorial for French Vogue. Shot by legendary photographers Inez van Lamsweerde and Vinoodh Matadin, it was a watershed moment for Sylvan. Her performance for French Vogue subsequently got her a booking for Brazilian Vogue. Shot by Stephane Gallois, it was a glamorously surreal homage to the work of Lanvin. This was the sort of work that Elsa was born to do: fashion with a creative edge proved to be the perfect fit.

2010 has already seen Elsa’s career hit new heights. In January, she walked in the couture shows for Chanel, Valentino and Armani Prive, and in March she worked with Mert Alas and Marcus Piggott to shoot another editorial for W. The editorial, called ‘After Hours’ was a night-time shoot where Elsa got to work with a clutch of modelling’s brightest new talents; Katie Fogarty, Hannah Holman and Lindsey Wixson.

In May, Sylvan worked for German Vogue, getting the opportunity to work alongside established names such as Cato Van Ee, Irina Kulikova and Aline Weber, plus Prada favourite Joan Smalls. The beauty editorial shoot by Patrick Demarchelier, showcased Elsa’s ability to do tough, up-close-and-personal beauty shots. In a spread that features everyone putting their best face forward, Elsa shines out as the epitome of a very modern blonde.

Elsa also landed a campaign that will undoubtedly take her career onto another level. Chosen especially for the project, Elsa is set to become the campaign girl for Zac Posen’s range of clothing for American budget-store, Target. Highly covetable, Zac’s clothing range has been the subject of hype and excitement across America: think of how much press the H&M range by Stella McCartney generated and you’ll understand what the fuss is about. Photographed in the collection’s statement piece, the price point may be low, but the finish of the campaign is glossy and expensive. Replace the name ‘Target’ with any designer label and no-one would think twice. It may prove to be Elsa’s most canny career move to date.

Working every strand of the fashion business from the multi-platform advertising of America’s budget brands, to the increasingly rarefied world of Parisian haute couture, Sylvan is truly a model for all seasons. Her ability to inject an editorial, high-fashion sensibility into every shoot (no matter who’s paying the bill), is what will make her name to watch over the coming years.

Elsa, as you can see from her CV, is no ordinary blonde model. She falls into the same camp as Hannah Holman and Hanne Gaby Odiele. Edgy blondes – the ones who don’t have to fake it – are hard to come by. A face that can do the most challenging of editorial work and anchor it in some sense of glamour is a particularly rare find, even in modelling.

The popularity of blonde models during the recession has been well-documented, with articles being written on how and why light-haired models are given preference when it comes to hiring for campaigns and high-profile editorial work. It’s been said that the reason is very simple: we equate blonde with beauty and in times of crisis, no advertiser wants to take a risk with a look that’s difficult to read. But our obsession with blonde models goes back further than that, and to understand why blonde has been so popular, you need to go back to the roots.

In the Seventies, one blonde ruled supreme. The glossy glamour of model Jerry Hall served as a visual template for the next generation of models. The luxurious mane of hair and the uber-confidence that made Hall a star is an image so ingrained in popular culture that if you ask anyone uninitiated into current fashion to describe what a model typically looks like, ‘blue-eyed blonde’ will be at the top of their list.

As a marketing concept, it is still alluring. The recent pictures of Raquel Zimmermann strutting down the Chloe catwalk are in every sense an homage to Seventies glamour and sophistication. But look elsewhere at the runway shots for Autumn / Winter 2010 and you will see a slightly different take on the blonde phenomenon.

Marc Jacobs’ runway was heavily populated with blonde models, but they underplayed the bombshell card with geeky glasses and oversized camel coats. It is a significant development, as where Marc Jacobs leads, the rest of the fashion world tends to follow. The bombshells will always be there, but fashion is heading to a quieter, more reflective place. The recession has taken down many names from Luella Bartley to Veronique Branquinho, and as the dust settles, the mood is just as defiant, but everything from the shade of lipstick to the new mid-heel is about a quiet, studious sophistication.

From Marc Jacobs’ library chicks to Prada’s modest Fifties silhouettes, fashion is playing the same song but in a minor key. Once seen as the safe option, blonde is having a renaissance and it’s finally embracing its dark side. The Marc Jacobs runway slouch is best paired with avant-garde labels, not 5-inch heels and a champagne cocktail.

Being hyper-groomed is no longer seen as contemporary: just look at Twilight's Kristen Stewart and her approach to red carpet dressing. Mixing Converse with Proenza Schouler would have been unthinkable 10 years ago, but Stewart's image is the polar opposite of the classic starlet and it is something that an entire generation are responding to.

This emphasis on unfinished glamour is what will ensure Elsa's career continues to expand, and the responsibility for shaping a new definition of beauty that’s both relevant and relatable, lies with models like her.

From cultural references as diverse as Disney, to the dark art of Lempicka and the glamour age of Hollywood, blonde has been a blanket term for modern beauty. But clichés don't look good on anyone, and blonde's sunny side is finally being eclipsed by a new wave of models that are gloriously, and fashionably, complex.

HELEN TOPE

MODEL PROFILES: IRINA KULIKOVA

A true constant in the fashion world, model Irina Kulikova may not be a household name, but she owes her start in the industry to one of Hollywood’s finest.

Irina, born on 6th August 1991, can claim one of the most strikingly original discovery stories in the business. In 2006, Irina was having dinner at a restaurant in Moscow. Her meal was interrupted by film star Liv Tyler, who had spotted the 15-year-old whilst dining at the same restaurant. Liv asked Irina if she was a model. Irina replied that she wasn’t. Liv called over her friend and introduced him to Irina: he was a scout from IMG, the largest modelling agency in the world.

Unsurprisingly, this modelling fairytale became the stuff of legend, making Irina – almost overnight – a name to watch. Teen Vogue dubbed her a favourite, using her in several editorials.

Irina made her high-fashion debut at the Autumn / Winter Calvin Klein show in February 2007. She also got the coveted opening slot for the Prada show, making her one of the most talked-about girls of the season.

Also closing shows for Louis Vuitton and Yves Saint Laurent, Kulikova had an extraordinary start for a model that was still, at this stage, an unknown quantity. Prada’s patronage worked its magic: Irina got noted by the fashion press, appearing in V magazine as one of their Top Ten Faces and an editorial in W, photographed by Craig McDean.

In July, Irina got her first major editorial with Italian Vogue, shooting with fellow up-and-comer, Lara Stone. The tail-end of 2007 saw Irina’s career sky-rocket with the announcement of several campaigns. The first to be announced were for Jil Sander and the second for Marc Jacobs’ new fragrance, Daisy.

The fragrance launch was one of the most anticipated of the decade. Jacobs, already a major figure in the world of high-fashion, was now going global with a fragrance. Everybody could now afford a piece of the Jacobs brand. Irina, with her quirky, delicate features, was cast as the campaign girl. Photographed by Juergen Teller, Irina was snapped lying on a field, clutching an oversized bottle of the fragrance. Aimed squarely at girls in their late teens and early twenties, the deceptively simple campaign was a huge success. The shot has since become one of the iconic campaigns of the decade, and nearly three years since its release, the perfume remains a top-seller.

The campaigns kept coming for Irina. She signed up to do an A/W campaign for Pringle and became a fully-fledged Prada girl, when she was selected to participate in the A/W campaign with Sasha Pivovarova and newcomer Anabela Belicova.

In September 2007, show season indicated just how far Irina’s star had risen. Walking for designers like Alexander McQueen, Chloe and Chanel, she also opened shows for Donna Karan, Marc by Marc Jacobs and closed shows for Alberta Ferretti and Rodarte. Doing 67 shows in total, it was a mammoth achievement. In the space of six months, Irina had become fashion’s hottest ticket.

2008 also started well for Kulikova, with another campaign for Prada. Irina did another editorial for Italian Vogue in February (again working with Lara Stone), and one for Chinese Vogue in April. She also landed the A/W campaign for American label Celine. Signed up in conjunction with Karen Elson and Tanya Dziahileva, the campaign (shot by Bruce Weber), was a perfect illustration of fashion’s obsession with quirky beauty, past and present.

In September, Russian Vogue named Irina a top model, and Irina was able to boast another mega show season with 55 bookings. Closing shows for Vera Wang, Giambattista Valli and Sportmax, Irina also appeared for Bottega Veneta, Chanel, Gareth Pugh, Lanvin, Marc Jacobs and Michael Kors.

2009 saw another career highlight for Kulikova, with her first magazine cover. She landed the February issue of Russian Harper’s Bazaar, with her first U.S Vogue editorial following just three months later.

Irina also got a second chance to work with Marc Jacobs, creating the A/W campaign for the label with photographer Juergen Teller. Teaming up with models Natasa Vojnovic and Olga Sherer, the three models worked perfectly against each other, their off-beat beauty a fitting companion to a label that’s made its name by creating beautiful things that are off the beaten track.

Irina also got cast for the A/W Mulberry ad, which like the Marc Jacobs Daisy campaign has become a modern classic. Shot by Steven Meisel, the campaign pairing Kulikova with Kasia Struss, was a dreamy evocation of couture sensibility. The girls were photographed in a forest sporting wildly frizzy hair. The girls oozed bohemian charm. The ad took the ‘fear factor’ out of high fashion, even reintroducing back-combing to mainstream fashion. The frizzy look, which had previously only been seen on couture runways, became a surprise real-life hit, with back-combed ponytails becoming the party staple that winter.

In 2010, January saw Irina star in another editorial for Italian Vogue and a spot in the Chanel Couture show. She also became the face of Philosophy di Alberta Ferretti. The label’s diffusion line was a piece of perfect casting for Irina: the collection’s ethos of youthfully quirky beauty matched Kulikova’s strengths exactly. Irina also got the lead in the S/S campaign for Marc by Marc Jacobs and an editorial for German Vogue in May, working with new Prada favourite Joan Smalls, plus Aline Weber and Elsa Sylvan.

To date, Kulikova’s career trajectory tells a story about fashion’s progress through the final difficult years of the decade just passed, and how the industry is working to redress the balance.

In times of crisis, there are really only two possible moves: play to your strengths or play it safe. Many larger labels have had little option but to go with the latter to ensure their survival. No-one can afford to take big (and expensive) risks at the moment, but the smaller items like shoes and bags are areas where labels can push a little further. Just think back to the Mulberry advert. Shot at the time where rumours of a recession were beginning to break, the ad is a snapshot of creativity selling luxury – and succeeding. In getting people to spend when times are tough, getting them to want, to lust, over that bag is half the battle. It’s forcing brands to think on their feet, and produce some very creative ideas.

Irina’s blend of quirkiness and high-fashion moxie makes her the ideal candidate to spearhead this new age of creative sophistication. Fashion’s best served as a happy medium: boring and bland make no-one happy.

Lines like Marc by Marc Jacobs and Philosophy di Alberta Ferretti are becoming as important as their ‘big sister’ counterparts. Just look at the press coverage given to the revival of Versus, Versace’s diffusion line. Typically aimed at younger consumers, diffusion lines were often considered an after-thought (money spinners at best), but now they are the life-line keeping many brands afloat. These diffusion lines are often people’s first introduction into the experience of buying designer, so therefore it’s vital that the campaign model to be aspirational but also inviting. Irina’s off-beat appeal is perfect for such assignments.

Where this leaves Irina is ideally placed. When the fad for safe-as-houses models comes to an end, models like Irina will be the focal point of the industry. Quirky always sells to the girls who can’t relate to the glamazons, and approachable-meets-quirky is a huge bonus for any model’s CV. Irina’s ability to marry high-street with high-fashion is what will inform the trend for models over the next ten years. Top models are rarely ‘on the nose’ (ie: pure sophisticate, the absolute epitome of the surfer chick). They usually have something that is a little off, but it works.

In the end, fashion is all about numbers. Not only is time money, but aesthetics can cost too, especially if you get the tone of a campaign wrong. What makes fashion wonderful – and able to weather terrible economic storms – is its ability to balance the two worlds. Aesthetics and finance may have little to do with each other in the real world, but in fashion, one needs the other to push it forward. Rather than remain one big negative, the recession has got fashion back in touch with its entrepreneurial spirit. We are now wearing shapes and silhouettes that five years ago were considered strictly avant-garde.

As much as she has already achieved, expect to see Irina’s career flourish over the coming year. Her blend of fashion cool and marketability puts her in pole position to grab the industry’s attention. The way forward will be for models who aren’t safe bets, but thrilling ingénues who will refashion what we think as being commercially viable.

This is about more than detail – it’s the big picture that’s finally getting the biggest transformation of all – and what comes next? Only time will tell.

HELEN TOPE

MODEL PROFILES: LARA STONE

Born December 20th 1983, Dutch native Lara Stone is one of fashion’s hottest exports. Taken straight from Hollywood’s template of the femme fatale, Lara Stone is the very definition of a 21st century supermodel: bombshell meets mannequin.

She was first discovered in 1995, aged 12, whilst riding on the Paris Metro. But Stone’s career didn’t take off until she entered the Elite Model Look contest in 1999. She didn’t win, but Elite was so impressed with the 16-year-old that they signed her anyway.
Lara switched to agency IMG in 2006, and that January she debuted at the Autumn / Winter Givenchy couture show. She also made her ready-to-wear debut, walking for designers Cacharel, Miu Miu and Veronique Branquinho.

Lara also scored her first major campaign in 2006, managing to scoop an ad for Sisley. Photographed by Terry Richardson, it was the perfect match of photographer and model. If anyone knew how to photograph Lara’s curves and keep it centered in a sense of fashion, it would be Richardson.

The impact was immediate. Stone got the cover of French Elle in May, and was dubbed a favourite of French Vogue. Editor-in-chief Carine Roitfeld remarked that ‘sometimes a girl just touches you’. In an overcrowded industry, even a little ‘x factor’ goes a long way. It would soon become self-evident that Lara had star quality to spare.

October 2006 saw Lara’s busiest runway season to date, with appearances for Burberry, Chloe, Jil Sander, Lanvin and Prada. Her appearance at the S/S 2007 Karl Lagerfeld show also attracted press attention when she tripped on the runway. Even that glitch didn’t stop Lara’s progress: http://www.style.com/ named her (trip or not) their rising star of the season.

In 2007, Lara’s career went into overdrive. She became the face of Givenchy with Hilary Rhoda, signed a cosmetics contract with Calvin Klein and even replaced Kate Moss as the face of Calvin Klein Jeans. She also had the best RTW season of her career, with 62 bookings for the A/W 2007 season. Her appearances included Alberta Ferretti, Balmain, Burberry, Calvin Klein, Derek Lam, Givenchy, Gucci, Louis Vuitton, Marc Jacobs, Prada, Roberto Cavalli and Stella McCartney. It was a resounding stamp of approval.

Lara’s aplomb on the runway sparked editorial fever, with magazines vying for her time. In March, she channelled Sixties icon Brigitte Bardot for a French Vogue editorial. In April, she shot their cover. May saw an editorial for British Vogue (photographed by Mario Testino) and July saw Lara’s first fashion shoot for Italian Vogue. In October, she did two editorials for Italian Vogue and finished off an incredible year with the December cover of Italian Vogue, photographed by Steven Meisel.

In 2008 Lara renewed her contracts with Givenchy and Calvin Klein Beauty, plus signing on to become the face of Just Cavalli. March saw Lara hit the cover of French Vogue again. Her status as French Vogue’s favourite was cemented by an extraordinary run of success, including being cited by them as a top model, along with four editorials; two in the May issue and two more in June.

In July, Lara scored the cover of W magazine, along with Vogue, the most influential fashion magazine in America. Taking on cover duty with Kate Moss and Daria Werbowy, the shoot dubbed ‘Summer Camp’ took the best new design talent (including Gareth Pugh and Rodarte) to Miami, shooting their designs to create an incredible 36-page layout. For Lara, this shoot by Bruce Weber was a career-making moment.

The noteworthy appearance for W landed Stone two more campaign slots: Hugo Boss Orange and Jil Sander. The combination of a face made for editorial and a body built for (sartorial) sin was proving to be an irresistible lure.

Her starring role in many of the top runway shows later that year confirmed her status, including opening honours for the Isabel Marant, Giles Deacon and Christopher Kane shows. Also walking for Balmain, Celine, Louis Vuitton, Marc Jacobs, Michael Kors and Zac Posen, Lara’s ability to morph from a fashion girl, to sex-bomb, and back again, charmed the industry. Taking adaptability to a whole new level, Stone undertook editorials for Japanese and French Vogue in October, and a month later, walked in her very first show for lingerie brand Victoria’s Secret. Fusing a high-fashion aesthetic with mainstream glamour? All in a day’s work.

Lara was rapidly becoming fashion’s newest superstar. To prove the point, French Vogue dedicated an entire issue to the Lara phenomenon in February 2009, with editorials shot by Steven Klein, Hedi Slimane, Peter Lindbergh and Patrick Demarchelier. The other recent example of this happening is with Natasha Poly’s multi-page homage in Russian Vogue.
Natasha and Lara make similar studies; viewed from a distance they should be one-trick ponies, asked to do nothing more taxing than smoulder and pout. But get closer and you see versatile, thoroughly capable editorial models that bring something extra to every assignment.

February was a good month for Stone as show season rolled around. She made a headline-grabbing appearance for Balmain. Rewriting the fashion rule that body-con tends to look its best on the super-slim; Lara appeared on the Balmain runway in a dazzling blue sequinned mini-dress.

Her curves were clearly visible, but she looked incredible. The trend that had up until this point stayed on the sidelines had now become fashion’s latest crush. The press lauded Stone for making the Balmain glamourpuss look finally achievable, and the high street dutifully picked up the thread, making copies of the Balmain / Lara look and sent the body-con trend into the stratosphere.

The show season didn’t end there either. Lara was chosen to close the Marc Jacobs show. Simply as good as it gets in terms of runway prestige; Lara put an end to the claims that her presence was a token gesture, a pacifier for those who questioned whether fashion had really got a grip on the body image issue. Lara wasn’t picked because of the potential for headlines, but like her appearance for Balmain, Lara was chosen because of her ability to enhance clothes without being a distraction.

Lara’s triumph on the runway was followed by yet more editorial scoops, including the cover of Japanese Vogue, spreads for W and French Vogue, and finally in May 2009, she got the cover of American Vogue. Shot by Steven Meisel, it was another modelling milestone done and dusted.
In August, the fashion bible W paid tribute to her in their issue, dubbing her ‘Fashion’s new IT Girl’, if there was anyone left who doubted it. The end of 2009 culminated with not one, but two, magazine covers. The first was another for Italian Vogue, and the second was for British Vogue.

The British December issue was named ‘The Girl of the Year’. Shot by Mario Testino, it was Lara in full fantasy mode. The cover shot was soft, dreamy and uber-feminine. It wasn’t just a celebration of Lara’s achievements, the cover was signposting the year (and decade) ahead. True to its word, fashion has got in touch with its softer side and Lara couldn’t be better placed to take advantage of this shift in fashion semantics.

If 2009 saw Lara as the girl of the year, this coming decade surely belongs to her as well. To date, she has appeared in S/S campaigns for Jaeger, Louis Vuitton, Prada Infusion D’Iris fragrance and H&M swimwear. Couple this with an upcoming A/W campaign for Giorgio Armani Cosmetics, and Lara’s run of success shows no sign of losing momentum.

Being curvier than her peers hasn’t left Lara out in the cold, especially in terms of those all-important, lucrative campaigns. Stone is, just in terms of numbers, way ahead of the pack. The calibre of those campaigns (including Chloe, Jil Sander and Prada) are indicative of her ability to appeal to a wider demographic.

When casting campaigns, design houses don’t only look to the names that are populating the world’s runways or filling the pages of Vogue. That certainly helps, but a great campaign model needs something extra. If it’s a sunny advert for swimwear, coming across as likeable is essential. If it’s selling a bottle of perfume, the model needs to have an allure that’s appealing, not off-putting.

Lara’s brand of sex appeal is aimed squarely at the grown-ups: its Brigitte Bardot meets Veronica Lake, with a dose of worldly-wise Jane Russell thrown in for good measure. Lara’s pitch-perfect ability to charm men and women into buying that perfume explains why she’s in such high demand.

The company you keep in the fashion world says a lot about you. Lara isn’t booking campaigns or features with marginal figures in the industry. Chanel, Givenchy, Prada, Calvin Klein, Giorgio Armani – these names are not exactly obscure references. Lara has worked with the greatest designers, editors and photographers in the business. She may not be the most prolific runway girl, but it’s quality over quantity.

What makes Lara different is that she has tailored her career to her strengths. Her personal stamp – a postmodern Bardot – has worked simply because there is no-one else quite like her. Some come close: the trio of Brazilian supers (Bundchen, Trentini and Zimmermann) all have the market cornered in doing campaigns that call for plenty of sizzle. But Stone is cut a little differently from the standard sex-bomb mould.

Lara is part of a small group of models who can do the blend of coy sophistication peculiar to brands like Prada. It’s a tough ask, and Lara’s strategy of being (and staying) true to herself has paid off. Prada loves different, hence why she is their campaign girl.

Lara deftly translates intelligent sensuality into something fashionable and covetable. She works so well as a marketing ploy because of her high-fashion connotations. There’s little chance of mistaking the Prada girl for an off-the-peg glamour queen.

As influential as she is now, in ten years’ time, expect to see Lara’s legacy throughout the modelling industry. The soft-sell approach to campaigns that clamour for sex-appeal will eventually reconfigure what we think of as ‘sexy’. Think smart, challenging and a little hard-to-read. A unique presence in contemporary fashion, Lara is undoubtedly a model of substance.

HELEN TOPE

MODEL PROFILES: ALANA ZIMMER

Born June 6th 1987, Canadian model Alana Zimmer’s profile may lack the celebrity kudos of a Lara Stone or Georgia Jagger, but she has been a lynchpin of the fashion industry since her discovery in 2005.

Alana’s story begins when she was discovered whilst working in a restaurant. She was spotted by the friend of a model scout. Encouraged to consider a career in fashion, Alana emailed off some of her prom photos. The response was immediate, and Alana began to model locally in Toronto. In September 2006, she made her international catwalk debut, walking for designers such as Alexander McQueen, Burberry, Chanel, Dolce & Gabbana, Marc Jacobs, Prada and Vera Wang.

That same month, website http://www.wwd.com/ named her a face to watch, and Alana found herself featured on http://www.style.com/, on their list of Top 10 Models of the Spring / Summer 2007 season.

In October, she landed her first major editorial with fashion heavyweight, Italian Vogue. Capping off the year with a 10-page editorial for Numero, in 2007 Alana became the face of Missoni Sport. It was a brilliant casting for a model whose hobbies include running and yoga.

Fitness modelling exacts very particular requirements. Sportswear shows up poor muscle tone quicker than any couture design and being fit is essential if a model wants to be an all-rounder. Zimmer’s intelligent blend of cardio and body conditioning made her the perfect candidate for the campaign.

Zimmer’s ability to do it all was confirmed when show season arrived in February. Closing shows for Dries van Noten and Jill Stuart, she also appeared for Cacharel, Calvin Klein, DKNY, Jean Paul Gaultier, Jonathan Saunders, Louis Vuitton, Marc Jacobs and Prada. Her comprehensive list of credits got her noticed by Marie Claire, who dubbed her the face to watch in March.

The press attention made Zimmer hot property, and her dreamy, ethereal look put her in pole position for Autumn / Winter campaigns. Later that year came the announcement that Zimmer had been waiting for. She had landed the coveted spot in the new Marc Jacobs campaign.
Jacobs was, and still is, the king of the fashion jungle. Not so much a designer as the pace-setter; walking in one of his shows is an achievement. Scooping the campaign puts you in a different league altogether.

In September, British Vogue (unsurprisingly) feted Alana as a model to watch, and in October, she closed the show for Louis Vuitton. The vintage label, now steered by Marc Jacobs, has been rejuvenated under his guidance, and famously brought back bunny ears as a legitimate fashion accessory.

Dubbed the playful, girlie cousin to Marc’s own label, Zimmer’s pivotal role in the show also meant more bookings from other designers, eager to get the new Marc Jacobs muse on board. Walking for Alexander Wang, Chloe, Dior, Gucci, Marchesa and Rodarte, Alana was landing the type of work that figures on pretty much every aspiring model’s wish-list.

Her ability to command a runway got her the cover of the Italian Vogue couture supplement. The high-stakes booking did not phase Zimmer one bit, and she finished the year with an editorial for i-D and a Numero cover in December.

2008 began with more campaign news for Zimmer, whose versatile look got her the lead role in Moschino’s campaign.

January was couture season, with appearances for Jean Paul Gaultier and Armani Prive, and in February, Alana was closing shows for Moschino and Marc Jacobs. It was a real career high: in terms of runway, it doesn’t get much better. Marc Jacobs also selected Zimmer to open his resort show in June, which she had to balance with editorial work for Japanese Vogue.

The campaigns kept coming with Alana being signed to do the A/W advert for DKNY Jeans. Five years ago, Zimmer’s look would have made her unlikely to be anyone’s first choice for a jeans commercial. Paired with rising star Chanel Iman, the duo made for a new kind of aesthetic. Traditionally jeans advertising has relied on the bronzed sex-bomb approach, and both Zimmer and Iman were the antithesis of the Brazilian bombshell look that had until recently been in favour. Neither models were conventional casting choices, and their appeal was defiantly off-centre, but it worked and it got DKNY noticed. Where cosmetic brands like Estee Lauder are just beginning to adopt a more cosmopolitan look for their campaigns, DKNY showed they were ahead of the curve. It was a brilliantly timed fashion coup, and gave both Alana and Chanel a huge career boost.

Alana followed the DKNY campaign with editorials for Italian and German Vogue during the summer. When show season came around in September, Zimmer was given the honour of opening the S/S show for Louis Vuitton.

Her roster of bookings, including appearances for designers as diverse as Alberta Ferretti, Alexander Wang, Cacharel and Thakoon, points to the importance of being able to pick up a designer’s aesthetic and run with it. In today’s industry you will find precious few one-trick ponies. Alana’s ability to switch between strictly editorial and fashion’s playful, feminine aspect has her pegged as one of the industry’s best team players. Whatever the brief, Alana delivers.
2009 saw Zimmer branch out into more campaign work, including high-street stalwart Topshop. Sandwiching this and an ongoing contract with DKNY in between editorials, Zimmer hit another highlight in September with the S/S 2010 season.

Walking in what was to be Alexander McQueen’s final show, along with appearances for Christopher Kane, Erdem, Jason Wu, Marc Jacobs, Mary Katrantzou, Rachel Roy and the re-launch of Versus (Versace’s diffusion label), Zimmer’s catwalk range featured an effortless mix of editorial high-flyers with more traditionally feminine labels.

2010 is already proving to be a crucial year for Alana, with her move from Supreme Management to Ford Models. So far this year, Zimmer has opened the Jean Paul Gautier couture show and signed up for the S/S Sonia Rykiel ad campaign. The French label, which is a perfect blend of pretty and quirky, is about as tailor-made to Alana’s strengths as it’s possible to get.

With a strong A/W season done and dusted, Zimmer has continued her reputation for being a favourite with up-and-coming designers. Not only walking for press favourite Mary Katrantzou, she has also appeared for Prabal Gurung, who has recently been debuted on the red carpet by Gossip Girl Leighton Meester.

Being able to see-saw from cutting-edge print to mainstream appeal, Alana is doing well in this economic climate because she represents a softer side of editorial. Zimmer’s look translates as clearly to the pages of Italian Vogue as it does on the runway wearing a Diane von Furstenberg wrap-dress.

The fact that Alana is able to do both points to how fashion is rethinking its stance on trends. Just look at the choice available for this summer: there are modern, spare neutrals, nautical (as ever) and edged-up florals and gingham. Trends instead of being polarised are starting to meet each other halfway. The utilitarian nature of the neutral trend is softened by a feminine palette; florals give us attitude when paired with directional dresses.

The emphasis is now on good design, not top-to-toe trends. The idea of copying runway looks verbatim is becoming increasingly outdated. The looks you see on the runway were never meant to be copied, but to be used as inspiration: a sartorial jumping-off point to explore new ideas. Looks were absolutes: the most literal translation of a designer’s vision.

This idea got lost in the pre-recession era where consumerism often outranked common sense. The race to be the first to wear the latest dress, or ‘it’ shoe became so frantic that mere mortals just couldn’t keep up. Allowing fashion to operate in a tortoise-and-hare manner, also robs us of the joy of the experience. Fashion should be about fun and self-expression, not a manic dash to be the first to wear that must-have label.

The idea that you can only be ‘in fashion’ by donning the latest label is a notion that’s had its time. The rigours of a season dictated by key pieces and statement bags don’t allow space for creativity and movement, and isn’t fashion autonomy what style is ultimately about?

Slowing down the pace, partly through financial necessity, has been good for the fashion industry. It’s given everyone a chance to step back, reflect and catch a breath. The return to classic shapes and familiar styles is about more than appealing to the masses; it’s about exploring what truly works. The perennial trends that we keep returning to, however they’re spun, translate across the board.

Tossing out the rulebook is what fashion does best, and this time it’s going back to the start. It’s finally time to stop and smell the roses - even if they’re courtesy of Erdem.

HELEN TOPE

MODEL PROFILES: MAGDALENA FRACKOWIAK

Polish-born Magdalena Frackowiak has built a career on making the fine art of editorial look easy.

A multi-tasker extraordinaire, Magdalena’s body of work spans the complete breadth of modelling experience from campaigns for French Connection to high-edge editorials in Viktor and Rolf.

Born 6th October 1984, Magdalena began her career by winning the ‘Waterproof Model Search’ in 1999. Her career took off in 2006, when she landed the covers of Polish Elle and Italian Glamour.

In October 2006, she got her big break when she was picked to open the YSL show in Paris. Also appearing for designers like Alexander McQueen, Marchesa and Valentino, Magdalena was featured as the Top Model of the S/S 2007 season by http://www.style.com/.

2007 started with a bang for Frackowiak when it was announced that she would become one of the new faces for legendary label Ralph Lauren.

Sandwiching in editorial work for Chinese and German Vogue, Magdalena also landed a campaign for Dior Lingerie. Shot by Craig McDean, this was Magdalena’s toughest challenge to date. On a lingerie shoot there is (quite literally) nowhere to hide. Being photographed in underwear is the least of your problems: keeping the feel of the shoot high-fashion is the real issue. Factor in a photographer like McDean who specialises in sultry shoots and the stakes couldn’t be higher. Lingerie modelling may seem like the soft option, but at this level, nothing could be further from the truth.

Magdalena’s hard work paid off in August 2007 when she got the cover of Italian Vogue. Modelling alongside Maryna Linchuk, and photographed by Steven Meisel, this was a watershed moment.

2008 saw Magdalena become the face of Alessandro Dell’Acqua, in addition to renewing her contract with Ralph Lauren. Magdalena walked in the January couture season, making appearances for Armani Prive, Chanel, Dior, Givenchy and Valentino. Her excellent show record continued with a RTW season that included opening spots for Thakoon, Viktor & Rolf plus Alessandro Dell’Acqua.

For the rest of the year, Magdalena clocked up several noteworthy appearances; an Italian Vogue editorial photographed by Patrick Demarchelier; an i-D editorial in March; an Allure editorial in May and the summer cover of 10 magazine.

This rapidly-growing CV also included a feature in French Vogue, where the magazine that can make (or break) a career named Frackowiak a ‘top model’. Magdalena’s flair for editorial continued, with a spread for Interview magazine that primarily focused on Gucci. Pairing the Polish bombshell with the iconic Italian brand was inspired casting. Frackowiak had already proved she could do high-fashion, but she could also bring sex appeal, perfect for an editorial that required equal measure of both.

Magdalena’s standing in the fashion community soared when it was time to announce who had scooped the prestigious A/W campaigns. Magdalena had not only landed a spot with one designer: she had three. Shooting for Oscar de la Renta, Alessandro Dell’Acqua and Ralph Lauren, Magdalena’s pulling power in front of the lens was becoming an undeniable force for fashion good.

In September, Magdalena had the show season befitting a top model, walking in 55 shows. Closing shows for Jil Sander and Proenza Schouler, she also made appearances for Chloe, Chanel, Gareth Pugh, Hermes, Isabel Marant, Lanvin, Marc Jacobs, Missoni, Preen, Stella McCartney and Valentino. It was a blockbuster season, putting Magdalena’s name well and truly on the map.

2009 brought more accolades, with Magdalena adding a campaign for Kenzo to her list of credits. Her A/W season in February 2009 gave Magdalena a bona fide fashion moment. She was selected to open shows for Lanvin, Louis Vuitton, Matthew Williamson, closing shows for Julien MacDonald and Alexander McQueen.

Being the bookend in major headline shows like Lanvin and McQueen, Frackowiak was now playing with the top names in the business. Her editorial and campaign work had propelled her right to the heart of the modelling elite.

Magdalena filled the summer months of 2009 with yet more editorial work, including French, Russian and Japanese Vogue. Magdalena also hit the headlines when she participated in a shoot for the A/W issue of Purple. Posing topless with Eniko Mihalik, Abbey Lee Kershaw and Freja Beha, the photo shoot garnered plenty of attention. Its near-the-knuckle editorial slant begged the question: was this fashion photography at its most daring or just plain pornography?

Terry is famed for blurring the lines, and his preference on sexuality is borrowed straight from the Seventies. Think bold glamour, gloss and very big hair, and you’ve got yourself a Terry Richardson shoot.

In some ways, a photo shoot like this is the perfect foil to Magdalena’s abilities. She can be gentle and soft-focus in designs by Alberta Ferretti and Blumarine, or full-on raunch for designers like Gucci and Roberto Cavalli.

Terry’s work proves that provocative images don’t have to be just for the boys. His genius is making sexuality part of the high-fashion experience. Where couture can sometimes be accused of being a touch cerebral and other-worldly, Richardson, working with models like Magdalena, brings a note of earthy vitality to a shoot or campaign. It’s not sleazy; it’s just another point of view.

2010 has already begun well for Frackowiak, with an Italian Vogue editorial under her belt and covers for Russian Vogue and Dazed and Confused.

She is very much the 21st century follow-on from Fifties and Sixties models like Dovima, Dorian Leigh and Suzy Parker. They wore cutting-edge couture like was a second skin, and that is what Magdalena does so well. The fashion spread for Dazed and Confused was dedicated to Viktor and Rolf’s latest collection. More avant-garde than ready-to-wear, the ultra-edgy designs in both the cover and editorial have one thing in common: you see the model first, and then you see the dress. It only registers in a second glance that the dress is pushing boundaries and then some. On Magdalena, what is a challenge to wear becomes soft, romantic and even covetous.

When modelling the tougher, more avant-garde designs, it pays to be fearless. This is what Magdalena has picked up from the tough-as-boots models of the 50’s and 60’s. They may have looked the epitome of elegance and grace, but there was no chance of any dress overwhelming them. It’s a tough balancing act because fashion’s built around the see-saw of hard and soft, masculine and feminine. Trying to blend the two and make it believable is the really tricky part. Magdalena’s work with photographer Terry Richardson is a brilliant example of the importance of balance. It’s all about visual semantics: lighting, styling, even the tilt of the model’s chin - in fashion, the tiniest detail often makes the biggest difference.

Look at Magdalena’s runway track record. Note how many designers have kept her on as a runway fixture every season. Alexander McQueen was booking Magdalena in 2006 and still doing so in his last (completed) show in September 2009. Loyalty is hard-won in the fashion world: an incredibly versatile clothes-horse, Magdalena has mastered campaigns and editorials that would make more experienced models quake. It is that quality of fearlessness that makes her such a compelling presence.

With depth and intelligence, Magdalena is merging the point where ‘sexy’ and ‘editorial’ meet. In a post-recession age where many hard and fast rules are having to be re-written, Magdalena provides a very modern take on fashion’s newest (and boldest) identity.

It’s a lesson taken straight from fashion history. After the Second World War, the fashion world had two options: to give up, or reinvent. Christian Dior went with the second, and gave us the New Look. It reignited the industry, and ever since, it’s been the inspiration when times are tough; revitalise and renew.

Models like Magdalena aren’t just along for the ride: they’re changing what we see as beautiful and fashionable. Editorial fashion isn’t about wilful provocation; it’s about moving forwards in order to survive. The models that do editorial best make it look easy: because they’ve worked so hard, you can no longer see the join where work ends and inspiration begins.

Fashion’s latest reinvention is not for the faint of heart, but it’s about more than hemlines. The new look for the 21st century is taking fashion into its next phase. It will be daring, difficult and thought-provoking – but it’s pushing all the right buttons.

HELEN TOPE