STAYING SAFE IN MODELLING

When preparing for a career in modelling, thoughts of personal safety tend to get bumped down the list.

But when starting out, any offers from photographers or clients can be overwhelming and it’s easy to let your common sense take a back seat. However, it’s during these initial assignments and bookings that things can go wrong – unless you go prepared.

First off, the basics: whether you’re going to a casting or an actual booking, take your mobile with you and make sure it’s fully charged with plenty of credit. It’s not only in case of emergencies, but for when you find yourself running late, or worse still, get lost. If you are already signed with an agency, store their number on your phone. If you’re flying solo, a smart phone is a good investment. Not only will you be able to find phone numbers while on the go, don’t underestimate the value of being able to google maps when you’re hopelessly lost. Harness technology to work for you: in a tricky situation, it can be your best friend.

When preparing to travel to an unfamiliar location for a casting or shoot, do some groundwork first. Look up the venue and plan your route beforehand, allowing for traffic (especially during peak times) and delays if you’re using public transport.

If possible, take some cash for a taxi, and if you’re really unsure about the journey, do a dress rehearsal. Travel to the venue a couple of days before, at the exact time you will be going on the day itself. It will not only give you a chance to scope out the venue, but will ease any travel stresses on the day itself as you’ll already know where you’re going.

It should go without saying, but wherever you’re headed, tell at least one person where you’re going, and crucially, when you expect to return. Even sending a quick text when you’ve reached your destination and another when you’re about to head off home isn’t a bad idea either. It may sound OTT but it’s essential that as a working model, you take your personal safety very seriously.

If you are invited to a shoot at a venue other than a professional studio (eg: a home studio or hotel), take a friend or relative with you. A professional photographer won’t mind you turning up accompanied, although unless you’re under 18, don’t expect to have your friend sitting in on the sidelines cheering you on!

Always check venue details when dealing with a photographer / client you haven’t worked with before. Any client or photographer that is reluctant to offer up such information should ring serious alarm bells in your head. Any legitimate client / photographer will be happy to pass on and confirm details, so don’t feel self-conscious about asking for them. They will take your attention to detail as a sign that you’re taking the shoot seriously before the first picture has even been taken – not bad as first impressions go!

Of course, awareness of safety also means knowing who to trust and who to be wary of. Especially as a new model, the amount of information you’re expected to take on board can be exhausting. If you’re in the position that you are receiving offers from photographers via email, again you can use technology to help you.

Check the email address carefully. Are they using a free email service (eg: Yahoo or Hotmail)? While it is entirely possible that a legitimate photographer has a Hotmail account, it is more usual for a photographer to make contact with models and clients via a business email address. If this is the case, they often include a link to a website of their work: go on, get nosey and take a look. It will not only give you an idea of what the photographer is like, but who they’ve worked for in the past. Don’t be afraid to check credits and do a little sleuthing. Again, no legitimate photographer will be remotely offended by you taking a closer look at his or her credits. In fact, if you like what you see, you can even score brownie points by mentioning a particular set of pictures when you meet. There isn’t a photographer alive who doesn’t like hearing that their work is appreciated.

If a photographer sends you a vague email with no substantial detail in it apart from the shoot itself, be on your guard. Normally photographers will quite readily list their previous experience and credits as a matter of course. If they are a relative newcomer to the industry they will probably say so. If the email you’ve received is suspiciously vague and you can’t get any further information, it may be time to do some fact checking. In these cases, always trust your intuition. If the situation feels wrong, don’t ignore it: do some research and equip yourself. In the world of modelling, knowledge is power.

Assuming you’ve checked and the photographer is the genuine article, what’s next? It’s always a good idea to check the terms of the deal being offered to you. Sometimes you will be offered something called a TFP (Time for Print) deal. All well and good, but what does this mean?
This is where a photographer and model reach an agreement where instead of payment, the model gets a set of prints for his or her portfolio, and the photographer gets permission to use the photos for their own portfolio and publish them for commercial purposes. No money exchanges hands, but it is pretty much a win-win situation.

There are no standard terms for a TFP shoot, but these guidelines are a good place to start:
- After the TFP shoot, the photographer will ask the model to sign a release form. This is a legal document agreeing that the photographer can publish and use the photos.

- In exchange for this, the model gets a licence, granting them use of the same photos for their portfolio (told you it was a win-win).

- Finally, if you are under 18 at the time of the shoot, a parent / guardian will have to attend the shoot and sign the form on your behalf.

You should also be aware that the photographer will be responsible for handling additional costs such as location permits, plus studio and equipment rental. That’s why with TFP, a photographer is allowed to recoup their expenses by being able to use the photos for commercial benefit.

With all TFP deals, models are expected to meet their own transport costs and make these arrangements themselves, but if you get a stellar collection of shots for your portfolio that leads to paying jobs, that’s no bad thing.

Starting out in modelling can be a daunting prospect, especially when you’re not sure about what your responsibility is and what isn’t. Prepare and plan: do as much research as possible as this will help you be clear on when you’re being offered a great deal and when you’re being taken for a ride. If you’re really stuck, Models Connect has a section on how to avoid modelling scams at http://www.modelsconnect.net/modelling_agencies/scams.html

Safeguarding yourself personally and financially is crucial if you’re to avoid some of the pitfalls of this industry. But if you’re ever unsure about what to do, listen to that little voice in your head. It’s trying to tell you something very important.

HELEN TOPE

MODEL PROFILES: ISELIN STEIRO

Born in Norway on the 15th of September 1986, Iselin Steiro began her career when she was scouted whilst Xmas shopping in London.

Discovered in 1999, Steiro debuted at Fashion Week in September 2003, walking for Calvin Klein, Donna Karan and Prada. Her career though did not take off properly until 2005. Many models find themselves suddenly in favour when fashions change, and Iselin’s rise is a perfect example of case in point.

Steiro’s strong features meant that she would have to sit out the decade’s brief infatuation with chocolate-box, Pre-Raphaelite beauty. Models like Lily Cole and Gemma Ward excelled during this time, but girls like Steiro – still beautiful, but a little off-centre – had to wait their turn.

Iselin’s moment came in February 2005, when she became the face of the season. Picked by designers Alexander McQueen, Chanel, Chloe, Louis Vuitton, Missoni, Proenza Schouler and Rochas to appear in their runway shows, Steiro’s off-beat appeal came into its own.

Editorials for W and Harper’s Bazaar followed, plus campaigns for Benetton, Jill Stuart and Hugo Boss. But it wasn’t until autumn that Iselin’s ability to do quirky glamour really paid off. Photographed by Steven Klein, she got a major contract with D&G, working alongside Hye Park and Vlada Roslyakova. Followed by an Autumn / Winter campaign for Roberto Cavalli, Iselin’s strengths as a model were finally being realised.

In February 2006, Iselin took the opening spot at the Calvin Klein show. This honour, previously taken by Russian supermodel Natalia Vodianova for the past seven shows, was nothing short of a changing of the guard. Fashion’s aesthetic was visibly starting to shift from ultra-feminine shapes and colours, to a darker, altogether more avant-garde mood.

With more challenging silhouettes being touted as the norm, the industry needed models to match. Iselin’s brief was to make these new shapes look wearable. In 2006, tulip skirts and ankle-length cigarette pants were deemed to be at fashion’s absolute edge of wearability: only the bravest gave them a go. Four years on, we think of them as modern essentials.

Iselin’s status as the newest high-fashion favourite soared. She was chosen to be the face of Gucci in their 85th anniversary campaign and appeared in the Balenciaga Spring / Summer ad with Hilary Rhoda. In August, Iselin finally landed the cover of Italian Vogue. Shot by Steven Meisel, it was an affirmation from the very heart of the industry.

As fashion moved towards more urbanised looks with tough-girl details like exposed zips, leather and lashings of black, Iselin’s bookings increased. She shot the A/W campaign for Gucci (shot by Craig McDean); closed the September show for Gucci in Milan and picked up an editorial with Meisel for Italian Vogue.

2007 saw Iselin’s career pick up pace with a cover of Elle in March and a confirmation early in the year that Steiro had been chosen to be the new face of Valentino. Iselin’s ability to do arch-elegance, glamour with a slant, made her the first choice for designers across the globe. In addition to signing contracts with TSE and Blumarine, Steiro scored editorials with French, Italian and American Vogue. Her career was at an absolute high. It was at this point that Iselin made the decision to walk away from it all.

At the height of her career, Iselin made the decision to temporarily shelve modelling and return to education, enrolling at the Oslo School of Architecture and Design. After completing her studies, Steiro returned to the fashion industry in April 2008, and her return was heralded by none other than French Vogue.

During Steiro’s time away, the fashion perspective had shifted even more in her favour. The loose, free-flowing shapes still being shown had disappeared entirely, making way for body-conscious, editorial – even sculptural – shapes, not just in couture, but now a regular feature of ready-to-wear. These bold style statements needed a model that could pull them off and not get lost in the most avant-garde designs. Steiro’s return could not have been better-timed.

Signed up for autumn campaigns for Mulberry and Missoni, Iselin made a triumphant return to the runway in September, walking for Chanel, Balenciaga, Givenchy and Stella McCartney.

In 2009, Iselin became the face of Lanvin. The campaign shoot, featuring Iselin in a series of draped dresses, was the brainchild of Lanvin creative director Alber Elbaz. The use of intricate pleats and folds in Lanvin’s designs would usually be more of a couture feature, but Elbaz was introducing a couture sensibility to ready-to-wear garments. Detail was the way forward, and Steiro’s performance as Lanvin’s hedonistic muse, pushed the message even harder. She made the dresses look young and directional but without being daunting. It was lustworthy fashion at its best, and with Iselin’s help, Lanvin became the label of choice for Young Hollywood, joining Marc Jacobs and Chanel as red-carpet must haves.

The following year, Iselin got a highly-coveted place in the 2010 Balenciaga campaign. Like Lanvin, this label was rediscovered when its newly-hired creative director Nicolas Ghesquière utilised his futuristic vision to make Balenciaga a byword for cutting-edge chic. Turning Balenciaga into a fashion house that not only champions trends, but kick-starts them, Iselin was brought in to take part in their Spring / Summer campaign with modelling newcomers Mirte Maas, Lisanne de Jong and Patricia van der Vliet.

True to form, the campaign was a quirky play on perspective and proportion that made for an instant standout image. Defiantly different, Steven Meisel’s Photoshop-collage was a hit. The advert became a major talking point, putting Balenciaga (and its models) front and centre of that season’s crop of campaigns.

Shooting back-to-back editorials for Italian Vogue in January and February, Iselin’s bookings for show season continued to dazzle and surprise. This wasn’t a case of a former top-model being given her dues; this was a model being booked by virtue of her own merits. In addition to walking for brands like Chloe and Hermes, Steiro was asked to appear on the runway for youth-led labels like Miu Miu and The Row. The fact that Iselin is still being requested for shows that would ordinarily be populated by models nearly 10 years her junior, is in direct opposition to the theory that fashion doesn’t value longevity; Steiro’s career is ample evidence to the contrary. When a model is this great, they get to stick around.

It should be no surprise that Iselin has such an avid interest in architecture: when a model has the right angles and proportions, the result is both contemporary and timeless, and that’s where Steiro fits in. She is both of-the-moment and classic because she is the kind of model that outstrips fads or trends. Iselin continues to work in today’s fashion climate as she did back in 2003 because she arrives as a blank canvas, a super-structure onto which designers, photographer and stylists can project their ideas.

Steiro brings an intelligence that understands fashion on a level that has very little to do with collating the most magazine covers or scoring column inches. Now fashion is leaning towards a pared-back, stripped-down aesthetic, Iselin will continue to do well because she is exactly the sort of model that’s required right now: no ego, no entourage, just an ability to get on with the assignment.

Iselin’s true appeal lies in her off-centre beauty that shifts and changes to fashion’s whim. Like her friend, fellow model Anna Jagodzinska, her rough-edged beauty can dial up the glamour when required, but there’s a quirky slant to that glamour that makes you look twice, and that’s exactly what you want for a big-budget, high-stakes campaign.

The forerunner for models like Hannah Holman and Siri Tollerod, Iselin’s career is the blueprint for models entering the industry. It’s no longer enough to just love fashion. If you want to be relevant, and stay that way, ignore the call of the limelight. It’s time to look at modelling from an entirely fresh perspective.

HELEN TOPE

MODEL PROFILES: ABBEY LEE KERSHAW

Born in Melbourne on June 12th 1987, Abbey Lee Kershaw is a modern take on the oldest standard of the modelling industry: the girl who can do it all.

Abbey’s career began in 2004 when she won the Girlfriend & Cover Girl model search in her native Australia.

The contest, which had discovered
Catherine McNeil just the year before, struck gold again when it launched Abbey into the fashion industry.

Moving to Sydney in 2005, Abbey began to model locally, picking up European ad campaigns for H&M and Levi’s. But a switch of agency in 2007 saw Abbey move from Sydney to New York. Her unique look got her noticed immediately, when the influential website www.models.com named her fashion’s ‘next superstar’.

The proclamation sent a message loud and clear to the fashion industry, and 2008 began with a runway season that ensured Kershaw’s status as a noteworthy up-and-comer. Opening shows for Givenchy and closing the Rodarte show, Abbey walked for every important designer including Alexander McQueen, Calvin Klein, Chanel, Dior, Gucci, Lanvin, Marc Jacobs, Oscar de la Renta and Valentino. It was an incredible start, and www.style.com dubbed Abbey a Top 10 Newcomer.

Kershaw hit another modelling benchmark in April when she scored her first Vogue editorial for Chinese Vogue. She also landed not one but two campaigns for D&G, both photographed by Mario Testino. In July, Kershaw joined her fellow D&G model, Alice Burdeu, for a feature in Australian Vogue. Pairing up with Stephanie Carta, Alice and Abbey were drawn as Australian Vogue’s newest and brightest talents. Both had their careers launched by winning modelling contests, but both girls were now proving themselves genuine talents.

Abbey won two of her biggest campaigns during the summer of 2008, photographed by Steven Meisel for CK Jeans and landing the Autumn / Winter Gucci commercial alongside British model Lily Donaldson. In September, Kershaw achieved two career firsts in one month, when she got an editorial booking for Italian Vogue and the cover of Australian Vogue.

For all her achievements, Kershaw was still a relatively new face, and the show season that autumn was a reminder that the daunting pace of international modelling can even phase models that are at the top of their game.

Walking for designers Diane Von Furstenberg, Alexander Wang, Matthew Williamson and Peter Som, Abbey took an unexpected tumble during the Rodarte show, and in October, fainted whilst taking part in the Alexander McQueen show. The season packs in a lot, and being tough enough to cope with moving from New York, to London, to Paris and Milan all within the space of a month, is no small ask.

But Abbey’s runway glitch didn’t stop her career trajectory when she was asked to appear in the Victoria’s Secret runway show. The brand has a history of cherry-picking the best of runway talent and bringing them to the attention of the general public. Like model Eniko Mihalik, Kershaw was a strong choice for the brand, matching high-fashion credentials with a sultriness that was commercial dynamite. Her year finished with blue-chip editorials for Italian Vogue and W, but 2009 saw Abbey take her career to the next level.

Renewing her contract with Gucci, she replaced Taryn Davidson as the face of See by Chloe. She also signed a contract to be the representative of ‘Flora’, the new Gucci fragrance.

Surrounded by a field of flowers, Abbey’s ethereal performance perfectly evoked the fragrance and captured a mood of sun-soaked femininity. It was mission accomplished, and ‘Flora’ became a huge best-seller for Gucci. The brand got a stunning commercial, and Abbey’s name (and face) got a whole lot more familiar.

Her work for Gucci flung Abbey square into the spotlight, with her second cover of Australian Vogue, a cover for Numero plus editorials for i-D, Harper’s Bazaar, Dazed & Confused and Italian Vogue. The slew of covetable bookings summed up Abbey’s mastery of cutting-edge fashion, tempered with a sensuality that injected her pictures with a commercial edge. Suddenly editorial and commercial didn’t seem like such disparate ideas; Abbey made doing both look easy.

Kershaw wowed again in August, undertaking an editorial for Japanese Vogue, photographed by Terry Richardson, demonstrating the art of doing sultry without the sleaze. In high-fashion, it’s sometimes a fine line between the two, but once it’s crossed, it’s obvious to everyone. Kershaw’s ability to make high-fashion images that are brimming with sexuality but in a way that doesn’t isolate the magazine’s core audience is a rare find, even in today’s industry where being able to smoulder on demand is a given for most top models.

Abbey teamed up with Terry Richardson again for the A/W issue of Purple, and in November made her second appearance for Victoria’s Secret. She finished off the year with covers for Numero and Dazed & Confused, and in January 2010 started the year (and decade) off with a bang, by being chosen to close the Chanel Couture show.

In February, Kershaw had a massive show season, opening shows for Michael Kors and closing shows for John Rocha and Gareth Pugh. Her other appearances included Alberta Ferretti, Balmain, Burberry, Chanel, Dolce & Gabbana, Jason Wu, Prada, Stella McCartney and Versace. Every aspect of fashion is represented in this list. From Prada’s take on 50’s chic, to Burberry’s urban aviator, Abbey was a face that found favour with every brand in the business.

Kershaw’s biggest break however came during the early part of the summer, when it was announced that she would be replacing Claudia Schiffer as one of the faces of Chanel. Joining Freha Beha, the campaign has become one of the key images of a season already packed with highlights.

Her calendar for the rest of the year looks to be following the same pattern, with campaigns also announced for Anna Sui, Mulberry, Jaegar, Calvin Klein and H&M, plus a campaign video for Alexander Wang.

What makes Abbey so in-demand is her ability to marry up the separate parts of her fashion personality. A self-confessed bohemian at heart, Abbey combines her own personal tastes with avant-garde, sex-kitten and cover-girl and makes each facet work. Many models thrive on specialising, whether that speciality is being ‘quirky’, ‘sexy’, or just plain editorial, but Abbey manages to juggle all the different aspects of fashion, and do them equal justice.

Kershaw is probably closest in spirit to supermodels like Helena Christensen and Cindy Crawford. They, like Abbey, were able at the height of their careers to mix editorial, high-fashion work with more populist bookings like Victoria’s Secret. Versatility is famously one of the most requested of model attributes, but true versatility, being able to conquer every corner of the industry and not lose credibility, is something that’s much harder to pin down.

Where Abbey stands out from her peers is her potential to become, like Crawford, a name that sells anything; not indiscriminately, but absolutely. It’s often been said that a return to the supermodels of the 1990’s is unlikely, but if anyone can get the ball rolling, it’s Kershaw.

Paparazzi pictures of her shooting the A/W Chanel campaign in New York were splashed across media websites across the globe. Just a fleeting glimpse of her on the streets of New York created a stir and made headlines. If we are truly in an anti-supermodel era, this kind of attention is nothing short of extraordinary.

It’s unusual to find a model who can look approachable but still wow in a Chanel Couture show, and that’s why Abbey excels on every point. Her features lend her an appeal that’s hard to find in today’s raft of top models. They are highly skilled, and hard-working, but Abbey’s career will continue to grow because she takes the best of the supermodel era and mixes it with the contemporary work ethic of modelling today. There’s no room for egos on set anymore, and the girl who works hardest is the one who gets re-booked. Names still matter of course, but getting the right result matters a whole lot more.

It’s a much fairer modelling landscape that the one Christensen and Crawford found themselves in 20 years ago. Meritocracy – the process of selection based purely on skill – has made the fashion world a much more beautiful place to be. It allows plus-size icon Crystal Renn to walk runway for Jean Paul Gaultier, and editorial favourite Coco Rocha to shoot campaigns for Rimmel. There’s no guesswork in terms of hiring faces to represent brands: quite simply, the best girl wins.

This age of equality has allowed Abbey to flourish, not just as a fashion name, but as a growing presence in popular culture too. Access to runway shows is virtually immediate thanks to live streaming, and computer wizardry and promotional videos are fleshing out the world of 2D campaigns. The high-fashion experience is becoming a very real presence in the virtual world, where the lines between commercial and high-fashion are becoming ever more blurred.

Fashion’s future is becoming dependent on whether we will be persuaded to embrace an industry where anything goes. With faces like Abbey leading the way, that persuasion feels like an increasingly easy sell.

HELEN TOPE

BECOMING A MODEL

Preparing yourself for a career in modelling is rarely a simple process. Regardless of whether you want to be a fashion model, or work for catalogue, plus-size or the fitness sectors of the industry, there are a number of steps that are crucial to consider before you even step inside an agency.

Models Connect, in addition to offering free model evaluations, also offers realistic and industry-savvy advice on what agencies (not to mention clients) are looking for.

The first step is probably the most important. Modelling is already a crowded industry, and to make your mark it’s crucial to know which part of that industry you will be targeting your efforts on. After all, if you have the perfect build for fitness modelling, schlepping to endless fashion castings will leave you feeling utterly miserable!

Look at yourself in the mirror and assess. Measure your height, waist, bust and hips. Be honest as this will determine what sort of model you will become. If you’re over 5’8”with a face and body built for high-fashion like top model Lindsey Wixson [pictured], then that type of modelling could definitely be a possibility for you. If you want to get into plus-size modelling, height is also a factor but you will need to be at least a UK size 12. If your height is an issue but you have good even facial features and excellent hair and skin, then the highly lucrative avenue of commercial modelling may be your best option. It’s all about assessing your best features – try to imagine yourself through an agent’s eyes. What are your selling points? What makes you unique? This will go a long way to making sure you start on the right path and end up with a modelling career that’s tailor made to your strengths.

The next step is to start safeguarding your assets – that’s you by the way. If you haven’t already begun, make grooming and healthcare an immediate priority. As well as taking care of your hair, teeth and skin, make time for exercise. Contrary to popular belief, you don’t have to go mad spending hours and hours at the gym (and with high-fashion models in particular, being too muscular is a big no-no). Focus on a combination of light cardio and stretching work (eg: yoga or pilates): this will give your body a toned appearance on camera which is especially important for sports or lingerie modelling as there’s nowhere for poor muscle tone to hide!

While overhauling your body, don’t leave out your mind. Models Connect advocates that you think of yourself as a valuable commodity: no-one wants to hire a model that’s never on-time for bookings, unenthusiastic and bored (and not afraid to show it). Modelling is first and foremost a business, so think about what clients want: a model that’s focused, enthusiastic and committed to delivering excellent results. Also prepare yourself for the downside of modelling, as you will definitely encounter rejection at some point. It’s nothing personal, as it really does happen to everyone, even the most successful models in the world have not been right for a casting at some point in their career. Rejection may hurt, but the great thing about modelling is that you never know what the next opportunity will bring. Be open-minded: one booking very often leads to another. Treat every booking (regardless of who it’s for) like it’s the best job in the world. Sounds corny, but the client will be impressed with your attitude, and word will spread.

The next stage is approaching modelling agencies. Models Connect offers excellent advice on finding reputable agencies. It also pays to do a bit of sleuthing yourself: find out who your favourite models are signed with and visit their websites. Most agencies will clearly state their preferred method of contact from would-be models. Some allow you to upload a recent photo of yourself onto their website with your personal details, others have Open Days where anyone can come through the agency doors and be assessed in person. If you need to provide a photo, bear in mind that what’s needed isn’t a pricey portfolio shot. All you need is you, a friend and a digital camera. Take a simple head-shot (head and shoulders) and full-length shot (head to toe) against a plain background. Keep your dress simple (vest and jeans are ideal for both sexes), and keep hair pulled back off the face so agents can see how well your features photograph. Don’t grin for the camera (at least not this time!), just keep your face in a neutral expression and that’s all that agencies really need to determine your suitability as a model.

Good news – an agency loved your head-shot and wants to sign you. Congratulations, you’ve officially become a working model. But this is where the hard work begins. Going to castings (or go-sees) is a major part of being a model. Think of them as mini job interviews, but with better shoes. For castings (unless you’ve been specifically asked by the client to dress differently) think back to how you presented yourself in the photos you sent to the agency. This is perfect attire for castings. It won’t distract the client, and it shows you off to your best advantage, because it signals to the client that you understand what’s required of a professional model – sending out all the right signals is surprisingly easy once you know how. It should go without saying, but being on time is a big part of being a model. When everyone else is ready to start a shoot but you’re running late because you slept in, that’s not good. Just remember: time is money.

The final note is very simple: to get to the top takes more than simply looking the part. To become a model requires more of you than simply just good genetics. You need to be dedicated, hard-working and always ready to self-improve. No-one ever got to the top by resting on their laurels. Go back to the start and think about not what the modelling industry has to offer you, but what you can bring to the modelling world. When you have the answer, you’re ready to become a model.

HELEN TOPE

MODEL PROFILES: SIGRID AGREN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: ENIKO MIHALIK

Born in Hungary on the 11th May 1988, Eniko Mihalik fuses European glamour with a bold, sensual approach that’s anything but old-hat.

Eniko’s career began in 2002 when she won the Hungarian round of the Elite Model Look contest, and came fourth in the International Elite Model Look contest. She debuted at Paris Fashion Week in July 2006 when she walked for the Chanel Couture show.

Her name became better known in January 2008 when she was nominated as Model of the Week by http://www.models.com/ – the Hungarian then took on Fashion Week and was selected to appear for Alberta Ferretti, Betsey Johnson, Blumarine, Diane Von Furstenberg, Elie Saab, Gucci and Marchesa. A clutch of labels with one thing in common: they were all ultra-feminine labels and Eniko’s unique look answered their purpose perfectly. A body that’s couture-ready but still retains curves is a rare find even in the modelling industry, and Eniko has proved that curves – whatever the fashion barometer’s showing – are always in demand.

Her editorial career took off at the same time, securing a 6-month exclusive contract with photographers Inez van Lamsweerde and Vindooh Matadin. Mihalik shot editorials for Italian Vogue in August and the cover of V in September. Also landing a contract with Gucci, Eniko appeared alongside Lily Donaldson and Abbey Lee as one of the new faces of the brand.

Following a successful runway season including appearances for Versace, Derek Lam, Thakoon, Jason Wu, Isabel Marant and Zac Posen, Eniko ended the year with two more editorials for Italian Vogue in October; shoots for French and Japanese Vogue in November; and further editorials for W and Japanese Vogue in December.

2009 started extremely well for Mihalik, with not only a shoot for the French Vogue calendar (shot by Terry Richardson) but a campaign for Italian luxury label Max Mara, photographed by Craig McDean.

Eniko scored a cover in January with i-D, appearing on the front page with a butterfly over one eye. Both striking and original, it was a brilliant summing up of Eniko’s quirky beauty and editorial appeal. With another editorial for Italian Vogue that same month plus an appearance at the couture shows, walking for both Givenchy and Valentino, Mihalik’s career was blossoming.

In February, Eniko landed her biggest show season to date, walking for 56 designers, including Alexander Wang, Balmain, Chanel, Diane Von Furstenberg, Isabel Marant, Marc Jacobs, Nicole Farhi and Stella McCartney. Her diverse list of runway credits carried through into print work, with Eniko working three editorials in one month. Appearing for W, French Vogue and Italian Vogue in April, Mihalik demonstrated the depth of her versatility. The French Vogue shoot, named ‘Noces de Diamants’ was a shoot requiring nudity (up to and including full-frontal), shot in black and white by Mario Sorrenti. Her work for W, an editorial called ‘Harvest’, was a collection centred on the eclectic folk trend. It was packed with colour and detail, and also shot by the same photographer. Google these shoots and you will find yourself doubting whether the models used in both editorials are the same person.

In May, Eniko got the cover of Japanese Vogue, and further editorials for Italian, Chinese, French and Japanese Vogue throughout the summer. Her work for V magazine in July included a beauty editorial and a fashion spread. Called ‘Forever Young’, the atmospheric shoot paid homage to film noir, and it was ideally matched to Eniko’s strengths. Whether projecting anguish or ennui, Mihalik was pitch-perfect in every photograph. In August, she appeared in three editorials (Italian, French and Chinese Vogue) whose subject matter ranged from Parisian Victor/Victoria chic to sculptural cutting-edge eveningwear.

In September 2009, Eniko’s runway cachet began to soar: not only was she appearing for names such as Balmain and Chanel, but she was also being booked by the best of the newcomers. Walking for Peter Pilotto and Mary Katrantzou, Mihalik was securing her fashion future. The year ended on a surprising note: Eniko was asked to appear in the Victoria’s Secret fashion show. Like Chanel Iman, she was a high-fashion choice that raised some eyebrows, but her performance on the runway silenced critics: this was a high-fashion model not afraid to be just sultry, but downright sexy.

2010 has seen Eniko already score another high-profile campaign. Working with Liya Kebede, she will be the face of Kenzo. In February she appeared for Jill Stuart, Jason Wu and Carolina Herrera on the runway, but the main story of 2010 for Mihalik is an almost dizzying array of editorial work.

Starting with an editorial for Chinese Vogue in January, Eniko has appeared for Italian, French, Chinese Vogue and W in March; plus the cover of Hungarian Elle. She appeared in a provocative topless shoot for Purple Fashion with Constance Jablonski, Jamie Bochert and Emma Heming. Her coy side came out in a spread for Bon magazine, called ‘Too Shy to Convey’ and this August she has appeared in two shoots: the first for Numero, called ‘Sortilege’ (a Klimt-inspired, Art Nouveau shoot) and the second for Japanese Vogue. ‘Red Star’, shot by Camilla Akrans, is Eniko playing the siren card in ultra-glamorous couture gowns.

The thread running throughout Eniko’s career has been editorial. From the very start, Mihalik has distinguished herself as a model that will go the extra mile when committing to a frame. Her body type also lends itself to the more daring shoots as well as the straightforward fashion spreads which makes her a highly covetable signing for any magazine.

Eniko’s body of work is truly fashion made filmic. Look at any of her editorials, and the one thing they all have in common is they tell a story. The visual aspects of fashion (the shows, the magazine covers, the fashion spreads) are increasingly becoming the most lucrative form of currency the industry has. If the fashion industry’s trade is fantasy, then models like Eniko are doing their part in bringing that fantasy to life. Modelling is about more than striking a pose; it’s about making a visual connection and making it meaningful. Looking gorgeous on a cover is great, but if that cover doesn’t say something to the person thinking of buying that magazine, then it’s an opportunity lost.

Editorial work is one of the most challenging areas for a model to master simply because it requires the model to become someone else for the day, even if it’s well beyond their range of personal experience. Eniko has never been a neo-Goth, a lovelorn aristocrat or a footballer’s wife, but she embodied them all on film. Forget model turned actress, this is model as actress. There is no challenge too tough for the Hungarian, either. So far this year she has modelled for the Pirelli calendar, undertaken a 5-cover shoot for V and shot a multi-million pound jewellery editorial for British Vogue. Eniko’s ability to move from the toughest editorial demands to on-the-nail modelling for H&M is what marks her out as a true chameleon of the fashion world.

Along with models Raquel Zimmermann, Karlie Kloss and Magdalena Frackowiak, she understands that to be an editorial model today requires more than beauty: it requires something deeper, and the model that is prepared to take on those terms cannot be ordinary.

This is what separates high-end editorial work from mainstream. Clothes are there to be showcased, but being editorial is about more than being edgy or controversial. It’s about conveying mood, atmosphere and desire, in a way that’s both subtle and sublime. Eniko’s career puts paid to the theory that fashion is little more than skin deep: great fashion images are the point where fashion intersects with art and film, creating challenging, thought-provoking images that remind us that fashion is more than what is on the surface, it’s about what lies underneath.

HELEN TOPE

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