MODEL PROFILES: LIU WEN

Born in China on January 27^th 1988, Liu Wen is already on her way to becoming the face of international beauty.

After an appearance in the New Silk Road World Model Contest in summer 2005, she began modelling locally, aged 17. Her career began in earnest two years later, with editorial bookings for Chinese Vogue and Chinese Harper’s Bazaar. Scoring the cover of Chinese Marie Claire in December 2007, she made a pivotal decision in 2008, signing with Marilyn Agency in Paris.

The move to Marilyn proved crucial: in February 2008 she appeared in not one but four separate editorials for Chinese Vogue and made her international catwalk debut, walking in runway shows for Burberry, Chanel, Jean Paul Gaultier, Maison Martin Margiela and Trussardi.

March saw Wen make appearances on the cover of Chinese Elle and inside the pages of Chinese Vogue. Her impact on the ready-to-wear shows in February was discernible as she made her couture debut in July. Walking for both Jean Paul Gaultier and Chanel, Wen’s couture-perfect height made her a must-have booking.

Having put in the legwork, Liu reaped the rewards when she saw her ready-to-wear catwalk bookings rocket to 46 appearances. Her season was so successful www.style.com named her one of their Top 10 Newcomers.

Rounding out an amazing year with two more editorials for Chinese Vogue, Liu began 2009 with a bang. Selected by French Vogue to appear in their calendar, to Wen the assignment was more than just the thrill of being a calendar girl. She was crossing boundaries, shooting daring images with fashion’s agent provocateur, Terry Richardson.

Her ability to head into uncharted territory was noted by ‘New York Look’ who featured her as a rising star. With January spent in Paris for couture season, Liu experienced a mammoth ready-to-wear season the following month with nearly 75 shows. In an industry where 40 shows are enough to get you noticed, over 70 put Wen in the big leagues.

She walked for designers such as Balenciaga, Carolina Herrera, Chloe, Derek Lam, Dries Van Noten, Gucci, Jason Wu, Lanvin, Marios Schwab, Michael Kors, Rag & Bone, Vera Wang and Wunderkind. It was an epic mix of ultra-editorial designers (Schwab, Rag & Bone) and classic, money-maker labels (Chloe, Gucci). This was a star-making season for Liu. If she wasn’t on your radar before, she was now.

Between April and June, Wen appeared in Italian Flair, i-D, Chinese Vogue and British Harper’s Bazaar. Her growing status within the industry saw her couture credits grow to include Dior when she took to the Parisian runway in July.

Undertaking her first editorial for British Vogue the same month, she began clocking up more blockbuster campaigns. Featuring in the Autumn / Winter campaign for DKNY, Wen also made her debut for Gap, Benetton and New York department store, Barney’s. She was becoming a triple threat, handling couture to commercial cool.

Most models consider themselves lucky to experience one amazing RTW season. Wen, after her amazing 75-show run in February, made the headlines again with over 70 appearances on the world’s catwalks in September. She added more designers to her CV, including Amanda Wakeley, Celine, Diane Von Furstenberg, Jonathan Saunders, Peter Pilotto, Rachel Roy and Prada.

In October, Liu went back to her roots, appearing again in Chinese Vogue. ‘Essence of Red’, photographed by Kai Z Feng, saw Liu in a series of red gowns, the editorial an avant-garde exploration of China’s primary colour. Daring and meaningful, the spread showcased everything Wen had learnt on the world stage.

With a career already filling with big moments, in November, Wen hit a high note when she became the first Asian model to walk in the Victoria’s Secret Fashion Show. Televised in America and broadcast on the internet, this was a major first for Liu. Putting Asian beauty on the map, she channelled elegance and charm: a debut perfect for the lingerie brand.

2010 showed no signs of Liu’s career slowing, as she signed up to become one of the faces of Calvin Klein’s clothing line. She undertook another successful RTW season in February, and in March, she appeared in her first editorial for American fashion bible, W.

The spread, ‘Chic Mystique’, portrayed Wen in a new light, as she became a sultry scene-stealer. Liu held her own against models that make these shoots their bread and butter: teaming up with Lara Stone, Shalom Harlow, Jessica Miller and Eniko Mihalik, Wen transforms into one of the girls.

In April, the news broke that Wen would be signed as a campaign regular for Estee Lauder. Also signed were Joan Smalls and Constance Jablonski. The news made headlines around the world, as Liu became the first Asian model to represent the iconic cosmetics brand.

By hiring French Jablonski, Puerto Rican Joan Smalls and Chinese Liu Wen, Estee Lauder made a very real and very meaningful attempt at a beauty campaign that spoke to as many women as possible. The campaign not only presented three women from different backgrounds, but three models that were equally matched in terms of runway, editorial and campaign experience. The casting was inspired with the three models working together to create campaign history. As an idea, it was powerful stuff. As a statement, it was undeniable.

In September, Liu undertook another blockbuster season with 44 shows including Balenciaga, D&G, Oscar de la Renta, Ralph Lauren, Stella McCartney and Tom Ford. The season was capped with a seminal cover of Chinese Vogue. Appearing with models Ming Xi, Shu Pei and Tao Okamoto, they were featured as the mega-stars behind the Asian modelling phenomenon. It was a feat made all the more incredible when you consider that as little as ten years ago, assembling this cover would have been impossible.

Liu appeared in three editorials of the same issue, with focus on everything from streamlined aesthetics to dreamy romanticism. Japan and China may be known for their love of sharp, clean lines; but one look at their love affair with ceramics tells us that ornate, decorative detail is in the blood. The perfect balance of economy and flourish on a Ming vase is a great metaphor for Asia’s take on fashion. As their influence is set to grow over the next decade, it’s not too far a stretch to imagine fashion following their lead: economy and flourish.

Ending 2010 with her second walk down Victoria’s Secret runway, Liu made her American Vogue debut in December, appearing in an editorial shot by Steven Meisel. ‘Asia Major’ was a rock and roll approach to haute couture, marrying the best of Parisian fashion with punk-kid street culture.

American Vogue is never one to let a trend slip by, and their celebration of Japan and China’s success in the modelling world is acknowledgement of the biggest phenomenon since the wave of talent from Eastern Europe. Like Natasha Poly, Sasha Pivovarova and Natalia Vodianova, expect to see Liu Wen, Emma Pei and Tao Okamoto become just as familiar as the bookings continue to stack up.

This year began with Liu adding Givenchy Couture to her CV, and renewing her contract with Calvin Klein. But the year was just getting started: in February she enjoyed her editorial debut with Italian Vogue. Photographed by Miles Aldridge, Liu played it straight, delivering a performance that was both polished and assured.

With a smattering of editorial work for both American and Chinese Vogue, Wen hit another career highlight in September with another magazine cover. Appearing for Chinese Vogue, Wen appeared with Du Juan, Shu Pei, Ming Xi, Sui He and Fei Fei Sun. With all the models dressed in gowns from Gucci’s A/W 11 collection, it was a true ‘East Meets West’ moment with Asia’s brightest talents wearing one of fashion’s leading labels.

The subtext was clear: for anyone who had missed it, this cover was telling the world that Asia is set to become the newest epicentre for high-fashion consumerism. The influence of fashion’s new high-spending fanbase is already starting to be seen with out-and-out luxury making a comeback. This season, quiet camels and muted browns make way for an effusion of colour. The detail is exuberant, projecting an optimism that felt like an impossibility two years ago. Asia’s enthusiasm for ready-to-wear and haute couture, and its willingness to invest in it, is giving the industry cause for hope. If not a fully-fledged solution to the economic downturn, it is, at the very least, a lifeline.

September was a busy month for Liu, working for Numero China, plus a substantial editorial with Dazed & Confused. The month came to a head when Liu made her campaign debut for Dolce & Gabbana. Joining Isabeli Fontana, Kate King and Constance Jablonski, it was the strongest indication yet that Liu was becoming one of those models who are able to work the campaign circuit at the very highest levels. Getting editorials and runway jobs are great, but for maximum visibility, campaigns are hard to beat. It is a fast-track system in turning a fashion girl into fashion’s IT girl.

Ending the year with an appearance in V magazine, Wen joined her agency stable-mates in celebrating the achievements of Marilyn.

With Wen on the books along with Caroline Brasch Nielsen, Eniko Mihalik, Lindsey Wixson and Nyasha Matanhodze, it is clear that Marilyn has a definite viewpoint on what kind of model they want to present. Maybe not as familiar a name as Elite or Storm, Marilyn has made its reputation on the calibre of high-fashion talent it represents. Caroline, Eniko and Lindsey are among fashion’s most sought-after stars, and Nyasha has just made her campaign debut with Louis Vuitton.

The models signed by Marilyn are unapologetically edgy: Wixson’s pout has made her a favourite with Miu Miu and Eniko’s curves have cornered the market in making sensuality part of the editorial experience.

Within this context, Liu fits perfectly as a Marilyn girl. Having a face that can project the core values of brands such as Victoria’s Secret and Calvin Klein makes Wen a valuable agency asset. Her ability to go out on a limb makes her one of fashion’s most exciting prospects.

Her career is filled with firsts: the first Asian model to walk in the Victoria’s Secret fashion show; the first model (other than Kate Moss) to front a premier issue of Numero and the first Chinese model to represent Estee Lauder. Just one of these accomplishments would be impressive: the fact that this is only the backbone of Wen’s CV is astonishing. Flesh it out with her wide range of editorial, runway and campaign work, and you get an idea of just how much this model has achieved. She is not only China’s most valuable player, but a versatile beauty that is rapidly on her way to becoming a global fashion icon.

HELEN TOPE

MODEL PROFILES: RUBY ALDRIDGE

Born in Los Angeles in 1991, Ruby Aldridge joins a select group of models re-defining American beauty for a new generation.

Raised in California, Ruby was born into a family with serious fashion connections. She is sister to Lily Aldridge, who regularly models for Victoria’s Secret, and a half-sibling to Miles (fashion photographer) and Saffron (model).

Ruby was discovered in 2005 at the age of 14. A year later she was modelling for the DKNY autumn / winter campaign, shot by Peter Lindbergh. With a smattering of credits peaking in 2008, Ruby ended the year with the campaign for luxury accessory brand, Coach.

Ruby’s big break came in February 2010 when she made her international catwalk debut. Selected to open both the Marc Jacobs and Marc by Marc Jacobs shows, she was also picked to open shows for House of Holland and Erdem, closing the show for Lanvin.

Her other credits included Alberta Ferretti, Dior, Pucci, Missoni, Nina Ricci, Versace and Wunderkind. It was a quality debut. Getting the seal of approval from Marc Jacobs is hard to beat in terms of creating buzz. With Prada, Jacobs joins an elite group of designers who have the power to really launch a model’s career.

Aldridge’s affiliation with Jacobs continued in 2010 with Ruby becoming the face of Marc’s diffusion label. Photographed by Juergen Teller, these campaigns have become uber-familiar to fashion watchers, becoming the girlish, quirky hallmark of the Jacobs brand. A true fashion leader, Marc’s choices are always unexpected. The midi-hem, at one time considered unwearable by many, has found itself at the centre of fashion this autumn, worked in every way from soft pleats to metallic leather. The Jacobs ethos doesn’t live in big, showcase moments, but in the steady infiltration of new ideas. He made urban chic absolutely essential in 2009, and made classic silhouettes the cornerstone of autumn 2010.

The sartorial palette cleanser inspired across the board, moving fashion to think and operate in terms of editing rather than excess. It sparked a tide change that would quietly revolutionise the way we buy, wear and think about fashion. Volume buys gave way to considered purchases based on only one rule: love now, love forever.

Ruby’s connection with the best of design talent continued in September 2010, with a massive 46-show season, opening shows for Costume National and Erdem. Aldridge added Dries Van Noten, Haider Ackerman, Jason Wu, Jeremy Scott, Miu Miu, Reed Krakoff and Roberto Cavalli to her list of credits.

Ruby’s affinity with high fashion went to the next level in January 2011 when she undertook her first couture season in Paris. Standing at just over 5’ 8”, Aldridge is well under the prescribed height for couture models, but her bookings with Elie Saab and Valentino were an inspired casting choice. Her look, which can move from edgy to feminine, was more than able to take the intricate, detailed designs. When it comes to modelling couture, height helps but the right attitude can hide a multitude of sins.

In February, Ruby had her busiest RTW season to date with a massive 52 appearances, opening shows for Celine and Valentino, and closing shows for Miu Miu and Peter Som. More top designers got on board, with Alexander Wang, Chanel, Chloe, Dolce & Gabbana, Prada and YSL all booking Ruby. It was, by any definition, a very successful season, with Aldridge representing the A+ list of international design talent.

Making her first appearance in March’s edition of Italian Vogue, Ruby’s profile soared even further with a busy couture season in July, representing Valentino, Elie Saab and Giambattista Valli. In the same month, she also made her American Vogue debut, appearing in an accessories shoot photographed by Norman Jean Roy.

These editorials have always been part of a magazine’s repertoire, but are gaining in importance as fashion’s smaller status-symbols become the breadwinners. You may not be able to stretch to the price of a Lanvin dress, but the bag (sold at a third of the price) may be more within your reach. Designing that must-have accessory for the season, is rapidly becoming a priority again. Having moved away from the IT bag phenomenon, the challenge is to now make designs that are eye-catching but enduring. When it is getting harder to tell the difference between high-street and Bond Street, quality becomes the selling point. High-fashion has the best fabrics and finishings at its disposal, and giving consumers value for money is where it squeezes the competition.

Another plus for accessories is that they can adapt far quicker than clothes – the move from mini-skirt to midi-hem took the best part of five years. A bag or scarf can change at will – their ability to absorb any new trend puts them at a premium on the shop floor. High mobility and high volume makes accessories an easy sell even in hard times.

Ruby continued her editorial work with concurrent features for Interview in August and September. The second editorial, named ‘Uptight Urban’ and photographed by Craig McDean, is packed with directional detail. If last winter was about big, game-changing ideas, this winter has homed in on the little joys of fashion. Quilting, shearling and Fairisle jostle for pole position in our wardrobes, with texture becoming the headline story of the season. Whether you go for retro or forge ahead in directional shapes, there are no sleeper trends this year – everything is a go.

Ruby got to work with McDean again, shooting her second editorial for Italian Vogue. Titled ‘Chic-Gothic-Glam’, this spread was tailor made for Ruby’s look, making her an automatic stand-out. Working alongside top model Arizona Muse, Ruby’s work at couture level prepared her well for the demands of Italian Vogue, and the resulting editorial exudes a dark, gothic glamour that’s absolutely contemporary.

Aldridge took to the runway again in September with a prolific season of over 45 shows, adding designers such as Stella McCartney, Michael Kors, Tory Burch and Sportmax to her catwalk CV. Ruby’s campaign quota was filled with a starring role in the new Valentino ad. Working with Sara Blomqvist, Kim Dall Arni and Caroline Brasch Nielsen, the delicately feminine feel of the clothes combined with their high-fashion credentials played perfectly to Ruby’s strengths. A very modern success story, the newly-revamped Valentino label is fronted by creative team Maria Grazia Chiuri and Pier Paolo Piccioli who made their names through designing accessories.

In October, Ruby got to make work more personal, when she signed up to appear in a spread for New York Times magazine. Photographed by her half-brother, Miles Aldridge, the working relationship blossomed further in Ruby’s third Italian Vogue editorial, with Miles stepping in as the photographer. ‘Home Chic’ saw Ruby work blonde in a Stepford-Wives, neon-clad shoot. Bright, vibrant and confident, it showed Ruby and Miles clearly comfortable at working together: this accomplished editorial representing some of their best work to date.

Ruby’s latest editorial for 2011 sees her appear in V Magazine, in an article profiling her agency, NEXT. The spread features a selection of the agency’s stars and newcomers alike, including Anja Rubik, Hailey Clauson, Karlie Kloss, Tatiana Cotliar, Aline Weber, Shu Pei and Isabel Hickmann.

NEXT is one of the top five agencies in the world, and has settled its reputation on signing faces. It is noticeable when looking at some of their most popular models that they are all known for memorable features:

Arizona Muse – eyebrows

Hailey Clauson – hair

Abbey Lee Kershaw – pout

Karlie Kloss – eyes

In modelling, body shapes tend to come and go. The athletic, broad-shouldered beauties of the 80’s made way for gamine in the 90’s. Ten years later, the bombshell returned (Gisele, Lara Stone) and classically long-limbed models are now being sought out as a perfect accompaniment to fashion’s challenging silhouettes.

But faces seem to have a more lasting appeal. NEXT’s success seems to be linked to their ability to spot a good face. Some of their best known models - Rubik, Kloss, Kershaw – have all become campaign regulars, with clients ranging from H&M to Donna Karan.

However many models hold that position of campaign go-to girl, there is always more room at the top. No one face suits all. It explains agencies’ eagerness to find that next great face. No matter how business is doing, a good campaign face is always in demand.

Ruby’s potential, when played out against this background, is clear. Her features – pale skin, dark hair and doe-like eyes - are an example of how the All-American model ‘look’ has been extrapolated over the past two decades. She joins models like Chanel Iman and Dree Hemingway in showing how the American Model looks today: bold, editorial and always surprising.

Ruby’s strength is in her cross-continent appeal: long-limbed insouciance for Calvin Klein; gothic cool for Dries van Noten and high-octane glamour for Versace. What she offers the fashion industry is a different take on what it means to be American. American beauty has moved from its clean-cut roots to become multi-dimensional, from geek chic to glamour fit for Hollywood. Ruby’s finesse with editorial and couture makes her an integral part of the new-American club.

In learning to embrace its dark side, America has succeeded in persuading the rest of the world that it has more to offer. Representing a new kind of girl, Ruby is the face of modern Americana.

HELEN TOPE

MODEL PROFILES: ANNA SELEZNEVA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HELEN TOPE

MODEL PROFILES: MIRTE MAAS

Born on July 16^th 1991, Dutch model Mirte Maas has in two short years turned a niche look into a career that’s anything but narrow.

Signing with Women Management in 2009, Mirte’s career started quickly with an editorial for Russian Vogue in August. She made her international catwalk debut in September, opening shows for Alexander Wang, Donna Karan and YSL.

It was the type of season that most models work years developing. Mirte walked for every major designer including a blockbuster moment at the Prada show in Milan. Also booked by Prada were Lisanne di Jong and Patricia van der Vliet, both from the Netherlands.

Bringing a cool new aesthetic to the catwalk, the three models created a stir. Everything in the Spring / Summer 2010 collection was either cropped or heavily embellished – silk Hawaiian-print jackets were paired with sandals loaded with crystals. It was a very new type of summertime glamour, and Mirte, Lisanne and Patricia seemed the perfect girls to sell it. After a few shaky seasons, Prada was back on form, producing highly-covetable pieces, destined to be reproduced across the high-street. The prints were the most popular, showering the high-street with retro panoramic views of Italy and France. Offering a serious alternative to florals, Miuccia’s hunch that there was an appetite for print proved to be right on the money. It was Prada’s most influential collection in years.

Mirte’s career was launched on the back of this appearance at the Prada show. She along, with Lisanne and Patricia, became fashion’s latest obsession. In October 2009, www.style.com featured Mirte as a Top 10 Newcomer.

Her status was confirmed in early 2010 when she was announced as one of the new faces in Balenciaga’s S/S campaign. Also featuring running mates Lisanne and Patricia with established model Iselin Steiro, the ad was shot by Steven Meisel.

The now-famous ‘Photoshop’ ad, packed with colour and energy, made a huge impression. While other campaigns were peddling pastels and neutrals, Balenciaga’s left-field palette of green, orange and yellow packed a punch. Playing with proportions, the startling visuals made the advert bold and contemporary. Whether you loved it or loathed it, there was no ignoring it. Like Prada, Balenciaga is a label that takes the road less travelled, and being associated with such a label did Mirte’s career no harm as her campaign debut set the tone for the rest of the year.

Following a campaign for Calvin Klein, Mirte’s career took another step up when she featured in her first Italian Vogue editorial. She appeared in ‘Runway’, a multi-page editorial and tons of behind-the-scenes footage intercut with runway shots. It was all a construct, with Meisel pulling the strings to create an editorial with an authentic, documentary feel.

Meisel’s choice to explore this subject proved him to be ahead of the curve. Those candid shots you see in magazines of models waiting to take to the catwalk have gained massively in value. The energy, sometimes frenetic, but always exciting, is perfect drama for a photographer’s lens. Meisel saw the potential of this kind of photograph, and now these photos are as commonplace as the runway stills.

Following her first couture season in Paris, Mirte had her first magazine cover in February, landing the front page of Chinese Vogue with model Shu Pei. It was a significant move, with the importance of breaking into new fashion territories becoming ever more crucial. China has a genuine appreciation for luxury goods and high-fashion is right at the top of that list. Playing to this fashion-hungry crowd could signal real mobility for Mirte’s career within the next few years.

Mirte’s runway season in February was another success, opening shows for Sonia Rykiel and Balenciaga. She also walked for designers who represented the best of mainstream and avant-garde: Chanel, Derek Lam, Elie Saab, Marc Jacobs, Marni, Nina Ricci, Preen, Rag & Bone, The Row, Valentino and YSL.

With a smattering of editorial work for W, Japanese Vogue and Numero over the next few months, Mirte booked another slot with American Vogue in May. Photographed by David Sims, ‘American Experience’ was the great American novel in fashion form. It was a truly epic editorial, featuring Edith Wharton-style debutantes in Oscar de la Renta gowns to celebrating the classic white shirt from Calvin Klein. It explored the minutiae of American experience through its fashion, showcasing not only the big names but demonstrating how diverse American fashion has now become.

Compared to the glittering excesses of Paris and the sleek chic of Milan, America has at times struggled to find its voice. But its willingness to embrace new cultures through years of immigration has led to a range of exciting new designers that are offering a view of American fashion that’s anything but apple pie. Thakoon, publicly supported by US Vogue editor, Anna Wintour, has a design sensibility that merges street style with razor-sharp directional tailoring. Jason Wu and Derek Lam are the heirs to old-school designers such as Oscar de la Renta, reinventing glamour for a new generation. Some editorials go further than just showcasing new trends – this one demonstrated how far America has come in letting its voice be heard.

Renewing her campaign contract with Balenciaga in the autumn, Mirte once again wowed on the A/W runway with a 44-show season. Modelling for many of the same designers who had booked her as a new face just one year ago, she was proving that the ‘Dutch fad’ was anything but a passing phase.

Ending the year with back-to-back editorials for Chinese and Spanish Vogue, 2011 began with Mirte making a splash in American Vogue. Appearing in ‘New Order’, an introduction of the year’s big-hitters, Maas also appeared in the Spring / Summer preview featured in the magazine’s February edition. ‘Gangs of New York’, shot by Mario Testino, hired every top model available to appear in fashion tribes in a mega editorial. Mirte appeared in the section featuring designs from Donna Karan.

Mirte experienced her best ready-to-wear season in February with 52 shows. Maas appeared in every show of note including Burberry, Chanel, Hakaan, Jil Sander, Marc Jacobs, Prabal Gurung and Versace.

She also built up her couture CV in July, with shows for Armani Prive, Valentino, Chanel, Elie Saab and Giambattista Valli. 2011is turning out to be a golden age for haute couture, with the couture houses proving surprisingly resilient at keeping up with the changes in the fashion market. Creativity has been fashion’s chief response to the recession and it seems to be working, with the best designers continuing to flourish. The desire for fashion hasn’t gone away – we just want more bang for our buck, and that’s exactly what they’re giving us.

With a Valentino campaign lined up for Autumn / Winter 2011, Mirte had a knockout season in September with 41 shows, including appearances in some of the best shows of a particularly strong season. Walking for Christopher Kane, Valentino and Rodarte, Mirte has settled her reputation as a runway and editorial stalwart.

Outliving the initial buzz surrounding her first season, Mirte has emerged two years later with a career that shows real promise of enduring at the very top levels of the industry.

Her impeccable runway credentials point to just how important catwalk remains. Now streamed live on the internet, shows are viewed by millions, rather than a select industry few. In the trifecta of runway-editorial-campaign, runway remains the quickest route to industry approval.

It is often the first glimpse of a new collection, making the hiring of models absolutely crucial. The right dress on the wrong model can spell disaster. Whether the collection is well-received on the catwalk will then have a deciding factor on whether the pieces are used for editorials. A prolific presence in the world’s fashion magazines then gives the campaign serious selling power. Success at this level determines sales on the shop floor, ranging from actual collection items to add-ons such as bags, shoes and fragrance. The push at the start of the season can determine a label’s financial momentum for the rest of the year. Mirte’s ability to command attention on the runway is a skill that puts her at a premium.

The trajectory of Mirte’s career shows that what is beginning to emerge in this decade is not one new interpretation of the term ‘supermodel’, but several. You have campaign regulars – such as Anja Rubik, Karlie Kloss and Jacquelyn Jablonski – and then you have the models who command attention on the world’s runways and in the pages of top magazines.

But one isn’t taking precedence over the other – their level of success and standing within the industry is impossible to separate. It’s a move away from the polarisation that occurred in the Eighties, setting editorial / runway girls against the models who scooped the campaigns and magazine covers. Those who did covers were rarely seen as editorial stock, and vice versa.

With the following decade came a need for compromise. As finances became squeezed, choices had to be made, and suddenly the idea of a small band of supermodels having a monopoly on all the good jobs seemed not only unfair but not particularly good for business. The high prices requested by the Eighties supermodels could not continue, and widening the market meant new models offering more for less. It was a pivotal move, and has resulted in the modelling industry we see today. By rejecting the old rules, the diversity that allows an editorial model to get campaign bookings with mainstream clients such as Calvin Klein, makes modelling a more even playing field - it also makes it more interesting

Mirte’s fortunes have taken her from being a niche model on Prada’s runway to scoring the kind of editorials and campaigns that are spelling out a highly successful future. The age of the Supers may have gone, but Mirte’s achievements make her no less impressive. Her ability to do it all, from mainstream to the cutting edge of fashion, makes Mirte a very modern interpretation of supermodel. While the term is getting redefined for a new age, the strengths required remain the same.

HELEN TOPE