Modeling Journey

Born in Canada on May 7^th 1991, Anais Pouliot is set to make the transition from catwalk to campaign this year, emerging with the potential to become one of the most striking beauty faces to hit the industry in years.

Discovered at the age of 14, Pouliot signed with Trump Models in 2007. Later that year, Anais scored her first campaign, working for See by Chloe.

Pouliot didn’t make her runway debut until February 2010, walking for John Rocha, Betty Jackson, Lacoste, Miu Miu, Peter Jensen, Twenty8Twelve and William Tempest. Working with some of the most talked-about young designers in the business, Anais made a great first impression, walking in Paris for Miu Miu as an exclusive.

In June 2010, Anais modelled for the resort presentations for both Miu Miu and Prada in New York. Resort shows are fast becoming more than appetisers to the main Spring / Summer and Autumn / Winter events. The fashion industry is beginning to realise that the four seasons are not as clearly defined as they once were. Trans-seasonal clothes that bridge summer to autumn, winter to spring, are selling incredibly well. The provenance of the layering trend can be traced back to the need for fashion that can accommodate rapidly-changing temperatures. It’s paved the way for a looser feel when it comes to trends, explaining why airy, translucent white is being featured in the A/W 2011 collection for YSL, and how lightweight tweed jackets inspired by Isabel Marant are selling all year round. As our weather gets more extreme, fashion’s adapting by being freer with its once hard-and-fast rules.

Anais’ breakthrough season occurred in September 2010. Working in 36 shows, she walked for established names such as Chanel, D&G, Marni, Prada and YSL, plus newer labels such as Christopher Kane, Holly Fulton, Mark Fast, Mary Katrantzou, Peter Som and Versace’s newly-revamped diffusion line, Versus.

Pouliot’s striking appearances on the runway circuit got her noticed by magazines, and in November Pouliot had her first major editorial, appearing in W. Photographed by Paolo Roversi, the editorial named ‘Family Circus’, was an epic winter fantasy starring Lindsey Wixson, Arizona Muse and Britt Maren. Ethereal and downright gorgeous, it was a perfect starting point for Anais.

In February 2011, Pouliot’s editorial career went international, with a spread in Japanese Vogue. Appearing almost bare-faced, Pouliot’s confidence is unflinching. Anais’ gift for taking a great beauty shot pegged her as a potential face for big-money campaigns. Also featuring on the S/S 11 cover of French Revue de Modes, Pouliot pulled another trick out of the hat, appearing in avant-garde florals. Anais was compelling the industry to think of her not only as a potential beauty headliner, but someone who can handle new design.

In April, Pouliot appeared in Russian Vogue, photographed by Ellen Von Unwerth. Featured in electrifying Armani Prive, the shoot called for a high-glamour affinity with couture, but with an element of fun. Pouliot captured the essence of ‘girl on the town’ brilliantly: flirty, sexy but definitely chic.

The following month, Anais appeared in German Vogue. The editorial, ‘Uber-Sinnlich’ (which roughly translates as ‘supernatural’), featured Anais in an exquisite beauty shot. With her beauty literally shining through a heavily-jewelled veil, the photo is a masterstroke, revealing Pouliot’s ability to command your attention.

This month, Anais appears in Russian Vogue and turns her hand to working the smoulder. Working sex-appeal in editorials requires razor-sharp instincts. You need to convey seduction, but the wrong angle or the overplaying of a facial expression can turn seduction into parody all too easily. The line between silly and sexy is wafer-thin, and remarkably quick to cross.

Anais’ confident handling of the shoot, in Gucci’s S/S 11 collection whose heady Seventies glamour has become one of the summer’s most popular looks, points to a model who is not easily phased. A model with a poker player’s nerve is a model tipped for greatness.

Sure enough, Anais’ work on the runway and for some of the world’s most respected magazines has culminated in a booking with serious star-making potential. Earlier this month, pictures of the A/W 11 campaign for Louis Vuitton were previewed by WWD. Photographed by Steven Meisel, Anais works with Daphne Groenveld, Zuzanna Bijoch and new British modelling hopeful, Nyasha Matanhodze. The theme is military glamour, playing allure against discipline.

The signing with Vuitton marks a massive rise in status for Pouliot. The French label, now steered by Marc Jacobs, has a well-won reputation for producing some of the most striking images each season. Just these few teaser images are enough to give you an indication of what to expect this autumn. Neutrals working side by side with block-brights, bring the best of last winter and this summer to make what has the potential to be an incredible season.

The rise of Anais through the modelling industry charts how glamour and beauty are making a comeback. The latest beauty ads to emerge: Arizona Muse for YSL, Lara Stone for Tom Ford and Jac Jagaciak for Chanel all have one thing in common. The images may waiver between wholesome and wanton, but they all chronicle beauty that’s recognisable and readable, not just to the fashion industry, but to us as well.

Beauty ads are all about the face – seems an obvious point to make, but with little else to showcase, every ounce of meaning has to count. Although Pouliot is a fashion girl, it’s clear that her strength is being able to take a great close-up. It is this ability to grab our attention that makes Anais a fairly safe bet when it comes to figuring out which faces will become fashion’s next big-hitters. Pouliot’s traditional type of beauty is a surprisingly good fit with high-fashion. Going from haute-couture glamour to edgy florals, Anais never looks out of place – no mean accomplishment for a model endowed with a face that looks like it came from another century. Pouliot’s old-world, painterly type of look makes her curiously modern. In an industry filled with models that run from tomboy to sexpot, there’s not many names that can step and fill that niche for prettiness.

The idea of a model that’s objectively ‘pretty’ does seem at odds with everything we’ve learned about the fashion industry. But this swing from quirky and cool to gently feminine is symptomatic of a wider move. Whether you chalk it up to the Middleton effect, or bigger economic influences, the rising mood of the moment is ‘real-girl’ fashion. Knee-high boots, petite florals and white cigarette jeans are all flying out of the shops, but they are noticeably missing from this season’s runway.

We’ve been happily delving into trends for the past decade – harem pants, asymmetry, platform heels – we’ve worn the lot, experimenting with shapes and colour to our hearts’ content. But there’s been a tide change, with tastes visibly moving towards the conservative. Simpler silhouettes and lower hemlines have returned – they are a reaction to fashion’s desire to shock, but not from the direction you might expect.

The literal opposite of neon and tribal print jumpsuits would be full-on minimalism. But instead beauty is making a power-play for control of our wardrobes because it offers a viable alternative to fashion’s wilder, experimental side. For the past few years, fashion has been devoted to challenging us to wear new shapes, textures and colours. While this is fashion at its purest, encouraging us to be braver and bolder, it has left a gap in the market for the days when you just want to look good and feel good with minimal effort required. Even the urban uniform that has evolved from designers such as Rick Owens, The Row or Zadig & Voltaire, requires an awareness of how to layer different fabrics and what boots work best with leather leggings. It certainly looks good when done right, but it can’t beat jeans and a t-shirt for ease of use.

What’s developing is a movement aimed at catering to people who want a look in three moves or less. But this emerging trend isn’t about indulgence, but something that’s grounded in a real fashion literacy that’s all about the detail. Those white cigarette jeans may not be ultra high-fashion, but look closer and they will be from a brand such as MiH or Citizens of Humanity. No-one likes to be left of the loop and this new trend for prettiness is fashion by stealth. The ingredients are all there – they’ve just been mixed a little differently.

Anais’ growing career is part and parcel of this very movement – her height allows her to do runway, but her face is her unique selling point. Fitting fashion’s interpretation of ‘pretty’ is a rare gift. Too much ‘girl next door’ and you’re better off finding work in the lingerie / Sports Illustrated mould. Too left-field and you risk your looks not translating in big-brand cosmetic campaigns.

The beauty that Pouliot represents is an able translator because it works with high-fashion, not against it. Now that fashion’s relaxed the rules, it’s a whole different game. Playing with a portfolio that’s anything but simple, Anais demands you take a closer look.

Born in Utah in 1991, Hannah Holman has joined a generation of new models shaping the face of the fashion industry.

Signing with Elite Models in 2008, Holman’s big break occurred a year later when she was picked to close the resort show for Prada in June 2009.

Noted website www.models.com featured Holman as a top newcomer – her impact was immediate. In addition to her Prada debut, she was signed to become one of the faces of the Miu Miu campaign. Prada has a great reputation for nurturing not only great talent, but talent that creates waves – Daphne Groeneveld and Lindsey Wixson can attribute their high-flying careers to campaign spots with the Italian label.

In September 2009, Hannah took on her first Fashion Week. Opening and closing shows for Jonathan Saunders and Missoni, she also walked for Marc Jacobs, Fendi, Alberta Ferretti, Nina Ricci, Chanel, Valentino and Louis Vuitton. Mixing the Italian luxury of Valentino and Missoni and the Parisian chic of Chanel, Holman’s start on the runway circuit impressed all the right people.

In early 2010, it was announced that Hannah would be appearing in Spring / Summer campaigns for Jill Stuart, See by Chloe, Alexander Wang and Marc by Marc Jacobs. Having features that could switch from girly to tomboy in an instant made her a win-win, and it is certainly reflected in the signings she won. Veering from Wang’s ultra-minimal aesthetic to Marc Jacobs’ geeky-girl chic, Holman looked at home in every look.

Hannah began 2010 with some top-drawer editorial work as well, appearing in two spreads for Russian Vogue. Her Autumn / Winter runway season in February saw her add Sonia Rykiel and Vivienne Westwood to her catwalk CV, as well as progressing to Marc Jacobs’ main line.

In April, she got two magazine covers – the S/S cover of French Revue de Modes and the cover of RUSSH, photographed by Benny Horne. Featured in a bold, asymmetric crop top, it was clear, even at this stage in Holman’s career, that she would be the alternative blonde.

This industry has made room for many blonde models, several of which have experienced extraordinary success. But Holman would prove to be the opposite of models such as Brooklyn Decker and Doutzen Kroes. Fashion isn’t just about the glossy, aspirational blonde, but the cool, confident girl who has the world of avant-garde fashion wrapped around her little finger. Holman’s strength as a model isn’t just her versatility, but her confidence. Joining models such as Abbey Lee Kershaw and Jacquelyn Jablonski, Hannah succeeds not just because she’s great at what she does, but because she’s thoroughly at home in her own skin. Therefore pretending to be somebody else poses no problems at all.

From May to October, Hannah featured in a series of editorials for magazines such as Dazed & Confused, French Vogue, Numero, V Man and finally Italian Vogue. Featuring alongside new models such as Gwen Loos and Hailey Clauson, the Italian Vogue editorial was a series of classic fashion portraits with a vintage, Seventies feel. Also marking October with concurrent editorials for Russian Vogue and Numero, Holman saw in the New Year with another stellar contract.

This time the deal was a fragrance, representing the new summer Daisy scent from Marc Jacobs. Shot by Juergen Teller, the ad manages to sell an ultra-feminine perfume in a way that’s defiantly unconventional. In a sea of adverts featuring romantic images, Holman’s edgy qualities bring an air of bold confidence that sets the advert (and the fragrance) apart from the competition – job done.

2011 started well for Hannah as she was signed to appear in a multi-page editorial for American Vogue. ‘Gangs of New York’, photographed by Mario Testino, was a comprehensive review of the best of Spring / Summer fashion. Placed in groups, each representing a different look, Hannah was perfectly cast in a shot featuring neo-punk design. Working with Jana Knauerova and Britt Maren, Holman epitomised the rebellious punk spirit, packing a sartorial punch.

Her most recent work also includes a S/S cover of French Revue de Modes. The magazine went with a multi-cover edition, where you could choose from a magazine fronted by Hannah, Barbara Palvin, Julie Ordon, Bambi Northwood-Blyth or Anais Pouliot. Working with these newer talents, including Anais and Bambi who are generating column inches too, Holman doesn’t look like a fish out of water, but someone who’s in the right place at the right time.

Hannah’s renaissance is thanks to a wider movement that has seen fashion learning that reinventing the wheel is not always necessary. Borrowing from fashion’s back catalogue and blending it with fresh ideas has resulted in fashion making some serious money-spinners: the humble satchel’s journey from schoolyard to Fashion Week is just one example.

It’s an ethos informing even the kind of models that are now beginning to emerge. As the recession begins to ease, we are starting to see the friendly, groomed type give way to an edgier beauty. It started with Arizona Muse’s launch into the industry courtesy of Anna Wintour. When the first lady of fashion gets on board, it’s more than just a phase.

Faces like Hannah, Anais, Bambi and even more familiar names like Lindsey Wixson and Freja Beha are becoming the vanguard of modern beauty. It’s not about looking perfect, but immersing yourself in the strengths you do have. Every quirky model that’s been successful can attribute their career to this strategy. Devon Aoki’s multi-cultural face with a smattering of freckles; Audrey Marnay’s delicate features and Stella Tennant still making headlines today with her stunning new Italian Vogue cover. What these women all have in common is their refusal to fit the mould.

Stella, Devon and Audrey came right after the glamazons of the late 80’s and early 90’s, and the change was abruptly felt. Both are accomplished in their own way, but it’s hard to think of two models that look more different than Stella Tennant and Claudia Schiffer. Twenty years on, the cycle is about to repeat itself. The comfort and familiarity of models who have guided the industry through some tough times, is moving aside for a bolder age where fashion gets a little rough around the edges.

It’s not about casting off one set of models in favour of another. There’s room – and sufficient demand – for many types of looks. Just a brief glance over this season’s key trends tells you this: florals, denim, sports luxe, decadent colour – common sense tells you that one model can’t do it all. However accomplished a model might be, there will always be areas where you excel and others where you’re working against the grain.

Fashion’s kaleidoscopic approach to trends is good news for everybody. Rather than one type of model taking the lion’s share of editorials and campaigns, there’s enough diversity to warrant a whole raft of models, covering the most challenging of avant-garde to classically-feminine. What has also developed is a generation of models who accept this diversity as the norm. Edgy and directional or groomed and glossy – everyone gets an opportunity to show what they can do.

Another key change from the 90’s is how we view those models that inhabit the edgier side of fashion. Challenging silhouettes and new designs were once looked upon with suspicion by the public and mainstream press. If you couldn’t wear it to the supermarket, what was the point?
It’s taken the best part of two decades, but our level of fashion education has finally caught up. Being edgy is now highly desirable and haute couture is no longer mocked on the front pages of the tabloids. Celebrities routinely wear daring couture designs at premieres and red-carpet events, and being directional is now considered at the forefront of creating great style.

We now understand that great design isn’t always about wearability, but it can challenge our view of what fashion can be. Subsequently, our view of beauty has become far more inclusive as a result. Girls like Hannah are getting mainstream campaigns like H&M and the world of avant-garde feels more approachable because we understand more about it.

As Hannah’s career is set for a second wind, fashion’s coming out of neutral and this season’s technicolour explosion is just the start of what’s to come. The classics have had their moment, but the next few years will be about making moments that engage us, far more actively than before. As fashion motors into a period of high creativity, the freedom that comes with creating great ideas has created a culture where there’s no right or wrong when it comes to beauty. Regardless of whether it’s quirky and ethereal, glamorous and glossy, if it works, it works.

HELEN TOPE

Fashion gone rouge