Modeling Journey

Born in Latvia on the 30th June 1989, Ginta Lapina started her modelling career in 2005, signing with MC2 Management in New York. She secured her first editorial with Teen Vogue in December ’05, working with legendary photographer Arthur Elgort.

Ginta made her runway debut in 2007, walking for the Spring / Summer 2008 show for designer Benjamin Cho. After only 1 runway appearance, www.models.com featured Lapina as their model of the week. Usually models have to work much longer to get noticed, but Ginta proved to be exceptional right from the start.

Signing on with Women Management in 2008, Ginta’s runway credits got a major boost in 2009. Her quirky features made her an automatic stand-out, and in February she booked appearances for Dolce & Gabbana, Miu Miu, Proenza Schouler, Sportmax and YSL. In September, that number increased to include Alberta Ferretti, Balenciaga, Cacharel, Derek Lam, Donna Karan, Jason Wu, Lanvin, Louis Vuitton, Marc Jacobs, Michael Kors, Rodarte, Valentino and Versace. Lapina’s unusual looks – not quite full glamour, too delicate to be just quirky – made her an ideal choice for these labels. She suited the girlish quality of Alberta Ferretti and Cacharel, handling the Parisian high-fashion chic of Lanvin and the super-glamour of Versace. Her hard-to-define looks gave her an automatic advantage in runway, and this versatility had a snowball effect on the rest of Ginta’s career.

She scored an editorial with Italian Flair in November and a Numero spread with photographer Greg Kadel in December. The accolades kept coming, including a feature in America’s Marie Claire magazine, with Lapina being photographed alongside Donatella Versace. Fashion’s new favourite also started to reel in the big-money campaigns with Lapina becoming the new face for the label of the moment, Derek Lam.

Ginta got her first international Vogue credit in January 2010, with an editorial for Russian Vogue and in February enjoyed a stellar RTW season. In one year, she had almost doubled her bookings – designers were hooked on the Ginta effect, included Balmain, Isabel Marant, Jean Paul Gaultier, Moschino, Prada and Roberto Cavalli.

In March, Ginta was booked for a beauty editorial with Italian Vogue. Photographed by Solve Sundsbo, the brief was ultra modern punk pastels. Lapina slotted into this type of editorial remarkably easily. Some high-fashion shoots can risk looking flat and remote, but Ginta’s complex, layered performance was ideal for Italian Vogue, a magazine that prides itself on taking a uniquely cerebral approach to fashion.

Ginta was soon able to add another campaign to her CV, when it was announced that she would be appearing in the A/W advert for MaxMara diffusion label, Sportmax. In a season where simplicity ruled, this ad was defiantly complex. Ginta’s bleached hair and pale skin almost melt into the background, making the clothes the centre of attention. Styled to the nth degree, this ad stood out for taking a very different approach when measured against what was happening in the fashion world.

Sometimes choosing to go right when everyone else is heading left can leave you feeling a little exposed, but fashion lives for those out-of-step moments, the ones that end up propelling the industry forward in a way it never saw coming. In a season where classics dominated the fashion agenda, Sportmax’s campaign felt bold and fresh. The campaign’s success took Sportmax’s reputation from supporting act to a label in its own right.

Ginta’s campaign trail continued with a signing for the A/W Miu Miu ad. Becoming a Miu Miu girl alongside Lindsey Wixson and Siri Tollerod, was an excellent match for Ginta’s skillset. Ginta made a terrific Miu Miu model, absorbing the label’s 60’s-inspired look but keeping it contemporary, not costume. Miu Miu’s idiosyncratic brand identity has been ultra successful in wooing young Hollywood away from the traditional glitz and glamour, and a solid campaign goes a long way in that seduction. Labels are still willing to spend big on getting the right result from a campaign, and Ginta paired with Lindsey and Siri was an example of perfect casting.

Ginta’s runway career continued to blossom through 2010, with opening honours from Sportmax, Rue du Mail and Versace. Already a favourite with Donatella, Ginta’s role was to set the tone for the entire show and that’s no small ask. Versace is a deceptive label: playing the Versace vixen looks like simplicity itself – you strut, you pout. But keeping Versace on the right side of sexy is notoriously difficult. Get it wrong, and Versace goes from sexy to sleazy in a heart-beat. Ginta’s wealth of campaign experience gave her an automatic advantage in the importance of staying on-message, and nowhere is this more crucial than on the runway. The shots taken from the bottom of the runway last forever: strike a flat note and it’s preserved for years to come.

Applying these hard-won skills to editorial work, Ginta signed up for a multi-page layout with W, photographed by duo Mert Alas and Marcus Piggott. Called ‘Last Exit to Brooklyn’, the shoot was vintage Americana, paying homage to the work of painter Edward Hopper. This was no ordinary editorial, and its success relied on the model’s ability to convey emotion and intent. Ginta delivered and the resulting images were fashion meets art, the moment where the photographs go beyond selling dresses. Normally a feat reserved for French, American or Italian Vogue, the editorial was a triumph for W, and a resounding counter to those who say fashion has nothing of substance or depth to offer.

This year has already started off well for Lapina. Her Sportmax contract has been renewed for another season; her success in taking Sportmax’s value through the roof means she has become a must-have for diffusion labels. Also signed to represent Marc by Marc Jacobs for Spring / Summer 2011, Lapina’s profile is set to go beyond the realms of high fashion, taking her into that select group of models – Beha, Stone, Wixson, Kloss, Kershaw – who are the closest approximation to supermodels the fashion industry has.

The reason for their success is that they are one step removed from being glossy perfection, and those imperfections are what have made them famous. Lara Stone’s bombshell looks are off-set by that gap in her teeth; Lindsey Wixson’s trademark pout almost threatens to overwhelm her face and Karlie Kloss’ girl-next-door persona should rule her out from doing more grown-up shoots, but she is the current face of Oscar de la Renta.

Today’s best models – and Ginta is among them – are girls who, in theory, shouldn’t be gracing the cover of Italian Vogue, or walking in couture shows for Chanel and Valentino, but they are doing all of these things and more because what’s ‘wrong’ is what makes them so 'right' for the industry.

Ginta’s look may seem challenging – almost a throwback to the alien-esque beauties of the mid-Nineties. Her shoot for Italian Vogue was high-fashion heaven; blue-sky, no-holds-barred styling and lashings of attitude. But look closer, and the shoot isn’t just about the power of a good blusher. Ginta humanises the shoot by telling a story with her facial expressions and body language. Beauty modelling can be incredibly tricky to master, because there’s nowhere to hide. But Lapina lets herself be vulnerable, and it takes the shoot to another level – it’s not just another beauty spread.

The days of absolute perfection are long gone. There’s always room for heady glamour and sophistication, but the best work of recent years - the most memorable editorials, campaigns and runway shows - have been where perfection takes a back-seat to creativity. Where fashion has shifted in the past two years is in its willingness to look at the positives. Exclusivity and ‘it’ pieces have fallen by the wayside in favour of inclusion, inspiration and great design. It’s not about what’s missing, but exploring what works, what feels right. Ginta’s appeal lies in that game-changing face. The face that shouldn’t work has become the avant-garde look that has no limits, accounting for a CV that includes bookings from Derek Lam to Topshop.

Ginta’s curious mix of soft femininity, streetwise cool and high-fashion haughtiness works perfectly in an industry where the top players are meeting expectations by defying them. Her bleached-out, stylised beauty has inspired across the board from Italian Vogue to copycat makeovers on ‘America’s Next Top Model’, but as she joins the next generation shaping the fashion industry, Lapina succeeds where others follow because she is a true original.

Chanel Iman, born 30th November 1989, is fashion’s brightest trailblazer – turning barrier-breaking into an art form.

Named after her mother’s favourite designer, Chanel spent her childhood practising runway and studying fashion magazines. This early groundwork prepared Iman when she entered the 2006 Ford Supermodel of the Year contest. She came third, but signed to Ford Models immediately. In February that same year, she made her debut at New York Fashion Week, walking for Derek Lam, Anna Sui, Marc Jacobs and Proenza Schouler.

In September, she walked in the S/S 2007 shows, including Alexander McQueen, Derek Lam, Dolce & Gabbana, Nicole Miller and Stella McCartney. But her appearance in the Valentino show sparked Chanel fever when she worked her now-signature move.

At the end of the runway, just before she was about to turn, she caught the eye of the audience and winked. The fun gesture won the crowd over, and Chanel was featured in http://www.style.com/ as the stand-out of the season – the studying had prepared her, but the impulse to stand out is what made her a star.

Chanel made it her business to exceed expectations early on in her career, receiving the Trailblazer Award from the Sankofa Group in April 2007, and in May became part of modelling history when she joined other top models to take part in the seminal US Vogue cover. A collective of new talent, Chanel joined the likes of Coco Rocha, Lily Donaldson, Hilary Rhoda and Jessica Stam to form a powerful declaration to the fashion industry. These girls were the future of modelling, and every model on that cover by Steven Meisel, went on to become part of the fashion landscape.

In September, Chanel’s career sky-rocketed with appearances for Alexander Wang, Dior, DKNY, Hermes, Louis Vuitton, Marc Jacobs and Oscar de la Renta among others.

2007 ended in triumph on the runways, but a question mark hovered over Iman’s rising fame. Landing catwalk and editorial work is one thing, but could Chanel take it to the next level and land big-name campaigns? This would then put her on a level playing field with her peers, and 2008 saw Chanel rise to the challenge with not just one, but four campaigns. Chanel did campaign shoots for high-prestige brands like Ralph Lauren and DKNY, plus budget-friendly names like Gap and Lord & Taylor.

In February 2008, Chanel’s status as fashion’s latest crush was established when Chanel, Karlie Kloss and Ali Michael appeared on the cover of Teen Vogue, photographed by legend Patrick Demarchelier. A magazine as influential as its grown-up counterpart, Teen Vogue tipped all three models for greatness.

Chanel’s year snowballed: in February, she landed an editorial with Russian Vogue, plus a stellar season walking for designers as varied as Bill Blass and Donna Karan, Jason Wu and Zac Posen. Her CV was maturing well with a mixture of old-school labels, cutting-edge talent and established names. Paired with Chanel’s appearance in the Dior and Jean Paul Gaultier couture shows on July, she had all four corners of the fashion industry covered.

July proved to be a busy month, as Chanel not only appeared in American Vogue with Jourdan Dunn, but also scored two additional editorials in Italian Vogue. However, this was to be a pivotal point in Chanel’s career. Italian Vogue took the decision to put together an edition that would only feature black models.

It was a powerful statement, but it was not without controversy. Many in the industry and press questioned Italian Vogue’s motive for doing this issue. Was it to be taken on face value, as a celebration of ethnicity, giving full-focus to new talent, or was it about something else entirely?

By shining the spotlight on black models to the exclusion of other talent (including models of other ethnic backgrounds), was this a step forward, or a giant leap back? Did such pointed inclusion do more harm than good?

Whatever the motivation, what is clear is that the Italian Vogue edition sparked debate. But debate without action is useless, and what is encouraging is that nearly two years on, a new raft of models including Tao Okamoto, Lyndsey Scott, Liu Wen and Hind Sahli are not only working but flourishing in an industry accused of having a less-than-stellar record when it comes to diversity.

Chanel’s career itself flourished after the Italian Vogue went to press, landing the September cover of Korean Vogue. She was also chosen to open the S/S 2009 Rock & Republic show. Appearing for Alberta Ferretti, D&G, Giambattista Valli and Sonia Rykiel, Chanel was becoming a hit in Europe as well as America.

2009 brought several accolades, rapidly establishing Iman as a go-to girl for not only runway work, but covers and editorials. She landed the cover of Italian Flair in February, the premiere cover of the Dubai edition of Harper’s Bazaar and the cover of i-D in May.

In September, Chanel appeared as a guest judge on hit TV show ‘America’s Next Top Model’. A spot usually reserved for designers or photographers, Chanel’s years of brushing up on fashion paid off, making her intelligent and insightful appearance a hit with fans. This was not just a model with personality and opinions – but someone who knew Pucci from Prada.

Chanel also landed a second cover of i-D, shooting a pre-autumn cover with Arlenis Sosa, Jourdan Dunn and Sessilee Lopez. The cover’s launch shows how quickly things can change in the fashion world. In 2008, Chanel’s appearance for Italian Vogue’s all-black issue was challenged as ‘agenda-pushing’. Just one year later, Chanel, Arlenis, Jourdan and Sessilee were presented, quite rightly, as cover girls at the top of their game.

Chanel’s trail-blazing continued when she surprised many by signing a 3-year contract with Victoria’s Secret. Chanel, while perfect for high-fashion, was not an expected choice for the uber-sexy lingerie brand. Some questioned whether her athletic frame could carry off the VS signature look, but Chanel’s personality-packed performance on the runway put all doubt to rest. In one fell swoop, she proved not only her versatility, but her ability to do the unexpected. This element of surprise is what gets Chanel re-hired time after time.

2010 is set to be another busy year for Chanel, with a full couture and RTW season under her belt. Walking for designers like Aquascutum, Dior, Givenchy, Thakoon and Gucci, Chanel’s list of credits defies the expectation that a black model would struggle finding work. Chanel’s career is an important lesson for models coming into the industry: place limitations on yourself at your peril.

Have a look through a recent fashion magazine: the percentages of ethnic to white faces could be better, but the numbers are not as dire as people seem to think. The argument that fashion only allows one black model to be the ‘top girl’ at any one time is clearly no longer the case: Chanel, Jourdan, Sessilee and Arlenis are all getting coveted editorial and runway spots, with Joan Smalls and Rose Cordero rising through the ranks. While it is clear that fashion has a long way to go before equality can be stated as the norm, the notion of a closed-off industry is also somewhat wide of the mark.

While Chanel’s career is still on the rise, what’s encouraging is her awareness that she is flying the flag for future models, whatever their ethnicity. The message that fashion recognises excellence is an important one for the next generation. Fashion’s consumer-base is becoming more cosmopolitan, and as a result, our expectation of seeing diversity better represented on the runways and in magazines is starting to be met.

The fact that one of Chanel’s first covers was for Teen Vogue says it all. She wasn’t being treated as the token ethnic model: Chanel made the cover because she (along with Ali and Karlie) were fashion’s brightest new models. When it came to the cover, Teen Vogue wasn’t indulging in a box-ticking exercise: it simply wanted the best.

The recession has been a huge wake-up call for the industry, and has resulted in fashion rethinking its entire approach. Fashion, as a whole, is becoming more democratic. Runway shows are being broadcast live on the internet, so you can see the latest collections at the same time as Anna Wintour, and bloggers such as Bryanboy (http://www.bryanboy.com/) and Tavi (http://www.thestylerookie.com/) are being taken seriously as fashion commentators at large.

Modelling is also becoming part of this radical rethink, and this new directive is just the beginning. Still not convinced? Watch Chanel’s progress over the next five years: the future is already here.

HELEN TOPE

Born December 4th 1973, Tyra Banks has become one of the biggest names in fashion. A truly modern woman, Banks has made her name in modelling and television, bringing the two together to form one of the most successful reality television franchises in history.

A career made of firsts; Tyra signed with Elite Model Management aged 17. Banks’ modelling career began in Paris, when during her first week in the fashion capital; she wowed so many designers that she booked a (then unprecedented) 25 shows – a record for a newcomer.

She became the first black model to feature on the covers of GQ and Sports Illustrated magazines, and only the third African-American model to secure a cosmetics contract. The contract was with Cover Girl, an affiliation that continues to this day with Tyra’s show America’s Next Top Model.

One of the most sought after faces of the Nineties, Tyra was a consistent presence in magazine editorials and did campaigns for brands as diverse as Ralph Lauren and H&M, plus runway duty for designers Bill Blass, Chanel, Oscar de la Renta, Michael Kors and Yves Saint Laurent. Banks also scored numerous magazine covers ranging from Cosmopolitan, Elle, Vogue and Harpers Bazaar. In 1997, she received the VH1 award for Supermodel of the Year, and in the same year, became the first ever African-American to grace the cover of the Victoria’s Secret catalogue.

If Tyra’s career had stopped at this point, there would be plenty to discuss. Her pro-active barrier-breaking paved the way for girls like Chanel Iman and Jourdan Dunn. Banks bridged the gap between commercial and high-fashion like few other models: her work with lingerie brand Victoria’s Secret made her a household name in America, while still commanding respect in the world of high-fashion.

Nearing the end of her own modelling career, Banks began to examine what else was on offer. She did some television and film work, and found her interest in television re-ignited (she had initially planned, before modelling, to go to university to study television production). Tyra came up with the idea of merging her two passions: television and fashion. She would create her own reality show. The concept would be simple: ordinary girls from across America would have the opportunity to audition for the show and a small group would be selected to travel to New York to live and work as models. They would go on photo-shoots, participate in challenges, and every week, one hopeful would be eliminated. The process would be repeated until there was only one girl left: America’s Next Top Model.

The first series (or cycle) was aired in 2003 on a small television network in the States. It was an unexpected hit, and Tyra suddenly found herself in great demand. In 2005, she made the decision to officially retire from modelling to concentrate on her television career, and we all know what happened next.

America’s Next Top Model became more than a successful reality show, it became a phenomenon. Watched in 170 countries, the format was shipped out to 17 countries that now hold their own respective model searches. Many of the contestants have found success, including Alice Burdeu (winner of Australia’s Next Top Model series 2) who has become a favourite on the runways of Europe and New York, walking for the biggest names in fashion, including Marc Jacobs, Lanvin and Alexander McQueen.

The show has captured the imagination of the public and the desire to see the next series shows no signs of slowing down. Six years on, with the 13th cycle due to air in the UK this January, ANTM is still hot property and there are few other shows that can make such a claim.
The real triumph of the show is what it has done for modelling’s PR. Previous to the show, modelling was perceived (rightly or wrongly) as a closed book, but Tyra’s idea to overcome this was to explode myths and break down stereotypes, proving that when it comes to high fashion, the only thing to fear is fear itself. Knocking sideways the idea that models are invariably blue-eyed blondes, the public’s fashion education began in earnest.

You will now be hard-pressed to find a fashion-conscious teenager that doesn’t know the meaning of ‘editorial’. The exploration of the fashion industry, from the inside out, proved to be the show’s calling card. The viewer was given privileged access to what goes on at a photo-shoot, taking an in-depth look at the respective roles of the stylist, photographer and creative director, seeing how they work with a model to create an image. It did modelling a tremendous service in showing that fashion is first and foremost a business.

It also shows the (decidedly unglamorous but very necessary) process of go-sees - another term every teenager is now familiar with. Contestants during every series are expected to visit designers, giving them a real flavour of the day-to-day business of a working model. By attempting to replicate the real-life model experience as closely as possible, Tyra educated both the contestants and the viewers in how fashion really operates.

The show also educated aspiring models as to what the fashion industry wants, and despite its ever-changing perimeters, the essential wish-list stays the same: versatility, personality and an unforgettable walk. Even now, these are non-negotiable if a model wants to make the transition to supermodel.

The secret to the show’s success is that it doesn’t just want to find the next big thing, but a model that can, like Tyra, do it all. A few years ago, the idea of a model that commands the runway, does print work and campaigns, all with equal aplomb, was seen as unrealistic. But Tyra’s insistence on finding girls who could be all-rounders has paid off. Post-recession, the fashion world is looking for ways to pull in more revenue, and the models that are doing well are those who are triple threats.

Take a look at the names of the moment – models like Lara Stone, Agyness Deyn, Chanel Iman and Karlie Kloss. Lara has shot campaigns for Hudson Jeans and is now the Spring / Summer face of Versace; Chanel walked her first Victoria’s Secret runway earlier this month, and Karlie is about to appear in a campaign for Dior. Between them they have sold everything from cut-price cashmere to lingerie, and this is the way ahead. Limiting yourself to one branch of modelling means limiting your money-making potential, and these days, no-one can afford to be elitist.

The decision to allow the public to see the process behind the image was a canny move on the part of Banks. Even though we have seen so much of what goes on behind the scenes, the magic is not lost. The transformative ability to turn an ordinary girl into a goddess with the help of lighting, styling and airbrushing still manages to draw us in. Fashion is no longer just about the polished, finished product.

It is this very process that keeps us watching America’s Next Top Model. Over a decade spent working in the industry has given Banks an insight into fashion is that both knowing and forgiving. Banks has re-aligned people’s expectations of the fashion industry. Fashion is about standing out, not fitting in, and America’s Next Top Model cracks the myth that fashion is about conformity: it consistently celebrates the unusual, the edgy and the editorial.

Tyra’s pet project has transformed the way we see the modelling industry, changing it from a spectator sport to something far more approachable. It’s more than entertainment – it’s given modelling a whole new level of respect. Blowing apart the notion that modelling is for simpletons, the show ardently proves that posing for the camera, as with any skill, is harder than it looks.

In less than twenty years, Tyra’s career has gone from ingénue, to entrepreneur, to media mogul. In 2005, she launched her own talk-show, aimed at young women, and can now count herself as one the most successful models of her generation, with an estimated income of $23 million in 2008 alone.

With news breaking this week that Tyra is to cancel her talk show but continue working with ANTM and foster new projects, where her career goes from here is anyone’s guess. Having left an indelible mark on the modelling world, she has made her fortune by preparing the next generation of models for the challenges that are already being faced by the fashion industry. Far from being out of touch, Banks understands very clearly where modelling and fashion are headed, and what is for certain, is that somehow, somewhere, she will continue to be a part of it.

HELEN TOPE