Modeling Journey

Born in Puerto Rico in 1988, Joan Smalls began her career by signing with Elite Model Management in 2007.

Her career started off modestly, but soon developed, scoring a campaign for Liz Claiborne and catalogue work for U.S department store Nordstrom.
Many models struggle with the gap between being approachable but still high-fashion, but Joan’s early experiences of modelling provided her with the skills that would prove to be an excellent grounding for future campaigns.

Between 2007 and 2008, Smalls racked up catwalk credits with L’Wren Scott, Diane Von Furstenberg, Sass & Bide and Benjamin Cho. But her decision to leave Elite and sign with IMG in 2009 was a pivotal moment in Joan’s career. IMG Models, forming part of the huge global company IMG, is an agency that manages names such as Daria Werbowy and Gemma Ward, whilst housing newer talent such as Emily Di Donato and Barbara Palvin. What IMG is famous for, and it’s a strategy now used by many agencies, is applying the lessons it learnt from music and sports management and applying them to the world of fashion. It’s a smart way of extending the shelf-life of a model’s career, taking them from runway to celebrity.

Joan’s breakthrough came in January 2010. She was asked to walk in the Givenchy Couture show as an exclusive. The world of haute couture has often been criticised for being one-dimensional when it came to featuring models from different ethnic backgrounds. But Givenchy’s decision to hire Smalls as an exclusive was a signal, loud and clear, that times weren’t changing – they had already changed.

The ripple effect from the Givenchy show trickled down into Joan’s ready-to-wear bookings. Signing up to walk in 45 shows, Smalls appeared for designers such as Alexander Wang, Burberry, Jason Wu, Marc Jacobs, Prada, Stella McCartney and Valentino.

Joan’s moment as fashion’s latest ‘it girl’ continued when she appeared in her first editorial for Italian Vogue. Working alongside models such as Lara Stone, Amber Valletta and Angela Lindvall, the editorial, ‘Shrink to Fit’, was a quirky take on cropped tailoring and high hemlines. Joan’s performance in the shoot was astonishing; calm, confident and assured.

In June, Joan was featured in American Vogue as a rising star. Selected by Vogue’s Andre Leon Talley, Smalls’ reputation as the next big thing was now established, with the nod from American Vogue being enough to catapult Smalls into campaign territory. In summer 2010, it was announced that Joan would be one of the new faces of Gucci.

It was a massively important signing. Gucci eclipses even Prada as the most famous label in fashion. Its reputation is the same the world over, a byword for luxury and glamour. To hire a non-Caucasian model to be one of the campaign headliners indicates just how far fashion has come in terms of embracing all kinds of beauty.

Silencing any doubters, when the campaign was unveiled, it was clear that Joan’s presence wasn’t a cynical attempt to appeal to the widest demographic possible. Gucci is the type of brand that doesn’t have to pander to anyone in order to get its goods off the shelves – the Gucci name sells itself. Working sophistication and sex appeal in equal measure, it was clear that Joan got the job because she embodied the Gucci brand from head to toe.

Following that Gucci ad, Joan could now add Dior and Jean Paul Gaultier to her couture CV, walking for both labels in July. Also appearing in back-to-back editorials for French and American Vogue, Joan took Fashion Week by storm when she opened shows for YSL and Jason Wu and closed the show for Dior. Appearing in a total of 41 shows, Joan was visibly moving up the ranks.

As much as Joan charmed the international runway crowd, she positively enamoured American Vogue. Her barn-storming performance at the world’s best runway shows, got her not just one editorial in their September issue, but four. Traditionally the best-selling issue of the year, Joan’s inclusion was not about special treatment, but equal treatment. It was a genuine coup.

Joan started off 2011 by renewing her contract with Gucci, also signing up to appear in campaigns for Roberto Cavalli and Stella McCartney. A month later, she appeared in two simultaneous Spring / Summer preview editorials for French and American Vogue.

In a surprising move, Joan also elected to appear in an all-black editorial for Italian Vogue. Dubbed ‘The Black Allure’, Smalls appeared with Chanel Iman, Sessilee Lopez, Arlenis Sosa and Aminata Niaria. The shoot referenced flapper glamour of the 1920’s, in particular, dancer and actress Josephine Baker. Of her time, Baker was extraordinary, and it is due to her efforts in getting diversity recognised that fashion more clearly represents the way we look now.

In March came the announcement that Joan was to join Liu Wen and Constance Jablonski in Estee Lauder’s new international beauty campaign. It was a brave move from Lauder because while they are widely known within the fashion industry, they are not the immediately recognisable faces normally associated with the brand, such as Gwyneth Paltrow and Elizabeth Hurley.

But hiring three relative unknowns put Estee Lauder in a strong position because without the baggage of celebrity, these models could quite literally be ‘everywoman’. There’s no bad film or questionable album release to hide – models tend to be the best hires for selling products because they come to a project as a blank canvas.

The signing of Smalls, along with Wen and Jablonski, created a great deal of excitement and rightly so – with this campaign, Estee Lauder effectively announced to the world that it is a global brand, inside and out.

Joan continues to be a prolific presence in 2011, with an A/W runway season totalling over 40 appearances, plus editorial work for American Vogue. Appearing in the April edition, Joan featured in ‘Bodies of Work’ with some pretty illustrious company. Raquel Zimmermann, Gisele Bundchen, Daria Werbowy, Lara Stone and Natalia Vodianova all signed on to take part.
The newest name among some seriously big hitters, Joan features in a simple body-con fashion shoot, channelling clean lines and athleticism mixed with a dose of glamour – just what American Vogue does best.

This type of shoot could also signal a change in Joan’s career, taking her from strictly runway to Victoria’s Secret and beyond. Having a marketable face is one thing, but a body that can transform from ultra-minimal tailoring to sexy body-con puts you in another league altogether. Being paired with Raquel Zimmermann, Lara Stone and Gisele Bundchen is no accident either. If American Vogue sees Joan as belonging to this group (and indeed she performs on a par with the more experienced names), then Smalls’ career could have a longevity far beyond the catwalk.

Of course, no model works alone – literally or metaphorically. A part of Joan’s success (and that of her peers) can be attributed to models like Naomi Campbell, Tyra Banks, Yasmin Warsame and Alek Wek who made black models a legitimate choice for high fashion. From Yasmin’s delicate beauty to Alek’s all-conquering smile, the faces may not be as numerous as we would like, but that is visibly changing. Joan’s signing with Stella McCartney is the type of booking that her generation are coming to realise is theirs for the taking. Joan may look good in strong colours and exotic prints (an asset using to particularly striking effect in the Gucci campaign), but her range of bookings cover every aspect of global fashion.

The virtue of being an all-rounder is obvious, but what makes Smalls a particularly exciting prospect is that she hasn’t even realised her full potential yet. Her affiliation with labels like Gucci, Ralph Lauren and Roberto Cavalli is a sign of things to come. To go from virtual unknown to Gucci girl in less than three years is an indication of a model that can go the distance, in an industry where models’ careers are often short-lived.

But better still, what Joan has to offer (not just now but to future generations of models), is a career where nothing is off-limits. The idea of possibility is one that will ultimately transform the landscape of fashion, building an industry where beauty is made not only possible, but achievable, for every kind of woman.

HELEN TOPE

American Vogue serves up a delightful spread featuring some of the industry's leading black models. Joan Smalls, Anais Mali, Jourdan Dunn, Ajak Deng, Arlenis Sosa and Chanel Iman pose alongside a bohemian cast of actors, dancers and musicians in the season's finest prints by Louis Vuitton, Marni, Chanel, Dennis Basso and Marc Jacobs. Photographer Norman Jean Roy captures beautifully the individual spirit and exuberance of each of the models and shows why these girls are at the top of their game.

Ajak Deng, Anais Mali & Joan Smalls

Joan Smalls & Anthony Mackie

Ajak Deng, Anais Mali & Arlenis Sosa

Anais Mali, Arlenis Sosa, Chanel Iman & Jourdan Dunn

Joan Smalls & Colson Whitehead

Chanel Iman, Anais Mali & Jourdan Dunn

Arlenis Sosa, John Legend & Jourdan Dunn

Jourdan Dunn & Antonio Douthit

Jourdan Dunn & Anais Mali

Savion Glover & Ajak Deng US Vogue - March 2011 Photographer - Norman Jean Roy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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