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Wednesday, 17 August 2011
American Vogue ups the ante for its September issue with an incredible cast of models assembled for a Steven Meisel editorial. Veterans Caroline Trentini, Coco Rocha, Raquel Zimmermann and Jourdan Dunn mash it up with relative newcomers Fei Fei Sun, Mirte Maas, Arizona Muse and Daria Strokous. The spread entitled "Playing to Type" features the Meisel's favourite faces in a myriad of looks based on five distinct personalities; the Romantics, the Modernists, the Artisans, the Bourgeoisie and the Subversives. With styling by Grace Coddington and hair and make-up courtesy of Guido Palau and Pat McGrath, it's no wonder this editorial delivers on every level.
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| The Modernists |
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| The Subversives |
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| The Artisans |
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| The Romantics |
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| The Bourgeoisie US Vogue - September 2011 Photographer - Steven Meisel Source - models.com |
Wednesday, 19 January 2011
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| Aminata Niaria & Laurence Dennis |
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| Anja Rubik & Sasha Knezevic |
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| Alessandra Ambrosio & Jamie Mazur |
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| Bonnie Chen & Rock Ji |
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| Coco Rocha & James Conran |
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| Angela Lindvall & Mark Wystrach All photos US Vogue - February 2011 Photographer - Patrick Demarchelier Source - fashiongonerogue.com |
Sunday, 19 December 2010
Tanya’s launch into high-fashion continued with editorial work for British Vogue in February 2006 and a campaign for Hugo Boss featuring Tanya with Agyness Deyn. Both models were a telling choice for the brand; Deyn had just broken into the industry herself, with her unique street style and peroxide hair already making waves.
Aged 15, Tanya scored her first major solo campaign when she became the face of YSL, photographed by Juergen Teller. Normally such a high-profile booking would daunt even an experienced model, but Tanya handled the pressure and expectation like a seasoned professional.
2007 saw even greater success, with Tanya booking a campaign for Lanvin, photographed by the legendary Steven Meisel. If Tanya felt nerves, she didn’t show them – and within months she had also secured a fragrance contract with Nina Ricci and became the face of the Michael Kors brand, replacing Carmen Kass.
The model-switch represented a key change in fashion’s tastes. Michael Kors, a label synonymous with American luxury chic, Tanya was not the most obvious choice, but her hiring was a sign that fashion was already beginning to shed the idea of a certain type of model for a certain type of campaign.
Tanya’s first runway season of 2007 saw her walking in shows for Alberta Ferretti, Calvin Klein, Chloe, Dior, Givenchy, Marni, Oscar de la Renta, Proenza Schouler, Vera Wang and Zac Posen. Her booking sheet was a smattering of newly-formed design houses, such as Proenza Schouler and Zac Posen, plus more established labels like Oscar de la Renta and Givenchy.
But her breakout season came in September when she was hired for 71 shows. She was also picked to open the Versace show, and closed four shows including Phillip Lim, Celine and Valentino. Incredible as these achievements were for a model that was only 16 years old, 2008 would ultimately be Tanya’s blockbuster year. She landed two major campaigns; one with Anja Rubik and Maryna Linchuk for DSquared, and the second with global brand Ralph Lauren.
Tanya’s growing status as one to watch was cemented further when she booked over 70 shows for February 2008. The same month, she got her first cover, with Russian Vogue. The seal of approval from Vogue took Tanya’s career to the next level, getting her bookings in the couture shows in July. Standing at 5’ 11”, Tanya was height-perfect for couture and made appearances for Armani Prive, Dior and Valentino.
Couture’s reputation for being notoriously tricky to model is well-founded, but Tanya’s body of runway experience meant her debut in Paris was earned fair and square. Far from being elitist, haute couture is probably the fairest sector of the industry when it comes to hiring: ability wins over hype every time. Couture modelling requires a level of skill beyond ready-to-wear, with models being asked to effectively play a character – whether that’s giving Armani’s space-age glamour gowns a touch of gravity, or embodying John Galliano’s haughty equestrian fantasy. Haute Couture is a hybrid of fashion meets theatre, and Tanya disproves the myth that having a memorable face means you can’t be adaptable.
In August, Tanya did her first major editorial with U.S Vogue, shot by Steven Meisel, followed by a slot in Japanese Vogue and a feature in Russian Vogue where Tanya was dubbed a ‘top model’. Russian Vogue has a particularly good track record of recognising model talent: their decision to devote an entire issue to Natasha Poly launched her career into the stratosphere.
Tanya’s runway season in September was further proof that if a top model needs to be versatile, she met that requirement in spades. Opening and closing shows for Elie Saab and Yohji Yamamoto, Tanya’s ability to morph from one aesthetic to another couldn’t be clearer: it’s hard to think of two designers more different than Saab and Yamamoto. Saab’s reputation as a perfector of red-carpet glamour and Yamamoto’s clean, post-modern vision make them direct opposites, but Tanya’s keenly-honed runway skills meant she booked appearances for both.
Tanya’s working relationship with the designer came full circle when she was asked to take part in an editorial for U.S Vogue. Called ‘Noble Farewell’, the layout showed Tanya and other models also featured in McQueen’s final runway show, wearing the collection and about to be packed away in crates, preserving McQueen’s work for all time.
It’s hard to fully gauge a designer’s worth during their lifetime, but the moving tribute paid by American Vogue was industry wide in its impact. Tanya’s final note of 2010 was another act of homage to McQueen. Fronting the September cover for Spanish Vogue, Tanya modelled one of Alexander’s now famous final looks. The heady baroque design was anchored by Tanya’s quiet and dignified gaze. No tricks required; this was modelling done so deftly that it looks like Tanya is doing nothing at all. A true sign of a top model is their ability to do more by doing less, and it’s a skill Tanya has mastered absolutely.
Her face has become one of the most recognised and recognisable in the industry, and even though her name is somewhat less familiar outside fashion circles, Tanya has become a supermodel by stealth. Her mix of quirky beauty and traditional supermodel traits sees Tanya competing – successfully – with newer models, even though her career is heading into its 6th year.
Tanya’s status as one of fashion’s most prized models has been hard-worn, with Tanya being catapulted into the spotlight when she was just 14. Acing an YSL campaign shoot at 15 years old is an extraordinary accomplishment. Her exhaustive body of work, featuring runway, editorials and campaigns with every major designer in the world, points to a model that thrives on hard work.
Tanya’s launch into the fashion world in 2005 came a decade after models Kristen McMenamy and Stella Tennant created a storm as faces that were ‘ugly / beautiful’. The mid-Nineties saw models appear whose look was unusual and challenging, a significant departure from the glamorous faces that populated the Eighties. Especially loved by European designers, such as Karl Lagerfeld and Jean Paul Gaultier, public opinion was strongly divided. Many didn’t get the appeal of such faces, others saw it as further proof that ‘high fashion’ had very little to do with ‘real life’. As vague as both these concepts are, the willingness of fashion to make beautiful clothes just that little bit ugly, transformed the industry. This was fashion taking the blinkers off and looking out on a wider definition of beauty. Poses became more angular, less defined: supermodels like Tyra Banks and Kate Moss began to appear in editorials where their bodies were slumped and their eyes cast away from the camera. The guiding principles were awkward rather than poised, quirky rather than sunny.
These new ideas on how to present high-fashion trickled down through the industry with modelling agencies finding themselves not automatically looking for ‘money girls’ – the kind who sell perfume by the barrel-load – but girls who could not only do, but embody, one word: editorial. But as editorial took hold, everyone wanted a piece of the new look. The quirky girls began getting hired not just for the high-fashion jobs, but for everything. It was nothing short of a revolution.
Tanya, along with Agyness Deyn and Coco Rocha, has become one of the first quirky girls to get the big-budget, big-name campaigns that were normally reserved for more conventional beauty. But Tanya isn’t considered a token choice: she has become one of the leading faces of a generation that accepts diversity as the norm. What’s considered on-trend alters constantly, but faces like Tanya’s have changed fashion’s mind about what beauty really is, and that idea refuses to budge.
Tanya’s portfolio boasts the expected avant-garde shoots and campaigns, but she is also a cover girl several times over. With seven Vogue covers to date, Tanya’s career is part of a much larger success story for modelling in general. With current hot-ticket Joan Smalls just announced as the new face of Estee Lauder for 2011, widening the terms of beauty has allowed models from every ethnic background to not only enter the industry, but to get their shot at those big-name bookings.
This revolution started on the runway, and this embrace of every kind of beauty came full circle during Jason Wu’s show last September. Featuring models from European, Asian and African-American backgrounds, it is incredible to think that ten years ago; this gathering would have been unthinkable, simply because it would have been impossible. Finally, their faces fit.
Sunday, 22 November 2009
Born September 10th 1988, Coco Rocha has secured her reputation on her ability to merge avant-garde with commercial.
Raised in Canada, but of Irish, Welsh and Russian descent, Rocha holds a unique place in modelling history. Combining modern athleticism with unique features that manage to be timeless, Coco represents the best of both worlds.
In 2002, Coco Rocha was discovered by agent Charles Stuart at an Irish dancing contest in Vancouver. Rocha had never previously considered a career in fashion, but she signed with Elite, and began to discover her value in the fashion world.
Rocha’s career started slowly but began to take off in 2006. Her first major breakthrough was appearing in a Balenciaga ad campaign. Wearing oversized platform wedges and a bowler hat, Rocha’s arrival on the fashion scene set the tone for the rest of her career: quirky, original and unexpected.
Her next notable assignment was a shoot with Steven Meisel for Dolce & Gabbana. Famous for being a ‘hit-maker’ in the fashion industry, Meisel has a gift for spotting new model talent. After working with Rocha, Meisel immediately rated her as a model that was worth watching. Website http://www.style.com/ was of the same opinion later that year when they named Coco their ‘rising star’.
The body of 2006 was a collective of great experiences for Rocha. An Italian Vogue editorial with Gemma Ward; a spot in the Chanel Couture runway show and additional shows for Vera Wang and Balenciaga. Coco topped off a brilliant year with an editorial in French Vogue, shot by legendary photographer Terry Richardson.
2007 would prove to be a seminal year for Rocha. Beginning the year by renewing her contract with Balenciaga, Coco also signed up to do a campaign for Lanvin. In February, Rocha achieved two Vogue covers in the same month, posing on the cover of Italian Vogue with Hilary Rhoda, plus an additional cover for Japanese Vogue with Russian model Sasha Pivovarova.
By themselves, these are noteworthy achievements, but in every great model’s career, there is a moment, a tipping point where everything falls into place. This moment came for Rocha in April 2007. She was booked to appear in the Jean Paul Gaultier runway show. Gaultier, charmed by the Canadian, found out about her dancing background and insisted she open and close the show. But Coco wasn’t to walk down the runway: she had to dance it.
Coco’s exuberant bursts of Irish dancing caused a sensation. Anna Wintour dubbed it ‘The Coco Moment’, and Rocha had arrived. The ‘moment’ lasted beyond the initial rush of publicity and translated into very real accolades. The next month, Rocha was featured on the cover of American Vogue. The theme of the cover was already decided: the world’s next supermodels.
Coco was in rarefied company. She shared the cover with Caroline Trentini, Raquel Zimmermann, Sasha Pivovarova, Chanel Iman, Jessica Stam, Hilary Rhoda and Agyness Deyn. Two years ago, these names were specialist knowledge only. Two years on, every one of these names evokes a face, an image and a glittering career. Vogue’s star-spotting was absolutely on the money.
On paper, the concept of Coco as a model should never have worked. Her years of dance training, while doing great things for her posture, should’ve worked against her. Contrary to popular belief, dancers don’t usually make good models, as their training forces them to resist the broken-down, angular poses required to model some of the extreme silhouettes in contemporary fashion.
But Coco took the best of her dance training and channelled it into the requirements of modelling. Applying an intelligent approach to movement, Coco’s popularity with photographers and editors boiled down to her ability to create shapes and lines for the camera.
Look at Coco’s body of work and you will see in her photos that she is a mistress of movement, providing a masterclass in how to create photos that are visually dynamic. Her energy, applied with restraint where needed, translates brilliantly onto film. Rocha is a rare breed: a dancer whose skills adds to, rather than impedes, the modelling package.
In September 2007, she opened a Chanel runway show, scoring the ultimate ‘insider’ job. If you are hired by Lagerfeld, you must be doing something right. In 2008, Coco was photographed for the famous Pirelli calendar by Patrick Demarchelier, and featured in a US Vogue editorial, dressed as famous cartoon characters. Who better to interpret Catwoman and Poison Ivy? Coco managed a difficult task with wit and verve, while still keeping the overall tone fashion-friendly.
Coco’s versatile face made her useable for commercial projects as well as the high-fashion fun. In 2009, she became the face of DeBeers diamonds and has a long-running series of campaigns with YSL skincare and fragrance, plus clothing campaigns for designers as diverse as Zac Posen and Liz Claiborne.
This disparity explains what makes Coco so in demand. She bridges the gap between the worlds of mainstream fashion and the avant-garde. Look again at the list of girls featured on the 2007 ‘Supermodels’ Vogue cover. The list shows how fashion’s take on beauty has shifted over the years. Girls like Agyness, Jessica, Coco and Sasha would’ve been sidelined in the Nineties as purely avant-garde faces.
Over a decade ago, as a model you were either positioned by your agency as an edgy, avant-garde girl or glamour personified. The careers of models such as Stella Tennant and Kristen McMenamy in the 1990s were sharply defined from those of more mainstream girls like Niki Taylor and Christy Turlington. Stella and Kristen did couture, Niki and Christy sold lipstick. Tastes for models would come and go: one year, it was all about the quirky, androgynous models, the next, fashion would celebrate classic beauties. What Coco and her peers represent is a departure from this idea that beauty has to be one thing or the other to be relevant. It has instead been replaced with a merging of the two ideals. Beauty can be just as sellable when it is off-centre, as it is in a Valentino gown.
The idea that a quirky-looking model could be editorial and commercial is something that has only truly evolved through this past decade. The complex requirements of a label like Balenciaga makes certain demands of a model, but now the mid-range labels, and even high-street brands are beginning to catch up.
Retail branding in the same decade has not just had an overhaul; it has been rewritten from scratch. High-street brands such as Reiss, Gap and All Saints are marketing themselves with the same level of sophistication as the designer names, because this is what the consumer now expects. Shopping isn’t just about the clothes you leave the store with; it’s about the whole experience. From the decor to the sales staff, the bar has been visibly raised and those stores doing well are outperforming their competitors because they have embraced everything high-fashion has to offer, including its models. Coco has secured so many contracts with brands on the high street because she offers a taste of high-fashion beauty that is both editorial and relatable.
Coco‘s quirky, off-beat appeal has seen her working with everyone from Gareth Pugh to Gap. Conservative designers love her, legends like Meisel and Wintour are fascinated by her. There is never a sense, in looking at Coco’s career, that there is a place where she doesn’t belong.
Models like Coco represent the future of modelling because they are the very definition of versatility. Seeing someone like Coco succeed shows how fashion has worked, actively and consciously, to become more inclusive to models that fall between the extremes of ‘quirky’ and ‘classic’. Coco’s amazing run of success has paved the way for new models such as Karlie Kloss, who has just signed a deal with Dior. The new girl personified by Coco is avant-garde, and she is establishment: part of the fabric of fashion, she is here to stay. Quirky isn’t a passing phase anymore.
HELEN TOPE
Sunday, 10 May 2009
Their name means prestige and privilege; the best. It is a tough remit to live up to, but Elite model management has secured itself an unshakeable foothold in the modelling industry.
First, the statistics:
Elite is a 35-agency-strong network, managing over 800 models across 5 continents.
It has bases dotted all over the globe, including New York, Milan, Paris, Barcelona and Copenhagen.
It is responsible for the most influential model-scouting process in the business. The ‘Elite Model Look Contest’, launched in 1983, has found some of the most significant names in the industry, and in turn, has helped shape the look of successive generations of models. What Elite finds, the fashion world wants.
Elite’s list of clients includes Chanel, Dior, Versace, Prada, Yves Saint Laurent and Louis Vuitton. With a client roster like this, there is no chance of an Elite model working under the radar.
A year’s contract with Elite is offered as the grand prize to contestants of ‘America’s Next Top Model’. It is a prize beyond monetary value in terms of what it can do for a new talent’s career, which is goes some way to explaining why the competition between the contestants has a tendency to get a little ugly.
Elite has also recently celebrated its 5 millionth booking – perhaps the most impressive statistic of all.
Elite has a stellar pedigree within the modelling community – a history based on its unflinching pursuit of excellence. But it still tempts the best of new modelling talent onto its books. Recent signings have included two of the hottest names in contemporary fashion: Ali Stephens and Coco Rocha.
The process of an agency can be best understood by the career trajectory of one of its brightest stars – and Coco Rocha is in danger of eclipsing them all.
Born in Canada in 1988, growing up, Rocha had no real handle on the world of fashion. It wasn’t until she was discovered by a modelling scout at an Irish dancing contest, that Rocha began to learn her own value in terms of high-fashion currency.
Signed with Elite, Rocha met with photographer Steven Meisel, which lead to a Vogue Italia cover in March 2008; the highest accolade the industry has to offer any new model. Elite’s expertise in nurturing young stars, coupled with the agency’s heady international presence within the fashion world, ensured that Coco’s rise within the ranks was unimpeded.
She racked up appearances on numerous catwalks for designers such as Prada, Marc Jacobs, Dolce & Gabbana, Balenciaga and Chanel. With such an impressive hit-list, anyone this much in demand must be doing something right.
Where Elite succeeded with Rocha was taking her from fashion girl to the fashion girl, and in doing so, they played to her rather unusual strengths. Securing her a spot in the Jean Paul Gaultier A/W 2007 show, Coco knocked everyone sideways with an unforgettable appearance. Gaultier found out about her dancing background and insisted she start and finish the show – an honour in itself. But she wasn’t to walk down the runway – she had to dance it. Her exuberant Irish dancing caused a sensation, with American Vogue dubbing it the ‘Coco Moment’.
Signing Rocha was a particularly smart move for Elite. Her popularity with fashion editors and photographers boiled down to her unflappable instinct when it came to interpreting stories for editorial shoots. Her intelligent approach to movement and an awareness of how the body creates lines and shapes on camera can be directly attributed to her dance education.
Normally, a model with dance training doesn’t do that well. His or her formal training with emphasis on good posture gets in the way of creating avant-garde shapes and just doesn’t translate on film that readily. But Coco had the best of both worlds, and together they worked in perfect harmony. Rocha had the modelling instinct, and that is what has kept her, and her agency, ahead of the pack.
Elite have surpassed their competitors by being bold enough to take risks on signing faces that do not necessarily fit the fashion mould. On paper, Coco Rocha was a potentially shaky investment. The disparity between dancing and modelling alone would have put many other agencies off that contract. But Rocha is a rare breed; a dancer whose skills add to, rather than impede, the modelling package.
Elite has risen to the top by focusing not on the good, but on the great. In aiming for the best, they have achieved a level of success unrivalled in the industry, and it was all done on instinct. Yes, industry know-how played its part too, but listening to an instinct, however wrong it may seem, is what has put this agency at the top of the game. Elite acted on that instinct when signing Rocha, and it is that very same instinct that is responsible for each and every of one of those 5 million bookings.
HELEN TOPE
