Modeling Journey

There are three main ways to contact a modelling agency:

- By post
- By email
- In person

Many model agencies specify which method they usually prefer, but note that when you’re starting out and shopping for agencies, cold-calling is a no-no. The odds of being signed to any agency are slim, but bugging an agency with calls isn’t the way to even out those odds. The key to getting seen is to play the hiring game by their rules. If the model agency you’re after prefers emails, send an email. If another agency holds Open Days, turn up on that day ready to dazzle. Persistence is a valuable asset when starting out in modelling, but use it intelligently and channel that determination.

The first step in contacting any model agency is to prepare some photos. This doesn’t mean spending hundreds, even thousands, on a portfolio. All you need at this stage are a couple of recently-taken photos, one head-shot (head and shoulders, facing the camera) and a full body shot (head-to-toe, again facing the camera). Some agencies also like a profile shot to see how your face copes with different angles - it’s worthwhile checking their websites as they will list exactly what they want.

The key to getting good photos is to keep it simple. Your background should be well-lit and uncluttered – standing up against a plain wall is perfect. In terms of posing, resist the temptation to show off your killer impression of Anna Jagodzinska: for these photos, try to keep your face in a neutral expression – this means no pouting or smiling. It’s harder than it looks and it might be worth practising in the mirror beforehand to know how your face settles naturally and what looks best.

Think of the process as a chance to present yourself as someone who could handle lots of different looks. With this in mind, think about what you wear whilst taking these shots. A simple t-shirt or vest with jeans is ideal: you’re looking to market yourself as that perfect blank canvas, ready to be signed.

In terms of grooming, simplicity is the key: over-working your skin and hair is a rookie mistake. A busy agent doesn’t want to have to spend time scrutinising a photo of someone who’s covered in make-up to see what’s underneath. Keep the skin clean and fresh – no make-up is preferable but a little dab of concealer here and there is fine. With hair, swept back off the face to show your bone structure works well, and it will also demonstrate how light hits your face. These photos are very important, and the temptation to hide behind a comfort blanket of make-up and hair product is immense, but any good agent will be able to tell if you have potential from a couple of simple shots. Once you are armed with a set of photos you are happy with, here’s how you go about approaching an agency.

By post

Contacting an agency by post is fairly straightforward. Send your photos, along with a SAE and brief covering letter (outlining any previous experience and your vital statistics), to the model agency marking it for the attention of their ‘New Faces Division’ (every agency has one).
Your vital statistics will be the following:

- Height
- Chest / bust size
- Waist & hip measurements
- Age
- Hair and eye colour
- Dress and shoe size

When compiling your statistics, it is crucial to be honest. Not only is it good modelling karma, but adding an inch or two to your height, or shaving an imaginary inch off your waist would be a terrible mistake. If you write off to a modelling agency, stating that you are 5’9” when you’re in fact 5’6”, the agent will not thank you for wasting their time when they agree to meet you in person. If you hover between measurements, always state your exact size. There’s no shame in being 5’8” ½, but saying your waist is 24 inches when it’s closer to 25 can make a difference. You want to start your relationship with any agency off on the right foot, and being absolutely honest is the best way to start.

By email

Rapidly becoming the most common method of contacting a modelling agency, many agencies now have their own dedicated page for people who want to be considered for their New Faces Division. If your chosen agency has a page like this, you can directly upload your photos directly onto their website. Many of these agencies will also have an online form you can fill out, adding your contact info and vital statistics. Bear in mind that if the agency likes your photos, you could well be asked to meet with them in person: padding your CV or spinning your stats so they look more attractive to an agency doesn’t work in real life. Modelling is one of the few professions where starting with zero experience isn’t a problem. If you have potential to work in the modelling industry, someone will spot it.

In person

Some agencies have regular ‘open castings’, which anyone can attend and meet with agents to see if they have modelling potential. Usually, if this is an option, it will be listed on an agency’s website with dates and times.

Take this as gospel: if an agency has an Open Day and wants would-be models to attend the agency on Tuesday at 10am, turn up on Tuesday at 10am. Do not assume that the agents will have hours at their disposal to spend looking at new faces; many times the ‘Open Day’ is little more than a couple of hours at most, because time spent away from existing clients and models has the potential to lose the agency valuable income. Therefore, take their time seriously and be punctual. It’s also good training for when you become a model, as time-keeping is as important as having a decent runway walk. If you know you’re one of those people who’s at least 10 minutes late for everything, plan and organise your day accordingly. Adjust the time on your phone so it’s running 10 minutes fast if you have to, and work to that.

If you’re able to get to an open casting, present yourself the way you did during your photos. Think clean, modern and polished. Presenting yourself in this way not only flags up to an agent that you’re someone who’s done their research, but also someone who’s serious about committing to a career in modelling. Don’t forget to bring a copy of your original photos along with you as well, so the agent can see how your features translate on film.

Whatever way you decide to approach an agency, listen to any advice and constructive criticism that’s offered. If an agent suggests you may not be right for a sector of the industry because of your height, don’t automatically give up. If you’re aged 16 or under, it might be worth waiting 6 months before trying again, as you may grow that extra couple of inches which might make all the difference.

However, if you’re about as grown as you’re likely to get, and the issue is that your look won’t fit in a particular section of the industry, you may have to accept that you’re getting advice from someone who knows what they’re talking about. If you’re 5’5” and want to break into high-fashion where 5’9” is the norm, you will have to face the fact that the odds of succeeding are stacked against you. There are always exceptions, especially in high-fashion where tastes and trends change so quickly, but in order to break through those barriers you will have to be truly exceptional.

When you are contacting modelling agencies, accept that rejection is part of the whole experience, and be flexible and open-minded when it comes to looking out for opportunities. If an agent suggests you might be better off exploring another area of the industry, don’t be afraid to ask for recommendations on where to go next. They will know who will be best placed to help you in that search. Don’t give up too easily: it’s a big modelling world out there – if you’re not quite right for one agency, you could well be a perfect fit somewhere else.

HELEN TOPE

This may seem like an obvious question, with an even more obvious answer, but on closer inspection, determining which agency you want to aim for says a lot about the kind of model you want to become.

Most people think of modelling purely in terms of high-fashion. But the faces you see, such as Liu Wen (pictured), in editorials for W or Marie Claire, are only one small section of the modelling industry. If you take even a brief look around you (billboards, promotional events, even television adverts), it suddenly becomes clear that modelling is a much larger industry than you may have first thought. This is ultimately good news, as when you assess your weaknesses and strengths as a model, you may find you’re suited to more than one style of modelling, or even belong in an entirely different category than you might have first imagined yourself in.

Being flexible about your career aspirations is the key to being a great model. Being realistic about where you can place yourself in the industry will save you a lot of heartache and rejection, and may even get you started sooner than you think.

Fashion / editorial
Has a well-deserved reputation as the toughest section of the industry to crack. If you’ve even watched one episode of any ‘Top Model’ series, it becomes self-evident that the requirements to get even a foothold in this sector are often exacting and complex.

It sounds strange, but being beautiful isn’t an automatic right of admission. This corner of the market is notoriously competitive, and agencies are always looking for the next face that will become the darling of high-fashion. If you’ve watched ‘Top Model’, you will know that the ‘cheerleader’ contestant – the girl who turns heads in real life – isn’t always guaranteed success. It’s a harsh truth that conventional good looks do not always translate well in the world of high-fashion. Many models prosper when their look offers something a little off the beaten track. Having features that photograph well is a must, along with height (usually at least 5’ 9” although exceptions are sometimes made), and a body that’s slim and evenly proportioned (the famous ‘clothes hanger’ body type).

Having a body that’s born to wear haute couture is a definite plus, but with model agencies looking for high-fashion faces, it’s all in the x-factor; that indefinable quality that makes someone memorable.

This can be an advantage if you’re quirky rather than pretty and tastes change so fast in editorial fashion that you can quite literally be ‘wrong’ one week and the absolute ‘face of the moment’ the next. It goes some way to explaining how a catwalk model can work for months, sometimes years, and suddenly become the girl everyone wants to work with.

However, rejection is a guarantee when trying to break into fashion modelling. The spots available are limited, as editorial is so specific in what it asks of new models. This is the sharp end of the business, and it’s not unusual to find yourself retiring before the age of 25.

But if you really think you have what it takes (and be brutally honest with yourself), you could end up working with some of the best photographers, stylists and editors in the world. Your time in the limelight may not last long, but a good career specialising in editorial could provide opportunities you never thought possible.

Catalogue / commercial
Once considered the poor cousin to editorial, commercial modelling is rapidly becoming one of the success stories of the industry. If you have good, photographable features but think you’re too old / short / girl or boy next door to get into high-fashion, this could well be the best option for you.

This type of modelling spills over from print ads into TV work and you don’t have to be an expert to figure out that there’s a lot more work to go round. Think of the number of adverts you see in any one day: toothpaste, lingerie, sportswear, hair-care – each one requires a face to sell that product and that person could be you.

The requirements listed by any commercial agency are similar to high-fashion, but with one crucial difference: you must have a look that is photogenic, warm and accessible. A great smile could quite literally make your fortune.

Having the basics – good skin, hair, teeth and nails will help you get through the door of an agency, but personality and flexibility is what could get you signed on the spot.

Just as with high-fashion, the client rules. What they want, you have to deliver. Being a good listener, and more crucially, able to work quickly and effectively with a creative team is an essential for this type of modelling. It’s a misnomer that ‘catalogue’ is for models that weren’t good enough for high-fashion. You need many of the same skills, and pressures of time and budget are just as high. Getting the right look on camera is a non-negotiable, and the only difference is that you could be modelling catalogue rather than couture. But making cheaper fabrics look just as good on film as their pricier counterparts is all about attitude. Wear catalogue with the same panache you’d reserve for Chanel, and your career will soar.

The key difference with commercial modelling is the work, or rather the amount of it. If you’re a success you will definitely know about it, because you will be working around the clock.

As I said earlier, catalogue has been one of the most resilient sectors of the modelling industry when it comes to bucking the economic downturn. In order to buy a product, we have to know about it in the first place, and the smarter companies have kept their advertising budget the same or even increased it during the recession.

Commercial modelling may have suffered from a self-image crisis in the past, but with commercial models finding themselves in constant demand, this area of the industry has finally had its Cinderella moment.

The good news for any budding commercial model is that your career could indeed have healthier long-term prospects than your editorial counterpart. Look at many of the big-brand beauty ads and they’ve been in the habit of using models that are a similar age to the consumers who will use the product. Gone are the days when an 18-year-old would advertise anti-ageing face cream. Everyone’s more media-savvy these days and that includes us, the consumers.

Advertisers have latched onto this, and it is now not uncommon to see models in their thirties, forties and beyond fronting campaigns for names like L’Oreal, Revlon and Nivea. Want to work in an ever-expanding industry? Commercial modelling may well be your best option to that most elusive thing in modelling: longevity.

Body parts modelling
One of the newest sectors of the industry, this is exactly what it says it is. Watch any advert for washing-up liquid and you’ll instantly spot a pair of perfectly-manicured hands. These will almost certainly not belong to the commercial model fronting the ad, but will belong to a model that specialises in body-part modelling.

Hands, legs and feet are usually the most in-demand and if you have hands that get regularly complimented, there might well be a career in it.

The work can range from the kitchen sink to beauty editorials or accessory shoots (very often a hand-model is drafted in to assist with fashion shoots where close-ups are required and the main model’s hands may not be up to such scrutiny).

This type of modelling can be extremely lucrative, but it requires a lot of patience on your part as it can involve repetitive, sometimes uncomfortable, awkward poses. If you’re low on patience and your tolerance for discomfort is set at zero, this might not be the best modelling option for you.

The downside to this kind of career is that you have to be extra vigilant when it comes to knocks, scrapes, bruises and falls. If you fell and bruised your hand, the worst case scenario would be no work, no bookings or even go-sees until it had fully healed. Some established body-part models even have separate insurance policies taken out in case of even more serious or prolonged injuries which can seriously impact on their ability to make a living.

The good news is that this kind of modelling provides regular work, and just with normal modelling, if you work well with creative teams and deliver results that clients are happy with, you can make a name for yourself and a very comfortable living into the bargain.

Finding your niche in modelling can take a while, but doing some preparation and groundwork is never a waste of time, in fact, quite the opposite. Whether you want to aim for the giddy heights of high-fashion, or want to opt for a more commercial angle, knowing your strengths in relation to what an agency is looking for is crucial if you want a career with a game plan. In the world of modelling, a little well-aimed self-promotion goes a long way.

HELEN TOPE

When it comes to securing a foothold in the modelling industry, the truth is that having the wrong attitude, or worse still, a bad one, can old you back even more than a dodgy runway walk.

When preparing for a career in modelling, thoughts of personal safety tend to get bumped down the list.

But when starting out, any offers from photographers or clients can be overwhelming and it’s easy to let your common sense take a back seat. However, it’s during these initial assignments and bookings that things can go wrong – unless you go prepared.

First off, the basics: whether you’re going to a casting or an actual booking, take your mobile with you and make sure it’s fully charged with plenty of credit. It’s not only in case of emergencies, but for when you find yourself running late, or worse still, get lost. If you are already signed with an agency, store their number on your phone. If you’re flying solo, a smart phone is a good investment. Not only will you be able to find phone numbers while on the go, don’t underestimate the value of being able to google maps when you’re hopelessly lost. Harness technology to work for you: in a tricky situation, it can be your best friend.

When preparing to travel to an unfamiliar location for a casting or shoot, do some groundwork first. Look up the venue and plan your route beforehand, allowing for traffic (especially during peak times) and delays if you’re using public transport.

If possible, take some cash for a taxi, and if you’re really unsure about the journey, do a dress rehearsal. Travel to the venue a couple of days before, at the exact time you will be going on the day itself. It will not only give you a chance to scope out the venue, but will ease any travel stresses on the day itself as you’ll already know where you’re going.

It should go without saying, but wherever you’re headed, tell at least one person where you’re going, and crucially, when you expect to return. Even sending a quick text when you’ve reached your destination and another when you’re about to head off home isn’t a bad idea either. It may sound OTT but it’s essential that as a working model, you take your personal safety very seriously.

If you are invited to a shoot at a venue other than a professional studio (eg: a home studio or hotel), take a friend or relative with you. A professional photographer won’t mind you turning up accompanied, although unless you’re under 18, don’t expect to have your friend sitting in on the sidelines cheering you on!

Always check venue details when dealing with a photographer / client you haven’t worked with before. Any client or photographer that is reluctant to offer up such information should ring serious alarm bells in your head. Any legitimate client / photographer will be happy to pass on and confirm details, so don’t feel self-conscious about asking for them. They will take your attention to detail as a sign that you’re taking the shoot seriously before the first picture has even been taken – not bad as first impressions go!

Of course, awareness of safety also means knowing who to trust and who to be wary of. Especially as a new model, the amount of information you’re expected to take on board can be exhausting. If you’re in the position that you are receiving offers from photographers via email, again you can use technology to help you.

Check the email address carefully. Are they using a free email service (eg: Yahoo or Hotmail)? While it is entirely possible that a legitimate photographer has a Hotmail account, it is more usual for a photographer to make contact with models and clients via a business email address. If this is the case, they often include a link to a website of their work: go on, get nosey and take a look. It will not only give you an idea of what the photographer is like, but who they’ve worked for in the past. Don’t be afraid to check credits and do a little sleuthing. Again, no legitimate photographer will be remotely offended by you taking a closer look at his or her credits. In fact, if you like what you see, you can even score brownie points by mentioning a particular set of pictures when you meet. There isn’t a photographer alive who doesn’t like hearing that their work is appreciated.

If a photographer sends you a vague email with no substantial detail in it apart from the shoot itself, be on your guard. Normally photographers will quite readily list their previous experience and credits as a matter of course. If they are a relative newcomer to the industry they will probably say so. If the email you’ve received is suspiciously vague and you can’t get any further information, it may be time to do some fact checking. In these cases, always trust your intuition. If the situation feels wrong, don’t ignore it: do some research and equip yourself. In the world of modelling, knowledge is power.

Assuming you’ve checked and the photographer is the genuine article, what’s next? It’s always a good idea to check the terms of the deal being offered to you. Sometimes you will be offered something called a TFP (Time for Print) deal. All well and good, but what does this mean?
This is where a photographer and model reach an agreement where instead of payment, the model gets a set of prints for his or her portfolio, and the photographer gets permission to use the photos for their own portfolio and publish them for commercial purposes. No money exchanges hands, but it is pretty much a win-win situation.

There are no standard terms for a TFP shoot, but these guidelines are a good place to start:
- After the TFP shoot, the photographer will ask the model to sign a release form. This is a legal document agreeing that the photographer can publish and use the photos.

- In exchange for this, the model gets a licence, granting them use of the same photos for their portfolio (told you it was a win-win).

- Finally, if you are under 18 at the time of the shoot, a parent / guardian will have to attend the shoot and sign the form on your behalf.

You should also be aware that the photographer will be responsible for handling additional costs such as location permits, plus studio and equipment rental. That’s why with TFP, a photographer is allowed to recoup their expenses by being able to use the photos for commercial benefit.

With all TFP deals, models are expected to meet their own transport costs and make these arrangements themselves, but if you get a stellar collection of shots for your portfolio that leads to paying jobs, that’s no bad thing.

Starting out in modelling can be a daunting prospect, especially when you’re not sure about what your responsibility is and what isn’t. Prepare and plan: do as much research as possible as this will help you be clear on when you’re being offered a great deal and when you’re being taken for a ride. If you’re really stuck, Models Connect has a section on how to avoid modelling scams at http://www.modelsconnect.net/modelling_agencies/scams.html

Safeguarding yourself personally and financially is crucial if you’re to avoid some of the pitfalls of this industry. But if you’re ever unsure about what to do, listen to that little voice in your head. It’s trying to tell you something very important.

HELEN TOPE

Preparing yourself for a career in modelling is rarely a simple process. Regardless of whether you want to be a fashion model, or work for catalogue, plus-size or the fitness sectors of the industry, there are a number of steps that are crucial to consider before you even step inside an agency.

Models Connect is a great place to get reliable information and advice. If you want to find out more about the potential dangers of modelling scams, you can visit our site at http://www.modelsconnect.net/.

So you want to be a model: you know there are pitfalls out there, but what are the obvious things to avoid? When starting out, the internet can seem like a great resource (and it is), but be wary of the following dangers which are listed in greater detail at http://www.modelsconnect.net/modelling_agencies/scams.html:

· Online modelling invites (especially via an unknown ‘friend’ or contact on Facebook);
· Companies asking for large sums of money to put you through an assessment day to grade your suitability for the modelling world. Models Connect offers a free evaluation when you register at: http://www.modelsconnect.net/index.php5?do=talentSignup
· Finally, Models Connect recommends you avoid any agency that charges something called a ‘casting fee’ or asks you to spend thousands on a professional portfolio. Portfolios are created at the agency’s cost once you sign with them, and they gradually recoup the costs when you begin booking jobs, by skimming a small percentage off your earnings. This is standard practice for modelling agencies: the pre-signing portfolio scam is the oldest modelling scam in the book. Don’t fall for it.

Another pitfall can be via those shiny leaflets, often found stuffed in-between the pages of glossy magazines, offering you a makeover and a day’s shoot at a professional studio. If you want a fun day out having your make-up done and posing for a few photographs, all well and good. But it’s worth bearing in mind that if you are an aspiring model, that these makeover days aren’t a good way of getting a leg-up into the industry. These studios do not have any link to the modelling industry. As a fun day out, they’re great. But if any makeover studio promises you advice, or worse still, access to professional industry contacts for a fee, avoid like the plague. These people are not your friend! Still not convinced? Go to Models Connect and see this page on its website, http://www.modelsconnect.net/?page=66 as it very clearly illustrates the difference between makeover and portfolio shots. Just remember the golden rule: if there’s a straw hat or feather boa involved, it’s not portfolio-worthy!

Models Connect offers an evaluation process that is quick and easy. If you do have model potential, you will be able to find out (free of charge) and more crucially, what area of the modelling industry you might be best suited for.

The most important thing to remember about avoiding modelling scams is that there is no guarantee of work – ever. It sounds grim, but even the top agencies, like Elite, Storm and Models 1 don’t know what or how much work will be coming their way from week to week. If an agency tries to sign you, promising they can get you work – step away from that contract!

Modelling is, by its very nature, an unpredictable business. You can be run off your feet one month and left twiddling your thumbs the next. If you do manage to get a meeting with a reputable agency, don’t be surprised or offended if they seem very guarded in what they can offer you. The general rule when looking for agencies and avoiding scams is how much does this agency promise me? If they confidently predict riches beyond your wildest dreams, be very, very suspicious.

It does pay to be on your guard, but it’s also worth noting that modelling does have some expenses. Models Connect lists the following as costs you will be expected to meet yourself:

· Grooming (hair / make-up / gym / dental upkeep and maintenance)
· Travel (to and from castings, even if you do get the job!)
· Z cards (known as a model’s business card. Some – but not all – agencies ask for a small contribution for design and printing costs. Other (usually bigger) agencies can absorb this cost themselves)

The trick to avoiding modelling scams is to remain alert: if something sounds too good to be true, it probably is. Check agency credits, client lists – everything. Don’t be too eager to sign on that dotted line and don’t be afraid to ask questions.
Dive headfirst into the first opportunity that comes along at your peril: it could end up costing you a lot more than you think.

For up-to-date advice, blogs and news on the modelling world, plus a free evaluation, register with Models Connect today at http://www.modelsconnect.net/

HELEN TOPE

Born on 29th July 1987, Olga Sherer is a couture model with a unique approach to the demands of high-fashion, making her a constant presence in an ever-changing industry.

A native of Minsk, Belarus, Sherer began her modelling career in March 2005, making her runway debut for Issey Miyake. Her CV was somewhat sparse until February 2007 when she took the industry by surprise with a 72-show season, including Alberta Ferretti, Alexander McQueen, Chanel, Dior, Erdem, Hermes, Lanvin, Prada, Rodarte, Vera Wang and Versace. Reading like a list of who’s who in the fashion world, Olga’s dramatic emergence from bit-player to leading lady was all a matter of timing.

Between 2005 and 2007, the fashion world experienced a revival of Pre-Raphaelite-style beauty. Suddenly models that wouldn’t look out of place on a Victorian canvas became hot property. Names like Lily Cole, Lily Donaldson and Gemma Ward set the industry alight with a new type of beauty that wasn’t glamazon or editorial. Their classically ‘pretty’ looks worked well with the feminine trends and Olga’s striking red hair coupled with her painterly, wistful beauty made her an instant hit.

What also worked for Sherer was her aristocratic look and couture-perfect physique, allowing her to cross-over from romantic to avant-garde work with ease. This meant that Olga’s triumphant success on the runway translated into editorial work, appearing for W and an editorial for Italian Vogue, photographed by Greg Lotus.

She then became the face of Lanvin’s Autumn / Winter campaign. Shot by Steven Meisel, the campaign featuring Olga in a yellow dress became one of the most striking images of the season.
Her success also allowed her to land coveted slots, opening and closing shows. In September, she opened shows for Luca Luca, BCBG and Luella Bartley; closing shows for Paul Smith, Matthew Williamson, Fendi, Pucci, Lanvin and Moschino. It was a stunning 73 show season, with Olga being paired with designers who specialised in using colour and pattern. The punchy impact of Olga’s red hair made her an automatic stand-out in a market dominated by blonde and brunette models, and also provided a brilliant backdrop for the zesty colours used by designers like Williamson and Smith.

In October, Olga got her second editorial with Italian Vogue; this time photographed by Steven Meisel, and in January 2008 got her third editorial with the magazine, plus work for V and Numero.

Renewing her contract with Lanvin, Olga had another brilliant show season in February opening shows for Narciso Rodriguez and Bottega Veneta, and closing shows for Ralph Lauren, Kenzo and Tuleh.

In July, Olga got booked for the couture season, including Armani Prive, Christian Dior, Jean Paul Gaultier and Valentino. Standing at 5’ 11”, Sherer proved she was born to wear couture. Olga was brilliant at embodying the concept of collections, with a presence that paid dues to the couture models of the 1950’s. Sherer’s knack for working haute couture made her consistently in demand right at the very top levels of the industry.

In the latter part of 2008, she got a series of high-profile campaigns including D&G, Bottega Veneta and a cosmetics campaign for Dior. Olga even went international with editorials for Chinese, German and Russian Vogue, with Russian Vogue featuring her as a top model.

In September, she appeared in the ready-to-wear season, closing shows for Paul Smith, Missoni and Rick Owens, also appearing for Alexander McQueen, Hermes, Lanvin and Valentino. Even the RTW component of her CV leant towards designers whose collections borrowed from the principles of couture: Rick Owens’ work is all about deconstruction (a feat that is impossible without an intimate knowledge of how clothes are made), and of course Lanvin, whose dresses are an intricate masterwork of drapery and folds.

In December, Olga took part in a multi-model editorial for V called ‘Couture after Dark’. Shot by Cedric Buchet, the spread was an electrifying series of pictures illustrating that couture is as much of the 21st century fashion experience as ready-to-wear. Working alongside models Ali Stephens, Karmen Pedaru and Siri Tollerod, the shoot was dynamic, daring and utterly modern: a perfect match for Olga’s strengths.

In January 2009, Olga continued with another couture season, this time working for Armani Prive, Dior, Christian Lacroix and Valentino. She scored her 4th editorial with Italian Vogue in February, and hit a major career high-point when she was selected to become one of the faces for a Marc Jacobs campaign. Olga finished off the year with a show season walking for Carolina Herrera, Dior, Elie Saab, Marc Jacobs, and Michael Kors and an editorial for Russian Vogue.

February 2010 saw Olga return to the runway with another packed season. Wanted for shows like Aquascutum, Bottega Veneta, Lanvin, Margaret Howell, Mary Katrantzou, Prabal Gurung and Vanessa Bruno, Olga’s booking sheet was an even spread of established labels and prestige brands, ranging from the Parisian glamour of Lanvin to the very British chic of Margaret Howell. Also working for new talents such as Katrantzou, Sherer was again working with designers whose work hinged on pattern and colour.

With mid-year work ranging from editorials for i-D and a celebration of Russian modelling talent by Russian Vogue coming in December, Olga Sherer’s star continues to shine high and bright.

What is immediately clear is that the main focus of Olga’s career has been haute couture. With a reputation for being the most difficult area of fashion to understand and appreciate, modelling couture is the toughest hurdle for a model to master. Height and good cheekbones aside, haute couture places very specific challenges on a model; it remains, despite the changes in fashion over the last fifty years, very different to the world of ready-to-wear. Still a byword for exclusive (and very expensive) fashion, couture modelling requires a set of skills that test even the most confident model.

Couture is as much about drama as it is about design. To make couture work beyond the runway, you have to tell a story. Big clothes require big narratives, and Olga’s work on editorials such as ‘Theory of Evolution’ for Elle, or ‘Couture After Dark’ for V, showcase how clearly she understands the balance between grounding couture in some sense of reality, and allowing the magic of the clothes come to life. A model isn’t just needed to physically cart a ball-gown down the runway; she’s needed to flesh it out so the dress becomes something other than a mass of material and stitches: it becomes couture.

Modern couture is often drawn as extravagant and out of touch, but what models like Olga bring is a sense of history that blends the old with the new. On the face of it, older and newer styles of modelling seem poles apart, but look closer and there are similarities. Google Jean Shrimpton and her defiant, straight-down-the-lens stare would fit right in with any current campaign for urban fashion.

It works the other way too: visit You Tube and find the Spring / Summer 2010 show for Dior Couture. The equestrian-themed collection allowed the likes of Karlie Kloss and Iris Strubegger to trot down the runway as haughty country-club fillies, with designer John Galliano even getting in on the act. The collection was the show everyone talked about because it tapped into the sense of occasion required to justify the time and effort spent on creating museum-worthy fashion.

Couture is all about creativity in its purest, most undiluted form. Models like Olga have succeeded in the world of modern couture by fusing 1950’s romance with contemporary avant-garde. A grasp of where modelling has been is just as important as knowing what’s happening now. Fashion may be about the newest and the next, but it’s constantly borrowing from the past, and that’s true of modelling too.

A virtuoso performance on a couture runway owes a great debt to the women who walked before; models like Lisa Fonssagrives, Suzy Parker and Dorian Leigh. They helped to define what we now understand as haute couture, and Olga Sherer’s ability to be both contemporary and other-worldly is translating the oldest branch of the fashion industry for the next generation, ensuring its longevity and its survival.

HELEN TOPE

Born December 20th 1983, Dutch native Lara Stone is one of fashion’s hottest exports. Taken straight from Hollywood’s template of the femme fatale, Lara Stone is the very definition of a 21st century supermodel: bombshell meets mannequin.

She was first discovered in 1995, aged 12, whilst riding on the Paris Metro. But Stone’s career didn’t take off until she entered the Elite Model Look contest in 1999. She didn’t win, but Elite was so impressed with the 16-year-old that they signed her anyway.
Lara switched to agency IMG in 2006, and that January she debuted at the Autumn / Winter Givenchy couture show. She also made her ready-to-wear debut, walking for designers Cacharel, Miu Miu and Veronique Branquinho.

Lara also scored her first major campaign in 2006, managing to scoop an ad for Sisley. Photographed by Terry Richardson, it was the perfect match of photographer and model. If anyone knew how to photograph Lara’s curves and keep it centered in a sense of fashion, it would be Richardson.

The impact was immediate. Stone got the cover of French Elle in May, and was dubbed a favourite of French Vogue. Editor-in-chief Carine Roitfeld remarked that ‘sometimes a girl just touches you’. In an overcrowded industry, even a little ‘x factor’ goes a long way. It would soon become self-evident that Lara had star quality to spare.

October 2006 saw Lara’s busiest runway season to date, with appearances for Burberry, Chloe, Jil Sander, Lanvin and Prada. Her appearance at the S/S 2007 Karl Lagerfeld show also attracted press attention when she tripped on the runway. Even that glitch didn’t stop Lara’s progress: http://www.style.com/ named her (trip or not) their rising star of the season.

In 2007, Lara’s career went into overdrive. She became the face of Givenchy with Hilary Rhoda, signed a cosmetics contract with Calvin Klein and even replaced Kate Moss as the face of Calvin Klein Jeans. She also had the best RTW season of her career, with 62 bookings for the A/W 2007 season. Her appearances included Alberta Ferretti, Balmain, Burberry, Calvin Klein, Derek Lam, Givenchy, Gucci, Louis Vuitton, Marc Jacobs, Prada, Roberto Cavalli and Stella McCartney. It was a resounding stamp of approval.

Lara’s aplomb on the runway sparked editorial fever, with magazines vying for her time. In March, she channelled Sixties icon Brigitte Bardot for a French Vogue editorial. In April, she shot their cover. May saw an editorial for British Vogue (photographed by Mario Testino) and July saw Lara’s first fashion shoot for Italian Vogue. In October, she did two editorials for Italian Vogue and finished off an incredible year with the December cover of Italian Vogue, photographed by Steven Meisel.

In 2008 Lara renewed her contracts with Givenchy and Calvin Klein Beauty, plus signing on to become the face of Just Cavalli. March saw Lara hit the cover of French Vogue again. Her status as French Vogue’s favourite was cemented by an extraordinary run of success, including being cited by them as a top model, along with four editorials; two in the May issue and two more in June.

In July, Lara scored the cover of W magazine, along with Vogue, the most influential fashion magazine in America. Taking on cover duty with Kate Moss and Daria Werbowy, the shoot dubbed ‘Summer Camp’ took the best new design talent (including Gareth Pugh and Rodarte) to Miami, shooting their designs to create an incredible 36-page layout. For Lara, this shoot by Bruce Weber was a career-making moment.

The noteworthy appearance for W landed Stone two more campaign slots: Hugo Boss Orange and Jil Sander. The combination of a face made for editorial and a body built for (sartorial) sin was proving to be an irresistible lure.

Her starring role in many of the top runway shows later that year confirmed her status, including opening honours for the Isabel Marant, Giles Deacon and Christopher Kane shows. Also walking for Balmain, Celine, Louis Vuitton, Marc Jacobs, Michael Kors and Zac Posen, Lara’s ability to morph from a fashion girl, to sex-bomb, and back again, charmed the industry. Taking adaptability to a whole new level, Stone undertook editorials for Japanese and French Vogue in October, and a month later, walked in her very first show for lingerie brand Victoria’s Secret. Fusing a high-fashion aesthetic with mainstream glamour? All in a day’s work.

Lara was rapidly becoming fashion’s newest superstar. To prove the point, French Vogue dedicated an entire issue to the Lara phenomenon in February 2009, with editorials shot by Steven Klein, Hedi Slimane, Peter Lindbergh and Patrick Demarchelier. The other recent example of this happening is with Natasha Poly’s multi-page homage in Russian Vogue.
Natasha and Lara make similar studies; viewed from a distance they should be one-trick ponies, asked to do nothing more taxing than smoulder and pout. But get closer and you see versatile, thoroughly capable editorial models that bring something extra to every assignment.

February was a good month for Stone as show season rolled around. She made a headline-grabbing appearance for Balmain. Rewriting the fashion rule that body-con tends to look its best on the super-slim; Lara appeared on the Balmain runway in a dazzling blue sequinned mini-dress.

Her curves were clearly visible, but she looked incredible. The trend that had up until this point stayed on the sidelines had now become fashion’s latest crush. The press lauded Stone for making the Balmain glamourpuss look finally achievable, and the high street dutifully picked up the thread, making copies of the Balmain / Lara look and sent the body-con trend into the stratosphere.

The show season didn’t end there either. Lara was chosen to close the Marc Jacobs show. Simply as good as it gets in terms of runway prestige; Lara put an end to the claims that her presence was a token gesture, a pacifier for those who questioned whether fashion had really got a grip on the body image issue. Lara wasn’t picked because of the potential for headlines, but like her appearance for Balmain, Lara was chosen because of her ability to enhance clothes without being a distraction.

Lara’s triumph on the runway was followed by yet more editorial scoops, including the cover of Japanese Vogue, spreads for W and French Vogue, and finally in May 2009, she got the cover of American Vogue. Shot by Steven Meisel, it was another modelling milestone done and dusted.
In August, the fashion bible W paid tribute to her in their issue, dubbing her ‘Fashion’s new IT Girl’, if there was anyone left who doubted it. The end of 2009 culminated with not one, but two, magazine covers. The first was another for Italian Vogue, and the second was for British Vogue.

The British December issue was named ‘The Girl of the Year’. Shot by Mario Testino, it was Lara in full fantasy mode. The cover shot was soft, dreamy and uber-feminine. It wasn’t just a celebration of Lara’s achievements, the cover was signposting the year (and decade) ahead. True to its word, fashion has got in touch with its softer side and Lara couldn’t be better placed to take advantage of this shift in fashion semantics.

If 2009 saw Lara as the girl of the year, this coming decade surely belongs to her as well. To date, she has appeared in S/S campaigns for Jaeger, Louis Vuitton, Prada Infusion D’Iris fragrance and H&M swimwear. Couple this with an upcoming A/W campaign for Giorgio Armani Cosmetics, and Lara’s run of success shows no sign of losing momentum.

Being curvier than her peers hasn’t left Lara out in the cold, especially in terms of those all-important, lucrative campaigns. Stone is, just in terms of numbers, way ahead of the pack. The calibre of those campaigns (including Chloe, Jil Sander and Prada) are indicative of her ability to appeal to a wider demographic.

When casting campaigns, design houses don’t only look to the names that are populating the world’s runways or filling the pages of Vogue. That certainly helps, but a great campaign model needs something extra. If it’s a sunny advert for swimwear, coming across as likeable is essential. If it’s selling a bottle of perfume, the model needs to have an allure that’s appealing, not off-putting.

Lara’s brand of sex appeal is aimed squarely at the grown-ups: its Brigitte Bardot meets Veronica Lake, with a dose of worldly-wise Jane Russell thrown in for good measure. Lara’s pitch-perfect ability to charm men and women into buying that perfume explains why she’s in such high demand.

The company you keep in the fashion world says a lot about you. Lara isn’t booking campaigns or features with marginal figures in the industry. Chanel, Givenchy, Prada, Calvin Klein, Giorgio Armani – these names are not exactly obscure references. Lara has worked with the greatest designers, editors and photographers in the business. She may not be the most prolific runway girl, but it’s quality over quantity.

What makes Lara different is that she has tailored her career to her strengths. Her personal stamp – a postmodern Bardot – has worked simply because there is no-one else quite like her. Some come close: the trio of Brazilian supers (Bundchen, Trentini and Zimmermann) all have the market cornered in doing campaigns that call for plenty of sizzle. But Stone is cut a little differently from the standard sex-bomb mould.

Lara is part of a small group of models who can do the blend of coy sophistication peculiar to brands like Prada. It’s a tough ask, and Lara’s strategy of being (and staying) true to herself has paid off. Prada loves different, hence why she is their campaign girl.

Lara deftly translates intelligent sensuality into something fashionable and covetable. She works so well as a marketing ploy because of her high-fashion connotations. There’s little chance of mistaking the Prada girl for an off-the-peg glamour queen.

As influential as she is now, in ten years’ time, expect to see Lara’s legacy throughout the modelling industry. The soft-sell approach to campaigns that clamour for sex-appeal will eventually reconfigure what we think of as ‘sexy’. Think smart, challenging and a little hard-to-read. A unique presence in contemporary fashion, Lara is undoubtedly a model of substance.

HELEN TOPE

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.

Born in Poland, 15th January 1994, Monika Jagaciak is already known by one name: Jac. A catwalk veteran at 16 years old, Jac is fashion’s newest runway prodigy.

Jac’s career began in 2007 when she was signed to IMG Models at the age of 13. In July, she scored her first magazine cover with French magazine Jalouse, photographed by Elina Kechiecheva.

That same year, she landed an incredible coup, becoming one of the faces of French heritage brand Hermes. The campaign was shot by Peter Lindberg and Jac worked alongside established model Daria Werbowy.

In 2008, she travelled to Japan, and her mixture of youth and editorial appeal made her an instant hit, scoring her the November cover of Japanese Elle. Also appearing on the cover for Japanese Harper’s Bazaar, Jac’s career really took off in 2009.

Just a month after her 15th birthday, Jac hit show season with a bang. Chosen to both open and close the Calvin Klein show, she also opened the Philosophy di Alberta Ferretti show and closed the Marc by Marc Jacobs runway collection. In addition to these honours, she also walked for Bottega Veneta, Burberry, D&G, Gucci, Jil Sander, Marni, Prada and Versace.

But her appearance in the Herve Leger show really earned her the title of most talked-about newcomer. Halfway down the runway, she took an unexpected tumble: her knees buckled and she fell heavily to the ground. The knock would be galling for an established model, but even more daunting to someone yet to earn their stripes. But the 15 year old rallied, got up and finished the show.

Despite the slip-up, Jac was nominated as a Top 10 Newcomer by http://www.models.com/ and a rising star by http://www.style.com/. The accolades were well placed, as news followed that Jac had been signed to an exclusive contract as the face of Calvin Klein. Following the likes of Kate Moss and Jessica Miller, it was an extraordinary achievement. Jac filled the rest of her year with editorial work, posing for Teen Vogue in April, French Vogue in June and Italian Vogue in September.

September proved to be a particularly good month for Jac, as she was named Rising Star by Teen Vogue. Adept at spotting new talent, getting the nod from the queen-bee of teen magazines proved to be a powerful ally in Jac’s corner.

To those who doubted that Jac was capable of doing runway at a high-fashion level (after the incident at Herve Leger), Jac’s S/S 2010 season proved otherwise. She opened shows not only for Calvin Klein, but Marni, Bottega Veneta, Etro and Pucci. She was also picked to close shows for Alexander Wang and Gianfranco Ferre – hardly small fry.

But Jac’s standing as an international runway model was put on hiatus when she was denied the chance to take part in Paris Fashion Week. Any models under the age of 18 were banned from participating, leaving Jac (and many others) to sit this one out.

However, Jac’s career continued to flourish, with editorial credits from W, Numero and Italian Vogue to finish off the year. In January 2010, she renewed her contract with Calvin Klein and shot an editorial for Italian Vogue with Steven Meisel.

Now aged 16, Jac progressed to haute couture, modelling for Armani Prive, Dior, Givenchy and Elie Saab, plus opening the show for Valentino. If the trip at Herve Leger had industry insiders questioning whether Jac was ready for a high-octane modelling career, her run of bookings silenced even the toughest of critics. Jac signed on to appear in a staggering 72 shows, featuring the very best of modern design talent. Walking for everyone from Balenciaga to Yves Saint Laurent, the list of bookings was proof that Jac’s career had come of age.

To be an established name by your 16th birthday is certainly unusual even by fashion standards, but it is by no means unheard of. Jac’s success may be treated as a novelty by the mainstream press, but starting early in modelling is nothing new.

Kate Moss was famously discovered aged 14; actress and model Brooke Shields landed the cover of US Vogue at the same age, and in 1988 Kimora Lee Simmons signed an exclusive contract with Chanel aged just 13 years old.

Even now, fashion has its fair share of early starters. Imogen Morris-Clarke signed with agency Storm aged 14; Hana Soukupova started modelling at 13; new model Amanda Norgaard is one year older than Jac and has already featured in shows for Chanel and Miu Miu. Rising star Keke Lindgard is the same age as Jac and is the face of Gucci eyewear.

Modelling is a high-stakes career but mastering the basics at an early age may not be the worst thing for a new model. The fashion world tends to be an easy target for criticism, but the reality is the image of fashion being a heady whirl of glamorous excess belongs to another age. Nowadays, it’s hard work and discipline running the show. The recession has claimed many top names, and no-one can afford to be caught slacking.

One of the most positive things a model can take away from the experience of modelling is a whole clutch of business skills. Learning how to work with other people; the value of being focused, on time and most of all leaving a good impression on go-sees and bookings can all be applied to the outside world.

Jac, as well as working with some of the most brilliant creative minds in the business, is getting a crash course in how to get ahead in the real world. The skills she has already learned – not allowing the fall at Herve Leger to faze her – are nothing short of invaluable. When Jac took a fall during the Herve Leger show in February 2009, far from damaging her career, 12 months on she booked an incredible 72 shows. Knowing that one mistake doesn’t equal disaster is an important life lesson at any age, but learnt young – it’s nothing sort of empowering.

To not allow someone to work because of their age, as happened in Paris Fashion Week, is a curious response to the ‘youth issue’. After all, athletes aren’t criticised for blossoming early, and are often encouraged to strive and achieve from a very early age, so why should models be treated differently?

Jac’s experience of high-fashion won’t always be positive – there will be tough assignments, difficult colleagues and unsociable hours. But it is the same with any job, any career. Some days the negatives outweigh the pay-offs: learning to push through an occasional bad day is something Jac can take with her when she decides to leave modelling.

Knowing how to handle the difficult parts of the job does take maturity, but maturity happens at different rates for all of us: setting an arbitrary limit on when someone is allowed to explore and develop their talent doesn’t take any of these factors into account. Someone may be ready to work at 15, and another model may not be emotionally or intellectually equipped by 19.

It’s clear that Jac has the potential to become one of fashion’s mainstays. She has proved herself to be someone who doesn’t give up at the first hurdle, and that is an instinct that cannot be taught. Already tipped to be the next ‘big thing’, the campaigns with Calvin Klein and Hermes are just the beginning.

As Jac enters the most crucial stage of her career, she is moving from ‘rising star’ to the ‘must-hire’ girl. With the world’s hottest design talent clamouring to work with her, the modelling industry should be prepared. Its newest supermodel has just arrived.

HELEN TOPE

Natasha Poly is modelling’s newest superstar. In an age where the word ‘supermodel’ is strictly off limits, Natasha is raising the bar for a whole new generation of modelling talent.

Born in Russia on July 12 1985, Natasha’s success was far from overnight. She began modelling in 2000, but it wasn’t until February 2004 that she experienced a breakthrough.

Working across Europe, Poly got booked for the Autumn / Winter show season. Signing up for 54 shows, Poly’s big moment included appearances for Balenciaga, Chloe, Gucci, Peter Som, Sonia Rykiel and Vera Wang. Her strongly-defined features wowed the industry: Natalia Vodianova and Daria Werbowy were already making waves, and Poly would soon find herself joined by Sasha Pivovarova. The fashion world couldn’t get enough of what Eastern-Europe had to offer.

In May 2004, Poly landed the cover of French Vogue and another in June. In December, she scored her third Vogue cover of the year, this time doing cover-try duty for Australian Vogue. Poly may have been the epitome of Slavic chic, but her blonde-with-attitude beauty had no problem translating to other continents. 2004 was a whirlwind of a year, but there was no doubt about it - Natasha was a hit.

In 2005, Poly featured alongside other Eastern-European models for a Vanity Fair spread called ‘Slavs of Fashion: The New Beauties’. The overwhelming popularity of girls like Poly represented a new modelling phenomenon, mixing the familiar (tall, blonde and gorgeous) with a hint of old-world exoticism.

November brought Poly another cover of French Vogue and her first appearance in the Victoria’s Secret show. At this point, Natasha was very much a high-fashion lynchpin, but her Slavic look easily crossed over into the more commercial arena of lingerie modelling. Poly’s ability to shift from couture to lingerie (even when it’s televised and broadcast to millions) marked her out as a fashion multi-tasker. Everyone loves a versatile model, but with Poly, the transition was seamless.

The New Year started off well for Natasha. Landing a campaign for Ralph Lauren with fellow Russian Valentina Zelyaeva, Poly had a brilliant S/S show season, doing runway for Balmain, Givenchy, Lanvin, Luella, Proenza Schouler, Valentino and Zac Posen. In March, she scored another cover of French Vogue and an editorial in Numero magazine, photographed by Camilla Akrans.

2007 presented Poly with another career high, when she signed a fragrance contract with Gucci. The fragrance, also called ‘Gucci’, had a TV advert directed by David Lynch. Poly, in a floor-length, gold lame gown, danced to the Blondie hit ‘Heart of Glass’. The advert was hedonistic charm at its best. The antithesis to the clean, minimalist fragrances flooding the market, ‘Gucci’ stood out and the shot of Poly curled up with an enormous bottle of the stuff made the perfume an international hit. Poly was not just fashion’s it-girl; she was connecting with the public too. Natasha’s iconic Gucci-girl image became a byword for modern glamour. Gucci agreed too, renewing her contract in 2008.

January 2008 began with news that Natasha would appear in the next Pirelli calendar, to be shot by Mario Sorrenti. Poly returned to her high-fashion roots in February, with a stellar season. She opened shows for designers such as Derek Lam, Belstaff, Gucci, Moschino and Isabel Marant, and closed shows for Herve Leger, Temperley, Balmain and Dries van Noten. The girl from Russia had gone well and truly global.

In April 2008, French Vogue paid homage to their favourite Russian by dubbing her a ‘top model’. Poly’s successes continued to pour in with a Russian Vogue in July dedicated entirely to her, and in August she scored a second consecutive cover of Russian Vogue, photographed by Terry Richardson.

In September, Russian Vogue also hailed her as a top model, and as if to prove this point, Natasha had one of her best show seasons. Walking in 54 shows, Poly headlined for Matthew Williamson, Preen, Blumarine, Roberto Cavalli and Stella McCartney. The year closed with the cover of i-D, photographed by Emma Summerton, and 2009 began with an Italian Vogue – Steven Meisel editorial with fellow model Sessilee Lopez.

2009 was a good campaign year for Poly, continuing her affiliation with Gucci, plus ads for Blumarine, Missoni and Calvin Klein Jeans. With a strong RTW and couture season behind her, Natasha did editorials for French and Russian Vogue in August. But her greatest moment came in September, when Muse magazine dedicated their entire issue to the Poly phenomenon.

With contributors such as Ricardo Tisci, Jeff Koons and Terry Richardson, it was a timely nod to Natasha’s extraordinary influence on the fashion industry. Doing everything from haute couture to beachwear, at a time where the term ‘supermodel’ seemed self-indulgent and outdated, Poly was reinventing it for the next generation.

In December ’09, Poly appeared with several other top models in a Twitter-inspired editorial photographed by Steven Meisel. A witty take on the growing role networking sites such as Twitter and Facebook have in our day-to-day lives, it was the most literal indication yet of fashion’s emerging relationship with technology.

2010 marks ten years in the business for Poly, and as we move into a new decade, the career of someone as prolific as Natasha Poly serves as comment on how we see the term ‘supermodel’. If Poly had been working 20 years ago, she would have easily joined the ranks of Evangelista and Campbell. Her body of work, astonishing as it is, is still not enough to warrant that label today. It has not just fallen out of favour; the phrase has become a piece of fashion history, perhaps never to be revived. After all, if Poly can’t do it, it begs the question: who can?

Kate Moss is probably the last model who can legitimately refer to herself as a supermodel, and the birth of her career, the early 1990’s, is the last time we see models being treated as celebrities.

As the cult of celebrity accelerated during the Nineties, models were sidelined into runway and editorial work, while the pulling power of names like Aniston carried magazine sales. How did this happen? Well, if models could be celebrities, what was to stop celebrities becoming models? However noteworthy an up-and-coming model, she simply couldn’t compete with the star power of Hollywood’s A-list.

So the modelling industry had to get creative. They went to their strengths: editorial, editorial, editorial. The modelling world reminded designers and editors that when it comes to selling high-fashion, the tricky stuff, there are some assignments best left to the professionals.

As a result, the landscape of the modelling industry now looks very different. The faces can be just as familiar, but the names are not so easy to place. The basic terms of what constitutes a supermodel remain the same: high visibility, presence and punch. But that high-octane celebrity attached to names like Evangelista and Crawford has gone for good. What’s left is a raft of models like Poly, including Rocha, Rubik, Deyn and Kloss who are mastering the runways, campaigns and editorials.

Poly’s appearance in the famous ‘Twitter’ Italian Vogue editorial in December 2009 is a prime example of how we see models differently. A model’s contact with the public used to be a series of carefully-orchestrated, PR-driven appearances. This has now given way to round-the-clock Tweets on your laptop. We can now get glimpses of models – Jessica Stam and Chanel Iman are two particularly avid Twitterers – that are gloriously unedited and unsupervised. We feel that we ‘know’ today’s supermodels better, because that personal connection is more immediate: it feels more real.

It’s hard to see a future where fashion returns to the rarefied, exclusive realm it inhabited before the recession. The front row experience is no longer reserved for editors and celebrities and bloggers can freely comment on a runway show or red carpet as it happens. When everyone has a voice, it doesn’t always make for balanced debate, but this equality potentially means the most radical shake-up in decades, and the fashion world definitely seems to have got the memo that a more inclusive industry is a richer one, both aesthetically and economically.

So what we have lost is nothing to what we have gained. In losing the model-as-celebrity, we’ve now gained a generation of girls like Natasha Poly who are the faces of a fashion revolution. A new breed of top model that represents the latest – and bravest – fashion age: it’s fashion minus the ego, and it hasn’t come a moment too soon.

HELEN TOPE

In the search for an agency, technology can be your best friend. However, typing in ‘modelling agency’ into any search engine will result in you getting more information than you can handle, and much of it, indiscriminate and irrelevant to the type of career you want.

Research

Start off by researching models you admire. Find out who represents them – this is a good starting point to ensure you only make contact with legitimate agencies. Do your homework, find out who the top agencies are and visit creditable sites like www.models.com to see which agencies hire models that most closely represent your look. Success in modelling is all about marketing, and doing it with insight and intelligence. Try to imagine your own look in an existing market – where would you place it? High fashion, commercial, plus-size, sports and athletic modelling – it’s a big modelling world out there. Having an awareness of where you might fit in is crucial.

Don’t be afraid to contact the bigger agency names. Yes, they are inundated with photos every day, but each one of these is checked to see if that person has modelling potential. Don’t assume that you’re better off trying just the smaller agencies. Be ambitious for yourself, contact every relevant agency, but be prepared for knockbacks. They come with the territory, and this point in your career is just the beginning. Try not to take rejection personally, because it rarely is. It’s just business.

Modelling may seem like an artistic pursuit, but the fact is for everybody concerned, it is a money-making venture. Think ahead: formulate, plan and plot your course of action, even if it’s only week by week.

Enthusiasm is infectious, and showing agencies that you have a ‘game plan’ can be the thing that tips the decision in your favour. If you’re really serious about becoming a model, make fashion your business. Read the trade publications (Vogue, W, Elle, Nylon, Harper’s Bazaar). Study who is out there, and why they keep getting re-hired. What are they doing that’s right? It’s rarely down to dumb genetic luck. The very best models get to the top because they are fearless about pursuing their goals. If you are really passionate about a career in fashion, let it show.

In person

When you’ve found an agency that captures your interest, look closely at their website. Many model agencies have very specific means of application. Some like you to send in a couple of photos in the mail: usually one head-shot and a full-length body shot. Others prefer you to upload a recent photo of yourself onto an online form, plus your personal details such as age and height. Others hold regular Open Days where would-be models are invited to attend an appointment with a booker to assess their suitability.

Open Days are becoming increasingly rare, with limits on time and resources to carry them out. If the agency you’ve found specifies a particular date and time, stick to it. Don’t assume that the booker will still be free to see you half an hour after the set time has elapsed.

Treat an Open Day appointment like a prospective go-see, only this time the agency is the client. Be friendly, attentive and polite. Mounting a charm offensive won’t hurt your chances one bit, and shows you understand what kind of behaviour would be required at a real life go-see.

Go prepared and present yourself as a model: your hair pulled back, clean, moisturised skin and no make-up. When picking clothes, it pays to go simpler. A vest and a decent pair of jeans are classics for a reason. Don’t make the rookie mistake of piling on every fashionable item in your wardrobe. An agent isn’t interested in admiring your fashion mojo: they just want to see potential.

Whatever the outcome of approaching an agency ‘in person’, don’t be afraid to ask for feedback. This can provide invaluable insight in helping you find a model agency sooner rather than later. Learning what you do wrong can really help you in the long-term. Mistakes can be corrected, but a know-it-all attitude? That’s not so easy to fix.

The key thing to understand about finding an agency is that to find success, a multi-angled form of attack is advisable. There are the lucky souls who get snapped up by the first agency they approach, but the reality is that for most people, it takes a little more work.

To get the result you want, it pays to cover your bases. After all, if you were job-hunting, no sane person would download their CV onto a recruitment website, sit back and wait for the phone calls to come pouring in. As with most things in life, if something’s worth having, it’s worth that extra effort to get it.

New technology: online model agencies

One angle you may not have considered is online model agency. They are steadily growing in profile, and while never a guarantee of securing work, it is definitely worthwhile exploring this option.

When looking for representation, it is important to know that the role of an online modelling agency is very different to that of a traditional agency. The main role of an online modelling agency is to primarily house electronic portfolios. They provide online space for you to display your photos on the internet.

The agency will offer a basic portfolio space on their website for little or no cost, and if you want something a bit more advanced, be prepared to pay an additional fee for running costs. This is a legitimate expense, as the more involved a person’s e-portfolio becomes, the more space and upkeep it requires.

The benefit of using this type of agency is that your work can be viewed by interested parties from around the world, thus maximising your earning potential. But online modelling agencies do not offer any of the other services routinely featured by more traditional agencies – do not confuse the two, or risk disappointment.

However, there are some similarities to bear in mind when shopping for an online agency. As with normal agencies, NEVER sign up to any agency that promises you work. No agency, however prolific, can guarantee a model work. The industry is notoriously fast-paced, and work fluctuates at all levels.

When choosing an online agency, look at the e-portfolios of other models on the website. Do their photos suggest that this model aspires to be in the same sector as you? Always try to match yourself to an agency’s existing book of models – you are far more likely to get work this way than trying to squeeze a square peg into a round hole. Also, if the agency seems clearly focused, in terms of what is offers prospective clients, this is also good news as a client will be more inclined to scout the better-developed sites for talent than the ones that are clumsily managed.

When selecting portfolio shots, keep in mind what constitutes a portfolio shot. Beware any e-portfolios with models posing with parasols or staring winsomely off-camera. This is the calling card of a makeover shoot, and as such is completely unsuitable for a professional portfolio. Whatever the cost of the shoot, a soft-focus glamour shot of you wrapped in a feather boa is unlikely to win over any client. Models Connect offers specific advice on the difference between portfolio and makeover photos. If in doubt, keep your fledgling portfolio shots simple, direct and uncluttered. No parasols necessary.

Keeping your expectations in line is another thing to remember when posting your shots to an online agency. As a method of securing work, it can be a long shot, but something worth doing if you are serious about securing a foothold in the industry. The more methods you try, the higher the likelihood of securing a response will be.

Where Models Connect can help

Models Connect can also assist you with your search. The website (www.modelsconnect.net) functions as a halfway house between a virtual agency and the ‘real’ world. It houses e-portfolios like an online agency would, but where Models Connect differs, is that it can offer a level of service including advice, tips and most importantly, the potential for booking jobs with its selection of clients.

To get the best results from Models Connect, you can sign up to have an online profile that can only be viewed by Models Connect’s base of vetted and approved clients, but you can also access your account and forward your details onto other agencies or interested parties, and manage your own career.

Where Models Connect’s main strength lies in how it can connect you to a body of clients, who are actively searching for new faces, for a wide variety of projects. Upon signing up, you will be assigned your own booker, who will ensure that if you’re suitable for a potential job, that client will be made aware of you.

Combining your search for an agency using the latest technology and exploring more traditional routes is the best means of achieving your goal. Think proactively, and this will translate into action, which shows potential agencies and clients that you are serious about building a career in the fashion industry.

Approach your search for an agency with intelligence: plan and strategise. Needing, at the very least, a Plan B in the modelling world is absolutely essential. Do your research, be aware of scams (see Models Connect for advice on how to avoid scams), remain alert to opportunities and keep an open mind. Your future could be closer than you think.

HELEN TOPE