Modeling Journey

During the late Eighties, Kara Young formed part of an elite group of African-American models who helped to redefine the ideal of the "All-American" look. Young along with fellow compatriots Karen Alexander, Veronica Webb, Louise Vyent, Beverly Peele and Gail O'Neill heralded a shift in society's perception of All-American beauty from the stock standard blonde hair blue-eyed look to an appreciation of the true American melting pot.

Young began modelling in 1987 in her hometown of San Francisco and her modelling career kicked into overdrive when she moved to New York a year later, signing with Elite Model Management. With her smouldering gaze, cheshire cat grin and wild, unruly tresses, Young had a look which was distinct, fresh and alluring. Young was a muse for photographer Santé D'Orazio to whom she was married at the time and consequently was photographed frequently by D'Orazio for British Vogue, Vogue Italia and Paris Vogue.

Young's bi-racial looks played to her advantage by appealing to a broad cross-section of communities. Recognising her mass-market appeal, US Vogue selected Young to appear on an unprecedented three solo covers of the fashion bible photographed by Richard Avedon and Patrick Demarchelier. Young's girl-next-door look also made her a regular fixture in mainstream fashion publications including Glamour, Mademoiselle and US Elle. Advertising campaigns for the Gap, Byblos, Revlon and Guerlain cosmetics followed suit as well as appearances in the Victoria's Secret catalogue and Sports Illustrated's Swimsuit Issue, making Young one of the most in-demand models of her generation.

Many of the most iconic fashion images of all-time, feature models photographed in groupings by the likes of photographers; Richard Avedon, Herb Ritts, Peter Lindbergh, Steven Meisel, Annie Leibovitz, Mario Testino, Patrick Demarchelier and Irving Penn. During the nineties the emergence of the supermodel phenomenon was greatly influenced by the photographs taken of a select group of women who would eventually be referred to as the "Supes." When I think of the term "supermodel", the classic Peter Lindbergh January 1990 British Vogue cover shot of Naomi Campbell, Tatjana Patitz, Linda Evangelista, Cindy Crawford and Christy Turlington instantly springs to mind. More than 20 years have passed since I first laid eyes on this image and still, I am enthralled by its beauty, so much so that I have a print of it framed and taking pride of position in my hallway.

I love analysing the dynamic and composition of various images featuring grouped models. The first thing I look for is the suitability of the selection of models. Do their individual looks compliment each other? Are the models working in unison to achieve that singular shot which encapsulates the photographer's vision? How are the model's bodies positioned in relation to one another and in relation to the image frame. I also look for elegance of the positioning of the model's limbs and the energy which transpires between the model's themselves.

The images featured below are amongst my favourites and all project a momentous sense of occasion. One gets an inkling that there is an acknowledgement of pride and appreciation amongst the models at having been selected as one of the chosen few. I only hope that today's generation of photographers will continue to follow in the ilk of Avedon, Lindbergh et al. by allowing top-tier models the opportunity to shine in equally, beautifully composed group portraits.

During the late Eighties, Estelle LeFebure was one of fashion's most celebrated models. Hailing from Dieppe in France, a then nineteen year old LeFebure was discovered whilst on a day trip to Paris. Standing at 175 cm in height, LeFebure formed part of a band of models during the Eighties who sported fuller-figured, athletic physiques. LeFebure regularly collaborated with photographers such as Peter Lindbergh, Patrick Demarchelier, Richard Avedon, Gilles Bensimon, Marc Hispard, Francesco Scavullo and Herb Ritts. Consequently, LeFebure became a staple model for American Vogue, American Elle and British Vogue and appeared on the cover of American Vogue a staggering seven times throughout her modelling career.

For me, LeFebure was simply a delight to behold. Blessed with a raw, unadulterated beauty and an incandescent smile, LeFebure was the very embodiment of the natural, healthy look of the Eighties. LeFebure along with models Elle MacPherson, Stephanie Seymour, Paulina Porizkova, Christy Turlington and Ashley Richardson, were photographed regularly by Gilles Bensimon for American Elle which spearheaded the trend toward models with fuller, lush figures. 

LeFebure's incredible range as a model, which could alternate from femme fatale to that of the girl next door, made her popular with a diverse range of publications from US Vogue, Harper's Bazaar, Cosmopolitan, Mademoiselle, Glamour and Self. LeFebure's appearances in the annual Sports Illustrated Swimsuit Issue and George Michael's Too Funky music clip made her a household name and set pulses racing. When I reminisce about the original supermodels from the Eighties, it is LeFebure's sublime beauty, charisma and personality which remind me of what first fuelled my interest in models.