Modeling Journey

Supermodel Jourdan Dunn never fails to deliver the goods with each and every editorial appearance. American Vogue's September issue features the magnificent Brit in an only-girl editorial lensed by David Sims. Dunn looks sublime sporting a chin grazing bob and a super lean physique. I never tire of Dunn because she is the very embodiment of elegance, sophistication and refined beauty. As with model Liya Kebede, I predict that the best is yet to come from Dunn following her hiatus from modelling in December 2009 to give birth to her son Riley. Dunn looks as alluring and fresh as the day when she was discovered as a sixteen year old whilst shopping with a friend in Primark.

The September issue of US Vogue has finally landed on newsstands with the newly-wed Kate Moss gracing the cover in Alexander McQueen with an accompanying editorial feature on the nuptials. Moss looks every bit the radiant bride-to-be as she prepares to wed Jamie Hince in the Mario Testino lensed editorial. The mix of candid and posed shots have a poignant feel to them which is made all the more appropriate given that most of us have witnessed the evolution of Ms Moss since her days as a gangly sixteen year old on the cover of the Face. My favourite shot hands down of the editorial would have to be of Moss posing with her daughter Lila Grace, in what is surely one of the most beautiful images ever of this modelling icon.

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.