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.

A true test of a model's skill is her ability to portray and embody a wide range of emotions and looks. I'll admit that I had at one point categorised model Alessandra Ambrosio as being capable of a singular solitary trademark Victoria's Secret sexy look. The following images from an upcoming editorial for LOVE Magazine, blow my assumptions completely out of the water. The editorial lensed by Boo George captures Ambrosio at her most beautiful, without relying on the model's obvious physical attributes and instead allowing her to display an intensity and character that delivers true editorial punch. Ambrosio loses herself in the character role of naval officer and in turn finds a newly converted fan in me.

Of all the Brazilian models to emerge during the late nineties, Caroline Ribeiro is my absolute favourite. Born in Belom do Para, Brazil, Ribeiro's exotic, unconventional looks were a result of her Portuguese and Amazonian Indian heritage. Ribeiro's multi-cultural looks, which were an considered a hurdle during the initial stages of her career, drew the attention and admiration of the then Gucci designer Tom Ford who cast her in his Spring/Summer 1999 show. Ribeiro became a muse to Ford, who declared that "Her face is an unusual blend of cultures"and featured her prominently in multiple Gucci campaigns.

Ford's adulation opened doors for Ribeiro to work with other fashion houses and she has since starred in campaigns for Escada, Chanel, Louis Vuitton, Oscar de la Renta, Valentino, Yves Saint Laurent and cK1. Championed by the likes of Mario Testino, Steven Meisel and Patrick Demarchelier, Ribeiro was a permanent fixture in American Vogue, Harpers Bazaar and Vogue Italia. In September 2001, Ribeiro entered the holy grail of modelling when she was signed a reported $6 million dollar contract as a spokesperson for Revlon cosmetics. Ribeiro's exposure was also maximised in the same year when she was selected to walk in the Victoria's Secret runway spectacle.

During the late nineties, Ribeiro's distinct hybrid looks set her apart and drew comparisons to the iconic beauty Bianca Jagger. The 178 cm tall chameleon downplays her looks, stating that "I think my face is different, it's exotic - not like normal beauty. I don't have what you would call perfect beauty....with a face like mine I can play around."