Watch me now

I have a secret. I am behind. I’ve only officially been back from vacation one day and – bam – already behind. Again. Always. I had the best intentions during my vacation. I brought DVD sets to get caught up on. I made promises to answer email. I really did have the best intentions. I was going to catch up and then be ready. But instead, I spent most of my time playing with my baby nephew, watching Masterpiece Theatre with my mom and generally laying about doing my best bump on a log impression. (Side note: Should we ever meet, ask to see it. I’m very good.)

So now, kittens, I turn to you. Since I can’t properly prioritize my entertainment consumption on my own, I turn to you to help me decide what to catch up on first. Now the email, that’s just going to be catch as catch can. (Another side note: What the fuck does that even mean? Is catch bad at catching?) But the watching, well, here I know you can help a sister out. Currently in my queue I have:

• Catching up on the start of “Pretty Little Liars.” The show started while I was on vacation and, um, I’ve already mentioned that my mom likes to watch Miss Marple, right? I can’t decide if I should give it a shot. But it’s sort of shiny and shallow, with secret girl-girl kissing. How bad could it be?
• Watching “Skins,” like any of it. I have not watched this show, even though I know Naomily is epic. I blame being in America and lazy about watching shows that are not shown regularly on my TV in America. Don’t tell Heather.
• Finishing “True Blood,” the complete second season box set. I love vampires. I love sexy vampires. I really have no idea why I haven’t found the time yet to get through this season. And, yes, I already saw last week’s big WTFityF moment of the current season. Head sufficiently spun. Ahem.
  
• Viewing the “I Can’t Think Straight”/“The World Unseen” DVDs. I won these thanks to your awesome voting prowess. They arrived earlier this month. Every time I want to pop one in to see the ridiculous hotness that is Lisa Ray and Sheetal Sheth, I start to feel guilty because I am so behind on (see above).
• Rewatching everything in the “Cinema Pride Collection.” Ten super-duper gay films in one box set: The Children’s Hour, La Cage Aux Folles, The Birdcage, My Beautiful Laundrette, The Adventures of Priscilla, Queen of the Desert, Bent, The Object of My Affection, Boys Don't Cry, Kissing Jessica Stein and Imagine Me & You. As we speak I am fighting off the urge to pop in “Imagine Me & You” and watch the even ridiculouser (whatever, grammar, it’s a word now) hotness that is Lena Headey and Piper Perabo for the 6,001st time. This could be why I am so behind on everything in the first place.

Oh, I also still haven’t watched the second episode of “The Real L Word.” But there’s one instance where I think I’ve prioritized just right. So, tell me what to do. What should I watch first? Go ahead, boss me around. No, not that way. You’ll have to suggest what movie we watch together and buy me dinner for that.

Acid Wash vs. Day Glo

So not to date myself (who am I kidding, I always date myself), but I certainly got a chuckle out of the news that Debbie Gibson and Tiffany were going to star – and fight – in a new SyFy film. The 80s teen pop idols will star in “Mega Python vs. Gatoroid.” No, I am not kidding. Debbie will play “a fanatical animal-rights activist who frees illegally imported exotic snakes from pet stores, sending them into the Everglades, where they grow to mega sizes. Tiffany will play an overzealous park ranger who uses dangerous methods to save endangered alligators.” In the script they get into a fight at a party which ends up in a swamp. Naturally.

Now, children of the 80s like me know that the Debbie or Tiffany question was one of the defining questions of our era. It was the Team Edward or Team Jacob of our time. The way you answered it framed you as this or that kind of person. Well, at least that’s how it played out in my head. I was all Team Debbie. Tiffany sang in malls – malls, people. But Debbie, she shook her love. Totally different.

In my adolescent mind, Debbie was much classier. But then, they both ended up posing naked in Playboy. So, I guess I just further proved the truism that preteen girls should never be arbiters of public taste.

Of course, this is a genius way to settle all real (or imagined) pop culture rivalries. Schlocky sci-fi movies should become our go-to way to once and for all settle the matter of supremacy. Angelina Jolie vs. Jennifer Aniston in “Ultra Fox vs. Mega Friend.” Rosie O’Donnell vs. Elisabeth Hasselbeck in “King Kong vs. Godzilla.” Backstreet Boys vs. *NSync in “Who Are We Kidding, We Both Suck.”

Now, time has a funny way of putting everything in perspective. And these days I think I feel a little more nostalgic for Tiffany’s cheesy 80s ballads than Debbie’s (also, she insists on being called Deborah now, which – girl, come on).”Could’ve Been” was also the first song I ever slow danced to at a school dance. To be honest, I don’t remember the boy. But I remember the girl who sang it.

Though, if I could make one small, crucial suggestion to SyFy before they start filming - please, please, please put them in Day-Glo and acid-wash jeans for their big swamp fight. This is an 80s rivalry, after all. It only seems right.

interior

casa de rgarfar

black + white

top and skirt combo; shewolf style

kim k vs rgarfar

aqua + rust

warning: bambi overload

flush

That’s what friends are for

The one positive thing I can say that “The Real L Word” has done is make me miss “The L Word.” OK, not all of “The L Word” – definitely not the Death of Dana and the No Lifeguard on Duty parts. But the fun days. You know, back when they were all friends. And did silly things. And talked to one another like friends who did silly things. Like this.

Oh, Angela Robinson, please come make a lesbian TV series that has nothing to do with pumps or pants or clams or IFC. At its best, “The L Word” was about a group of friends who actually did all those things in that horrendous theme song that made our ears bleed. It was pure fiction, but could actually feel real. And sometimes, just sometimes, we even saw ourselves.

So in honor of the crazy Pride Weekend I just had (i.e. stringing coherent words together at this moment = hard), here are a few of my favorite friend moments from a show that spawned that other show that only makes me long for that first show even more.

Come back, Alice. Say funny things like “poopy-shit” and “uh-uh” and make us all want to be your best friend again.

need this!

VUVUZELA!

whoever created this compilation:

I applaud you!

hangin on the passenger side

MODEL PROFILES: IRINA KULIKOVA

A true constant in the fashion world, model Irina Kulikova may not be a household name, but she owes her start in the industry to one of Hollywood’s finest.

Irina, born on 6th August 1991, can claim one of the most strikingly original discovery stories in the business. In 2006, Irina was having dinner at a restaurant in Moscow. Her meal was interrupted by film star Liv Tyler, who had spotted the 15-year-old whilst dining at the same restaurant. Liv asked Irina if she was a model. Irina replied that she wasn’t. Liv called over her friend and introduced him to Irina: he was a scout from IMG, the largest modelling agency in the world.

Unsurprisingly, this modelling fairytale became the stuff of legend, making Irina – almost overnight – a name to watch. Teen Vogue dubbed her a favourite, using her in several editorials.

Irina made her high-fashion debut at the Autumn / Winter Calvin Klein show in February 2007. She also got the coveted opening slot for the Prada show, making her one of the most talked-about girls of the season.

Also closing shows for Louis Vuitton and Yves Saint Laurent, Kulikova had an extraordinary start for a model that was still, at this stage, an unknown quantity. Prada’s patronage worked its magic: Irina got noted by the fashion press, appearing in V magazine as one of their Top Ten Faces and an editorial in W, photographed by Craig McDean.

In July, Irina got her first major editorial with Italian Vogue, shooting with fellow up-and-comer, Lara Stone. The tail-end of 2007 saw Irina’s career sky-rocket with the announcement of several campaigns. The first to be announced were for Jil Sander and the second for Marc Jacobs’ new fragrance, Daisy.

The fragrance launch was one of the most anticipated of the decade. Jacobs, already a major figure in the world of high-fashion, was now going global with a fragrance. Everybody could now afford a piece of the Jacobs brand. Irina, with her quirky, delicate features, was cast as the campaign girl. Photographed by Juergen Teller, Irina was snapped lying on a field, clutching an oversized bottle of the fragrance. Aimed squarely at girls in their late teens and early twenties, the deceptively simple campaign was a huge success. The shot has since become one of the iconic campaigns of the decade, and nearly three years since its release, the perfume remains a top-seller.

The campaigns kept coming for Irina. She signed up to do an A/W campaign for Pringle and became a fully-fledged Prada girl, when she was selected to participate in the A/W campaign with Sasha Pivovarova and newcomer Anabela Belicova.

In September 2007, show season indicated just how far Irina’s star had risen. Walking for designers like Alexander McQueen, Chloe and Chanel, she also opened shows for Donna Karan, Marc by Marc Jacobs and closed shows for Alberta Ferretti and Rodarte. Doing 67 shows in total, it was a mammoth achievement. In the space of six months, Irina had become fashion’s hottest ticket.

2008 also started well for Kulikova, with another campaign for Prada. Irina did another editorial for Italian Vogue in February (again working with Lara Stone), and one for Chinese Vogue in April. She also landed the A/W campaign for American label Celine. Signed up in conjunction with Karen Elson and Tanya Dziahileva, the campaign (shot by Bruce Weber), was a perfect illustration of fashion’s obsession with quirky beauty, past and present.

In September, Russian Vogue named Irina a top model, and Irina was able to boast another mega show season with 55 bookings. Closing shows for Vera Wang, Giambattista Valli and Sportmax, Irina also appeared for Bottega Veneta, Chanel, Gareth Pugh, Lanvin, Marc Jacobs and Michael Kors.

2009 saw another career highlight for Kulikova, with her first magazine cover. She landed the February issue of Russian Harper’s Bazaar, with her first U.S Vogue editorial following just three months later.

Irina also got a second chance to work with Marc Jacobs, creating the A/W campaign for the label with photographer Juergen Teller. Teaming up with models Natasa Vojnovic and Olga Sherer, the three models worked perfectly against each other, their off-beat beauty a fitting companion to a label that’s made its name by creating beautiful things that are off the beaten track.

Irina also got cast for the A/W Mulberry ad, which like the Marc Jacobs Daisy campaign has become a modern classic. Shot by Steven Meisel, the campaign pairing Kulikova with Kasia Struss, was a dreamy evocation of couture sensibility. The girls were photographed in a forest sporting wildly frizzy hair. The girls oozed bohemian charm. The ad took the ‘fear factor’ out of high fashion, even reintroducing back-combing to mainstream fashion. The frizzy look, which had previously only been seen on couture runways, became a surprise real-life hit, with back-combed ponytails becoming the party staple that winter.

In 2010, January saw Irina star in another editorial for Italian Vogue and a spot in the Chanel Couture show. She also became the face of Philosophy di Alberta Ferretti. The label’s diffusion line was a piece of perfect casting for Irina: the collection’s ethos of youthfully quirky beauty matched Kulikova’s strengths exactly. Irina also got the lead in the S/S campaign for Marc by Marc Jacobs and an editorial for German Vogue in May, working with new Prada favourite Joan Smalls, plus Aline Weber and Elsa Sylvan.

To date, Kulikova’s career trajectory tells a story about fashion’s progress through the final difficult years of the decade just passed, and how the industry is working to redress the balance.

In times of crisis, there are really only two possible moves: play to your strengths or play it safe. Many larger labels have had little option but to go with the latter to ensure their survival. No-one can afford to take big (and expensive) risks at the moment, but the smaller items like shoes and bags are areas where labels can push a little further. Just think back to the Mulberry advert. Shot at the time where rumours of a recession were beginning to break, the ad is a snapshot of creativity selling luxury – and succeeding. In getting people to spend when times are tough, getting them to want, to lust, over that bag is half the battle. It’s forcing brands to think on their feet, and produce some very creative ideas.

Irina’s blend of quirkiness and high-fashion moxie makes her the ideal candidate to spearhead this new age of creative sophistication. Fashion’s best served as a happy medium: boring and bland make no-one happy.

Lines like Marc by Marc Jacobs and Philosophy di Alberta Ferretti are becoming as important as their ‘big sister’ counterparts. Just look at the press coverage given to the revival of Versus, Versace’s diffusion line. Typically aimed at younger consumers, diffusion lines were often considered an after-thought (money spinners at best), but now they are the life-line keeping many brands afloat. These diffusion lines are often people’s first introduction into the experience of buying designer, so therefore it’s vital that the campaign model to be aspirational but also inviting. Irina’s off-beat appeal is perfect for such assignments.

Where this leaves Irina is ideally placed. When the fad for safe-as-houses models comes to an end, models like Irina will be the focal point of the industry. Quirky always sells to the girls who can’t relate to the glamazons, and approachable-meets-quirky is a huge bonus for any model’s CV. Irina’s ability to marry high-street with high-fashion is what will inform the trend for models over the next ten years. Top models are rarely ‘on the nose’ (ie: pure sophisticate, the absolute epitome of the surfer chick). They usually have something that is a little off, but it works.

In the end, fashion is all about numbers. Not only is time money, but aesthetics can cost too, especially if you get the tone of a campaign wrong. What makes fashion wonderful – and able to weather terrible economic storms – is its ability to balance the two worlds. Aesthetics and finance may have little to do with each other in the real world, but in fashion, one needs the other to push it forward. Rather than remain one big negative, the recession has got fashion back in touch with its entrepreneurial spirit. We are now wearing shapes and silhouettes that five years ago were considered strictly avant-garde.

As much as she has already achieved, expect to see Irina’s career flourish over the coming year. Her blend of fashion cool and marketability puts her in pole position to grab the industry’s attention. The way forward will be for models who aren’t safe bets, but thrilling ingénues who will refashion what we think as being commercially viable.

This is about more than detail – it’s the big picture that’s finally getting the biggest transformation of all – and what comes next? Only time will tell.

HELEN TOPE

bambi

Bambi Northwood-Blyth

My Weekend Pride

I love Pride. You’d think I wouldn’t. People. Crowds. Noise. Dancing. Only traumatizing places to pee. But I love it. I love all of it. I love seeing the tacky rainbow crap. I love the non-stop thumpa-thumpa-thumpa music. I love the parade. I love, quite simply, the gays. I’ve been going to prides for more than a dozen years now. Each year is a spectacle. An event. An over the top and ridiculous sweaty carnival of queertasticness. It’s also a reminder that, even if the larger world doesn’t necessarily think the same thing, it’s good to get together with your people and just feel fucking fabulous about yourself. A gal needs to do that sometimes. We all do. So this weekend, that’s exactly what I’m gonna do. Every now and then, even a misanthrope needs to dance her ass off. We’re here, we’re queer, and no one on the planet throws a better party than we do. Happy Pride, all.

rgarfar approved

Really, Ilene? Really?

Kittens, I’m back! Did you miss me? I sure missed you. But while I was gone something terrible happened. Something really, really terrible.

Did you catch “The Real L Word” on Showtime last Sunday?

Perhaps the greatest oxymoron of our time is the term “reality television.” It exists almost exclusively in a realm devoid of reality. It trades in artifice. It rejoices in the shameless. It is, of course, anything but real. So into that conceit comes “The Real L Word.” We should be trained by now to know that any show with “Real” in the title is no such thing. Be it Housewives or World, it’s an utter sham.

So then the only question left to answer is intent. Is the intent of a show to present as real a portrait of a slice of our complex humanity as possible within the false constraints of television, or is the intent to merely titillate? If you listen to Ilene Chaiken and company, the goal of TRLW is to show real lesbians. But not just any lesbians, The L Word “brand” of lesbians. A lesbian which Mama Chaiken says is defined by “aspiration and culture and popular culture and ambition and affluence in varying degrees.”

What does that mean for those of us playing at home? Well, if you watched (and I rather hope you didn’t, unlike me), you know for sure what this show is not about. This show is not about relating or reflecting. This show has no desire to enlighten or elucidate. This show only hopes to instill two of our deadliest sins in its viewers: lust and envy. Lust because, ZOMG look at these hotties having hot sex. And envy because, ZOMG don’t you wish your lives were like these hotties having the hot sex. Also, did we mention they’re more rich/attractive/successful/fashionable and all-together fuckable than you are? No? Because they totally are.

Who are these women who signed up willingly to find out what happens when lesbians stop being polite and start getting real? I have no idea. What I see is just privilege, posturing, pompousness and pleasure cruising. And then there’s Tracy, who seems oddly nice. What’s that all about? That being said, they could all have untold layers – contemplative inner lives, restless social consciousnesses. But that’s not what the lens shows us, or even wants us to see.

Now, clearly, to have expected deep social commentary from this show is to be a fool. So all we have left is the fantasy. But the show doesn’t even deliver on that. Watching vapid lives play out vapidly is just boring. Off-camera moans and on-camera strap-ons is not pleasure, the guilty kind or otherwise. Porn is at least honest in its purpose.

It is probably unfair – albeit understandable – to expect a higher social conscience from those purporting to portray queer life for the masses. The burden is indeed heavy, but the obstacles we face are still real, still painful, still very much there. Until they aren’t there the double standard will exist: Straight entertainment needs only to entertain; queer entertainment should entertain and educate.

“The Real L Word” manages to fail at both. This isn’t real. This isn’t fun. It’s just deeply shallow. It presents lesbian life as a never-ending night at the club. It asks no larger question than Gucci or Dolce & Gabbana. It thinks we’ll be awed by the “Power of the Clam.” And this, this is what Ilene Chaiken thinks we should all aspire to. These are the kinds of lesbian, the kinds of “stories” she thinks are worth telling in our community.

She is wrong. She could not be more wrong.

In the end, I just don’t care. I don’t care about these women. I don’t care about their lives. I don’t care who they sleep with. I don’t care who they don’t sleep with. I don’t care how much they spend on their wedding. I don’t care if their models aren’t hot enough. I don’t care if they shoot sunshine out of their crotches. I just don’t give a fuck, flying or otherwise.

Though I guess things could be worse. I could be forced to watch the entire series. Now that would be truly terrible.

Vacation Vixen: Julianne Moore

That face. Sweet merciful Zeus, that face.

Vacation Vixen: Queen Latifah

She bought a house with her personal trainer. So that’s what they’re calling it these days.

Vacation Vixen: Katie McGrath & Angel Coulby

Yep, I totally ’ship it. Oh, “Merlin,” now if you’d made them a couple that would be magic.

la mer

loungin

MODEL PROFILES: LARA STONE

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

ADR

would love to rock this

Vacation Vixen: Michelle Rodriguez

Is it bad that my first thought when I saw this was,“I wonder how many ladies have woken to find her in their kitchen?”

hailey clauson !!!!!