ELITE MODEL MANAGEMENT BARCELONA

080 Barcelona Fashion week S/S 2012

2012-02-14T15:25:00.028+01:00

After Haute Couture, our Elite crew was very happy to be back in sunny Barcelona even for a few days of work !

The location was great such as The Barcelona Museum and we all enjoyed it ...

Hope you will do it too - Have a nice shows !

Click on the photos to see their shows.

- Who -

- Schipper Arques -

- Mango -

- Justicia Ruano -

- Pierre Cardin -

- Montse Liarte -

- Toni Francesc -

- Desigual -

- Jose Abril -

- Pierre Cardin -

ELLE & SIMONA

2012-02-13T13:34:00.000+01:00

Our gorgeous serbian model, Simona Andrejic, was the face for ELLE's cover.
She leaves us speechless !!

Click on the cover if you want to see her editorials of this edition.

Photographer : Milos Nadazdin
Stylist : Iva Stefanovc

Hair: U.H.S Taubner |L'Oréal Professionel

Makeup: Dragan Vurdelja |Inglot|

- ELLE - February 2012 Edition - Serbia-

New Polaroids of Patricia Van Der Vliet

2012-02-13T11:42:00.000+01:00

Taken at the office on February 9th

Juan Betancourt's New Polaroids

2012-02-10T16:02:00.000+01:00

Taken at the office on February 8th

BIG WELCOME TO : Xenia Tchoumitcheva !

2012-02-09T13:22:00.002+01:00

Today here at Elite Celebrities , we are very happy and proud to have won "the race" to get the exclusive representation for Spain of the amazing Xenia Tchoumitcheva !

Please stay tuned as we will hear a lot from this stunning girl on the upcoming weeks.

LET'S WELCOME HER !

If you want to see more pictures, please click on the first picture.

Haute Couture SS 2012 / Part 1 - Paris

2012-02-09T12:45:00.000+01:00

Glamour + Sophistication + Paris = Haute Couture time !!!

After the exciting SS 2012 Men´s shows, we are more than delighted to start by Haute Couture.

Let's dream, Let's start the show !

Click on the photos to see their shows .

-Giambattista Valli-

-Armani Prive-

-Dior-

-Elie Saab-

-Alexis Mabille-

-Chanel-

-Dior-

-Bouchra Jarrar-

-Giambattista Valli-

-Maxime Simoens-

-Chanel-

Men Shows continue !! / Part 2 - Paris

2012-02-08T12:01:00.003+01:00

After Milan our Elite crew has packed to Paris , it was cold and grey but our guys were shining on catwalk … See the result :

Click on the photos to see their shows .

- Les Hommes -

- Jean Paul Gaultier -

- Kenzo -

- Costume Nacional -

- Dries Van Noten -

- Yves Saint Laurent -

- Agnes B -

Once again it's show time ! / Part 1 - Milan

2012-02-07T13:38:00.001+01:00

Our Elite crew has been again walking for some of the finest Milan designers .. See by yourself !
Click on the photos to see their shows .

-Giorgio Armani-

-Gucci-

-Versace-

-Salvatore Ferragamo-

-Iceberg-

-Calvin Klein-

-Prada-

-Bottega Veneta-

-John Richmond-

Harper's Bazaar's Cover

2012-02-07T10:48:00.001+01:00

Ana Beatriz Barros is the new face for the cover shoot of the Harper's Bazaar Brasil , for the February 2012 edition !

Photographer: Fabio Bartelt

Harper's Bazaar- February 2012 Cover- Brasil

New Polaroids of Alina Tatsiy

2012-02-06T10:14:00.000+01:00

Taken at the office on February 3rd

Welcome Erin O'Connor

2012-02-01T10:49:00.001+01:00

She is Rock'n Roll , She is Glam, She is Chic .. She is Gorgeous ! We are proud to present you our New Celebrity : Erin O'Connor !

Photographer: Jeon Seunghwan

Harper's Bazaar, December 2009 Cover - Korea

Photographer: Jeon Hwan

Fashion Editor/Stylist: Yasuhiro Takehisa
PF December 2011- January 2012 Cover- Ukraine

Hair Stylist: Odile Gilbert
Makeup Artist: Stephane Marais
Jean Paul Gaulthier - Fall 2011 Show

New Yorker "Dress for the moment"

2012-01-31T12:38:00.000+01:00

Isn't she amazing with this casual style ? Of course she is .. New Yorker chose Jani Gabriel to represent the brand, and we can easily understand why !

Hind Sahli for Michael Beauplet

2012-01-30T16:43:00.000+01:00

There is no word to describe her sexy glance, So Glamorous !

Photographer : Michael Beauplet

CH S/S 2012

2012-01-30T10:32:00.002+01:00

We are proud to show you how gorgeous is Sigrid Agren on this yellow dress for Carolina Herrera's 2012 Spring Summer campaign !

Photographer : Patrick Demarchelier

Model : Sigrid Agren

New polaroids of Hannah Holman

2012-01-27T10:18:00.001+01:00

Taken at the office on January 20th

CERRUTI 1881

2012-01-26T11:04:00.000+01:00

White, Black, Blue, & Kristian Akergreen (Right)... That makes the fabulous new campaign of Cerruti 1881 !

Photographer : Paolo Roversi

Models : Elias Cafmeyer (Left) & Kristian Akergreen (Right)

Girl Panic !

2012-01-25T10:25:00.003+01:00

Naomi Campbell is one of the Duran Duran's "Girl Panic" faces ! We showed you the pictures of the making of, now you can enjoy the music video !

Photographer: Jonas Akerlund

Fashion Editor/Stylist : Vanessa Coyle

Hair& Makeup : Daniel Dyer , Johnnie Sapong, Alex Babsky, Kirstin Piggott
Designer: Domenico Dolce & Stefano Gabbana

Naomi – again & again !

2012-01-24T12:51:00.002+01:00

Here you have a little preview a new spring summer campaign of Roberto Cavalli

                                                    Photo : Steven Meisel
                                                       Hair: Guido Palau
                                                   Make-Up: Pat McGrath

Erjona Ala, black and white beauty

2012-01-23T17:15:00.000+01:00

Erjona Ala is angelic in this stunning shoot for Vogue Germany. The simple outfits bring out her natural beauty and her face is just flawless.

Photographers: Max von Gumpenberg & Patrick Bienert

Maria Palm for Diesel

2012-01-23T16:48:00.001+01:00

Maria Palm starring the new Diesel ad … she looks hot and we love it !!

Photographer : Mert Alas and Marcus Piggott
Fashion Editor/Stylist : Ludivine Poiblanc

Models: Maria Palm (Left) & Liu Wen (Right)

Constance Jablonski, face of Galliano Spring Summer 2012

2012-01-23T16:46:00.001+01:00

We are so proud to see Constance Jablonski looking chic and retro in the Spring Summer 2012 campaign for John Galliano. All eyes are on her!

Photographer: Sebastian Kim

Creative Director: Bill Gayten

Make-up: Carole Lasnier

Linus Gustin graces Sportswear International

2012-01-23T16:41:00.000+01:00

The gorgeous Linus Gustin takes on the role of a dandy cowboy for the Jan/Feb 2012 issue of Sportswear International. And it suits him!

Photographer: David Needleman

Stylist: John Tam

Irina Shayk stuns us on the cover of Esquire

2012-01-23T16:35:00.000+01:00

Irina Shayk flaunts her sexiness in February's issue of Esquire UK. Absolutely breathtaking!

Photographer: Yu Tsai

New polaroids from Valeriane LE MOI & Michelle McCULLUM

2012-01-19T11:20:00.001+01:00

Taken at the office on January 17th 2012

True Blood !

2012-01-18T16:05:00.003+01:00

Its been a while that we haven't seen Mr Sales on a good cover – here you have a little preview of the Feb issue w/ Arthur starring Fiasco Magazine ….

It's Red – It's Arthur – It's True Blood !!

Photographer : Markus Rico

Stylist : Cesar Dario

BORN THIS WAY

2012-01-10T19:18:00.000+01:00

Our Chinese muse has surprised us once again talking about their dreams and wearing more natural and relaxed than ever

Naomi Campbell ends 2011 with a bang!

2011-12-31T11:28:00.000+01:00

As this fantastic year comes to a close, we are taking a look at some of the recent campaigns of one of the world's greatest supermodels...

Naomi is an obviously fabulous choice for Carine Roitfeld's Barney's World Fall 2011 Campaign. She looks effortlessly gorgeous draped in white fur...

Photographer: Mario Sorrenti

Stylist: Carine Roitfeld, Giovanna Battaglia, Marie-Amélie Sauvé and Melanie Huynh

Editor: Dasha Zhukova

Hair: Luigi Murenu

Make-up: Aaron de Mey

Naomi adopts a sporty glamorous persona on the F/W 2011 cover of Lurve Magazine, we love it!

Photographer: Ronald Dick

Stylist: Sasa Thomann

Naomi shows off her stunning features as a shiny plastic doll on the front of Soon Magazine F/W 2011. Its beautifully weird...

Photographer: Seb Janiak

Naomi covers this month's Harper's Bazaar UK alongside fellow supermodels like Cindy Crawford and Eva Herzigova, all named 'Women of the Year'.

Photographer: Jonas Akerlund

Stylist: Vanessa Coyle

Hair: Daniel Dyer and Johnnie Sapong

Make-up: Alex Babsky and Kirstin Piggott

Designers: Domenico Dolce and Stefano Gabbana

The supermodels also star alongside Dolce and Gabbana in the video Girl Panic by Duran Duran.

Naomi takes us forwards to Summer 2012 with this peacock-like pose for Pinko Summer Campaign. We can't wait to see what she brings in the new year!

Photographer: Maciek Kobielski

FELIZ NAVIDAD / MERRY CHRISTMAS!!!

2011-12-19T19:28:00.000+01:00

The Image Makers: Inez And Vinoodh

2011-12-15T12:21:00.001+01:00

In a new series, Style.com sits down with the best in the field of contemporary fashion photography to talk about both the process and the product. First up: the husband-and-wife Dutch shooters Inez van Lamsweerde and Vinoodh Matadin.

At exactly 34 characters long, Inez van Lamsweerde and Vinoodh Matadin easily have the longest photo credit in the business. Admittedly, the count includes A-N-D, but that little linking word is crucial. Van Lamsweerde and Matadin are partners in every sense—creatively, romantically, as parents of their 9-year-old son Charles Star Matadin, and seemingly everything in between. The Dutch natives have been together for 26 years, and to sit with the two of them for an interview is to witness genuine sentence-finishing synergy.

There’s yet more neat duality in their work, which straddles art and fashion, gives you high glamour with a touch of the surreal or grotesque, ranges from classical black-and-white portraiture to near camp, and inevitably includes some degree of gender-bending. It also extends to their hefty new monograph, called Pretty Much Everything ($700, www.taschen.com), which comes out this month and encompasses their work for magazines like Paris Vogue and V, campaigns for houses like Yves Saint Laurent and Balenciaga, and their art projects. In the two volumes, van Lamsweerde and Matadin scrapped chronology, and instead painstakingly went through the 666 photographs to create very specific pairings, each with their own visual logic. “It takes time away so it becomes one body of work,” explains Matadin. “You see a picture from 1985 next to one from 2011, and they’re still holding up.” Van Lamsweerde and Matadin talked to Style.com about their unique relationship, the wonders of Lady Gaga, and why you shouldn’t peer into the inner workings of a fashion shoot.

—Meenal Mistry

You have this book now but you had the retrospective exhibit last year in Amsterdam. Had you always planned to do that at 25 years?

Vinoodh Matadin: This actually started nine years ago when Inez was pregnant. Karl Lagerfeld said, “Oh, you’re pregnant. You should do a book.”

Inez van Lamsweerde: He said, “Oh, you have to have a project while you’re pregnant.” Which is very cute.

And very Karl.

IVL: Yeah, it was sweet. So we started working on it and kept shooting and kept adding pictures and the book grew and grew. When it was done, it was kind of 25 years of us together. And by now, it’s again a year later so it’s 26 years of work together. But the show was based on the book.

VM: Basically we started the book putting everything in order.

IVL: Chronological order.

VM: But then we thought, it’s too soon. We’re not there yet. So we decided to redo the book.

IVL: The exciting thing for us was the editing and putting it together. Once we decided no chronological, which for us was not interesting, it became really about the combination of the pictures.

The pairings have a nice rhythm.

IVL: It’s really about how all those images that we’ve made in the past 26 years live inside our heads, especially this idea of art, fashion, and portraiture being all the same, from the same source. It really depends on the context or the venue in which you see the image.

VM: It also became one body of work because it takes time away. You see a picture from 1985 next to a picture of 2011 and they’re still holding up. You don’t know when this picture is from. It could be yesterday or 26 years ago.

It’s true. Other than Final Fantasy and Thank You ThighMaster, it’s hard to tell.

IVL: That’s what was really exciting for us also to discover while we were making it. Like, wow, there’s still the same inspiration going on or similar body language. Or the same people that we’ve been shooting for such a long time.

The Kissing pictures seem like a no-brainer for the covers. Was that always the choice?

IVL: Yeah. Like you said it. They stand for everything—us, our love, two people, two volumes, the way that those three pictures have evolved. The last picture [on the outside cover] especially, you know, was made for Lanvin Homme (left)—something that started as an art piece became an ad campaign and ended up as a silk screen and became an artwork again for the show. It’s full circle.

You give every subject a name in your book but you also name models, which is rare. They’re usually nameless. I’m interested in the way that you relate to models, because it’s a bit different from other photographers.

IVL: They’re people!

VM: People always ask us, what kind of pictures are you doing, and I say, “We photograph human beings.”

IVL: It’s an exchange of inspiration, of trust. You spend a day together and definitely anyone that poses for anyone is in a very vulnerable position. It’s not nothing to let yourself be photographed. We approach everything that we do with as much respect as we can possibly have for the person that we’re photographing. That’s also why in most of our images there’s a big awareness of the person knowing what’s happening.

I suppose that explains the way that nudity and sexuality exist in your work. It’s definitely sexy but there’s a kind of strength to it. I guess because the girl is aware.

IVL: And in control. There’s also a fascination with how beautiful human beings are, and not just Daria Werbowy. I think we could take an incredible picture of literally everybody. What is exciting for us is finding that one particular thing in someone that we find the most exciting and then heightening that and bringing that all out into the foreground.

Your portraits really do make people look amazing. Glenn O’Brien in his foreword says that the portrait you took of him makes him look like a hero. Did you always have a natural facility for finding that one thing?

IVL: Yeah, it comes naturally. The moment the person walks in, you know it. You see right away what is in there and what it is for us that makes that person incredible. And then it’s about heightening it through body language, through hair and makeup, sometimes what the person is wearing.

VM: And also being there a hundred percent for that person.

IVL: I guess the big difference is the amount of concentration. That real intense moment of pure concentration is what makes it so beautiful and so rewarding, even more than the final result. We always imagine that it’s these arrows of energy going from everyone, like hair and makeup, everyone that’s standing there. Everyone is focused towards that one point.

I read that you don’t shoot models under the age of 18. Was that a conscious decision?

VM: Very conscious.

IVL: We saw this happen to so many models, especially with girls. They start at 14 and everyone says to them, “Wow, you’re incredible. You’re so skinny. You look like a boy.” And once that girl is 18 and her body is finished growing, all of a sudden it was like, “Oh, she’s fat.” The poor girl. She’s just growing. We felt it was unethical to support that. You get judged anyway and it’s not easy. You have to really know who you are first. And at such a tender age—between 14 and 18—you’re figuring out who you are.

But also I love seeing these girls like Malgosia who get older and just get better.

IVL: Yeah, more beautiful and more interesting. And as they grow, we grow with them. You never get bored of shooting someone that has made an interesting life for herself.

You have a really varied crew of favorites—Daria, Tasha, Guinevere, Kate Moss, among others. What do you respond to in all these different girls?

IVL: It’s all about personality. For instance, we love working with Raquel [Zimmermann] because she’s someone that doesn’t necessarily care whether she’s beautiful in a picture. She has this incredible amount of trust and she’s ready to be anything, because she’s interested in the process of creating an image.

VM: Gisele is the same.

IVL: Shalom [Harlow]. Jessica Miller. Maggie [Rizer]. All of the girls who are in there have that quality. I think that’s what it is. Once they can know themselves well enough to let it go and go for the idea of making something together. What’s exciting for us is when someone is not afraid to be someone else, and it takes character to be able to do that. Christy Turlington is another one. I could shoot her every day of my life. The same goes for Daria. We’re shooting a whole issue on her for French Vogue for February.

Can we talk a little bit about your creative relationship? How does it work? How has it changed over the 26 years?

IVL: Well, we met in school. We started out working together when Vinoodh had his own label as a designer.

VM: We really liked the process of talking about creating that image.

IVL: And finding casting. We sort of did everything together. So when Vinoodh stopped his label, we started working together on the pictures even more closely and then it just evolved. I think the moment we started working for Vogue, it changed. Before that we would do everything.

VM: The styling. The concept. The layouts.

IVL: Sometimes the hair and makeup.

VM: Every shoot would take over two months because we did everything ourselves. We even picked up the clothes ourselves in Paris at the press agent.

IVL: But then we were asked by Vogue to shoot for them and then we had to work with an editor—it was Camilla Nickerson—which was completely new for us. All of a sudden there was an editor and the clothes, it was all done for us.

VM: When we started, we said, “OK, Inez is the photographer. You can call me a stylist.” That was our first credit. But then we came to Vogue and we had to invent a new credit, so we just said “photographer.”

IVL: Then at some point I remember we had an extra camera on set that we were trying out and Vinoodh was like, “Let me just try it out.” From that moment on, he started shooting as well. All of a sudden it was like, wow. Also the level of stress reduced greatly. Between the two of us, we knew the picture was there. It’s great. We look at each other’s [cameras] and we can say, “Oh, that’s better. Let’s go in that direction.”

Can you tell when you’re looking at the images which one is your own?

IVL: Yeah.

Can other people?

IVL: No.

VM: But sometimes we don’t even know ourselves. Especially when we shoot on location, and we move a little bit more around.

Do you disagree while you’re working?

IVL: Yeah.

What is it usually about?

IVL: It’s hard to tell. It’s little things but then we…

VM: But it’s all about the end result.

Was there ever a point that someone told you that you had to choose between art and fashion?

VM: Yeah.

IVL: No. Do you?

VM: Well, people did say, “Are you art? Do you do fashion?” I would just say, “This is our work. We never choose ourselves.”

IVL: I think there’s a different way of communicating in a gallery than there is in a magazine or an ad campaign. It has a different purpose. For us it was exciting that in one way the work sort of finds its own venue or own context. And we like playing with the context of a magazine or a gallery and trying to twist things around.

You do blur lines.

IVL: At some moment, there was that big deal about art and fashion, and how it all sort of blends in. But we were like, “We just make our photographs.” To us, that discussion is not very interesting. Like we talked about before with the Lanvin. An art piece became an ad campaign became an art piece. Also, it’s kept us independent in a way from either world. It’s been very interesting in a way for us to see how the art world has become much more commercialized and how artists are now on the best-dressed lists. Everyone now understands the power of publicity, whereas before it was not done.

You guys aren’t known as quote-unquote celebrity photographers, but you’ve done some great ones. Do you find them to be a challenge?

IVL: Actually, one of our favorite moments is making an incredible portrait of someone that you admire that has done either an interesting movie or is a great musician. It’s scary sometimes but it’s always extremely rewarding. And you know, we’re very fast. Most of the portraits in the book were taken in the first 15 minutes that someone was on set.

VM: And I think they’re the most pure photography. There are no elephants, no motorcycles. Also we like to show a different side of a celebrity. Most of the people are thankful. They say, “Oh my God, I never saw myself like this.” Bill Murray was funny because when Inez put the flowers in his beard he said, “Do people ever ask why?”

IVL: Yeah, while I was putting them in, he said, “Do people ever ask you why?” I said to him, “No.” He said, “OK.” And that was that. No discussion. We’re always very direct. We always have some kind of fantasy on that person. I’ll just say, ‘My fantasy on you is this.’ And they’ll say, “OK, let’s do it.” Vanessa Redgrave came in and I said, “I have this fantasy of you in a hoodie.” And she looked at me like, “Oh!’ She brought evening dresses and the whole deal. But then she said, “If that’s what you feel strongly about, let’s do it.” The more direct, the better. We never try to cajole someone into doing something they don’t want.

Speaking of fantasy, you’ve worked a lot with Lady Gaga. What’s that relationship like creatively?

IVL: It’s interesting because she has literally 400 ideas a minute. And they’re all great. We’re very similar in our inspiration and she reminds me a lot of when we were young and starting out in the types of things that she’s fascinated by, and having so many ideas and wanting to put them all in one thing. We have learned in the last 25 years not to do that.

VM: When we took her picture for the first time, she said, “This is the first time I see myself as the pure me.”

IVL: The V cover (left). She cried when she saw it. She never really considered herself a beauty. And we think she’s incredibly beautiful and I think that was a big thing for her to sort of accept that she is really beautiful. That purity in her is what is exciting. She’s an incredible human being and she knows exactly why she’s here. It’s an amazing exchange.

You’re always tweeting back to her little monsters.

IVL: Oh, the monsters are so wonderful. They’re incredible. Her thing is all about love. And it’s not about her and that’s why it works. They respond to that. It’s all real. And all her feelings, she puts them on the outside and puts herself in a very vulnerable position. But everything comes from her. There’s no one saying to her, “Oh, you should wear…” Everything is a metaphor. Everything comes from very deep place.

It’s impressive that you’re on both Twitter and Tumblr and seem very adept. How did you start?

IVL: Because of Gaga.

VM: And then we started using it and especially the Tumblr; it’s like having your own magazine. It’s like you can do whatever you want.

IVL: Or just show your inspiration. Tumblr made us look at photography completely differently. It’s like “OK, this chair is great. Let’s take a picture of it.” It’s a wonderful way to communicate and it’s so direct. Everybody now is about real time. The immediacy of it is really rewarding and the fact that people right away respond is even more wonderful. Especially on Twitter, the atmosphere is so positive. You reach a whole new group of people. And it’s liberating for parts of our work that could never run in a magazine or that could never run immediately.

VM: And it’s 100 percent us.

You can tell that it’s not some assistant.

IVL: No, it’s too much fun to let someone else do it. It’s fascinating too to see which images get the most notes or what people retweet.

You’ve also been doing fashion films for a while. Do you get the same thing out of those as a picture?

IVL: Different. It’s a new challenge. And it came in sort of at the right time. Obviously there is a big difference. Nowadays almost every brand wants a BTS [behind the scenes] video for Web content. I think it’s a learning process for our clients to understand the difference between a BTS video and a fashion film. For us, it’s a very different type of thing. A fashion film is where it’s conceptualized. It’s a mini movie. And a BTS…

VM: It takes away the mystery. How many double chins do you want to see?

IVL: We’re kind of…

VM: Against the BTS.

IVL: That’s why we’re trying to steer our clients, saying, let’s make a fashion film instead of a BTS, where you see the model being made up, people panning over racks of clothes. It demystifies the process. And it doesn’t really add anything. Whereas now with making a fashion film, there’s music, there’s editing.

And animation like the Kate Moss one for Balmain with Jo Ratcliffe.

IVL: Yeah. There’s so much that you can do there and it’s just a shift in the minds of the client. We always say, maybe you just have to move your budgets around so you can make a video that lives on the Web…

VM: Forever.

IVL: People look at our Yves Saint Laurent video with Daria. You know we still get requests about it. It has a much longer life and a bigger reach.

Another one of my favorites is the French Vogue “Girls on Film” one.

IVL: We’re making a new one with Daria now.

M/M Paris designed the book, and you’ve collaborated with them for a very long time. How did that relationship start?

IVL: We were introduced in 1994 or 1996 by a mutual friend called Grégoire Marot, who had a PR agency called Favori, who thought we had a similar sensibility. We clicked right away, noticed that a lot of the movies we were watching or music that we were listening to or images that we referred to were very similar. Our approach to fashion was similar. We all had a certain longing to push things forward. Grégoire also introduced us to Nicolas Ghesquière. He said, “Oh, he did his first collection. You should check it out.” The four of us went to the next show and liked so much what he was doing that we immediately started thinking about campaigns. From then on it became a very strong collaboration with the four of us and Nicolas and Marie-Amélie Sauvé.

What’s made the relationship work for so long?

IVL: It’s never an easy way out. That’s what’s great. They don’t try to solve a problem quickly. They really go for it. But it’s a very happy and humorous relationship that we have, and still very fulfilling. They think differently about everything. What was great about the [early] Yohji Yamamoto and the Balenciaga campaigns, it was really about together figuring out what the life of the Yohji woman was or the life of the Balenciaga woman, and almost writing a script to derive the imagery. Another favorite was one that we did for Calvin Klein [in 2002] when Calvin was still there. Michael and Mathias had the naïveté or maybe the audacity to change the logo. They made it into a scribbled hand-colored red, white, and blue logo that looked like the doodles you make when you’re making a phone call. I remember having a meeting with Calvin Klein and suggesting this kind of a logo on the layout and all the cut-up layouts that we did for him. I remember Calvin going, “OK, they’re all going to think I’m crazy but I love it and I’m going to go for it.”

I remember being blown away by the Spring 2002 Balenciaga campaign with the collage you did with them (below). It was so different from everything at the time. How did that come about?

IVL: It was all at the right time and the right place. I think people needed something else to happen again. What was great was that us, Nicolas, and M/M Paris, together we were a very strong unit. All the inspiration came not from other things in fashion. It just came from our own backgrounds and ideas and interests. It was just such a fluid creative synergy. It was beautiful because we had no point of reference. I don’t think there has been more creative advertising around. And it was possible, which is something that was part of that time. The way the fashion world functions now, it’s very different from the way it was then. It feels weird to be able to say that. People were definitely more interested in pushing things a little.

You might have to sell the idea a bit harder today.

IVL: Yeah, I think so. And that’s what’s great about fashion. It evolves with the time and it’s a reaction to society and what’s happening. And it’s one of the most immediate reactions to what’s happening in society. And it’s all part of it. Things change but there’s always a good side to the change, too. That’s what fashion is: It’s change.

Photos: Inez van Lamsweerde and Vinoodh Matadin/trunkarchive.com (top image); Courtesy Photo (all others)

DREE HEMINGWAY THE AMERICAN DREAM GIRL

2011-12-13T17:10:00.001+01:00

VOGUE Spain says goodbye to 2011 with this wonderful December's cover featuring the beautiful Dree Hemingway photographed by Bruce Weber......

ELITE BARCELONA WELCOMES TO DAISY LOWE

2011-12-12T12:13:00.003+01:00

We are excited to announce you the addition of Daisy Lowe to Elite Celebrities – Daisy is such an inspiration for all of us , we love the mix of grunge and british Indie ! Welcome Daisy !!

Denisa Dvorakova is extravagant for Chanel Pre-Fall 2012...

2011-12-12T08:19:00.000+01:00

We were so proud here at Elite to see our sultry Denisa Dvorakova flowing down one of the world's most prestigious and iconic fashion shows, Chanel.

Welcome to Elite Barcelona!

2011-12-09T18:06:00.002+01:00

Here at Elite Barcelona we have the great pleasure to welcome Matt Woodhouse one of the most promising models in the fashion world!!!!!!!....Matt has arrived to stay!!!!!!

JULIA FROM SWEDEN, WINNER OF THE ELITE MODEL LOOK 28th WORLD FINAL

2011-12-07T11:24:00.000+01:00

All girls

Elite, the world’s largest modeling agency, celebrated this year the 28th anniversary of its renowned Elite Model Look contest. After castings all over the world (800 cities – 70 countries), it was in the beautiful city of Shanghai that young girls representing the most beautiful rising stars in the Elite Model Management network were gathered to participate in this major fashion industry event.

Much more than a fashion show and hosted by Nikki Reed, the Elite Model Look 28th World Final was a spectacular music-entertainment show which seamlessly travelled between runway competitions and vibrant music performances such as a live performance by the international popstar Kylie Minogue and Yundi, a Chinese pianist Maestro renowned all around the world.

Kylie Minogue

Kylie Minogue and Yundi

The show featured exceptional catwalk sequences from 7 Elite’s Supermodels - Ming Xi, Fei Fei Sun, Magdalena Frackowiak, Michaela Kocianova, Eniko Mihalik, Natasa Vojnovic and Nyasha Matondhoze – and the 70 Elite Model Look finalists.

The finalists were judged by a jury composed of Noemie Lenoir, Top model, Sun Zhe, Editor-in-chief of Grazia China and Vick Mihaci, President Elite Management Worldwide, and progressively eliminated down to 15, then 7, then 3. One girl in particular, Julia, 15 years old, 1m79 height, dazzled the jury with her elegance, photogenic quality and personality.

Julia

She was announced as the grand winner of this year's glamorous contest and will begin her Elite modeling career in hopes of follow the footsteps of Cindy Crawford, Stephanie Seymour, Gisele Bundchen, Fei Fei Sun or Constance Jablonski.

THE WINNERS

Julia / Sweden (Winner)

Lenka / Czech Republic (2^nd runner-up)


*Lieve / Chile (3^rd runner-up)*

The World Final is the last round of the Elite Model Look contest where 15 winners will have the privilege of signing a 3 year contract with the Elite group.

The time spent in Shanghai was memorable experience for everyone but especially for the contestants who lived a unique experience, both professionally and personally. It started with 15 days of intensive preparation which consisted of fittings, rehearsals, photo shoots, meetings with Elite agents, and ended with an amazing show.

CONGRATULATIONS GIRLS FROM ELITE BARCELONA!!!!!!!!!!!

New polaroids from Juan Betancourt

2011-12-06T19:58:00.000+01:00

We are very impressed with these flawless new polaroids from the delightful Juan Betancourt...

Welcome to Elite Barcelona!

2011-12-06T19:55:00.001+01:00

We are delighted here at Elite Barcelona to welcome two stunning models Camille Neviere and Camila Van M. Lucky us!

MILO SPIJKERS IN FIASCO HOMME ISSUE 2

2011-12-01T13:33:00.002+01:00

Fiasco Homme Issue 2 cover & editorial

Model: Milo Spijkers

Photography: Sebastian Troncoso

Mr Milo “ alone “ for Fiasco Magazine striking 2 covers on its own !! Go Milo , Go !

Victoria Tuaz gets Prehistoric

2011-12-01T07:58:00.000+01:00

The stunning warrior Victoria Tuaz takes us way back in time in this Prehistoric themed editorial for 180 Magazine, wearing nothing but her natural beauty and some fantastic furs.We're loving her brutal attitude!

Photographer: Cyril Lagel

Styling: Benjamin Armand

Make-up: Corinne LeBreton

Hair: Cristian Attuly

Patricia Van der Vliet proves her natural beauty...

2011-12-01T07:39:00.000+01:00

There is nothing we love more her at Elite to see a model basking in her own natural beauty. These polaroids of Patricia Van der Vliet show her doing just that....

CHARLOTTE DI CALIPSO - VAQUERO DELUXE!!!

2011-11-30T18:22:00.000+01:00

December 2011 Vogue España editorial

Model: Charlotte di Calyso
Photographer: Hunter & Gatti

Fashion Editor: Sara Fernández

"Charlotte, Jewels & Denim".... Enjoy with us the brightest mix ever!!!!!!!!!

LAURA MC CONE' NEW POLARIDS

2011-11-29T16:01:00.001+01:00

Have a look to Laura Mc Cone's new polaroids.......She looks awesome!!!!

Bambi Northwood for Agua de Bambu

2011-11-28T11:02:00.001+01:00

Dear readers and followers … here a Little preview of Bambi Northwood for Agua de Bambu by Adolfo Dominguez …. This look very promising !!

Are we feeling good yet?

2011-11-25T11:16:00.004+01:00

Photography Cedric Buchet
Styling Camille Bidault Waddington

Model Hind Sahli at ELITE BARCELONA

What a great story once again by Mr Buchet with the impeccable shopping and styling of Camille Bidault …. Enjoy this story as much as we did , Hind is back …… stay tuned !!

Laura McCone leaves us speechless!

2011-11-23T13:04:00.000+01:00

We are fascinated by the beauty of these glamorous black and white photos... wow!

Photographer: Jerome Corpuz

Arthur Sales for Hercules

2011-11-23T13:01:00.000+01:00

It is our pleasure to share these wonderful photos of Arthur Sales in some quite interesting jackets for Hercules Magazine... He is definitely looking like a Greek god to us!

Photographer: Nacho Alegre

Stylist: Laura Alcalde

Enrique de Castro by Alejandro Brito

2011-11-23T12:54:00.000+01:00

It seems Christmas has come early with these fantastic shots of our gorgeously sophisticated Enrique de Castro.... Enjoy!

Photographer: Alejandro Brito

GALA PRIX DE LA MODA 2011

2011-11-21T12:10:00.002+01:00

El pasado jueves 17 de noviembre, se celebró en Madrid la Gala Marie Claire Prix de la Moda 2011, en la que Irina Shayk, fue galardonada con el premio Prix Top Celeb del Año.

Irina Shayk fue la que brilló con luz propia, no sólo porque fue nombrada ‘Celebridad del año’, sino también porque lució un vestido espectacular de Elie Saab que dejó a todo el mundo boquiabierto.


Irina Shayk, Prix Top Celeb del Año, fue una de las más guapas de la noche gracias a su espectacular bellezay a un magnifico vestido largo con abertura delantera de Elie Saab.


La top de origen ruso posa con el embajador francés tras recibir el Prix Top Celeb del Año. La fiesta de la moda tuvo lugar en un espacio de excepción: la casa del embajador de Francia

Some great polaroids from Constance Jablonski...

2011-11-19T18:06:00.000+01:00

Our lovely Constance is looking naturally fabulous in these new polaroids!

Caroline Brasch Nielson struts her stuff for Victoria's Secret

2011-11-17T19:14:00.000+01:00

We were so proud to see the irresistibly gorgeous Caroline Brasch Nielsen walking for one of the most fun and exciting runway shows of the year, the Victoria's Secret Fashion show. She looks incredible, and most importantly, like she's enjoying herself!

An Interview with Willy Vanderperre....

2011-11-17T19:04:00.000+01:00

As a member of that very select group of photographers responsible for visualizing contemporary fashion through high end editorials and advertising Willy Vanderperre has cultivated an air of mystery due to the privacy of his practice. His is not the image of the jet-set high-glam fashion scenester staggering from Fashion Week to Fashion Week, but rather that of a meticulous and cerebral visual artist carefully exploring his ideas on the behalf of the brands and magazines that keep him in heavy rotation. As such, Mr. Vanderperre has shot for a wide array of clients that run from V to Arena Homme Plus, Fantastic Man, ID and Love to Jil Sander, Proenza Schouler, Prada, Raf Simons, Givenchy and Dior Homme. For each client he remains respectful of the central ethos of the given brand thus giving his imagery great range and innovation even as he keeps the graphic discipline that is a signature of his photographs. In this exclusive interview with MDX Willy Vanderperre outlines the roots of his vision, his thoughts on fashion films and the emotional drive that is the key impulse behind his image-making.

Could you start, Mr Vanderperre, by telling us a little bit about your background and how you came to be a fashion photographer?

I grew up in the southwest of Belgium, and at an early age I knew I wanted to do something creative, it was my dream. I was obsessed and was following art school every weekend. Then around my thirteenth year I went full time to art school, nearby where I lived, in the same province, the West Flandres. When I turned eighteen, it was the period in which fashion was really important in Belgium. We had the boom of the Belgian designers ‘The Antwerp 6′ and you would see them written up in magazines everywhere. What that early influence of fashion did in my life was that it gave me the extra push to study fashion at the Royal Academy of Fine Arts in Antwerp, where everybody from that group of designers came from. When I arrived in Antwerp, Margiela had just started, but was doing one amazing show after the other in Paris. It was the early 90′s, the period when fashion and photography and art photography… they started to flirt with each other, like a cross-over, where it was acceptable for an art photographer to do fashion photography and vice-versa. It was around that time that I went through a transition, and where I found that for me the medium of photography was more interesting. I was more excited to go about finding images, cutting out images, taking pictures, creating the world around it, than the actual design of fashion itself. Because I always thought that at the end, to translate and capture the emotion I wanted, it was more efficient to do it in images. I think that is the main reason why I went through the transition from studying fashion to photography.

“…for me the medium of photography was more interesting. I was more excited, to go about finding images, cutting out images, taking pictures…creating the world around it, than the actual design of fashion itself. Because I always thought that at the end, to translate and capture the emotion I wanted, it was more efficient to do it in images. I think that is the main reason why I went through the transition from studying fashion to photography.”

It sounds like those days at the Royal Academy of Fine Arts were quite a defining influence on your aesthetic.

Oh yes for sure, because you know, you come to the ‘big city’…Antwerp… and only entering this ancient school building (the architecture of the school itself dates from the 1600′s) …, where you had corridors filled with Roman and Greek Renaissance statues and you have that feeling of a lot of history, the weight, you could actually feel, in this school. That was quite impressive. In the backyard of the school was this little building, on the verge of collapsing. You would have to very carefully go over the stairs, because if you took one mis-step, you could literally push your feet through them. It was almost dangerous. So I think that the whole thing melted well together. It was the switch from the 80s to 90s, the reaction on excess with minimalism and deconstruction, the first appearance of grunge. So that feeling of romanticism, together with the history, the building and the run down corridors with the statues, it really did make a big impact on how you formed your visual language. I really think there was something quite dark and magical about it, matching perfectly the zeitgeist of the period.

That aesthetic, is it individual to the talent of that generation or is it something instinctive to Belgian culture? I don’t know … I think maybe it is a Belgian cultural thing because Belgium is a very small country. We were never conquerors. We were always conquered. So I think that has a lot to do with the individualism of people. There’s an introversion of feelings rather than making a show of them. What would you say is the basis of your long running collaboration with Olivier Rizzo? I met Olivier on the first day at school in Antwerp. So it really is a long-time collaboration. We’ve been friends ever since. We started in the same year at The Academy. Olivier and I… right after graduation we just started to team up together. It would be Saturdays, Sundays… mostly on weekends that we would get together for a shoot. He was styling. I was taking pictures. Peter Phillips, who was at the Academy with us, was make-up. We shot outside on location, we shot in our living room, always natural daylight, very raw, it was all about the emotion we tried to capture in the expressions of the models. The living room where we worked from, had the perfect light-orientation and Belgium has the most beautiful diffused light. We just did things that we wanted to express to the world. It was raw and emotional. I guess it was that rawness, that search for real emotions, that people picked up on. Many years later, what is great about teaming up with Olivier… is that when we work together, we’ve known each other for such a long time, and we’ve worked together for such a long time, we understand each other. We trust each other, but we also push each other every time again and again. We don’t want to fall into repetition. I think we always strive for something that pushes our work forward. Or that gives people a different look on how we work together. I think we always try to do something unexpected in terms of imagery or in terms of styling. I think that’s the nice thing about it. That comes with friendship and trust and I hope we can continue working together forever because he is a very talented person.

Did you ever think that the work you were doing on the weekend would ever have a commercial application?

At that point, none whatsoever. We all were very naive back then. We just shot! I was obsessed with this one girl, Chloe Winkel, and one boy, Robbie Snelders. So him and her… we always worked around the same boy and girl in a shoot because they were a source of inspiration. Those images were also the start of the link with Raf Simons. Raf was a close friend of ours and he was just starting his collection. He was translating perfectly what happened around that time with his clothes, that we used a lot of them on Robbie and Chloe mixed in with their own clothes and lots of vintage. One of those early images went into an exhibition and Terry Jones from i-D magazine picked up on it. And that’s when the first picture got published. Ever since then we did shoots and we worked together and then I just always took the liberty of sending it to i-D magazine saying “This is what we’ve done. Do you like it? Perhaps you’d like to publish it” and I’d always be fortunate enough that they liked it (laughs) and it just continued. Also Alix Browne, who used to work for V magazine at the time, was there at the start. Alix was in Antwerp and we bumped into each other. We started to talk. She did not know who I was, I didn’t know who she was. She was in Antwerp to see about some advertising for V Magazine, the start of it, the launch of it. V Zero saw the publication of some images we had produced, my first publication in the US. It was Robbie, still the same boy, with a Mickey Mouse painted on his face. We started to collaborate with them in the same way. They commissioned, we proposed. There was never a thought that if it continued in that direction it was going to become a commercial success or anything. We just did things and sent them out. We just had fun. Later, at one point you start to think about the commercial application of your work.

Do you find it ironic that 90s Antwerp now ranks as its own reference point for so many contemporary designers and stylists?

Ironic? Hmmm… Maybe because everything was far more spontaneous than it looks now or how people think of it now.

What would you say is the process by which a young photographer develops a style that is signature and unique?

I think what it was and still is… is that you have to stay true to who you are, and I feel you have to express, honestly… what you are. Of course you absorb a lot of things and that’s quite natural. For me, the raw image that was confrontational, that had this grittiness to it, an emotion, that’s who I am.

The portraits you create for Givenchy have been an interesting strategy in how couture is presented and documented. Could you tell us a little bit about how the project developed?

Riccardo wanted a way to look at couture that was not the runway. It was almost like going back to of the origin of couture, where it was a private thing. He also wanted to have something that had a consistency and carried a repetition. He teamed up with art directors M/M Paris, and we came up with the idea of doing the pictures from the front and from the back. Each season we change the surroundings, but the composition stays the same, so it is a reproduction of that same composition, always filled in with different clothes, different girls. It gives you a beautiful timeline of the collections and a simplicity because of that consistency…you also try to express through imagery and through photography, the zeitgeist, what is happening in the world at that moment in time. It’s not about just the clothes, it’s about the emotion. Sometimes the beautiful picture is enough but then in the back of my head, I’m thinking, “Will this help fashion? Will it have an impact? Will it do something? Will it be more than the beautiful picture?”

Speaking of timeline, are you trying to push the medium of fashion photography to have a larger and more lasting significance? Or are you happy simply crafting a beautiful picture for that moment?

Sometimes you think of the beautiful picture. But you also try to express through imagery and through photography, the zeitgeist, what is happening in the world at that moment in time. It’s not about just the clothes, it’s about the emotion. Sometimes the beautiful picture is enough but then in the back of my head, I’m thinking, “Will this help fashion? Will it have an impact? Will it do something? Will it be more than the beautiful picture?”

Is there an influence of contemporary art in your style and if so, whose work do you find yourself being responsive to?

Growing up, I was really into the Flemish painters, the light of those paintings, the shapes of the bodies, the emotion and the drama. I absorbed a lot of that. It is still part of my signature, but I always stay receptive to what I’m drawn to. For the moment I’m very much into painting, sculpture and dance. Always Francis Bacon, always Lucien Freud, the raw energy, the movement. Jenny Saville, the texture and abstraction. There are Flemish/Belgian contemporaries that I find very inspiring: Berlinde De Bruyckere, she scuplts, morphs human/animal bodies into shapes and what she does- it’s quite spectacular. In that similar way the idea of morphing, raw emotions and movement, but through a different medium, there is Anne Therese Keersmaeker for dance, what she can evoke is amazing. Michael Borremans, does these amazing paintings and also Cris Brodahl… hers are almost like a Man Ray picture, surreal, striking, a bit uncomfortable. Religion is a red thread throughout all of it, I feel. I was brought up with the idea of Catholic guilt, which is so Flemish. It’s our heritage, catholicism is everywhere. Like for example, when I was seven years old, when instead of being taken on a trip to the park you went to see dungeons and tombs. It was quite scary. If you look back at it now, you go… WHY???(laughs). But it really formed me into what I am. These Belgian artists Imentioned still carry that as well, that real feeling of small town Catholic guilt. It is very much Belgian.

It’s a very interesting idea and goes back to the question of the emotional quality of your photography. Compared to when you started, given the glut of images today, do you feel like fashion photography is losing its urgency?

No. I don’t think so. I think what could be said is that sometimes the magic is lost. Everything is being blogged. Everything is behind-the-scenes, and out-takes of behind-the-scenes, it feels like sometimes the mystery and the thing that makes you dream when you look at a picture is fading. There is crap, but there is also a lot of information that is important and valuable as well. The net stays a fantastic medium. I think it’s the same with images on it. There’s a lot of them that just don’t do it, but to make the viewer do a natural selection is interesting, as it gives an idea of what is around, what people are feeling and what is relevant to them.

You spoke earlier about finding your early style in the raw, the gritty, the confrontational. As the fashion world has become increasingly digitalized, has it changed the nature or the approach of your image-making?

I think you should always stay true to your style but at the same time never be afraid of experimentation. Otherwise you just get stuck. Staying true to your style doesn’t mean it becomes a mannerism. True to your style is your emotion that you put into your picture. I think your style can be transferred or transformed into something that is completely digitally enhanced. I think, again, it is a process and one that is very beautiful. Things should evolve. The change from film to digital was a learning experience for me, as the treatment of light is sometimes completely different. I talk to my niece, who is 9 years old, about negatives and polaroids. She doesn’t know the existence of these things (laughs). I think you have to embrace the world of today. If you just stayed focused on that one thing that you did a long time ago, or are still doing, it will not push you forward in a creative way. One has to evolve, embrace technology in our case, for it to evolve too. I think it’s quite… you could do everything on a computer to the point where you don’t recognize the original image anymore. It could become a totally different thing. But it’s not a situation where I’d say “Oh no I’d never do that to my picture” If it works for your image, why not? And if it doesn’t work, at least you explored it.

Is the idea of a narrative film work something that lies in your future?

Oh yeah. The Dior Homme ‘The Wanderer’ project that just came out, where the narrative becomes more important. There’s a beginning, a middle and an end, it becomes a small film. I think it’s very interesting. It’s like going to school again. You learn new things every time. So yes, eventually I’m greatly looking forward to doing a feature film in the future.

Do you see fashion films as extended editorials, short films or a new medium unto themselves?

I want to treat them as a new medium. I don’t think you should treat fashion films only as an extension of the published editorial, or it has to be the purpose, that the editorial is taken from the film. Sometimes you just have to treat it differently. Again, it’s the challenges of a new, very interesting medium. With the Red camera high quality digital filming became accesible. The first clips I produced for Raf Simons and Another Magazine or LOVE, were all done with iMovie. I filmed, I graded, I edited, put the music on it. It was quite interesting having to learn and understand a new medium within itself, to find what I liked. I was working around a kind of fast forward, time lapse, hysterical editing style. I think the minute you feel excited about what you’re doing, you can start to explore it more. You should treat it as a world of its own. Even if it’s only a minute long, you should try to give a feeling, an emotion for something that is not solely about the belt or the tie or the shirt or the high heel of the shoe. I think you should once again, try to seduce the viewer with an emotion. It’s too beautiful a medium not to do something emotional with it. I think something without an emotion doesn’t have a meaning.

All photos courtesy of Willy Vanderperre / Management Artist

2011 EML World Final

2011-11-17T12:17:00.001+01:00

Elite Model Look 28th World Final
Shanghai, December 6th 2011
An amazing experience

Elite Model Look : 350.000 contestants, 800 cities, 70 countries, 5 continents
A new format for a spectacular music-entertainment show
70 aspiring models, winners of the national finals, complemented by
exceptional mentors: Elite topmodels

Paris, November 15th 2011 – Elite, one of the world’s leading model management
companies, is pleased to announce that the 28th edition of Elite Model Look World Final
will take place in Shanghai, China on Tuesday the 6th of December.

70 young girls from 70 different countries, representing the most beautiful rising stars
in the Elite Model Management network, will travel to Shanghai to take part in the event
of a lifetime: a two week Model bootcamp and a World Final that will result in an
international modeling contract.

During this period, seventy contestants will attempt the transformation from aspiring
hopefuls to top models. Only one will have what it takes to become one of the next
fashion icons.

In front of an audience of more than 2,000 guests, the new format of the final show will
seamlessly travel between runway competitions and vibrant music performances from
international popstars as well as Chinese music artists.

The Elite Model Look World Final will feature multiple catwalks sequences from some of
Elite’s Top Models such as Magdalena Frackowiak, Eniko Mihalik, Fei Fei Sun,
Natasa Vojnovic, Rianne Ten Haken, Ming Xi and the 70 Elite Model Look Finalists that
will be judged by industry insiders.

About Elite World SA :

Elite breathes global beauty and style. Founded in 1972, Elite is the world’s largest
modeling agency, representing more than 2,000 models across five continents.

Elite models have featured on over 1,000 magazine covers from around the world and
include legendary icons such as Claudia Schiffer, Naomi Campbell, and Gisele
Bundchen. Elite is also shaping the stars of today such as Alessandra Ambrosio,
Constance Jablonski, Sigrid Agren, Eniko Mihalik and Fei Fei Sun, and continues to
explore the world in search of the next rising stars through its Elite Model Look contest.
The contest attracts over 350.000 participants in 70 countries per year.

Elite is not just a network of modeling agencies, it is a true brand with activities such as
model management, the Elite Model Look contest and world-class licensing.

To learn more about Elite, visit www.elitemodelworld.com

About Elite Model Look :

Elite Model Look is the most renowned international modeling contest that attracts more
than 350.000 participants every year coming from 800 cities, 70 countries and 5
continents. It is unique in providing the opportunity for young girls to enter the fashion
world, become models and make fabulous careers. The Elite Model Look contest is a
prestigious event open to beginners with a professional aim: discovering the new talents
who will become the next top model.

To learn more about Elite Model Look, visit www.elitemodellook.com

10 DIAS PARA SHANGHAI

2011-11-14T13:07:00.002+01:00

Asi de estupenda y relajada luce Laia Cabot a solo 10 dias de emprender rumbo a Shanghai, donde esta bella barcelonesa representará a Elite Model Look España en la Final mundial de Elite Model Look 2011 el próximo 6 de diciembre.

SUERTE LAIA!!!!!!!!!!!!!!!! <3

Malthe is our Hero!

2011-11-09T09:14:00.000+01:00

Malthe Lunde Madsen looks fierce and powerful in this Superhero-inspired editorial for Hero Magazine. We love the colours, the outfits and the anger in his eyes!

Photographer: Aj Numan

Stylist: Anders Solvsten Thompsen

Hair: Tina Outen

Candice Swanepoel strips of for Esquire....

2011-11-09T09:05:00.000+01:00

It's no wonder Candice has made the list for '50 things no man should be without this winter'... She looks absolutely incredible in the October issue of Esquire...We love it and we're sure you will too!

Photographer: Russell James

Ivana Baquero gets glam for Schon Magazine!

2011-11-03T09:38:00.000+01:00

Star of Spanish film and one of our Elite Celebrities, actress Ivana Baquero proves her many talents in this beautiful editorial for Schon Magazine...

Photographer : Sergi Pons

Stylist : Nirave

The Secret Meaning of Things...

2011-11-03T09:34:00.000+01:00

Beautiful Bambi is a rather cheeky yet mysterious character in this fantastic black and white editorial for Dossier Magazine. We love the underlying arrogance of these photos...is there anything this girl can't do?!

Photographer: Dan Martensen

Stylist: Marine Braunschvig

Michaela Hlavackova smoulders in Marie Claire

2011-11-03T09:30:00.000+01:00

Our gorgeous Michaela dons both florals and leather in this beautifully simple editorial 'Graphic Measures' for Marie Clarie Magazine. Excellent work!

Photographer: Takay

Make-up: Brigitte Reiss-Andersen

WELCOME JOHANNES!!!

2011-10-25T13:59:00.002+02:00

Johannes Niermann is now represented by Elite Barcelona!!

Polaroid shooted this morning at Elite Barcelona office

Kenzo

Hermes

Louis Vuitton

Gucci

Kenzie Roth breaks OUT...

2011-10-25T08:44:00.000+02:00

Kenzie Roth manages to look shirtlessly gorgeous even when covered in dirt for this simple yet stunning editorial for OUT Magazine. How can you not love this guy?!

Photographer: Shannon Sinclair

Noemie Lenoir goes mad for leather in Ponystep Magazine

2011-10-25T08:33:00.000+02:00

Former Victoria's Secret angel Noemie Lenoir proves why Loewe are a major player in the luxury goods market as she models their classic Autumn/Winter 2011 designs in this editorial for Ponystep Magazine. All eyes on Noemie!

Photographer: Xevi Muntane

Stylist: Phoebe Arnold

Caroline Brasch Nielsen for H&M Conscious Collection FW 2011

2011-10-21T08:51:00.000+02:00

Caroline Brasch shows her fashion-conscious side in this flowery and autumnal campaign for high street powerhouse H&M....great work!

Photographer: Axel Lindahl

Seductive Suzie for Anteprima and BCBG Max Azira...

2011-10-21T08:38:00.001+02:00

The piercing eyes and delicate features of our breathtaking Suzie Bird now dominate the Fall/Winter 2011 campaign for Anteprima.

Photographer: Ben Hassett

Stylist: Ludivine Poiblanc

Not content with just one fantastic campaign, Suzie is also the star of BCBG Max Azira's Fall/Winter 2011 campaign, where she sports a different look of subtle tones and relaxed layers.

Photographer: Camilla Akrans

Stylist: Laura Ferrara

Hair: Franco Gobbi

Make-up: Romi Soleimani

Jessica House shimmers...

2011-10-18T15:16:00.000+02:00

The gorgeous Jessica House takes on a sultry character in this visual delight by Andrek. Enjoy!

-Shimmer- from Andreʞ on Vimeo.

Photography and film: Andrek

Stylist: Giulia Marsili

Make-up and hair: Ivan Gomez

Emma Ahlund sparkles in her new polaroids...

2011-10-18T15:12:00.000+02:00

Its always exciting to see models embracing their natural beauty and one of the best ways to see this is through polaroids... Check out these stunning and casual shots of Emma...

Bambi for Metal Magazine

2011-10-18T15:09:00.001+02:00

As Bambi fever sweeps the world, JM Ferrater manages to capture her beauty for this flawless cover of Metal Magazine... Stunning!

Photographer: Jose Manuel Ferrater

Hair and make-up: Daniel Rull

Versace for H&M chooses River Viiperi!

2011-10-15T11:51:00.000+02:00

River Viiperi is looking as gorgeous as ever in this fantastic campaign for the highly acclaimed and highly awaited collaboration between Versace and H and M. River looks fantastic don't you think?!

Photographers: Mert Alas and Marcus Piggott

Luna Solana embraces Brit Chic in Vogue..

2011-10-15T11:48:00.000+02:00

A Vogue Editorial is a massive career high for all models, so to grace the covers of the fashion bible at just 16 is incredible. We are so proud of our Spanish beauty, Luna Solana, and excited about her future success in the modelling world...Check out the fantastic photos below!

Photographer: Sergi Pons

Selecao Brasileira!

2011-10-13T15:14:00.000+02:00

The gorgeous Arthur Sales graces October's edition of GQ Brazil as one of the country's hottest exports! Well we certainly can't argue with that!

Photographer: Richard Phibbs

Stylist: Antonio Branco

PARIS FASHION WEEK

2011-10-10T13:09:00.000+02:00

MAUD WELZEN

John Galliano

Chanel

Giambattista Valli

Paco Rabanne

KATE KING

Chanel

Louis Vuitton

John Galliano

Valentino

FEI FEI

Chanel

Givenchy

Hermes

Louis Vuitton

CATERINA RAVAGLIA

Miu Miu

Giambattista Valli

Givenchy

Chanel

CONSTANCE JABLONSKI

Balmain

Sonia Rykiel

John Galliano

Paco Rabanne

NYASHA MATONHODZE

Yves Saint Laurent

John Galliano

Louis Vuitton

Givenchy

CAROLINE BRASCH NIELSEN

Chanel


Pedro Loureço

Balenciaga

Valentino

ERJONA ALA

Paco Rabanne

Chanel

Givenchy

Yves Saitn Laurent

MING XI

Cacharel

Elie Saab

Emanuel Ungaro

KARO MROZKOVA

Chanel

Lanvin

Cacharel

Alexis Mabille

SIGRID AGREN

Alexander McQueen

Louis Vuitton

Yves Saint Laurent

Chanel

PATRICIA VAN DER VLIET

Alexander McQueen

Valentino

Giambattista Valli

Chloe

SUZIE BIRD

Sonia Rykiel

Viktor & Rolf

Nina Ricci

Haider Ackerman

JULIA NOBIS

Alexander McQueen

Chanel

Louis Vuitton

Valentino

Bambi just keeps on giving!

2011-10-09T17:10:00.000+02:00

Bambi fever is definitely sweeping over the fashion nation and we are loving it! The stunning Australian has popped up in two fantastic FW 2011 campaigns including this adorable one for Love Moschino...

Photographer: Matt Jones

Stylist: Elgar Johnson

....And this casual and slightly more serious campaign for Swedish high street brand H&M, captured by the legend that is Terry Richardson. They just can't seem to get enough of this girl!

Photographer: Terry Richardson

Stylist: George Cortina

Hair: Christiaan

Make-up: Lisa Butler

Vincent Banic strikes a pose!

2011-10-09T16:54:00.000+02:00

Just because models aren't serious all the time, here's the gorgeous Vincent Banic being cheeky!

Photographer: Nikolai de Vera

Maddie Kulicka, statuesque in Couture...

2011-10-09T16:51:00.000+02:00

There is no doubt that Elite stunner Maddie Kulicka is to be taken seriously as a model. She has certainly grown up in this fantastic editorial for a Couture exclusive issue of Hautemuse Magazine. She models wonderful gowns by Haute Couture genius Stéphane Rolland. Enjoy!

Photographer: Anthony Maule

Jordan Taylor for Varon Magazine

2011-10-09T16:25:00.000+02:00

New to the Elite family, Jordan Taylor embodies some sort of Greek god in these angelic shots for Varon Magazine. Superb!

Photographer: Thomas Lohr