The world of female fashion modelling has quickly evolved from showcasing girls no differently to the way they would an inanimate object, to creating an entire industry of role models. Today’s girls such as Karlie Kloss, Coco Rocha, Liu Wen, Gisele Bundchen, and Kate Moss are not just hangers; they are game changers. These models are world ambassadors who broadcast their voice through social media outlets. Instead of giving life to garments, some models now give life to others through human rights activism, AIDS research, and various charities. These girls are more approachable than their supermodel predecessors such as Linda, Naomi, or Cindy. By being accessible through Facebook, Twitter, Tumblr, and Instagram, today’s fashion models sell dreams that we can be a part of, making fashion a growing reality.
However, it has not always been this way. From the first photographs of the 19th century to the pages of magazines, to moving pictures of commercials and videos, the model was created by and for the fashion clothing industry. She embodies contradictions between commerce and creativity. The exposition Mannequin: Le Corps de La Mode (Model: The Body of Fashion), presents the history of the women underneath the clothing. This retrospective bares all with nearly 120 prints, most of which are from the collections of the Museum Galliera. You can find the current exposition at Les Docks: Cité de la Mode et du Design in Paris. It unites a variety of videos (from Gareth Pugh, to a Theirry Mugler runway show, to PhotoShopping techniques on how to create a slimmer model), actual wicker mannequins, and photographs. Works of several photographic giants are displayed, such as Horst P. Horst, Erwin Blumenfeld, Henry Clarke, Helmut Newton, Guy Bourdin, Nick Knight, Corinne Day, and Juergen Teller.
Photography Courtesy of Pressing PR
Photography Courtesy of Pressing PR
Credits
Similar to how the first wirework mannequins in the mid-1800s showed dresses at a storefront window, the living model served to bring clients to the fashion designer. Wood, wicker, or wax before being flesh, the first models ambiguously fluctuated between object and subject, of thread and life. The model was a manipulatable object, a living doll. The model gave shape to clothes, but was somehow more than just this. She was the feminine ideal of beauty and youth, with an aim to seduce. Slowly but surely, models became the living and breathing part of the fashion system. She is a product of her time, but the generic standard that many models are expected to up hold, leave little room for individuality or realism. From the early 20th century, women of high society and actresses were fashion icons, bringing fame to brands and magazines. Recognizable, but mouldable, professional models undertake fictional roles under the direction of photographers and directors. Beyond the fashion system, they embody fantasies.
Photography Courtesy of Pressing PR
Photography Courtesy of Pressing PR
Credits
In 1924, the couturier Jean Patou in Paris brought “tall, thin, hipless, and fine ankled” American models to Paris and the standards of female beauty were altered, and now attractiveness was defined by the cult of thinness and youth from the 1960s. In the late ’80s, Peter Lindbergh and Steven Meisel created the supermodels: Christy, Claudia, Linda, and Naomi providing a strong narrative for models. In the 1990s however, the notion of imperfect beauty stormed into the fashion world. Photographs suddenly depicted reality, even intimacy, with the photo of Kate Moss by Corrine Day showing that beauty was accessible.
Photography Courtesy of Pressing PR
Photography Courtesy of Pressing PR
Credits
Whether an anonymous cover girl, supermodel, or the girl next door, the role of a fashion model does more than question our aesthetics and tastes. She is a vision of admiration; she reinforces what beauty means in this day and age. Moreover, she brings the clothes to life and places a whole new meaning on what fashion is and what fashion can do for others.
Mannequin: Le Corps de la Mode is at Les Docks: Cité de la Mode et du Design in Paris from now until May 19, 2013. For more info visit: http://www.paris-docks-en-seine.fr/
Words / Sheri Chiu Follow her on Twitter @schiuonthis
Tucked away in the heart of Mayfair, the new Helen Anthony flagship store stands as a striking symbol of the brand’s unwavering dedication to luxury, elegance, and contemporary refinement. Spanning three thoughtfully designed floors, the boutique captures the spirit of the Helen Anthony identity — offering a sophisticated, immersive space that invites clients into a world of timeless fashion and artisanal craftsmanship.
Each floor unveils a unique ambiance: the sleek, minimalist main showroom sets a modern tone, while smaller, curated rooms offer a more intimate setting where the meticulous details of each collection can be fully appreciated. With its refined aesthetic and elegant simplicity, the store provides the ideal canvas for Helen Anthony’s expertly tailored creations to shine, allowing clients to experience the brand in its truest form.
More than just a retail destination, the boutique offers bespoke services within a carefully curated environment, appealing to those who seek exclusivity, personal attention, and an elevated fashion experience. Renowned for its precision tailoring and graceful silhouettes, Helen Anthony masterfully fuses bold design with timeless sensibility. Each collection, crafted from the finest fabrics, reflects a harmonious balance of modernity and tradition — designed for individuals who appreciate enduring style and confident elegance.
To celebrate the latest collection, an intimate photoshoot was staged in and around the flagship store’s prestigious Mayfair setting. This location was chosen not only for its visual appeal but also as a tribute to the brand’s roots and its deep connection to the neighborhood — reinforcing Helen Anthony’s ties to heritage, sophistication, and elevated design. By seamlessly blending fashion with place, it highlighted how each garment reflects Helen Anthony’s core values — transforming clothing into a narrative of identity, purpose, and refined taste.
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
Credits
full look. Helen Anthony
full look. Helen Anthony
Credits
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Helen Anthony
opposite
full look. Helen Anthony
full look. Valentino
opposite
full look. Brioni
shoes. Loro Piana
full look. Valentino
opposite
full look. Brioni
shoes. Loro Piana
Credits
“Sometimes life doesn’t choose you, a role chooses you.” For Emanuela Postacchini, acting is more than just playing a character in front of the camera. Her journey, which began in a small town in the Marche region of Italy, now puts her in the same frame with giants like Jennifer Coolidge and Bill Murray. Her role as Marina in ‘Riff Raff’, which had its world premiere at the Toronto Film Festival, reveals both her vulnerability and her creative power.
‘Riff Raff’ made its worldwide premiere at TIFF to great buzz. What drew you to this project, and what was it like stepping into this gritty crime world alongside such a legendary ensemble cast? It feels like the kind of film that doesn’t come around often.
Absolutely—it really doesn’t. As you said, opportunities like this don’t come by very often. To be part of a film with so many legendary actors—people I grew up watching—was surreal. I remember showing up on set and just thinking, “Wow, they’re all really here.” When I first received the script, I loved it. I had never read anything quite like it in my entire career. I was already familiar with the screenwriter, John Pollono—I’m a big fan of his work. ‘Small Engine Repair’ was brilliant. The script for ‘Riff Raff’ was such a compelling blend of comedy and darkness, with these really raw and complex family dynamics running throughout.
What especially stood out to me was the relationship between DJ and Louis Coleman—there’s such emotional depth there. That father-son dynamic plays out in multiple layers and scenarios, and it was fascinating to explore. Also, Marina being pregnant drew me in—I had never played a pregnant character before. I thought it would be interesting to explore that physically and emotionally. I wanted to learn how a pregnant woman sits, walks, eats—just how she navigates the everyday. I talked to friends who had been pregnant to understand those nuances. And of course, the cast! Jennifer Coolidge was already attached, and I immediately thought, “Yes, this role was written for her.” No one else could’ve played Ruth the way she did. She brought that character to life in such a unique, hilarious way. Ed Harris was also part of the cast, and Bill Murray joined later. At the time of my audition, he wasn’t attached yet. But even being considered for a role in such a stacked ensemble felt like a dream come true. It was one of those rare opportunities.
Speaking of Marina being pregnant, what was it like navigating that, especially while acting alongside big personalities like Jennifer Coolidge and Bill Murray? What’s one memorable moment that really stayed with you from the set?
I absolutely adore Bill Murray. He’s such a gentleman, incredibly gracious, and really embraces everyone—even newer actors like myself. He pushes you to bring your A-game in the most supportive way. He’s humble and hardworking, and I had an amazing experience working with him. One moment that always makes me smile—we used to sit on the couch during breaks and flip through fashion magazines together, just chatting about trends. I would’ve never imagined that one day I’d be sitting on a movie set, commenting on fashion with Bill Murray! I think I even have a photo of that moment somewhere—it was hilarious and unforgettable.
Jennifer is also just… Jennifer. So authentic, so uniquely herself. I always say she reminds me of Marilyn Monroe—not in a direct comparison, but in that she has this rare charisma mixed with a kind of innocence and genuineness. She’s incomparable. And we share a deep love for pizza. We even promised each other we’d go on a pizza marathon one day. I hope we still do that!
full look. Ferragamo
opposite
jacket. Institution
full look. Ferragamo
opposite
jacket. Institution
Credits
From ‘The Alienist’ to ‘Riff Raff’, your roles span thrillers, satire, drama, and now crime-comedy. How do you approach choosing such diverse characters? Your choices reflect both range and boldness.
Honestly, I feel like the roles choose you as much as you choose them. Sometimes, something just clicks when you read a script, and that’s the beauty of acting—you get to live so many different lives you wouldn’t experience otherwise. Each role comes with its own color palette, emotions, and energy. The approach always depends on what the script makes me feel and what I believe I can bring to that character—or what that character might bring out in me. Sometime,s you connect deeply, sometimes, it challenges you in a completely new way. Ultimately, I think it’s a dance—part instinct, part preparation, part surrender.
You were born in Italy and now work extensively in the U.S. Has your cultural background influenced how you approach your characters? There’s a certain emotional sensitivity in your performances.
Definitely. Being Italian, there’s a natural passion I bring into everything I do. We’re very expressive, emotional people—we love deeply, argue loudly, and live fully. Interestingly, I’ve often been asked to audition for French roles. In fact, Marina was originally written as a French woman. I even did the first audition in a French accent! But when the director found out I was Italian, he said, “Wait—you’re Italian? Play her as Italian.” And that changed everything. I brought in that big-hearted, family-loving energy. Even little details—like how Marina cooks breakfast while having this sweet moment with DJ—I think those gestures felt very Italian. That cultural texture added something special to the role, and I was really proud to be able to bring that to the screen.
Which city are you from in Italy?
I’m from a small town called Sant’Elpidio a Mare, in the Marche region, on the east coast of Italy. It’s where my family still lives, and I go back every chance I get—especially for holidays. It’s home.
You’ve worked with filmmakers like Sacha Baron Cohen, Roman Coppola, and now Dito Montiel. Does your acting process change depending on the director?
Absolutely. Every director brings something different. Some are very specific and detail-oriented—they’ll tell you exactly what they want and how to get there. Dito, on the other hand, was incredibly trusting. He gave me space to explore, to bring my own ideas into Marina’s character. He wouldn’t say “do this.” Instead, he’d ask questions, lead me into discovering choices on my own. That’s so empowering as an actor. Even though we shot the film quickly, Dito made the process feel fluid and natural. When a director trusts your instincts, it opens up your performance in a completely different way.
You’ve had breakout roles—like in ‘The Alienist’—that introduced you to international audiences. What’s been your most creatively fulfilling role to date?
Definitely Marina in ‘Riff Raff’. Also, working on Who Is America? with Sacha Baron Cohen was incredible because it’s such a rare experience to do satire at that level. But Marina will always have a special place in my heart. It was my first leading role in the U.S., with a dream cast. Coming from a small Italian town, I never imagined I’d get that far—and working alongside actors I grew up admiring was deeply meaningful. When I read the script, I immediately saw Marina. I pictured her with red nail polish, baby bangs, wearing oversized cardigans—this mix of edgy and sweet. I even cut my own bangs to get into character! It was love at first sight.
full look. Mom’s Pants
opposite
full look. Loro Piana
skirt as belt. N21
full look. Mom’s Pants
opposite
full look. Loro Piana
skirt as belt. N21
Credits
And you’re acting in a language that isn’t your mother tongue. That’s a challenge on its own!
True, but I’ve been in the U.S. for a while now, and English feels natural to me at this point. It still isn’t my native language, but it doesn’t feel like a barrier anymore. Plus, I love playing with accents and characters from different cultures—I speak several languages, so it’s actually really fun for me.
You’ve been part of projects like Who Is America? that blend fiction with social commentary. Are you drawn to stories that challenge norms or provoke thought?
Yes, definitely. With Sacha Baron Cohen, for example, that kind of satire is unmatched—he’s a genius. Those kinds of projects don’t come along often. I believe that film and TV can—and should—reflect what’s happening in the world. Art can be a powerful way to give voice to what we’re all experiencing. I’m currently working on a vampire film with Alexandra Casavettes, which I’m also executive producing. It’s got a strong social commentary on the last few years, and I’m excited to see how audiences respond.
You’ve worked with legends like Liam Neeson and Ed Harris. What’s the biggest piece of wisdom you’ve picked up from working alongside actors like them?
Humility. No matter how big your career is, you have to keep showing up and doing the work. Bill Murray recently said something during press in New York—he corrected me and said, “Not just humility—false humility.” But the point is, you don’t rest on your laurels. You keep pushing, you keep bringing everything you have to every role.
Looking ahead, are there any stories you’re longing to tell—maybe something deeply personal or unexpected?
Oh, yes! There are so many stories yet to be told. But one thing I’ve been thinking about lately—maybe something comedic, like a cultural clash between Italian and Irish families. My partner is Irish, and the differences in our cultures are hilarious. Italians are so fiery and expressive, we take three-hour lunch breaks, we’re obsessed with food. Meanwhile, that’s totally foreign to other cultures. I think it could be really fun to explore that contrast in a comedy.
Sounds hilarious—and very real! Italians do it better.
