“Your face is familiar to me”. Edita Vilkeviciute (Kaunas, 33 years old) has heard that expression countless times. Not only because her features, of absolutely canonical beauty, stand out above those of ordinary mortals; but also, and above all, because her face is literally everywhere: on the marquees, in online stores, in the fashion films of luxury brands or on the covers of major and specialized magazines. Just one example: in the last 12 months, she has starred in the campaigns for Mango, Massimo Dutti or the Zara lingerie collection and has signed no less than a dozen editorials in Vogue, Numéro or V Magazine. Few models are as ubiquitous as her, and yet only the very expert in the field could associate her name with her face. He is 33 years old and has been at the top of the industry since he was 15, but he does not have Instagram, he barely gives interviews and when looking for his name in image agencies like Getty he only appears in a small handful of portraits attending work parties, not a trace. of streetstyle photos or stolen poses. However, Models.com includes her in the very exclusive list of the 100 most iconic models of all time and in The Fashion Spot, the forum par excellence when it comes to catwalks, the thread that comments and reviews her extensive career reaches 583 pages. The model is wearing an ALAÏA dress and boots with attached stockings and gloves, both by BALENCIAGA Photo: STANISLAW BONIECKI If you ask Edita what the secret is for, in an environment as ephemeral as this, to continue being everywhere since 2006, the year in which he appeared at a casting in his native Lithuania, he responds with a succinct “be yourself, keep your feet on the ground and not forget your roots”. But there is much more. “Edita has become a regular face of fashion, transcending the internal codes of any brand. She is recognizable to an audience that, without naming her, finds familiarity in her face”, they explain from Mango, a brand of which she has been the image almost consecutively for more than five years. “She represents a kind of paradox: she has the supposed normality or reality of the woman on the street when in reality she has canons of beauty of extraordinary complexity,” they add. She is the beautiful girl next door to the public and the almost vocational model to those around her. “She gives her all in each session, it’s incredible the good feedback we’ve received from clients since she started, whether it’s a very commercial brand, Vogue Paris (one of her fetish headers) or a more artistic and niche magazine like Holiday”, she comments. José Durán, director of Viva Models in Spain, which has been his agency since its inception. In fact, the model moved to Barcelona at the age of 17, a few months after signing her first contract and having an overwhelming debut: without really knowing what the business was about, and without knowing anyone, she began to parade for Miu Miu , Lanvin, Dries van Noten or Chanel, a firm with which he continues to work regularly 15 years later. She jacket and shirt from GUCCI. Photo: STANISLAW BONIECKI Edita belongs to that generation of tops that, at the beginning of the 21st century, came from Eastern Europe. The fever for Claudia, Naomi, Cindy and the rest of the supermodels had been left behind; brands and the public were looking for a less voluptuous and less mediatic beauty: faces like Carmen Kass, Jac Jagaciak, Daria Strokous or Andreea Diaconu represented a strange balance between perfection and naturalness but, above all, they were plain and simple models; neither influencers nor celebrities. “But this business has changed enormously in the last two decades,” explains Edita, and blames this transformation on digital: “Everything goes too fast and everything is quickly commodified, now fashion is within reach,” although said speed, he says, has a positive side: “It reaches a much larger audience, a more diverse public, and that has meant that its protagonists also have to be”. She, however, decided not to enter the rag of social networks. Not even now, when Instagram has become the most important casting in the world, most brands look for the number of followers before considering contracts, and figures such as the Hadid or the Jenner have dynamited the barrier that separated the model from the celebrity “I decided not to go into this environment at the beginning and I don’t think it’s right to do it now as a business strategy, it wouldn’t feel good,” she admits. Little is known about her life: only that she is married to actor and producer Björn Frederic Gerling (their wedding photos, taken by Mario Testino, appeared in the digital edition of Vogue without any statement accompanying them) and that she spends her days resting in a house in Ibiza that was part of a Zara Home campaign last year. “I value my privacy too much and have managed to avoid the media part, at least until now,” she says. Although ‘getting by’ is a term that, in her case, falls far short. On the left, PRADA tank top, SITUATIONIST skirt and jacket, MAISON SOKSI tights and BALENCIAGA boots. On the right, BALENCIAGA coat. Photo: STANISLAW BONIECKI “Among my fondest memories is working closely with Karl Lagerfeld and walking for Nicolas Ghesquière during his time at Balenciaga,” she says. In 2014, Edita officially became Chanel’s muse playing Coco in the Paris-Moscow film, but she also graced the cover of the cult magazine 032c or starred in H&M’s fall campaign. Three important works but, apparently, not very coherent if you want to associate an image with a specific concept, as was the case back then. Today it may seem normal for the world’s most famous models to pose for the big fast fashion chains, but eight years ago it was a risky move, almost as risky as deciding to remain anonymous to the rest of the world. Edita, however, had combined the popular with the exclusive from the beginning: in her first works, she donned the architectural dresses of Ghesquière’s Balenciaga on the catwalk with the same enthusiasm with which she wore a simple flowered dress for a campaign of the Spanish brand Trucco, of which it was the image in its beginnings. “In reality, the big textile companies have always worked with the best teams to be able to connect with the largest number of people through powerful images,” she says. “Over the years, the borders between the world of the exclusive and the world of commercial fashion have become more blurred. And the big names in photography and styling, used to working only with high-end firms, no longer mind working with emerging creatives.” Far from devaluing her image, Edita became one of the 15 best-paid models in 2015, according to the annual ranking of Forbes magazine, a position she held for four consecutive years. Unlike her companions on that list (Kendall Jenner, Gisele Bündchen or Irina Shayk), she remained unknown to the general public, that familiar face without a name. SAINT LAURENT coat, THOMASINE gloves and MAISON SOKSI socks. Photo: STANISLAW BONIECKI Edita Vilkeviciute’s fans believe that her success is due to her ability to blend in with the different firms she works with. She is sophisticated in Chanel, sensual in Victoria’s Secret, natural in Calvin Klein or avant-garde in Viktor & Rolf. “A model who works better on paper than on the catwalk. In fashion shows she sometimes goes unnoticed, but her attitude in her photo dazzles, ”comments one of her followers in The Fashion Spot. “She is a beast in front of the cameras. She can represent a classic or more commercial beauty or she can transform into someone with strong and avant-garde features. It’s magical, ”says her agent. From Mango, they consider that if she is a favorite of the big commercial brands, it is because she “is capable of transmitting closeness and aspiration at the same time. That complicated mix between the sophisticated and the realistic positions us as a brand”. In a present of viral photos, confessional reels and television cameos, Edita is like the classic models of yesteryear, for whom the profession was just that, a job as complex as it is anonymous. PRADA bag, FENDI leather jacket and MAISON SOKSI tights. Photo: STANISLAW BONIECKI JEAN PAUL GAULTIER by OLIVIER ROUSTEING corset-jacket and boots with built-in stockings. Photo: STANISLAW BONIECKI FENDI jacket and LEMAIRE turtleneck. Photo: STANISLAW BONIECKI On the left, coat by STELLA MCCARTNEY, tights by MAISON SOKSI and boots by BALENCIAGA. On the right, white coat, boots with built-in stockings. Photo: STANISLAW BONIECKI * Styling: Ketevan Gvaramadze. Model: Edita Vilkeviciute (Viva Barcelona). Makeup: Steven Canavan (WSM). Hair: Michal Bielecki (Bryant Artists). Manicure: Delphine Aissi. Local production: JPPS Creative Productions. Photography assistant: Matheus Agudelo. Styling assistant: Héctor Guzmán.
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– Article Written By @Leticia García from https://smoda.elpais.com/celebrities/edita-vilkeviciute-como-ha-conseguido-esta-modelo-estar-en-todas-partes-desde-2006-sin-redes-sociales/