Walk, Trot, Vogue: From Sales Prospect to Super Model
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horse me n’ s Y a nkee Ped l ar
MAY 2012
COURTESY OF APASSIONATA
BY LA POMEROY Sorry, Tom Brady, but once upon a time, your super model missus, Gisele Bundchen, was enchanted by another tall, dark, and handsome stud: from Fairy Tail Farm. In 2000, Sorento, Florida, horsewoman Dia Colleen Frost imported an untrained Friesian, Matsjo Ut Et West, as a resale prospect on the Wellington winter circuit. The farm’s advertising campaign had helped generate some press in local equestrian publications, and with sales of its black horses brisk, Fairy Tail was building a reputation as a resource for this still relatively unique breed to the United States. How does a horse go from hot-to-trot to haute couture? Photographer Steven Klein found Frost and her Friesian through a mutual acquaintance in the graphics department of a Wellington publication. Klein told her that Vogue Fashion Editor, Grace Coddington, “Needed a beautiful, exotic horse for a shoot.” Vogue had discovered Matt (as Frost called him) through Fairy Tail advertising. “That,” Frost said, “is how we connected.” Working with New York City-based Jenny Landy Production, Inc., makeup artist Diane Kendal (for Calvin Klein color), and hair stylist Guido Palau, Vogue was planning a 13-page spread, ‘Mighty Mighty,’ hailing the return of self-assured chic through an equestrianinspired storyboard by Sally Singer, and shot by Klein, using models Bundchen and Carmen Cass. Before Matt joined their haute couture company, Frost faced a few questions from planners: “Could they get on him? Could they shoot at my barn? Could we bring him to a different location? They needed a horse accepting of the atmosphere and assurance that we could get him there on time. The shoot took one day, all day, while they chased the light. It was a pretty serious atmosphere. Time,” Frost said, “was money.” Four layouts with Matt made it into the magazine, including the final, full-color spread of Bundchen and Cass as Callaghan and Givenchy-clad Grecian goddesses draped on Black Beauty. Matt stood quietly as his legs were hosed down by a pony-tailed Bundchen in a Tom Ford for Gucci micromesh dress with built-in corset; trotted, neck arched, behind a briskly walking Cass in a Marc Jacobs Lurex jacket and full tulle skirt; and stood draped in roses to match Bundchen’s red Valentino long-sleeved top and pencil skirt. “They didn’t request anything special or different. He was clean and shiny, and they never touched him, except when models were on him or handled him. It was no different than a show for us. The easiest thing about the shoot was getting Matt ready and there.” After that, everyone simply let the horse work his magic. “He charmed the models. Absolutely,” Frost said with tender pride. “He is a Friesian!”
shows, it seems that the horses enjoy the audience almost as much as the audience enjoys them. “Our horses are show horses,” says Willms. “They are used to performing in arenas in front of big audiences. They love to be pampered and in many cases you can see that they are really enjoying the exercise. Sometimes I even have the feeling that they are spurred on by the audience applause.” When training her Lipizzans at home, Herrmann says the arena and the stands are very close together, allowing a real connection between the audience and the horses. “The horses really love it,” she says. “When visitors come to see them, the horses come to the front of their stalls. People fall in love with them. The horses interact with the people.” Of course, future performance horses must be properly introduced to life on the road, and these trainers emphasize that the bond and partnership created with each individual is what contributes best to their success. It is not uncommon for horses to remain part of a tour well into their 20s. “I usually start to introduce my horses to their future life as show horses at an early age,” says Willms. “But I do it in a very playful way, without putting any pressure on them. Sometimes I even let the foals run around on the training grounds and let them watch the older horses exercise. Usually, when they are three or four years old, most of them are ready to perform.” Valen a says that it is only through correct, humane training, with adherence to the principles of classical equitation, that the horses can be trained to perform to such a high degree. “I have devoted my life to the love of
horses and have always Performers of trained them without Apassionata force and according demonstrate to the centuries-old “airs above the classical traditions of ground.” European equitation,” he remarks. “This work is the result of careful and gentle training to produce a partnership between horse and rider. The horses are trained as athletes and it takes many years to rear them, as no force is used. The welfare of the horses is of the greatest importance, for these athletes can only perform if in top condition and happy with their human partners.” Willms also emphasizes the importance of developing a true partnership with her horses. “It’s all about bonding and making the trustful connection,” she explains. “You have to be very patient to eventually be accepted as part of their group and receive
“People love to be
carried away by these wonderful creatures, bonding with me through a magical connection, accompanied by wonderful music that easily makes them forget everyday life.” ~Sylvie Willms