Born in Kazakhstan and raised in Germany, Karolina Spakowski didn’t grow up in fashion, but she did grow up in the rigor of gymnastics, where dedication and precision were second nature. Scouted as a teenager, Spakowski entered the industry with that same discipline: “When I started, I tried to get some work and pay off my debts. Now I just want to be happy and be a good person. And if I’m lucky, I’ll even make some people happy too.” 

Now on our latest spring issue, the rapidly rising model stands as living proof that precision and poise can propel a new kind of supermodel.

V: What’s your favorite part about spring? Are there any fond memories you associate with the season?

Karolina Spakowski: Butterflies, bunnies, fresh grass, and the smell of the first sunrays 

V: Many of the Spring 2026 collections were debuts for certain designers, opening up a larger conversation around fashion’s need for renewal. How are you feeling about the recent creative shake-ups at these fashion houses?

KS: I usually feel very excited when change happens. It opens up new opportunities. But now those changes don’t feel very organic. It seems like if one creative doesn’t perform immediately on the spot, they’re just changed out. Like a pair of socks. I don’t agree with this policy however It seems very fitting to our fast paced society nowadays.

V: A designer’s debut collection is often a statement of identity. Do you remember what you wanted your first major season to say about you? How did you personally manage the pressure of being “introduced” to the industry?

KS: When I started, I didn’t think in those terms. I tried to get some work and pay off my debts. Now I just want to be happy and be a good person. And if I’m lucky I’ll even make some people happy too.

V: What do you see as the parallels between a model’s first runway moment and a designer presenting their first collection?

KS: Both are nervous! I suppose. 

V: Have you ever felt like you were growing alongside a designer who was just starting out? What was that experience like?

KS: My first ever haute couture show was Schiaparelli by Daniel Roseberry, which I also opened. Ever since I felt very welcomed by him and the brand. Last show (SS26) he said that when he started to create his designs, he mostly imagined then on celebrities. Now that he get to know us models, he sees his designs on us individually. It was a beautiful moment to hear that the clothes were made with you in mind.

V: Do you think it’s better for a debut, whether for a model or a designer, to feel perfectly polished, or slightly raw?


KS: Do what makes you happy. Frankly, I’m bored of “perfect” and “polished” and I would be very sad if someone would describe me as such.

This story appears in the pages of V159: now available for purchase!

Photography Chris Colls
Fashion George Cortina
Model Karolina Spakowski (The Lions)
Editor-in-Chief / Creative Director Stephen Gan
Makeup Mark Carrasquillo (Streeters)
Hair Bob Recine
Manicure Honey (Exposure)
Casting Goran Macura
Executive Producer Dana Brockman (Viewfinders)
Producer Max Bonbrest (Viewfinders)
Production Assistant T. Harper
Digital Technician Jeanine Robinson
Movement Director Marly Phillips Nicol
Director of Editorial Film Mynxii White
Location Untitled Studios
Equipment Alex Bova
Photo Assistants Daniil Zaikin, Ben Carhartt
Styling Assistants Moses Moreno, Trevor McMullan,
Jared Benhart, Mary Reinehr Gigler
Tailor Yaqi Sun (Atelier YQS)
Makeup Assistants Shoko Sawatari, Yuui Vision
Hair Assistant Shinya Iwamoto
Set Designer Happy Massee (La La Land)
Set Design Assistant Kevin Murphy