Anok Yai

Anok Yai has redefined what it means to be a modern supermodel. Her rise was nothing short of meteoric, discovered by chance in 2017 at Howard University's Homecoming when a photographer's snapshot of her went viral. Within months, she was signed by Next Model Management, and in 2018, she made history as the first South Sudanese and only the second Black model ever to open a Prada show, following Naomi Campbell's iconic turn in 1997.

Born in Cairo in 1997 to South Sudanese parents and raised in New Hampshire, Yai grew up far from the fashion capitals that would later become her professional playground. She studied biochemistry before entering modeling, a background that seems to inform the analytical, introspective way she approaches her art. Today, she's widely recognized as one of fashion's "New Supers," a generation of models reshaping beauty standards through individuality, intelligence, and agency.

Her portfolio reads like a map of contemporary luxury:Versace, Mugler, Burberry, Balmain, Louis Vuitton, Tiffany & Co., Estée Lauder, and more. She's fronted high-profile campaigns and graced the covers of Vogue, i-D, Harper's Bazaar, and Dazed. But beyond the glamour, Yai has crafted a thoughtful narrative around self-representation. She often describes modeling not just as posing but as performing, a way to tell stories about power, identity, and transformation.

In her latest work with Mugler, Yai embodied the house's futuristic sensuality as the face of Alien ExtraIntense. The campaign, directed by Casey Cadwallader, paired sculptural silhouettes with luminous skin and deep violet tones, capturing what Yai called "the fierce, otherworldly part of myself." In interviews, she has explained how modeling, painting, and self-portraiture all connect in her search for meaning and control over her image. "My idea of beauty comes from my own self-worth."she told Harper's Bazaar. "I started off painting a portrait of myself. Every month, I would add a detail. I describe the work as 'a time capsule in a painting of myself".

Her presence on the runway remains unmatched, precise, composed, magnetic. At the 2025 Met Gala, she arrived in a custom Thom Browne creation that merged architectural tailoring with golden embroidery, winning praise for interpreting the night's theme with intellect and elegance. It was another reminder that Yai doesn't just wear fashion, she interprets it.

Still, her career hasn't been without tension. In 2024, after being nominated for "Model of the Year" at the British Fashion Awards but losing to Alex Consani, she publicly expressed fatigue with the constant cycle of recognition. Her remarks, both gracious and candid, reignited conversations about diversity, tokenism, and emotional labor in the industry.

That self possession is perhaps what defines her most. Yai speaks openly about growing up as one of few Black students in her New Hampshire town, and how that shaped her awareness of beauty and belonging. Her fashion choices often reflect that duality, both strong and ethereal, sharp yet fluid, an aesthetic she carries from the catwalk to her off duty style.

Now 27, she's expanding her creative language beyond modeling. Yai paints, photographs, and collaborates with designers on concept development, positioning herself not just as a muse but as a maker. She often uses her platform to highlight African designers and young artists, insisting that visibility must come with opportunity.

Anok Yai stands at the intersection of artistry and activism, her very presence challenges norms that once seemed unshakable. In an industry that constantly reinvents itself, she embodies something rare: quiet confidence, depth, and an evolving sense of purpose. She doesn't shout her significance; she lives it. And that, in fashion and beyond, might just be the most powerful statement of all.