'The models that are being booked by clients now are those that people can identify with, they're more human,' says Greg Buckle, a booker at the model agency, Storm. 'They're a new genre of boys - more off-the-wall, lots of limp poses - but post-grunge, still masculine.'Buckle is talking in particular about Gabriel Hill, a current favourite of Arena's fashion editor David Bradshaw and, more surprisingly, the model chosen by Mulberry Company for their latest magazine-cum-brochure.Hill is not your archetypal hunting, shooting, fishing man. He doesn't look like he knows one end of a snaffle from the other, nor does he glow with rude country health In fact he doesn't look very well at all. His lank hair hangs to his shoulders, his skin isn't perfect and he isn't smiling much But he is beautiful. 'Girls go weak at the knees when they see Gabriel,' insists Buckle.But it is not women who are being targeted. 'This type of non-model model is used to sell to men,' says Mark Evans of Models One, the agency that handles another of Bradshaw's current favourites, the almost femininely beautiful Adam Kavanagh (see the preceding pages).

'He's real-looking, not body-orientated, and men don't feel threatened by him His face is striking rather than obviously handsome. This kind of look has completely opened up the spectrum for male models, and it's made my job much more interesting.'More interesting financially, too, presumably, since the required look is regarded by international big spenders as an English one: the sort of post-grunge boy epitomised in the extreme by the waifish Keith Martin, dyed-blond boy-babe in many a Face fashion spread. The Italian designers Dolce & Gabbana came to London to photograph him for their latest campaign, as did German menswear giant Hugo Boss. 'When the weird model look started, we assumed it would confine itself to I-D and Hyper Hyper,' says Evans, 'but Keith has surprised us all by still being in demand two years down the line.

Whereas once a classic model would be used for a big campaign, they're now looking for more unusual faces.'This notion is behind the introduction of a new agency for male models. 'Since the menswear market has grown so much, we can now offer a wide range of male looks,' says Kevin Kollenda of T2 Management 'We see it is as a parallel of what's going on for women. 'Ever since the Sixties, everyone has looked toEngland for inspiration, and today, international designers are coming to us for the more off-beat looks.'From the acid-punky Jerome (as in female modelling, first names are often all that is given), lank-haired Tom, to the waifish Stevee and hippyish rockstar Stephen Bliss - they are definitely faces that set new standards.Russell Marsh, a fashion show producer for, among others, designer of the year, John Rocha, agrees. 'Male models these days have to be like women - versatile and flexible. It's about attitude - they have to capture the essence of the time. I think grunge has given model and advertising agents alike a new perspective on and perception of beauty Look at Chris Jarvis.

He's quite chiselled but not anorexic-looking, has shaggy hair but is not overly Seventies - a sort of eco-friendly image, very natural and right for now. What's important is that he is inspiring for the Joe on the street who can relate to him.'This is a theory that Paul Smith has subscribed to for years. By now, fashion editors and buyers are well used to Smith's catwalk shows, which, like Comme des Garcons', have become famous for their use of what Smith fondly describes as 'found' people. They could be unknowns club circuit comedians, or stars like Harry Dean Stanton and John Malkovitch. 'It's not about good looks,' insists Smith, 'it's about interesting characters. Even the models I use in my shows have non-model looks and as far as I'm concerned that will never change.'Paul Smith's seasonal brochure, shot by David Bailey in black and white, consists entirely of 'found' people. Some shots are just head and shoulders: 'The clothes are secondary to the men,' points out Smith, 'but even from the back, with only an ear showing, you can tell these aren't bank clerks' - an observation that maybe provides a clue as to why we are moving away from the traditional benchmarks of male attractiveness.We are rejecting the materialism of the Eighties, when male models embodied the strident ambition of the city broker Men now want to be recognised as having other qualities.