English Version | La Grande Belleza

One of the most iconic models of all time. A brand with over seventy years of history. A collection inspired by the culture of a unique city. An unforgettable setting, where architecture and art meet nature in its purest form. To celebrate Vogue Portugal's 20th anniversary, Georgina Grenville wore some pieces from Max Mara's Resort 2023 collection — for which Lisbon served as a muse — whose official presentation took place last June, in the gardens of the Calouste Gulbenkian Foundation. True beauty is timeless.

In the late 90s, few people were as famous as Georgina Grenville (Durban, South Africa, 1975). In addition to her constant presence at virtually all the big league fashion shows (Chanel, Givenchy, Dior), and recurrent appearances on the cover of publications like Vogue or Harper's Bazaar, Grenville achieved a rare feat: that of starring in advertising campaigns (cases of Versace and Gucci) so impactful that, two decades later, their effect remains unchanged. In the late 90s, every girl wanted to be like Georgina Grenville. She was simultaneously cool and down to earth, with a smile that conveyed tranquility and a killer look that was both sexy and innocent. In 2022, the girls who have had their bedroom walls lined with Georgina Grenville posters are about the same age as she is, and ready for her second act — which she considers to be nothing more than a continuation of her first. And the girls who fell in love with her later on, whether in The Attico lookbook (2018) or the Off-White show (2019), agree that she is “the best of the best.” Following her time in Lisbon, where she photographed for Vogue Portugal, we talked to Georgina about her journey and, obviously, her (longed-for) return.

You were very young when you chose to be a model. How did it all start? I won a big modeling contest in South Africa when I was 14 — part of the prize was a contract with a modeling agency in Milan, Italy. Entering the contest was a fluke, I had done a school holiday modeling course in Durban, where I lived and the agent who ran those courses suggested entering me. My parents had little to no knowledge of the modeling industry but felt that it was an opportunity I should seize. It was 1989/90, apartheid still existed and it was difficult to get out [of the country], my parents rightly felt I’d have more opportunities overseas. Being only 14 I didn’t put a lot of thought into anything which was probably helpful.

As you mentioned, at that time you were living in Durban. How was it, for you and your family, the decision to leave the country to be a model in Europe? Looking back I think it must have been hard for my parents to let go of their little girl. I’m very grateful for their faith in me, I was so lucky to have the chance to travel. As a little girl I never dreamed of fashion, I dreamed of flying from one fabulous destination to another! Fashion made my dreams come true. […] I loved living in Milan. People were still on a high from the booming 80s. Fashion was super exciting, Versace was at its height, Gucci going through incredible changes even the French fashion houses at that time were taking risks on super creatives like John Galliano and Alexander McQueen and it was groundbreaking. As for me, I was enjoying my first forays into that glamorous world.

You got your big break in 1994 when you did the Chanel spring/summer show. Soon after that you were already doing Gucci, Versace, etc. What was the industry like at that time? Did you feel at ease, even though you were so young? 1994 was my first season doing shows. It was very different back then mainly because the industry was a lot smaller. Backstage was not the war zone it is today — packed with photographers and journalists and sometimes up to 60 models. The “cabine” (casting) was more like 20 models. Each girl would have at least four looks, sometimes five or sex. Less photographers were allowed, less journalists and no influencers. It definitely felt more glamorous than it does today. I didn’t really feel at ease but I loved it, to be honest I still don’t really feel at ease but I still love it. I think, though, that when your job is performance based not feeling at ease makes you better at it.

You have done some of the most iconic campaigns of the last decades: Valley of the Dolls for Versace, several iconic ads for Gucci... How was it, on a personal level, to achieve so much success and to work with such talented people? Were you aware of what you had achieved? My first really big campaign was Gucci with Tom Ford. I was incredibly excited to book it but had no idea how big an impact those ads would have — to this day people recognize me from those pictures. They certainly seemed to have inspired a lot of people to get into fashion (at least that’s what a lot of young fashionistas tell me). There were a few things that happened that made me realize I had made it, my first American Vogue cover, being invited to play “the Gucci girl” in the original Absolutely Fabulous series and flying Concord regularly between paris and New York. Now when I look back I regret not savoring it even more. I worked with so many incredible people and maybe because at that time it was my everyday I didn’t actually realize how privileged I was. Now when I look back I realize there is so much more I could have gotten from that time if I had been more mature.

Some people say that the 1990s hypersexualized women. How do you look at those images? Do you think some of those campaigns could be done today, with cancel culture? I look back at most of my work with pride and don’t believe that people would feel they need to be “canceled” today. But like you I’m from a different generation so I realize that I could be wrong…Tom Ford, Mario Testino and Carine Rotfeld were all about empowering women with those Gucci advertisements. Putting me in the power role and the men as accessories. As a woman and a mother I’m all about empowering women.

Is this your second act? Do you feel that you are now a more mature, more confident person? I don’t really think of it as part two, more a continuation of act one after a small interlude. These days I choose to do jobs that inspire me, I do it more than anything for pleasure and make sure I always work with the kindest people. I love my fashion family and wouldn’t know what to do without them. It is very different for me working now, I am more confident and sure of myself less worried about pleasing others and not at all afraid to make a fool of myself which I think makes me a better model, when I was younger I had very strong ideas about how I wanted people to see me which meant I wasn’t willing as a performer to take risks. Now I really enjoying seeing myself through others eyes I am more than happy to trust photographers/stylists and try to interpret their visions.

You have two daughters. How would you react if they wanted to follow in your footsteps? My daughters are interested in fashion and modeling, as a mom my instinct is to protect them, so I haven’t pushed them toward it preferring them to finish their studies and gain some maturity before entering the industry. If they choose it themselves later I will, of course,  support them.

Do you consider yourself a fashion-addict? Do you follow the trends? I don’t think of myself as a fashion addict. I love beautiful things and if I’m an addict it’s more to luxury and exclusivity. When I dress these days it’s definitely more for comfort and utility.

What still excites you about fashion? It’s the people and the ideas that excite me about fashion. I love creativity and beauty and being a part of the process or translation of fashion. I love that in fashion there are no rules, things constantly evolve and change.

Fashion works in circles, currently seems to be addicted to the 90s and the beginning of the 00s — when Vogue Portugal was born. In your opinion, what was it about that era that made it so special? I think that era remains special probably because it was the last era before social media etc changed everything.

Translated from the original on The 20th anniversary issue, published November 2022.Full story and credits in the print version.