Linda Evangelista Interview

INTERVIEW   Michele Fossi

PHOTOGRAPHY   Ethan James Green

STYLING   Clare Byrne

HAIR   Jimmy Paul

TAILOR   Katie Anderson

MANICURIST   Jin Soon

CASTING   Bert Martirosyan

Linda Evangelista’s remarkable fashion journey began in a modest bedroom in St. Catharines, Ontario. Adorned with pages torn from fashion magazines, enchanted portals into the dazzling world she longed to join, her bedroom walls served as a canvas for teenage dreams. Little did she know that, just a few years later, her aspirations would propel her to the fashion world’s zenith, standing alongside Cindy Crawford, Naomi Campbell, Christy Turlington and Claudia Schiffer as one of the renowned supermodels of the ’90s. A remarkable talent for transformation quickly became the trademark of Evangelista—a chameleon who effortlessly embodied various characters, moods and eras, wearing her hair in nearly every colour imaginable. This adaptability and willingness to push boundaries, coupled with her glamorous beauty and palpable charisma, were the cornerstones of her success, solidifying her reputation as one of the industry’s most iconic faces. The new book, Linda Evangelista Photographed by Steven Meisel, the acclaimed New York photographer’s long-awaited retrospective monograph, celebrates their enduring 25-year collaboration. Regarded as one of the most influential partnerships in fashion history, their creative synergy, depth and transformative style have resulted in an array of unforgettable and iconic images that captivate audiences worldwide, often setting fashion and beauty precedents. In conversation via Zoom, Linda discusses her relationship with Meisel, revisits the highlights of her career in modelling, reveals her health challenges and recounts the journey towards overcoming them. It’s a multi-faceted narrative that weaves together elements of fairy tale with moments of adversity, ultimately culminating in liberation from fears, as well as personal growth.

I have so many things that I would love to talk to you about, but let’s start with the book. How would you describe your professional relationship with Meisel?

The connection between the two of us was immediate, a kind of love at first sight. It’s always been very instinctual. I can sense when to change or experiment, and I can tell when he likes it. Sometimes, it’s just an eye gesture or a head tilt, and I know what he wants. He always involved me in the creative process, often putting a mirror beside the camera so that I could see myself and come up with ideas. I always felt safe with him. He’s never printed a bad picture of me.

The opening editorial in the book marks your very first collaboration with Steven in 1987—a fashion editorial for Vogue America. What memories do you have of your initial meeting?

On set, Steven surprised me with an unusual question, asking if I “could walk.” I confidently said yes, and demonstrated by hitting a marked spot on the floor. To my surprise, he and his assistant burst into laughter. I assumed they were mocking my long, skinny legs, which had always been a target for ridicule and a source of insecurity. They also seemed to be discussing my gums, and I assumed they didn’t like them. It turned out it was quite the opposite; they admired both my legs and my gum line, especially how it appeared when I smiled. I ended up with almost the entire spread, which was quite a result for me back then.

Meisel was a master at showcasing your remarkable ability to transform into different characters. What was it like to constantly switch, like an actress, between these different roles?

It was incredibly fun, but also quite stressful because we didn’t plan all these characters in advance. We arrived at the studio to find a suitcase or sometimes just a duffel bag of clothes, which the stylist would open before our eyes. That was what we would be shooting that day or the next. Everything was a surprise, including hair, makeup and wigs. Even the famous Cuba Girl story in Florida was conceived on the spot!

Photographed in 1989 for Vogue Italia, the Cuba Girl shoot was groundbreaking at the time, as it was one of the first to feature a major fashion model with a dark tan.

I have so many fond memories of that shoot. We were in the back alleys of Miami, which used to be a much wilder and more dangerous city than it is today. I felt a bit uneasy at times, hearing occasional gunshots. I developed a special affection for the character we created that morning. She was a sexier, more resourceful version of myself, rocking affordable items, like thrift store Candie’s shoes from the 1970s and hoop earrings, with great style—a look I’d have gladly embraced if I were broke. She was very cool, and had a very hot boyfriend, too.

Did you apply makeup to achieve that mahogany skin tone?

No, believe it or not, that was my natural skin tone at the time! Back then, I didn’t prioritise sun safety and would irresponsibly sunbathe every weekend in Saint Tropez to achieve the darkest possible tan. It was only after developing melasma at the age of 33 that I recognised the importance of sun protection and began wearing sunscreen daily.

It’s worth noting that, during those years, there was no post-production as we have today.

There were no filters and no retouching, and when the camera clicked, that was it! We had to meticulously craft each shot to achieve as much perfection as possible during the actual shoot. We would “retouch beforehand,” using reflectors to ensure the lighting was flattering on the face, and pinning the clothes wherever it was necessary to give them the right shape.

What other analogue tricks do you recall employing on set?

One of the techniques we frequently employed was the use of transparent strings, akin to fishing wire, which we would attach to the clothing. This allowed us to create the illusion of movement, making it seem as though the fabric was flowing in the wind. When we encountered situations where there was excess slack at the back of a belt, skirt or pants, we sometimes resorted to placing a can of Coca-Cola between the garment and the body.

That’s hilarious! I won’t be able to look at those glamorous pictures the same way again.

It really worked! This subtle adjustment effectively cinched the waist tighter, resulting in a more flattering fit, unlike a clamp that could easily come undone. We constantly improvised and employed these creative solutions, which made the process incredibly enjoyable. I miss that era. Today, you hear the same sentence for every problem on the set: “Don’t worry, we’ll fix it later!”

Flipping through the pages of the book, I could not help but notice that even chimpanzees were not immune to your legendary beauty.

[laughs] I can assure you that the last thing on the baby chimpanzee’s mind, as it kissed me in that picture, was my beauty. All it cared about was the candy I had in my mouth. We were on the set of a Barneys New York campaign, and capturing the attention of the baby chimpanzee proved a real challenge. It was fixated on the studio’s exposed pipes hanging from the high ceiling, longing desperately to swing from them. I tried to hold on to it tightly, trying not to let the shoe on my head fall, but it would always escape. Until I had the idea of putting a candy in my mouth! It worked like magic; instantly, I had its undivided attention.

What was the aspect of your work that you most disliked?

I used to travel alone most of the time, and this often left me feeling profoundly lonely. The luxury that typically accompanied those trips didn’t alleviate the loneliness; instead, it exacerbated even more my sense of solitude. There were moments when, upon entering a spacious limousine at the airport or crossing the threshold of a luxurious presidential suite, I would unexpectedly burst into tears. Having all that space to myself felt terribly melancholic.

As you grow older, you start to see what real luxury is: sharing experiences with the people you love.

I could not agree more.

And the aspect of your work you enjoyed most?

The camaraderie we could foster on set was truly special. Back then, shoots often extended over several days, giving everyone involved ample time to bond and get to know each other well. We were like a family and shared so many unforgettable moments filled with laughter. Today, these week-long shoots are a rarity, making it more difficult to develop such close-knit relationships with the team.

In an interview with The Guardian in 2017, Cindy Crawford stated, “We were all very supportive of each other. We were all in this together, and we knew that we were stronger as a group.” Was it genuinely like this, or were there any rivalries among you supermodels?

We were truly close friends and have maintained our strong friendships over the years. We frequently get together to reminisce, share laughter, and cherish the memories of the late ’80s and the ’90s, a truly exhilarating period in all our lives. However, there’s a touch of nostalgia and sadness in these gatherings, too, as we fondly remember beloved individuals like Peter Lindbergh, Patrick Demarchelier and Tatjana Patitz, who are no longer with us.

As you brought up Peter Lindbergh, let’s delve into the cover of British Vogue in January 1990, featuring you, Cindy Crawford, Naomi Campbell, Christy Turlington and Tatjana Patitz. Known as the “Big Five,” that editorial is often seen as the catalyst for the “supermodel” era.

I remember how excited Peter was to bring the five of us together. There was a unique connection on the set that day, a kind of unspoken understanding between us. Peter’s foresight was incredible; he had the intuition that together we would be stronger—much stronger—something we had no idea of at the time. Looking back, it’s astonishing to see how that one cover changed the course of our careers in such a significant way.

Following that shoot, George Michael summoned you all for his Freedom music video. Known as one of the most unforgettable music videos of the entire decade, it featured you and other supermodels lip-syncing the song and played a pivotal role in consolidating the supermodel phenomenon.

Initially, I had strong reservations about participating in the video. I questioned why I should be in a music video when my primary focus was on fashion; I really couldn’t see the point. However, George persuaded me to give it a try, and I eventually agreed to be a part of it. Little did I know, it would open up an entirely new level of visibility for me. Suddenly, when I walked down the street, a completely different crowd of people would recognise me; not just women interested in fashion, but also many young men.

The same month the video was first aired, October 1990, you made your legendary statement in Vogue: “We don’t wake up for less than $10,000 a day.” Was there a bit of irony intended when you said that?

Of course, it was initially meant to be a tongue-in-cheek commentary, my playful way of asserting, “I know my worth,” but it didn’t come across this way.

Some people criticised you for being out of touch with reality, while others accused you of being arrogant and materialistic. Do you think that the backlash happened because you were a woman in a position of power?

It wasn’t the 1940s, but I believe that if a man had said something similar during that time, it might have been perceived differently. Think about all those male music stars, proudly flaunting their millions in their videos—none of them seem to be labelled as out-of-touch or materialistic.

Now for a $10,000 question: if you had to pick your favourite fashion show of your whole career, which one would it be?

If I had to pick just one, I’d say that my most iconic show ever was the spring/summer 1995 Ready-to-Wear by Galliano, where I had the privilege of modelling my absolute favourite dress of all time—his breathtaking yellow dress. With its floor-length gown made of pale yellow tulle and intricate detailing, that dress was simply beyond. Galliano was aware of my obsession with it, and he kindly gifted it to me. For years, I proudly displayed it in my bedroom on a mannequin.

I can imagine it must be quite something, waking up to see that magnificent dress first thing in the morning. . .

It truly brought me joy. However, over time, I began to notice that even though it was indoors, the dress was losing some of its vibrancy. I felt it deserved better preservation, so I made the decision to donate it to the Metropolitan Museum of Art. My hope is that one day, it will make an appearance in an exhibition.

At some point in 1998, you made the decision to put an end to your modelling career. Did it suddenly become too much for you?

Oh no, I still loved my job. But I fell in love with a man and I just wanted to be with him. We were living in the South of France and I couldn’t have been happier.

So, you chose love over your career.

I made a conscious decision to take a break from the catwalks, but it wasn’t long before I missed them and returned to work. Today, I’m grateful to know that my industry is consistently supportive, whether I need a short break or an extended one, and it always welcomes me whenever I choose to return. I feel incredibly blessed and grateful for this.

Your iconic editorial for British Vogue last year marked a significant comeback after many years of absence from the fashion scene. How was it to be in front of the camera again?

It was surprisingly easy. Edward Enninful had asked me to do a cover multiple times during his tenure at British Vogue. However, there was a prolonged period during which I wasn’t working, and I wasn’t in a good place mentally. I genuinely didn’t believe there was a future for me in the fashion industry anymore.

Did this have anything to do with undergoing cryolipolysis? In 2021, you disclosed that you had been “permanently deformed” between 2015 and 2016.

All I truly wanted was to be out in the world without fear of being recognised by someone I knew, or worse, being photographed. The fashion world can be so cruel at times! So one day, I took the leap and shared my story with People magazine, and that was a huge liberation. Shortly after that, I received a letter from Kim Jones, someone I had never met before. His words moved me to tears.

What did the letter say?

He called me beautiful and expressed his desire to work with me. Later, during a Zoom meeting with our cameras on, he managed to convince me that I could indeed return to the industry. In that moment of newfound bravery, I reached out to Edward and told him, “Okay, I’ll do it. Just bring lots of fashion, bring it all!” We then proceeded to shoot the covers one after the other on consecutive days, and to my surprise, it didn’t feel awkward at all. I was overjoyed to be surrounded by so many people I knew and loved, fully immersed in the world of fashion once again.

We often overlook the unique beauty that blossoms when we confidently embrace what we perceive as our flaws.

I wouldn’t claim to have completely embraced it, but I’ve come to terms with it. I sought help from doctors to better understand my value, worth and what true beauty really means. I make it a point to teach this to my son every day. True beauty isn’t about being a flawlessly airbrushed model—that’s an illusion. In our home, we regularly discuss how beauty can be found in everything and everyone. Oddly, I applied this perspective to the world around me, but not to myself. I’ve always been very hard on myself.

I can only imagine how challenging that prolonged period of seclusion must have been for you. In that February ’22 People magazine interview, you shared: “I was so ashamed. I didn’t want anyone to see what was happening to me. I didn’t want to be out there. I hid myself for five years. I didn’t work. I couldn’t even bear to look at myself in the mirror.”

During that time, I often felt like I was living in a bubble. My son became the centre of my world. I was focused on taking care of him, making sure I picked him up from school, attended his soccer games and spent time with friends. I had a dog, too. I would sneak out and take him to the river every day, and we would go on our walks. But that was it, more or less.

The rest of your family lives in Canada, right?

Yes, my family is in Canada, not in New York. So, for the most part, I was alone. During the pandemic, there was a period when I went to visit them, but even then, we only saw each other outdoors. We had Christmas outside in the snow with heaters because I have another health condition that affects my lungs. That was another challenging aspect of that period; I was truly terrified of contracting the virus.

Would you say that the adversities you shared with us made you a more fragile or a stronger person?

My two encounters with cancer, followed by the subsequent chemotherapy and radiation treatments, undeniably played a significant role in shaping me into a stronger woman today. Going through phases without hair, eyelashes or eyebrows was tough, but surprisingly, I never felt ugly during those times. In contrast, after the cosmetic procedure, I felt a sense of ugliness and shame. I was inconsolable because I had chosen to undergo that treatment myself and felt fully responsible for what happened.

You held yourself responsible, even though you weren’t aware of the rare side effects when you made the decision to undergo that treatment.

Yes, I blamed myself immensely. I should have taken the time to educate myself. It was an incredibly isolating struggle as well. Unlike cancer, there were no support groups or online resources available during that time.

The very body that propelled you to the pinnacle of the fashion world, serving as one of your most potent allies, paradoxically transformed into your most formidable adversary. So, I wonder, what feeling prevails toward your body today?

After all that happened, I’m still filled with gratitude for this body. It has enabled me to pursue a job I’ve cherished and still deeply appreciate, which is a tremendous privilege in our society. Throughout my career, this job has served as an escape from the hardships of my real life, which has often proven to be quite challenging.

Even at the beginning of your career?

Yes. I began experiencing lung issues when I was 20.

I had no idea.

I kept those struggles very private. I underwent surgeries throughout my entire career, but didn’t talk about them. However, now I have no fear of discussing these issues. I’m completely open about them.

Our society has, fortunately, profoundly changed over the past few years. It’s now widely accepted and encouraged to have open conversations about one’s physical and mental health that were simply inconceivable 10 years ago.

Sharing your own story can be incredibly healing, we should always remember that. It also makes you realise you are not alone. That’s one of the most beautiful aspects of social media; people today can easily reach out to you, share their experiences and let you know that they’re in the same boat, making you feel less alone.

Let’s now take a leap back in time and step into the bedroom of a Canadian teenager who used to adorn the walls with torn-out pages from fashion magazines.

[Smiles] During that time, I was employed at a convenience store, earning minimum wage. I began working there when I was just 14. On my breaks, I would often avidly browse fashion magazines, occasionally purchasing one to take home. I would carefully tear out the pages and adorn my walls with them. At that young age, I was an unwavering dreamer, living out my fantasies through the world of fashion. I aspired to be like those models, even though I didn’t even know their names. It was not written anywhere in the magazines.

The supermodel era, where models were international stars known by their first names, was still to come.

I truly only discovered who these models were after embarking on my own modelling career: Janice Dickinson, Kim Alexis, Nancy Donahue, Kellyanne Berger and many more. I even had the Versace and Opium campaigns displayed on my walls. When I eventually secured my first shoots with these very brands, years later, I was absolutely elated—a long-held dream had finally come true.

If you could knock on that young teenager’s bedroom door, what would you tell her?

Keep dreaming, girl. Keep dreaming.