The most multidisciplinary member of the Jagger family returns to the runway
At 30, Lizzy Jagger is the most senior of Mick and Jerry’s children, with a modelling career behind her that included a Lancôme contract, yet she has both the looks and innocent demeanour of a teenager. Confusingly, everything about her is outsized, apart from her very slender body. The first things you notice are the eyes, like saucers, or maybe the hair, which is a very deep shade of rouge (dyed for the Rykiel show – ‘red’ doesn’t adequately describe how pre-Raphaelite it is), and very long. She has inherited both her father’s lips and mother’s teeth, putting both to good use to enthusiastically explain her enormous mauve jumper (‘Bella Freud from ages ago’). The look is completed by flares and a lot of witchy silver jewellery. She looks like a particularly luminous extra from Almost Famous, probably because, as she puts it, she ‘grew up on Rolling Stones tours’.
‘My mum gave me a sticker that says, “The higher the hair, the closer to Jesus”’
After what she reckons was about a five-year hiatus, Lizzy returned to the catwalk alongside her sister Georgia for Julie de Libran’s maiden Sonia Rykiel show. It might not seem like much has changed in the world of modelling – girls still walk up and down in a purposeful manner in very high heels, looking for the most part furious. For Lizzy, however, there was a noticeable shift. ‘I used to get told off for being too casual on the catwalk, and twirling too much, or smiling, and not having enough of a fashion walk. So [this time] I was like, “Oh, I’d better remember all that stuff I used to get told off for and not do it.” I was walking down, doing a really fashiony walk, and I looked at the other girls and I was like, “They’re all walking the way I used to walk, all casual!”’ She tosses her mane in a mock exasperated manner. ‘But actually, I thought, this is great. It was actually really nice.’
There was also the bonus of walking with her little sister. “It was wicked being in it with her, so cute. I surprised myself because I got really protective. I turned to the crew at one point and went, “You guys can borrow her but you have to give her back, she’s my dolly.” I got jealous. I used to make her up.” Lizzy in fact spent her entire childhood using Georgia as a model for her school art projects, and you feel like they’ve carried that fun into their adult careers, under the watchful eye of their mother. “We’ve only done Italian Vogue with the three of us and we want to do more. We’re not cheesed out by it – it’s part of like being American. Even though I’ve got an English accent I’m more American: I live there and my mum’s really Texan. So we’re not scared of cheesiness! We’re just like full-force “let’s have it”. I love it.’
This goes a long way to explaining Lizzy’s unique charm – the huge Texan personality barely constrained by English vowels. Growing up she’d go to her mum’s house in Austin for the holidays, where one gets the impression that everything is bigger: ‘My mum gave me a sticker that says, “The higher the hair, the closer to Jesus.”’ This charm must also go a long way in her new career as a film producer. I have to admit that I don’t really know what producers actually do at this point – in my mind they look purposeful in dark glasses and suits, and bark into enormous Eighties mobile phones. Lizzy, obviously, doesn’t conform to this stereotype. ‘It’s kind of like herding cattle – that’s how another producer described it to me when I was asking for advice. They were like, “It’ll come naturally to you. Just think of everything that no one else has!”’
She’s rightly quite cagey about her first film, having only just finished casting it. What she can say however is that currently it’s called Prime Mover and stars Cara Delevingne, whom she’s very excited about. “She’s an amazing actress, and she’s so perfect for this part it’s a joke. It’s like it was written for her, but it wasn’t. Scheduling her is really stressful scheduling though!’ The film is set in the Occupy Wall Street movement, the ad-hoc spirit of which seems reflected in the team working on it. ‘We’ve just been trying to get friends involved in the group as much as possible. This is the first time we’ve filmed – me and my boyfriend [who wrote the piece and is directing it] are 30, we’re quite young film-makers, and we want friends who are willing to make it more of a group project and not be freaked out by a big team of more experienced people. Professionals. We’ve got a few professionals involved. Enough to get us by!’ With this team she hopes to shoot two more films in the series, which have already been written.
She has also been continuing her foray back into fashion, shooting the spring Sonia Rykiel campaign with her sister and Juergen Teller. ‘It’s my first time shooting [with Juergen] and we really, really get along. And the campaign is becoming a saga with me and my sister.’
She has also been working towards an exhibition of her art, which up till now has been a private affair. ‘It’s like folk art, I guess. It’s all made out of fabric. I was just making pillows because I didn’t like the idea of turning it into art at first, but now I’ve had a lot of encouragement to turn it into art. It’s all interactive – you have to cuddle and play with it and sit on it. Ha!’ Rather like its creator, it sounds quite mad and a lot of fun.