Spring cover star Georgia Fowler on modelling, motherhood and the power of saying no

When I think about the many meanings of home, few people embody its complexities quite like Georgia Fowler. The Kiwi-born model left for the bright lights of New York at just 16, and in the years since, has collected cities, people, and moments that now make up her own definition. Back in Aotearoa for a fleeting winter visit, we met on a rare sun-soaked afternoon to talk fashion, motherhood, and the creative shifts that come with growing up. It felt like a full-circle moment—for her, and maybe for us too.

HARRIS TAPPER top, pants, TIFFANY & CO. bracelet, earrings

Georgia Fowler tells me that this chapter of her life is much more grounded. She’s home again, here in Auckland, for a few brief weeks over winter—we’re lucky to catch her—and we’ve spent the day shooting our Remix homecoming cover in Piha. It’s hard not to feel grounded here. But when she tells me about the busyness of her life so far—and I think there’s a part of her that enjoys the rush of it all—I can sense that there’s a steadiness to it all that she’s still coming into.

Georgia started modelling when she was just a kid—fresh-faced and full of determination. She was 16 when she left for New York for the first time: the world was calling. And then, in the golden era of the lingerie empire, Georgia booked her first Victoria’s Secret show. The Super Bowl for supermodels. It was a time when everything moved quickly. Fashion week after fashion week, she barely stayed in one place for more than a few days. ‘I hadn’t stayed in one city for more than four days in over six months,’ she tells me. Back then, she was in full work mode— walking for Balmain, Off-White, Alberta Ferretti, and then, a career-defining moment: walking Victoria’s Secret runway. There was little time to reflect.

What mattered most then? ‘At my core, my values haven’t changed,’ she says. But priorities have. Motherhood has gently but profoundly shifted the way she views the world—and her place in it. Travel jobs aren’t always possible now—and they’re not quite as alluring as they once were.

PRADA dress, boots, handbag, TIFFANY & CO. necklace, bracelet, earrings

She doesn’t say this with any regret. Quite the opposite.‘I feel incredibly fortunate. Unlike many mothers who feel they have to choose between continuing a career or staying at home, I’ve been able to strike a balance.’ She can say no now. Choose jobs more selectively. Be both mother and model. ‘It allows me to still feel like myself while being fully present at home most of the time.’

It doesn’t take long to realise a handful of things about Georgia. Firstly, her style is unmatched. She arrives on set in the most utterly divine Saint Laurent leather jacket, which she tells me she found at a local consignment store a few years earlier. Clearly, a woman of great taste. Secondly, despite her signature sultry pout, her natural instinct is effervescent and infectious. Word had got out that Georgia was home, and despite spending just eight hours on a shoot in Sydney the day before, and booking a job in Queenstown for the following morning, Georgia brought a rare and joyous energy to set. She’s one of the first to befriend Dog, a droopy old Labrador living at the house we were shooting at that took a special liking to the lighting equipment. She tells me she misses her dog Chilli, who still lives in Sydney: how she loves the beach, and as much as she missed her in America, she could never be a city dog. And thirdly, that motherhood has absolutely become her.

COACH blazer, TIFFANY & CO. bracelets, earrings, ring

‘It’s helped me get better at saying no to things that don’t serve me, and to focus on what really matters—those in-between moments.’ She doesn’t sugarcoat it. Becoming a mother is an adjustment. ‘Your identity shifts so much. I’m constantly working to find that balance—I think most mums can relate, no matter their job.’

From the outside, her path might seem inevitable. But it wasn’t. ‘When I started modelling as a kid in New Zealand, I was so fresh—but so gritty and determined. I really wouldn’t have stopped until I made it.’ At the time, the belief that anything was possible came easy. Looking back now, she calls it ‘blissfully naïve’—but there’s pride in her voice, too. A kind of gratitude for the girl who just kept going.

GUCCI bodysuit, skirt, TIFFANY & CO. bracelet, earrings

And maybe that’s part of why home feels so complex now. She left New Zealand as a teenager, and the concept of ‘home’ has been changing ever since. ‘It’s less about a place and more about people. I’ve got many ‘homes’ around the world, which is both a blessing and a curse—my heart is always being pulled in different directions.’ But no matter where she is, friends and family are the constants. The anchors.

So, where is home now? ‘These days, it’s definitely the people. A home, to me, is somewhere I can truly unwind—with my kids, partner, and friends around. I look for warmth, good lighting, and a sense of ease. Somewhere that feels lived in and loved.’

WYNN HAMLYN dress

We talk about how social media has blurred things. That sense of place. That sense of self. But she doesn’t let it shape her. ‘I try to post in a way that feels true to my life. Whether it’s beauty routines, glimpses into family life, interiors, food, or art and fashion—I like it to reflect my world. I’d rather my feed look like me than be a grid of perfectly curated selfies. Especially since becoming a mum, that side of social media can feel a bit ridiculous.’

We’re celebrating fashion in this issue, and Georgia knows it intimately—from both sides now. She’s walked the world’s biggest runways, worn the most exquisite clothes, seen the industry evolve up close. And yet, it’s New Zealand’s fashion scene that continues to ground her.

‘I’m a huge fan of New Zealand brands. Kiwis design with real wearability in mind—pieces that work for everyday but still feel elevated enough for a night out. They strike that perfect balance of quality and design, without the astronomical price tag of many international fashion houses.’

CLAUDIA LI shirt, TIFFANY & CO. earrings

She names a few she’s watching—Paris Georgia, Harris Tapper, Yu Mei, Wynn Hamlyn. You get the sense that supporting local isn’t a token gesture. It’s part of the fibre of who she is I ask her what excites her about where fashion is heading. Her answer is as considered as it is instinctive. ‘I’m really loving the direction fashion is taking right now. There’s a lot of soft tailoring, feminine draping, interesting neutrals and textures. It’s about feeling empowered without shouting it.’ She says she doesn’t follow trends too much—but this current wave? It feels timeless. And that’s better for the planet, too.

Her personal style has shifted with time—and with motherhood. ‘It’s a lot harder to wear a white dress or anything delicate when you’re spending your day bending over, picking up little ones with sticky hands!’ she laughs. These days, it’s jeans and a black tee. Often activewear. But when she’s in New York? ‘I still love to channel my inner Carrie Bradshaw. Heels, effort, a bit of glam—just to feel like that other version of myself for a night.'

She’s incredibly self‐aware. Ask what she’d do if not modelling, and she pauses. She’s studied psychology, briefly explored engineering as a kid. But for now, modelling remains the only obvious pathway. She says she still hasn’t figured out what else she’d be doing—but she seems happy in the uncertainty. That’s its own statement.

HARRIS TAPPER top, skirt, TIFFANY & CO. bracelet, earrings

Longevity has become her project. Eighteen years into the industry, and she still works with IMG, still books high fashion, still draws commercial campaigns. She understands that showing up consistently, thoughtfully, reliably—is how you outlast seasons. It’s not just about looks—it’s about delivery, presence, personality, reputation. She’s done editorial for Vogue Italia and Paris Vogue; covers for Marie Claire, Harper’s Bazaar Australia; countless campaigns for Banana Republic, H&M. But she’s never let the glamour define her.

This shoot is a gentle homecoming. It’s been eight years since her last Remix cover in 2017. Since then, she’s lived through COVID, shifted continents, birthed two children. So much has changed, and yet here she is—in the same country, in the same publication’s lens—less glam, more grounded.

KAREN WALKER tank, trousers

We finish with the house quiet. The crew is packing down. Dog has wandered off to nap. Georgia tidies her things. She says she’ll head back to her family shortly, to warm indoors, to catch up with children. I can see how fleeting these days at home are: a few windows of lineage, identity, rest. But they’re deep. And they matter. I ask her one last thing: what she’s returned to lately, what she’s come home to—whether a place, a ritual, or something else entirely.

She says: ‘The first few days back in New Zealand are always a shock to the system—the pace is so different from what I’m used to. But once I adjust, I find it incredibly grounding. My days are filled with visits from friends and family, and good coffee in the sun. It’s a necessary adrenal reset. I’ve always prioritised trips home... I always return to the rest of the world calmer, more centred, and ready.’ She adds something soft at the end: ‘There’s a part of me that belongs in each of those places. I feel most authentically me with my family at home—but I also appreciate and thrive in the creative buzz of a set or runway. That balance is key.’ 

ZAMBESI blazer, trousers, belt, TIFFANY & CO. earrings

Georgia Fowler today is a quietly formidable presence—still ambitious, still busy, but distinctively discerning. She’s ambitious, but never frantic. She’s present, not performing. And she’s found her home—even when she’s far away from here.

Photography GUY COOMBES
Styling AMBER BAKER
Creative Production TESSA PATRICK
Executive Producer TIM PHIN
Hair & Makeup LEISA WELCH
Production Assist MONIQUE OYAGAWA
Lighting Assist BRIDIE MACINNES
Styling Assist HAZEL CREEVEY
Location with gratitude from THE LOUISE’S AT PIHA