Copyright © pohodanovapec.cz 
Eva Herzigová стала одной из самых узнаваемых моделей мира, карьера которой началась в раннем подростковом возрасте и за более чем три десятилетия превратилась в портрет эпохи: от рекламных роликов и джинсовых кампаний до самого обсуждаемого постера Wonderbra с надписью "Hello Boys". В этой статье мы собрали ключевые эпизоды её карьеры и подробно рассмотрим знаменитую рекламу с пастой/спагетти, другие заметные кампании и визуальные истории, которые сделали её глобальной суперзвездой.
At 16 she won a modeling contest in Prague, and left her hometown of Litvínov, near the German border, to try her luck in Paris. After arriving in Paris, her popularity increased. She was the prototype of the impossible beauty that brands were looking for at the time: she’s 5′9″ tall, blonde and blue-eyed, with 35-24-35 measurements. She was one of the famous Victoria’s Secret angels, graced the cover of every magazine - including Playboy - and starred in the Sports Illustrated swimsuit edition.
One of her first engagements was in Italy for the Campari soda advertisement; she appeared for 30 seconds as a black silhouette on a white background holding the famous triangular-shaped Campari bottle, then occasionally flashes of her face with lips as red as the Campari drink. One of her first hires was in Italy for the Campari soda advertisement, appearing as silhouette flashes and close-ups with red lips.
While the sophisticated monochromatic portraits are Gian Paolo Barbieri's trademark, it’s his irreverent (and often ironic) spontaneous shoots that take the spotlight in Gian Paolo Barbieri: Unconventional. Whether it's Eva Herzigova playfully slurping her spaghetti at an Italian restaurant, or Donatella Versace being chauffeured around town, this new exhibit presents an innovative selection of images rich with references to art history and allusions to classic cinema. The unplanned photography style adds an intimate level of realism to Barbieri’s subjects. Think of it like an elevated precursor to BeReal with better fashion and more exotic locations.
In 1994, at the age of 21, she starred in the Wonderbra campaign. In the ad, the model looked down at her wonder-bra-enhanced breasts while reading the message: “Hello boys.” The influential poster was featured in an exhibition at the Victoria and Albert Museum in London and it was voted in at number 10 in a "Poster of the Century" contest. The poster campaign was intended to promote the trademarked plunge push-up bra to a new generation of consumers.
The poster campaign was intended to promote the trademarked plunge push-up bra - a lingerie piece first popularized in the 1960s - to a new generation of consumers. The accompanying slogans used in the UK market were as subtle as a slow-motion wink. Part of the ads’ overwhelming success was down to their bold placement. Herzigová was plastered on storey-tall billboards across the UK and US, towering over cities like a hyper-sexualized Godzilla. In the UK, it was rumored that the roadside ads erected as part of the campaign had proved so provocative that male motorists crashed at the sight of Herzigová’s chest.
According to a study by the University of Michigan Business School, Wonderbra managed to sell one push-up bra every 15 seconds in the United States between 1994 and 1995. “We got $50 million worth of free publicity for a $25 million line,” said John Bryan, the late chairman of Sara Lee at a press conference in 1996. The buxom, busty look is often seen as a direct response to the waifish body ideal pioneered by ‘90s supermodels like Kate Moss, Jodie Kidd and Jamie King.
The British press claimed that the billboards caused traffic jams and car accidents. But while is no evidence that the push-up directly caused any accidents, British road safety experts did label the billboards - and similar ads that followed - as dangerous and distracting. Other observers, meanwhile, took issue with Wonderbra’s messaging. It became the go-to example of reductive, sexist marketing in academic essays and journalistic think pieces, and was slammed as sexist by consumer focus groups.
Since then, the image of Herzigová has gone on to be considered one of the most memorable advertisements in British history. “Hello Boys was very provocative,” Herzigová told British magazine Tatler in 2019. The 1994 campaign changed Herzigova’s life and catapulted her into the elite supermodel club of Linda Evangelista, Naomi Campbell, Christy Turlington, Cindy Crawford, Claudia Schiffer and Kate Moss.
She has featured in a variety of international fashion magazines, gracing the covers of Vogue, Harper's Bazaar as well as Elle, Marie Claire, Numéro and Allure. She has appeared on the covers of many prestigious fashion magazines such as Vogue, Elle, Harper's Bazaar, Marie Claire, Cosmopolitan, Glamour and many others. She has starred in films such as Les Anges gardiens (1995) along Gérard Depardieu and Christian Clavier, My Best Friend's Wife (1998), Modigliani (2004) and A Prominent Patient (2017). She was even one of the stars of Girl Panic!, the Duran Duran music video that MTV censored for being “too provocative.”
It’s Herzigová’s third time appearing in The Cal, having been photographed by Peter Lindbergh for the 1996 edition and Bruce Weber for the 1998 version. “You have to have just enough air in your lungs to float without sinking, then gracefully hold your breath in so you don’t have bubbles coming out of your nose, it’s a tricky one. I mean you have pretty much zero control of everything that goes on. Fortunately, Herzigová says she is at ease in the water and felt in extremely safe hands with Sundsbø, someone she says knows who she is as a person.
“He combines the digital world with the most primitive kind of body structure - the skin, the colour, the hair. He can see through the person. It’s a very intimate energy when you put yourself in front of the lens of a camera in that way. It’s very brave, especially for a young person. It takes you back a bit, but it makes you sit with yourself, probably for the first time ever. I think you discover yourself a lot when being photographed.
These days, she leads a calmer life in Turin, Italy, with her husband, Italian businessman Gregorio Marsiaj, and their three children. She says she works less and studies each job offer more carefully, but there’s always a photo shoot or fashion show somewhere in the world that forces her out of her comfort zone. Since I haven’t celebrated my 50th birthday yet, I still say I’m 49,″ she continues, smiling the same smile that made her a supermodel in the mid-1990s.
Q. Current fashion seems to be nostalgic for the 1990s. Why do you think that is? A. The nineties were colorful, cheerful and carefree. When I started, I came from a very restrictive communist country, and I joined an industry with endless possibilities. The 1990s were fun; it was an era of crop tops, visible underwear, baggy pants, Marky Mark posing for Calvin Klein... I understand that fashion wants to go back to that. It may work for young people, but not for me.
Q. Why are we still fascinated by the supermodels of the 1990s? A. Young girls connect with influencers, with social media superstars, but I don’t know if older girls do. And fashion brands know who their real clientele is - women who actually spend money. The customers who buy [the clothing] are of a certain age and identify with those of a certain age. We, the models of that generation, have experience; we have lived, and we have a history.
Q. So, what motivates you to keep working? A. I don’t have a specific motivation. I’m actually really annoyed with fashion. The pandemic made me reflect on how fashion is not doing a good job of protecting the planet and the environment. I don’t know why brands don’t slow down and go back to doing two collections a year like they used to. Now, they all do a pre-collection, a cruise collection, a capsule collection... That involves moving large production teams and generates an enormous amount of waste. It’s useless.
The influential Wonderbra poster has been exhibited at the Victoria and Albert Museum and voted among the top posters of the century. The image of Eva Herzigová in advertising has gone on to be considered one of the most memorable advertisements in British history. The first documentary about Gian Paolo Barbieri’s life and career recently won the Audience Award at the 2022 Biografilm Festival in Bologna, and Barbieri’s “spaghetti” image of Herzigová is part of exhibitions that celebrate spontaneous, irreverent fashion photography.
| Год | Кампания / Событие | Значение |
|---|---|---|
| 1992 | Guess jeans | Ранний крупный модный контракт |
| 1994 | Wonderbra - "Hello Boys" | Иконический рекламный плакат, мировая известность |
| 1996 | Pirelli Calendar (Peter Lindbergh) | Высокохудожественные съёмки, престиж |
| 1998 | Pirelli Calendar (Bruce Weber) | Укрепление статуса супермодели |
| 2000s-2020s | Журналы, бренды, кино | Множество обложек, кампаний и актёрских ролей |
Her first important appearance was as the model for the first Wonderbra campaign. The Canada-based lingerie fashion label wanted the ad campaign to motivate women to see the Wonderbra "as a cosmetic and as a beauty enhancer rather than a functional garment". She became one of the prominent figures of the 1990s modeling and was one of the so-called supermodels along with Naomi Campbell, Cindy Crawford, Claudia Schiffer and Christy Turlington. Throughout her career, Eva Herzigová has also been involved in philanthropic activities and awareness campaigns.
Even now, Herzigová remains selective: “I need to know what clothes I’m going to wear and which teams I’m going to work with. I don’t want to be a hanger on which clothes are hung to be photographed.” That позиция отражает эволюцию её роли в индустрии - от объекта рекламы к активному участнику выбора проектов и носителю образа, который более чем коммерческий; это культурный знак эпохи 1990-х и одновременно критический взгляд на современную моду.
tags: #Eva #Herzigova #spaghetti #advertisement #history
Copyright © pohodanovapec.cz
