Early Career As A Model
At six feet tall, Hemingway experienced success as a model, including a million-dollar contract for Fabergé as the spokesmodel for Babe perfume in the 1970s. This was the first million-dollar contract ever awarded to a fashion model. She also appeared on the covers of Vogue, Elle, Cosmopolitan, and Harper's Bazaar, and appeared on the June 16, 1975 cover of Time, which dubbed her one of the "new beauties". The September 1, 1975 cover issue of American Vogue called Hemingway "New York's New Supermodel."
In an E! True Hollywood Story that profiled Hemingway's life, her mentor and close friend Zachary Selig discussed how he helped launch her early career with his initial marketing and public relations work as she became a global celebrity, and he introduced her to yoga and the Solar Kundalini "Codex Relaxatia" paradigm as tools for success and to overcome some of her debilitating mental disorders. Selig and Hemingway spent time with the Hemingway family at their property in Ketchum adjacent to Sun Valley, where they both studied Solar Kundalini, yoga and meditation together. Hemingway continued using these relaxation skills for the rest of her life.
During the height of her modeling career in the mid-to-late 1970s, Hemingway was a regular attendee of New York City's exclusive discothèque Studio 54, often in the company of such celebrities as Liza Minnelli, Halston, Bianca Jagger, Andy Warhol and Grace Jones. It was at such social mixers that she began to experiment with alcohol and drugs.
She made her film debut in the 1976 Lamont Johnson-directed drama Lipstick, alongside her fourteen-year-old sister Mariel.
Read more about this topic: Margaux Hemingway
Famous quotes containing the words early, career and/or model:
“If there is a price to pay for the privilege of spending the early years of child rearing in the driver’s seat, it is our reluctance, our inability, to tolerate being demoted to the backseat. Spurred by our success in programming our children during the preschool years, we may find it difficult to forgo in later states the level of control that once afforded us so much satisfaction.”
—Melinda M. Marshall (20th century)
“The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.”
—Jessie Bernard (20th century)
“For an artist to marry his model is as fatal as for a gourmet to marry his cook: the one gets no sittings, and the other gets no dinners.”
—Oscar Wilde (1854–1900)