"For me, it's a compliment to be compared with Marilyn, the unforgettable actress, the most beautiful one of all. But, curves aside, we have very little in common"
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Being compared to Marilyn Monroe is the kind of praise that arrives pre-loaded with a trap. Eva Herzigova takes the compliment, then immediately disarms it. She names Marilyn as “unforgettable,” “the most beautiful one of all,” signaling she understands the cultural hierarchy at play: Monroe isn’t just a person, she’s a shorthand for a whole erotic mythology. By accepting the comparison first, Herzigova avoids looking defensive or ungrateful; she performs the expected humility in a business where public likability is currency.
Then comes the pivot: “curves aside.” It’s a sly admission that the comparison is mostly anatomical, not artistic or biographical. That phrase exposes how the media often flattens women into silhouettes, treating the body as the primary evidence of identity. Herzigova is separating her selfhood from her measurements, while also acknowledging she can’t fully escape the marketplace that sells those measurements.
The final clause, “we have very little in common,” is doing multiple jobs. It’s a boundary-setting move against the Monroe narrative: the doomed bombshell, the fragile muse, the woman consumed by the gaze that made her famous. Herzigova, a 1990s supermodel who rose in an era of global branding and image management, is implicitly insisting on a different kind of agency. She won’t audition for tragedy to validate her sex appeal. The subtext is clear: admire the look if you must, but don’t staple me to someone else’s legend.
Then comes the pivot: “curves aside.” It’s a sly admission that the comparison is mostly anatomical, not artistic or biographical. That phrase exposes how the media often flattens women into silhouettes, treating the body as the primary evidence of identity. Herzigova is separating her selfhood from her measurements, while also acknowledging she can’t fully escape the marketplace that sells those measurements.
The final clause, “we have very little in common,” is doing multiple jobs. It’s a boundary-setting move against the Monroe narrative: the doomed bombshell, the fragile muse, the woman consumed by the gaze that made her famous. Herzigova, a 1990s supermodel who rose in an era of global branding and image management, is implicitly insisting on a different kind of agency. She won’t audition for tragedy to validate her sex appeal. The subtext is clear: admire the look if you must, but don’t staple me to someone else’s legend.
Quote Details
| Topic | Confidence |
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