Jolanda Egger Bio
Jolanda Egger is a Swiss glamour model, actress, stewardess, beauty queen, and race driver. She was born on January 8, 1960, in Luzern, Switzerland, and has also been credited as Jolanda Risi. Playboy named her its June 1983 Playmate at 23. Her appearance came during Playboy's polished, high-production 1980s period.
Egger has natural breasts, brown eyes and brown hair. Her measurements are 37-24-37.
Her place in Playboy history took an unexpected twist close to home: Egger was chosen as the very first Playmate of the Year for Playboy’s Swiss edition in 1984, a local honor that followed the international exposure she had already been building. That recognition framed a brief moment in the 1980s when her modeling work moved between high‑gloss magazine shoots and the more intimate commerce of European style markets.
The daughter of a Swiss filmmaker, she carried a cinematic sensibility into a globe‑spanning modeling life, living and working in Spain, Germany and Switzerland. That itinerant career left room for a few small film parts and at least one guest television appearance, the kinds of credits that kept her present on both centerfold pages and modest silver‑screen billing without ever settling into a single media lane.
Her personal life intersected with motorsport in a way few glamour models can claim. In 1986 she married Formula 1 driver Marc Surer; the marriage ended seven years later, and the proximity to high‑speed culture appears to have had its effects — she later took to racing herself, trying out the driver’s seat rather than merely spectating from the paddock. It is a concrete example of the practical turns her career occasionally took.
Later years brought quieter chapters: a 1997 marriage to Patrick Tavoli, followed by another marriage celebration on her 50th birthday in 2010 when she wed hotel owner Jacques Risi. More recently she has also stepped into local civic life, mounting a run for a seat on the Lucerne city council. The throughline of Egger’s story is not a single profession but a sequence of reinventions — pages, podiums and public service — each one adding a new facet to a career that began in glossy portraiture and refused to stay two‑dimensional.
