Shannon Long Bio
Shannon Long is an Australian glamour and nude model. She was born on February 11, 1969, in Gladstone, Australia. Playboy named her its October 1988 Playmate at 19. Her appearance came during Playboy's polished, high-production 1980s period.
Long has natural breasts, green eyes and brown hair. Her measurements are 36-21-32.
Long’s page-story is less a single moment than a sequence: she became the first Australian to carry Playboy’s centerfold distinction in the international conversation after an already visible run in the magazine at home. Her Australian debut came in the September 1985 issue of Playboy Australia, and she returned for encore pictorials in 1986, 1989 and 1992 — regional work that proved both photogenic and reliably magazine-ready, and which put her squarely on the radar of U.S. editors looking for a sunnier, athletic kind of glamour.
Raised along the eastern coast, the family eventually settled in the surf town of Ballina, New South Wales. By sixteen she had relocated to Sydney to pursue modeling, trading a provincial adolescence for agency life and the steady churn of editorial shoots that built her profile across Australian glossy pages.
That homegrown visibility carried her beyond magazines. She represented Australia in the Playboy International Pageant and, as the profile broadened, toured North America in the early 1990s as a promotional presence for Australian brands — a performer who could smooth-talk a crowd and carry a campaign with the easy rhythm of an accent and a practiced smile. Those years stretched the usual glamour résumé into public appearances and brand work on both sides of the Pacific.
By the mid‑1990s she stepped away from full‑time modeling and pursued a markedly different professional path as a computer specialist, closing one chapter without theatrical drama and opening another that belongs to ordinary working life rather than glossy imprimatur. The result is a compact, two-part career: bright, sunlit centerfolds that carried a short international arc, followed by a pragmatic second act that quietly redefined what a magazine-era model might do next.
