Tony Federico "Havana"
Tony Federico "Havana"
Tony Federico "Havana"
Tony Federico "Havana"
Tony Federico "Havana"
Tony Federico "Havana"
Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"
  • Load image into Gallery viewer, Tony Federico "Havana"

Tony Federico "Havana"

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Fine Art Print
59,4 x 72,2 cm
Limited edition: 15 prints

Gallery quality print

Hahnemühle Photo Matt Fibre 200 g/qm
Printed, stamped & numbered in Berlin

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About this artwork

Shot on Polaroid i-Type 600 / 5x8
Milano / 2005

"I photographed this model at a Max Mara show. She looked strong, with those huge earrings and that fierce look, and I started talking to her. To my surprise, she was Cuban. I know Havana, and I know it's a tough place. There weren't so many black models back then and it was definitely harder for them.
Unfortunately - at least that's how it was back then - even in the fashion scene, a distinction is made between people based on the colour of their skin. Of course, it's not always obvious to a white person - but from a distance, I can say that the models were mainly white. My impression was that the individual person working in the fashion industry is not racist - but the beauty ideal was indeed racist. So the journey this young woman has been on is impressive. From Old Havana to a Max Mara fashion show, on the other side of the world. She is a fighter and it shows. Look at those eyes. That will to succeed, that strength and pride. I'm sure she's made her way. But not everyone has found happiness in this business... Of course, it is especially difficult for the models. Not all of them came out of the business without being hurt. Fast money, young age, your own body as an asset - all that is very problematic. Fortunately, I had a special position as a backstage photographer, because I never had to pressure, on the contrary. Part of my job was to create a good atmosphere with the models, to report from backstage. My job was based on trust. And so one sees and hears a lot of sad stories. And racism or discrimination was part of it. That's why I started to have first doubts about the whole fashion world at that time."

www.tonyfederico.it

 

* "Framed option" comes with a premium Nielsen aluminium frame