Breaking Barriers : Jany Remponeau Tomba, Haiti’s First Top Model in America

By Nancy Roc*

Submitted to AlterPresse on February 11th, 2026

The first top model of Haitian origin in the United States, Jany Remponeau Tomba shattered the glass ceiling of American fashion at a time when being a woman, Black, and foreign already constituted a feat. Discovered by chance, propelled by talent, and guided by an unwavering sense of identity, she recounts - on the occasion of the centennial of Black History Month - her pioneering journey to Nancy Roc, marked by success, subtle discrimination, and absolute loyalty to Haiti.

A founding figure of Black modeling in the United States, Jany Remponeau Tomba rose to prominence in the late 1960s within an industry still largely closed to diversity. Her career began in New York in 1969, at a time when being a woman, Black, and foreign represented a triple challenge. She was 23 years old.

“I had no idea what a modeling career would be like,” she recalls.

After arriving in the United States with her family, she worked as the sole assistant in a medical office while pursuing vocational training. Almost amused, she watched elegant young women pass by carrying portfolios.

“I remember thinking their jobs must be enjoyable : they came whenever they wanted, their schedules seemed flexible. That’s when the seed was planted, without my knowing it.”

Fate intervened quickly. A photographer approached her on the street. Then, in a store, an editor from Glamour noticed her and invited her to Condé Nast.

“From that point on, I didn’t have to force anything. I just had to show up well-groomed and confident, without worrying about the outcome.”

Being the Only Haitian Woman in a Coded World

Very quickly, Jany Remponeau Tomba realized she occupied a singular place in New York’s modeling scene. At auditions - the famous go-sees - she discovered she was the only Haitian woman in a field largely made up of African American models.

This singularity did not marginalize her ; it distinguished her. The historical context worked in her favor. America was emerging from the Black Power movement, and Black Is Beautiful was redefining aesthetic standards. Brands began courting a Black consumer base long overlooked.

“It was the perfect moment for me,” she says simply.

Clients highlighted what reassured them : a complexion they considered balanced, a radiant smile, an approachable look. Some photographers even noted - revealing the era’s mindset - that she was “easy to light,” even alongside white models. Her accent intrigued more than it troubled. It sparked curiosity. Crews wanted to know where she came from, taking her on shoots, trips, and production locations.

Without any overtly militant posture, Jany was already becoming a visible, almost pedagogical figure in an environment unaccustomed to confidently embraced diversity.

Covers, Visibility, and Assertion

Recognition came quickly - almost explosively. In 1969, she landed the cover of American Girl, followed in January 1970 by Mademoiselle. In American women’s magazines, a cover was more than success ; it was an act of legitimation.

One memory captures this turning point. During a casting at Condé Nast, two executives crossed the crowded waiting room. One suddenly stopped, pointed at her, and said :
“You are our January cover girl.” “It was like receiving a VIP pass into the industry,” she recalls.

Being a cover girl brought immediate visibility and lasting prestige. She became one of the very first women of color to reach that status, at a time when magazines were only beginning to evolve.“I was only the second girl of color on their cover. They were progressing slowly,” she adds.

Aware of the physical constraints imposed by haute couture, she turned away from the runway. Too short for show standards, she focused on print work. Editorials and advertising offered financial stability and sustained presence, whereas runway work remained episodic.

Natural Hair and Refusing to Conform

Another major turning point came with Clairol. Jany wore her hair in its natural curls and refused to straighten it to fit dominant norms.“I insisted on keeping my hair natural,” she says proudly. When she arrived at the studio, the reaction was immediate. Decision-makers were won over. Better yet, the product was developed based on the texture of her hair.

“They created a detangling product from my curls,” she recalls.

At a time when Black beauty was still largely standardized, this choice became a powerful statement. Without a militant discourse, Jany made one thing clear : authenticity could also be a model.

Silent Discrimination and Identity Loyalty

Behind the successes, obstacles persisted. Rejections were frequent, particularly for speaking roles.

“I lost many contracts because of my Haitian accent.”Yet she never considered erasing it :

“My accent was part of who I was. Why destroy it ?”

She also remembers more overt discrimination. On certain sets, she learned that covers had been denied to her solely because she was Black. Haitian or African American - it made no difference.

Financially, the reality was just as stark : white models remained the priority and were better paid, with larger budgets.The launch of Essence magazine brought a moment of relief. For the first time, she worked with an all-Black cast, for products designed for women who looked like her.“It was a real relief,” she says—a space where she no longer had to adapt, but simply to exist.

Haiti as Anchor and Legacy

Despite a career largely rooted in the United States, Haiti remains an intimate compass for Jany Tomba. “I feel deep gratitude toward Haiti. It is my country of birth and formation.”

Memories of childhood and adolescence continue to nourish her imagination. Even when the country’s image deteriorated internationally, particularly in the 1980s, she never turned away :

“Haiti is the first free Black nation. That history inspired me my entire life.”

To a young Haitian woman dreaming today of fashion or media, she offers clear-eyed advice : understand the industry, observe the profiles in demand, never leave studies or a job without solid guarantees - and above all, never betray the values learned at home.

As for the legacy she hopes to leave, it can be summed up in a few words : “Never give up. Hold your head high. Be proud of your ancestors.”

At 79, she would also like “to be recognized as the first Haitian top model. An example of perseverance,” she concludes.

An Unassailable Legacy

After Jany Remponeau Tomba, silence. A long silence. For decades, no other model of Haitian origin achieved comparable recognition in American fashion - not for lack of talent, but because an industry even more closed to foreign Black women offered neither support nor protection. Paths existed, but remained peripheral, often diverted toward advertising, film, or anonymity. It would take until the late twentieth century for figures from the Haitian diaspora to reemerge timidly in the public eye, at a moment when diversity finally became a claimed objective - rather than a tolerated exception.

Photo credits
Logo photo : Courtoisie de Rolf Bruderer
Photo 2 : Courtoisie Sasha Huber

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