In the 1960s and 1970s, black models shined, and very few shined as lustrously as Jany Remponeau Tomba. She became one of the USA’s very first black supermodels, with her face appearing on the cover of American Girl, Woman’s Day, Mademoiselle, and Essence.
She also appeared in groundbreaking ads for Coke, Maxi, Johnson and Johnson products, Clairol, and several other famous brands.
Tomba’s journey as a model began when she arrived in New York as a young immigrant in the mid-1960s.
A stunningly beautiful girl, she had a dimpled smile, shapely legs, high cheekbones, and a remarkable face that looked almost angelic. Not long after her arrival in the United States, a photographer asked permission to take her photo. Tomba refused outright.
Her next encounter with the fashion world came soon after, when she was approached by a woman from the publishing giant Conde Nast. The woman was the beauty editor at Glamour magazine, and Tomba wisely accepted her invitation to visit the upscale offices.
From there, she was groomed, sent to a beauty shop for a makeover, and assigned to a fashion photographer. This marked the beginning of her ascent into high fashion.
The little girl from Port-au-Prince eventually signed with Ford, one of the most prestigious modeling agencies in the industry. She was in high demand, attended casting calls, charmed photographers, and appeared in the pages of major fashion magazines, including Time.
She shared her reminiscences about her modeling career and her life afterward.
(Right): Tomba as a little girl in Haiti, posing for her first communion photo
Q&A
What kind of childhood did you have?
I was born in Haiti into a family where my father was an artist. We lived in Port-au-Prince in a neighborhood that felt like the countryside, with no more than ten houses at the time.
Today it is an overbuilt commercial area, but on a recent visit I saw our old house still standing, freshly painted behind tall brick walls. I was happy to see the trees were still there, and I could almost feel my grandmother’s spirit.
I had a joyful childhood filled with art, creativity, and mango trees. I loved climbing trees to find solitude.
I was the fourth child in a family of six. My mother helped my father run his studio, where I met many prominent artists.
We attended gallery openings, made carnival floats, and hand-painted Christmas cards as children. Summers meant fishing trips with my father.
Although we were Catholic, we also visited the waterfall of Saut d’Eau each year, which was a joyful and spiritual tradition.
I went to Catholic school but disliked the oppressive nuns. Later I attended a co-ed school where I blossomed as an adolescent.
In 1965, my family left Haiti and settled in New York City.
Why did they choose the USA instead of France?
People usually migrate where connections and opportunities already exist. My father had moved to New York in 1964, so the rest of the family joined him.
He had studied at Hampton Institute, worked in Ghana, and visited New York, where he had family and friends. Although he had traveled to France, we had no relatives there.
My parents made the decision to leave, and we simply packed and left. Haiti was oppressive at the time and not ideal for young people to thrive.
As one of the first black supermodels, what obstacles did you face?
It was 1969, shortly after the Black Power movement, and advertisers were beginning to recognize the importance of the Black consumer. Still, the transition was not easy.
Seeing a Black girl next to white girls was considered challenging, and Black models were rarely photographed alone. It was common to place a Black model between a blonde and a brunette.
Some photographers told me they struggled to light the three together, and my tan complexion made me easier to shoot. My bright, energetic smile also helped people feel comfortable—or less threatened.
This was not long after the Civil Rights movement.
What was the transition from Haiti to New York like?
Leaving my homeland was difficult, but I welcomed the adventure. I missed my grandmother and friends, but I loved being in New York.
It was a cold March day when we arrived, and the ground was covered in snow. Everything felt new.
As long as I had my family, I felt secure. We lived in a nice building in upper Manhattan, and I was fascinated by the elevator and the constant lights of the city.
I remember thinking there were no trees and the streets felt sterile. I even missed the lizards.
By summer, I discovered Central Park, Coney Island, museums, and Greenwich Village, which made up for the greenery I missed.
What do you wish you had known when you first started modeling?
I’m glad I didn’t know then what I know now. My path was guided by intuition and shaped by my upbringing.
I was confident without being arrogant, and knowing too much about the politics of the industry might have held me back.
The fashion world prefers girls who are young in mind and body. Modeling happened to me naturally, as if I had been chosen.
My only effort was to show up on time, prepared and respectful, and my natural ease with myself helped sell my image.
What were some of the best moments of your career?
I learned early on to enjoy all my assignments. One of my best moments was at Mademoiselle Magazine, where an editor publicly announced I would be their January 1970 cover girl.
Another great moment came when I booked a national Coca-Cola commercial after failing to land a different audition the week before. The same director chose me for the “Have a Coke and a Smile” campaign.
There were many highlights, like winter trips to the Caribbean, working with Irving Penn, and landing an Essence spread with Francesco Scavullo.
Prestige and competition defined the industry, which could build or destroy your self-esteem overnight.
What is the biggest misconception about models?
Modeling is deeply tied to identity, and I was fortunate to keep my roots. Despite media portrayals, the profession can be isolating.
Girls often form cliques based on social background, and models from small towns sometimes created exclusive groups. Photographers socialized with models at night.
The only things we truly shared were clients and ambition.
Many models from the 1970s–1980s burned out early. What’s your take?
I don’t believe many models from that era were burned or wasted. People enjoy seeing perfection fall, but models are not perfect.
Some partied too much during a time shaped by Woodstock culture, free sexuality, and the disco era. Many industries partied heavily, but model events stood out because the rooms were filled with beautiful people.
Strong self-esteem, clear eyes, healthy skin, and punctuality helped prolong a career.
What was life like after modeling?
My career lasted from 1969 until 1998, when I landed my final cover for an Essence publication with my teenage daughter.
During my modeling years, I continued to attend casting calls and also did small parts and extra work in New York–based films. I was always busy.
What are you doing these days?
In 1988, while still modeling, I began attending art school at the Sculpture Center in New York City. I also painted and exhibited my work.
My identity shifted from cover girl to artist, and when I first exhibited my sculpture, I felt I had come full circle, recalling my father’s gallery openings.
I later returned to school and graduated from Hunter College, becoming a special correspondent for The Word, the school’s online newspaper.
At CUNY Graduate Center, I studied early Haitian Kreyòl linguistics and published a paper with the Linguistic American Society.
My heart has always been tied to my roots. A recent trip to Haiti deepened my love for my homeland.
I now spend my time caring for my 95-year-old father and enjoying my role as a mother and grandmother.
I continue my artwork and look for ways to contribute to Haiti’s image and cultural pride. I also attend lectures and cultural events in New York City.
My life is full, meaningful, and still unfolding.
How do you keep your culture vibrant for your children?
My father, Geo Remponeau, is a legendary Haitian artist, so it was easy to surround my daughter with Haitian influences. My parents spoke Kreyòl at home, and Haitian music was always in the background.
We visited Haitian friends and stayed close to my family. I took my daughter to Haiti when she was young.
I ensured she learned Kreyòl, ate Haitian food, and participated in family gatherings. At her wedding, I gifted her a root-dance performance led by Mikerline and her troupe.
Today, I teach Kreyòl words to my daughter’s young child. When we part, he says, “Mwen renmen-w.”
Jany Tomba today, posing with her niece Sasha Huber. Photo: Kirsi Mckenzie
What has been your greatest regret?
I’ve learned to accept my life as destiny intended. I continue to show up and do the right thing with love and compassion.
Compassion is the key to happiness, and I have no regrets.
Main Photo: Rolf Bruderer
Last Updated on December 4, 2025 by kreyolicious
