This

This
photographic series was shot on 35mm film during Iranian
New Year (Nowruz). Photographing on film in Iran meant slowing down
and being more conscious of the images I took – a welcome departure
from the photo journalism work I had been doing prior to the
trip.

Iran defies stereotypes and exceeded my expectations. My
intention was to focus on taking portraits that captured the
diversity of Iranian women. I met empowered women from all walks of
life, united in their defiance and pride. Previously, I had only
been exposed to a one-dimensional narrative of Iranian women as
oppressed, as “seen and not heard”.

In the process of getting to know women, I was surprised to
learn that they make up the majority undergraduates, and 70% of
science and engineering students are female. Jobs in positions of
power and entrepreneurship are not out of reach either. I met Elly,
a women’s rights activist, and best friends Hoda and Zohreh, two
female university professors who took me on a road-trip – and
absolutely loved One Direction. Sahel (meaning “beach”) was an
artist from Tehran, named after a memorable trip her mother made
during her pregnancy. All of these women were travelling across
Iran to various New Year celebrations.

Before visiting, I was warned it would be hard to take
portraits; women would be apprehensive, their husbands perhaps even
more so. But when I was there, I found the opposite to be true. The
Iranians I encountered were delighted to welcome a foreigner, and
more hospitable than I could ever have imagined. Most were acutely
conscious of their government’s international reputation, and
sadly, some asked me: “tell your country we are not terrorists
here”. Travelling to Iran reminded me that we too easily paint a
population with one brush, and while it’s important to be aware of
local issues, they are not what defines a country.

@aliceaedy | www.aliceaedy.com