“Football is a Vessel for
Connection”: Interview with Andrea Vílchez

Interview and Words by Fay Harvey
Photography by Matthew David Stith and Andrea Vílchez

August 10, 2025

CASABLANCA, Morocco — I met Football Case Study Member Andrea Vílchez in London in April, 2025. During this time, the weather in the city, particularly in the West and Central areas, had been peculiarly warm. As I spoke with Londoners about the gorgeous climate, sunny skies and the Snow White-esque birds who flew above our sunkissed shoulders, they remarked at every point possible how odd, rare and weird this climate was. Additionally, when I eventually come back for a visit, they told me that I should not expect this, nor should I ever look forward to this level of sunshine in April in London again.

While I packed away these remarks in the corner of my mind and mourned the warmth I would one day no longer find on the sidewalks of Chiltern St., Andrea stood in the doorway of Shreeji Newsagents, basking in a slice of the 4 p.m. sun. Based in the sunny, citrus-filled Floridian city of Orlando, I knew she was enjoying this warmth while being abroad as much as I was.

I had been keen to meet Andrea after I learned her roots, like mine, went back to Nicaragua. Upon finally meeting, she told me about moving to America at a young age from Somoto, a city in the Central American motherland, how excited she was for this event we were both at (the Observations pop-up, where her photos were featured in the book and inside within the gallery), and of course, her love for Liverpool FC. At the end of our conversation, we took a photo so we could send it to our moms.

When I arrived back in the states some days later, I sent Andrea a message of safe travels, and a wish to one day soon meet again whether that be in my home of California, her’s in Florida or anywhere the world took us.

Two months later, in an unexpected turn of events, we became roommates in an apartment in the Moroccan region of Casablanca to cover the CAF Women’s Africa Cup of Nations. We started our day together by enjoying omelettes, continued on by driving to and from Rabat to attend matches, and ended our late nights by looking at photos from the day — during all of this, our shirts and pants dried together in the hot air on a clothing rack on our balcony.

Living with someone for a month clues you into several truths about a person, but getting to work with them at the same time is another level of closeness. During our days in the medina and our hectic nights at Olympic Stadium, I watched Andrea morph into her surroundings.

Silently, she would separate from our group and take the time to observe her surroundings alone, with care and quietness. When the time was right, she would then lift up her camera silently and work her magic. When she spoke to people, whether it was in French that she learned in high school accompanied by a game of charades, or English, she treated everybody with the same level of respect regardless of their age, origin or need. Several times during the trip, I looked over and saw her doing the meticulous task of sharing photos on WhatsApp with several individuals she had photographed at matches, a testament to her care for the community she was visiting as a foreign photojournalist.

With her empathetic spirit, creative mind and charming wit, she walked into these unknown neighborhoods amongst complete strangers and emerged with intimate, delicate, personal photos of people who were as alive in the photos as they were in real time. Through her lens, colors pop, warmth radiates, traditions live and stories are told. While in Morocco, Andrea not only photographed people's looks, communities and clothing: she captured their hearts, emotions and history.

Upon leaving Morocco and returning to our opposite-coast homes, I spoke with Andrea on the phone about her love for her craft, the experience of WAFCON and what she hopes people see through her photographs.

The Early Connection to Photography and Football

FH: We've come back from Morocco, we’re back in the States — but I think it'd be integral to your story to start from the beginning of your photography journey. What is your earliest memory of photography?

AV: My earliest memory of photography is actually with my mom when she started her own journey with photography as a hobby. While I used to play soccer, she would bring her own DSLR camera. I remember when me and my stepdad gifted it to her for her birthday or Christmas, and then she just took it on as a hobby, and she brought it to my soccer games and for tournaments, and then I would take it from her, and I would start playing with the camera. And I think that was definitely the first time I ever held a camera.

FH: So the love for both football and photography was connected from the start.

AV: Yes, for sure, and I also got to see her take it more seriously too. Since we had just moved to the US from Nicaragua, it was harder for her to find hobbies, but photography was one of the hobbies she liked the most: either taking photos of us or of me playing soccer, and simply taking her camera around anytime when we went out as a family. So seeing her take on photography also inspired me a lot and it intrigued that side of my artistic brain. It was because of her that I started even looking at photography,

FH: When did you start taking photography more serious?

AV: During high school, I took three years of art classes, and whenever I could choose a medium for projects I’d choose either cinematography or photography, but even though it was my choice, it was just like when you had to read a book in school. It still felt like an assignment.

So I didn’t take it that seriously until my senior year of high school, when I decided to take my mom's camera to one of my high school team's soccer games, and I showed my photos to my friend who was in art class with me, and she said that the photos were really good. She said to me, “maybe this could be your thing, sports photography.” That’s when something clicked, and I started to actually learn how to use the camera more properly and all the technicalities that came with it.

FH: When you look at your early photography from this time, and you look at things you're creating now do you notice any patterns of inspiration in the photos? Or has your style completely changed?

AV: From this specific first soccer game the photos I took weren’t specifically photos of my teammates, they were definitely more scene setters: wide photos of the field, maybe detailed shots of the jerseys. And I think that's still to this day a key part of my photography. Since the beginning that's what I focus on the most, the things I see that I think look cool instead of posed photos and or only action photos.

Football Around the World

FH: It’s like you said, setting the scene, telling the story of the whole environment.You photograph for the Orlando pride, and you were also a player yourself in high school. What do you think is so special about telling the story of women's football and photographing women's football?

AV: I think an obvious answer is the demographic of fans and the feel of each game, it's a little bit different than going to a men's professional game. It feels more like an inclusive environment, and you have all kinds of people in the stands. It is not just men who are watching, it's all different generations of men and women, also a lot of kids. So like I said, it feels like a more inclusive environment. And because of that, I think, as a photographer, you feel different and a little bit more encouraged to take photos as well.

In terms of field action, football is football for both men and women, so that doesn't change that much. There's always going to be good action photos, really great emotions, and it feels a little bit more special whenever, for me at least, when women celebrate a goal in a big way. It just feels more special.

FH: What was on your mind when you were first told about potentially covering WAFCON and traveling to Morocco with Football Case Study? What was your initial thought?

AV: At first, I couldn't believe it, because it came so unexpectedly. And it was kind of weird because Morocco had been on my mind as a football destination because I knew the football culture there is amazing and really strong. So this opportunity was such a coincidence.

It just felt like my eyes lit up, and it was such a perfect opportunity to cover a whole different tournament and different teams that I've never personally covered before, and also a new country and new culture than what I've experienced as well. So I just thought it was a perfect opportunity, not only as a photographer, but as a person and traveler.

FH: How important is traveling to your work? Do you feel like traveling for football is something that you want to keep doing in your career?

AV: I think that more than half of the places I've visited in the US and outside of the US have been for football work. It's amazing. Since football is everywhere, it takes me everywhere as well. And it wasn't until a couple years ago that I realized that this is a possibility. It’s something I really want to keep doing. Traveling is essential to my football photography and my photography in general.

FH: Football really is everywhere, especially in all the countries you've been to. You went to Paris for the 2024 Olympics and then went to Morocco for WAFCON; they’re both different environments, but the language of football remains for everybody.

AV: Exactly. I've been to places I never thought it would be, like the Caribbean Islands, where most people don't think of going to photograph football specifically, but I've been lucky enough that football has taken me there. I used to dream of playing football professionally, and I think about how a professional player is able to travel and experience the world through their job as a football player. Now for me, that dream has shifted, but I’m still traveling through football but now as a photographer.

FH: I love that.

Inside WAFCON

FH: So we got off the plane in Morocco, very delusional, a little hazy. We went to set up at home, but then we were on the ground running the next day to go watch Morocco and Zambia kick off WAFCON. What did that first match feel like for you?

AV: There was a lot of excitement when we landed. I didn't have any expectations of what the country, the people or the culture would look like, so everything was new for me, and I was just taking everything in with happiness, excitement and curiosity. It was the same for the match. I was actually very excited specifically to see Zambia play since I cover the Orlando Pride a lot and I'm able to see some of the star Zambian players there. It was very cool to see Barbara Banda play for her national team. It’s a different kind of pride when you're playing for your country. It was really cool to see the players and also the fans, and how much everybody, both the Zambia fans and the Morocco fans, got behind both of their teams.

FH: Was there anything you quickly learned about photographing in Morocco?

AV: I think in general, there's mixed emotions about people getting their photograph taken. Most of the time it's people wanting their photo taken at the stadium, and I was actually surprised that a lot of women wanted their photograph taken. Because, in general, in any country, women kind of shy away from being photographed because of all the societal pressures and narratives and whatnot. But photos were nicely received, especially by older women. I loved having those interactions of people wanting their photograph taken and connecting with them in that way. And other times, on the other side, it was people saying, “no, don't photograph me” which was okay, and something I learned right away was to respect people’s choices.

FH: You photograph pitchside often, was this your first time photographing fans in the crowd?

AV: It wasn't my first time, but I definitely hadn't done it as much as I did in Morocco.

FH: I would be with you in Jinane in the crowd, and then I'd look to my right, and you would be gone. You would be up the stairs, deep in the stands.

How did you find the courage and the bravery to just go off into the unknown in this new place?

AV: I think because I was filled with excitement like a little kid. Since I don't have this much freedom and opportunity to go off into the stands often, when the opportunity presented itself I was so excited to go and explore what different people look like and all the different sides of the stadium. I had the desire to explore how everything looked because everything was new to me.

The excitement of it overshadowed any doubts and fears or anxiety I had at those football matches. To be honest, and we talked about this with Jinane too, we had no clue what was happening on the pitch. We were looking at the people the entire time, and that's because the fans were so invested in the game and had so many different personalities and energies.

FH: It’s like you could watch the crowd’s face and know what was happening on the pitch.

AV: Exactly. There was so much to photograph. It was just like a holy grail of everything: emotions, the way people dressed, faces, musicians, everything.

FH: How was it using a new camera?

AV: It was a bit of an adjustment the first match and then the other times we went out in the street because the ergonomics of it — the buttons, the feel, it was all very, very different to what I was used to because my normal equipment is very heavy, big and noticeable. So to go from that to such a small camera, it was an adjustment, but then when I got used to it, it was a very positive change.

On the Moroccan Streets

FH: You mentioned going into the streets versus being in the stadium. Do any impactful interactions that you had on the streets come to mind when you think about your trip?

AV: One of the last few days, I think the last time I went out in the streets with Matthew into the medina, I juggled with this kid in this alley in the back of a market. It was a beautiful scene, the walls were like beautiful light blue, and there were so many textures and colors all around. I juggled with this kid for a good 15 minutes, Matt and Oussama were waiting for me. The boy didn't speak English, and I didn't speak Darija or French. But getting to do that with him without speaking a single word, it's just another reason why football is such a vessel for connecting with people.

Eventually I was able to take a photo of him and his brothers and his family, and it's one of my favorite photos that I've taken.

FH: That is so beautiful though.You were out there juggling with this kid not speaking the same language, and then he trusted you enough through that interaction to bring out his family and have you take a photo of them. It's really cool how just interacting with people through football, camera aside, brings so much trust despite not speaking the same language.

AV: Yeah. Also meeting the girls team was amazing, not only because of the way we met them, but also getting to go back to their training grounds and talking with them and learning about them and seeing how excited and trustful they were of us being there. I loved that as well.

Their whole attire, their shoes, everything about how they looked, reminded me a lot of like my first team when I was in Nicaragua. It was with my classmates and we literally looked exactly like them. I also remember our goalkeepers’ Jersey had pink stripes in it too. Most of us didn't have cleats so we were playing with tennis shoes. We used to play on dirt fields, so we had dirty tennis shoes and dirty socks and everything. But, just looking at them, it reminded me of my old team, and also seeing them interact with each other and giggling. It’s girlhood. Also, the fact that they had a male coach too. My first team’s coach was our Physical Education teacher who just took on our team without pay.

I think playing any sport or having any extra curricular activity is really important for kids. Football specifically, or any team sport, teaches you so many things

Valuing Connection in New Places

FH: Now you’re back in Florida, you’ve had time to decompress after the trip — I hope. What do you think you learned most about yourself as a photographer on this trip?

AV: I value the connections I make with people while I'm out photographing more, but it doesn't necessarily mean that I have photographed that person. The connections I make with people, regardless of if I ended up photographing them, mean more to me than whatever picture I took.

I have a portfolio from this trip, and it's amazing that I'm able to match the photos with the moment, but it's also those moments that will stay with you regardless. I’ve realized that sometimes I’d rather take a moment and put my camera down, instead of maybe ruining the moment by taking a photo.

FH: I think it's amazing that you can look back at your portfolio and remember certain people and remember their voices rather than it being a fleeting moment.

AV: Exactly. And I don't personally practice that too much, at least in the U.S.

I feel like because Americans are more exposed and more used to photos since everybody has a phone and almost everybody has a camera or some kind of camera, it's more normalized to just take a quick photo and be done. Especially during my assignments, if I'm shooting a match for somebody, it's go, go, go, I have work to do. But with this trip, it taught me that when I had the time, I'd rather take it slow and see what comes of the interactions I have with people.

FH: I'm sure it was really a nice change of pace for you, especially in a new country. What you did is such a daunting task, but the fact you got to take your time and not rush yourself is really crucial.

What do you want people to know about Morocco based on your experience?

AV: The people of Morocco are so kind and welcoming. I've never experienced such hospitality, whether it be somebody inviting us into their home, or just strangers in the street saying, “Welcome to Morocco.” Even if they were quick interactions, the people were really kind. I think anybody can learn from that, the idea of being more welcoming to strangers, not even just foreigners, but just in general.

Morocco has such a strong national identity and I feel so grateful that I was able to experience the real Morocco, and not just go through the country as a tourist.

Living by Doing

FH: Do you have a final message for anyone that's going to be checking out your work and looking at the photos you’ve taken, and is there any message for aspiring photographers that may be inspired by what you did in Morocco?

AV: I would say that I hope my pictures are able to depict Morocco as its true self, and that they're able to see what a beautiful football culture they have, because everywhere we looked there was football. It's so intertwined with day to day life and the way people live their lives in society.

AV: And to the photographers, everything looks scary when you're not doing it, so you just have to get out there and try. I know that's something everybody says, but once you're out there multiple times, you can ease into it. You don't have to rush into anything. You have all the time in the world to just go out there and start documenting, or just start living whatever experience you want to be in. You can go to a random Sunday League game in your city, and you don't have to bring a camera. You can just go and interact with people, and you can slowly bring a camera and start building that connection with people.

“You just have to get out there and try.”

AV: It’s all about putting yourself out there and having the courage to even go outside of your home.—

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“Football is a Vessel for Connection”: Interview with Andrea Vílchez

“Football is a Vessel for
Connection”: Interview with Andrea Vílchez