Erica Gillette appeared on the scene when AFA’s businesses began to migrate to the United States. Until a few years ago, she worked in the field of aesthetics, selling beauty products, acting as an influencer and maintaining a low profile. That scheme changed when he registered as owner of TourProdEnter LLC, a company based in Florida that began to manage the international income of the Argentine National Team. On paper, Gillette is the one that signs and validates million-dollar contracts for sponsorship and commercial rights.
In that role, the company accumulated hundreds of millions of dollars that, according to Justice, ended up mixed with personal expenses that are difficult to explain: private flights, premium stays, yacht rentals and consumption of luxury brands. The investigation has her at the center of the scene with her husband, Javier Faroni. The question that hovers above is simple and still open: Was Gillette a formal administrator who lent her name or did she have an active role in managing the cash?
For now, his role is clear: without his signature, the AFA’s external financial circuit would not move.
The contract signed in December 2021 between the AFA and TourProdEnter LLC, the company based in the United States managed by Erica Gillette, marked a turning point, to the point that at that time the businessman left his role as director of Aerolíneas Argentinas. The firm was left with the international commercial representation of the Argentine National Team, with almost total exclusivity and with a commission scheme that had no precedent in local soccer. The number—30% plus an additional fee for logistics—did not go unnoticed in the industry, but it advanced just the same. With Tapia, with Pablo Toviggino and with a structure that concentrated the collection and administration of external income.
From that contract onwards, all the dollars that came in through international sponsors, friendlies, rights and commercial agreements went through foreign accounts managed by that company. Faroni did not appear as the visible face of the agreement, but he was at the center of the device. The theater businessman who had learned to distribute percentages between producers and artists now managed figures that far exceeded any season on Corrientes Street.
