From June 29 to October 3, 2012, the Guggenheim Museum will present Rineke Dijkstra: A Retrospective, an extensive mid-career survey and the first major exhibition of the artist’s work organized by a North American institution. It is the most comprehensive museum exhibition of the artist’s oeuvre to date.

Dijkstra, born in Sittard, the Netherlands, in 1959, has developed an international reputation as one of the most highly regarded photographers of her generation. The exhibition will include representative examples from the most significant bodies of work she has created over the past twenty years. The retrospective is co-organized with the San Francisco Museum of Modern Art, where it opened to the public in February 2012, and will feature more than 70 color photographs and five video installations. The exhibition is curated by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum, and Sandra S. Phillips, Senior Curator, Photography, San Francisco Museum of Modern Art, and is accompanied by a fully illustrated catalog.

Rineke Dijkstra: A Retrospective is organized by the Solomon R. Guggenheim Museum, New York, and the San Francisco Museum of Modern Art.

This exhibition is supported by the Mondriaan Fund, Amsterdam. The New York presentation of the exhibition is supported in part by the William Talbott Hillman Foundation, The Robert Mapplethorpe Foundation, the Netherlands Cultural Services, and the Leadership Committee for the Guggenheim Museum’s 2012 Photography Exhibitions: Marian Goodman Gallery, Henry Buhl, and Eugene Sadovoy, as well as by Ann and Steven Ames, Lori and Alexandre Chemla, John L. Thomson, and those who wish to remain anonymous.

Since the early 1990s, Rineke Dijkstra has produced a complex body of photographic and video work that offers a contemporary take on the genre of portraiture. Her large-scale color photographs of young, typically adolescent subjects recall 17th-century Dutch painting in their scale and visual acuity. The minimal contextual details present in her photographs and videos encourage us to focus on the exchange between photographer and subject and the relationship between viewer and viewed.

Dijkstra works in series, creating groups of photographs and videos around a specific typology or theme. In 1992, she started making portraits of adolescents posed on beaches from Hilton Head, South Carolina, to Poland and Ukraine. Shot from a low perspective, the subjects of the Beach Portraits (1992–2002), poised on the brink of adulthood, take on a monumental presence. In contemporaneous works, including portraits of new mothers after giving birth and photographs of bullfighters immediately after leaving the ring, Dijkstra sought subjects whose physical exhaustion diminished the likelihood of an artificial pose.

Dijkstra has also photographed individuals repeatedly over the course of several months or years. Her ongoing Almerisa series began in 1994 with a single photograph of a young Bosnian girl at a Dutch refugee center for asylum seekers and has grown as Dijkstra continued to photograph her regularly for more than a decade as she became a young woman with a child of her own. The outward signs of her transition into adulthood and her integration into mainstream Dutch culture reveal themselves incrementally over the course of many years. Similarly, the Olivier series (2000–03) follows a young man from his enlistment with the French Foreign Legion through the years of his service, showing his both physical and psychological development into a soldier. Later, Dijkstra took portraits of new initiates to the Israeli army, photographing female soldiers in their uniforms after induction and then again in their civilian dress, as well as male soldiers directly after military exercises.

For several years beginning in 1998, Dijkstra photographed young people, often in groups, posed in the lush landscapes of public parks. In contrast to the neutral backgrounds against which many of her subjects are pictured, the richness of the park settings lends these works a greater depth of field and adds a narrative element.

More recently, Dijkstra has built upon her revelatory work in video from the mid-1990s. In The Buzz Club, Liverpool, UK/Mystery World, Zaandam, NL (1996–97) and The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK (2009), Dijkstra filmed teenage habituées of local clubs dancing to their favorite music. Presented as multichannel video installations, these works showcase their subjects’ teen personas and methods of self-expression, revealed in how they style themselves and in the movements of their bodies. Two video works made in 2009 at Tate Liverpool expand the artist’s interest in the empathic exchange between photographer and subject to include the affective response to artworks. In I See a Woman Crying (Weeping Woman) (2009), a group of schoolchildren engage with art, discussing their perceptions of and reactions to a work by Pablo Picasso, while Ruth Drawing Picasso (2009) shows a girl pensively sketching a masterwork.

The retrospective draws from each of Dijkstra’s series of work. The presentation at the Guggenheim will be installed in a loosely chronological order in all four of the museum’s Annex galleries, on multiple levels of the building. Dijkstra’s video work will be fully integrated into the presentation.

More information can be found at:   guggenheim.org/publicprograms

By: Triska Hamid

As Egypt struggles to stimulate its economy and steer away from complete collapse, there are many who feel that returning to the humble roots of farming will help solve the issue of poverty.

Poverty in Egypt plagues some 20 million of the 80 million strong population and of those, three-quarters of them live in rural areas according to the United Nation’s (UN) International Fund for Agricultural Development (IFAD).

The Ministry of Agriculture, along with IFAD is working to empower the country’s farmers who make up 55 per cent of the population by encouraging more to tend to its ancient lands.

“The main goal is to improve conditions of the households, socially, economically and culturally,” says Ahmed Saleh, an agricultural engineer who heads up an IFAD project in West Noubaria on the outskirts of Alexandria, Egypt’s second city.

According to IFAD, agriculture in Egypt employs 30 per cent of the labour force ad accounts for about 13 per cent of gross domestic product (GDP). It makes up 20 per cent of total exports and foreign exchange earnings.

But one of the biggest problems preventing agricultural growth is the limited availability of irrigated land and the high sensitivity to climate change, which could reduce the production of major crops by 20 per cent within the next 40 years.

The political instability that has ensued since the fall of Former President Hosni Mubarak regime has also fueled problems in Egypt’s agricultural sector.  Prices of agricultural goods soared following the disruption to the country’s transport networks. The depreciation of the currency, higher fuel prices and stockpiling by traders also caused a slowdown in exports.

“After the revolution, decrees were issued by the new government to stop exporting certain crops and we failed to export some crops to Europe and Russia,” says Ahmad Abu Yazeed, chairman of the marketing association of Tiba.

This has lost the farmers huge contracts, including an export potato contract with Tesco, the UK’s largest food retailer.

“We have faced a lot of changes, there is a new minister every month and they do not have a good background in agriculture so things can change week to week. We need and we are waiting for political stability,” says Abu Yazeed.

One of the new decrees prevents farmers with fewer than 50 acres of land from exporting their produce abroad. Since many of the farmers in the area have on average 5 acres of land, they are limited to selling to the local market only.

Yet amid the instability and the toughening economic environment, the farmers on the West Noubaria project remain optimistic.

Since 2003 conditions have improved drastically for the inhabitants of West Noubaria. The project has been funded primarily by Italian Debt Swap (IDS) which has provided $32m. IFAD has provided a $18.5m loan and Egypt’s Food and Agriculture Organization (FAO) has contributed $0.4m to the project that aims to benefit more than 36,000 families in the area.

One recipient is Iman Saleh, a 39-year old Egyptian who chairs the women’s association at West Noubaria. A mother of eight, her youthful face belies her hard work.

“In the beginning there was no water, schools, electricity, there was nothing. We [my husband and I] did not have a background in agriculture,” she says.

Iman and her children now work with her husband to help grow oranges, onions, garlic, beans, wheat and corn on their 5 acres of land. Her eldest children have graduated from the school of agriculture and have returned to help the family on the farm.

“I came with two bags when I moved here 15 years ago. One was filled with patience, the other with persistence. I am happy and I do not regret my decision,” she says.

This is a sentiment that is reflected with other farmers in West Noubaria, but there is still an air of insecurity. Egypt’s economy continues to struggle. With almost 300,000 Egyptians returning from Libya and other countries afflicted by the Arab Spring, there are now more jobs to find for the increasing unemployment rates.

One solution is to encourage more of the population to claim land and begin farming, to help sustain themselves, their families and their country.

By: Moniza Khokhar

Omar Mansoor, 29, has always loved fabrics and fashion.  From a young age his love for cloth and its workmanship lead him to study Fashion Design at London College of Fashion.  His fusion of Western and Eastern cultures resulted in launching his designer fabrics in 2002 and his couture collections in 2008.  Mansoor’s line is available in London and we got a chance to speak with him.

Elan:  Can you tell us a little bit about your professional background?  How did you become involved with fashion?

Omar Mansoor: I’m fourth generation that made its way in to textiles and I started doing fashion as a hobby at a very early age. Later I attended London College of Fashion.

Elan: What inspires you as a designer?

OM:  The liberty of expressing my creativity through the ensembles.

Elan: What has been your greatest challenge launching your own line?

OM:  The greatest challenge is not just to deal with finances but also to have yourself confident to experiment with risk quotient.

Elan:  As a designer, what is your goal for the women who wear your creations?

OM:  They shall look not just glamorous but they shall be comfortable in carrying the outfit gracefully.

Elan:  What can we expect from your line in the upcoming months?

OM:  More experiments with draping, colors and cuts.

Elan:  What words of advice can you give to young aspiring designers?

OM:  Do what you are best at, at start you don’t need to hear what boutiques, critiques and other people around says but it’s about how you express your creativity at its best. You’ll adapt the pulse of market eventually and adapt your style accordingly so it sells.

To celebrate the 65th Cannes Film Festival, Agence France-Presse has teamed up with the city of cannes to present an exhibition of 17 monumental photographs of stars under the title “Cannes fait le mur”, that will grace the city’s walls and the “rue d’Antibes” from May 16 to June 30 2012.

The pictures have been selected to reflect the influence of fashion over the years and the postures adopted by stars since 1946. Actors are in turn accessible, enigmatic or disarmingly natural, and range from Alfred Hitchcock to Sophia Loren, from Michael Douglas to Annie Girardot.

“The public will be able to relive the magic of seeing stars going up the famous walkway steps, something that every year makes headlines around the world. From unforgettable arrivals to portraits that use the city as a background, the agency photographers capture the grace and pride of the stars and directors that make the Cannes Film Festival such a unique event”, said AFP Chairman and Chief Executive Emmanuel Hoog.

AFP, one of the three world news agencies, has been covering the festival since it began. The exhibition pays tribute to AFP photo-journalists who each year produce over 6,000 images during the fortnight of the festival, alongside videographers, editorial staff and computer graphic artists.

“The agency in 2011 launched a vast restoration and digitisation program involving over three million glass plates, negatives and prints going back to the early days of photography. Articles, collections and funds acquired in the 20th century will be gradually made available by AFP to its clients to share images of conflicts, cultural events and sporting moments”, Emmanuel Hoog added.

By: Moniza Khokhar

George Alexander, a banker turned writer/producer/director, is living his dream.  A graduate of Columbia University’s Business School, Alexander pursued his more creative interests and loves every minute of it.  Raised in Alabama, he’s appeared on VH1, Fox, BET, CNN, MTV amongst many other networks.  We got a chance to speak to him recently about his work.

Elan: Can you tell us a little bit about your professional background?

George Alexander:  I started off as a banker because that was what I thought I wanted to be. However, I had a burning desire to write and make movies, so I quit banking over 10 years ago to pursue my creative dreams. I’ve never once looked back or regretted the decision. Although my mother thought I was insane, it was the best decision of my entire life.

Elan:  You’ve gone from banking to TV production.  How did that transition happen?

GA:  My transition to media from banking was very gradual. As a banker, I actually worked in the media and entertainment group for a stint.  I also spent evenings, weekends and my vacation time taking screenwriting, acting and film classes, volunteering on independent films, student films and music videos; I also directed a couple of short films. I learned a lot and formed professional relationships that I still have today.  And my business school and banking buddies are still some of my closest friends.

Elan:  You are a writer, TV Producer, book author, editor, amongst many other roles.  Which one is your favorite?

GA:  I actually enjoy TV and video production the most as you get to use all of the creative skills and business skills in one project. In TV and video content production, as the executive producer, I must be responsible for a budget, hire a team, write scripts, select interview subjects, conduct interviews, research and select B-roll content, choose the music and supervise the editing of the project. It’s a great deal of fun. It’s like playing with a bunch of toys and building one big toy with all of them that you hope your audience will love.

Elan:  You have interviewed many influential people from President Barack Obama to Oprah Winfrey to Revered Jesse Jackson.  Who was the most memorable?  And why?

GA:  I would have to say Barack Obama. I knew he had what it took to be the president when I got the opportunity to attend his announcement speech in Springfield, Illinois back in 2007. He captivated the crowd in single-digit weather and I was mesmerized. So having a chance to interview him — and I did so twice for Black Enterprise during his campaign for the presidency — was somewhat surreal. Here was a black man, who was making a serious run for the White House, and I was having the opportunity to interview him. It was unbelievable.

Elan:  What’s one thing that you’d like for people to take away from your work?

GA: I want all of my work to be compelling.  I want the viewer or reader to be engaged while learning something new. They should come away thinking, “Wow, I didn’t know that.” And in our information age where there is so much at our fingertips, that’s not always an easy feat. Therefore, as a content creator, my job is somewhat harder today than it was just a few years ago. You must really work harder than ever to make sure your take on an issue is fresh. I always ask myself, “Why does anyone care?” If I can’t provide a good answer, than I know I still have a lot of work to do. But I love the challenge. It’s exciting and fun.

Follow George on Twitter: @GeorgeAlexander

Photo credit: Steven Williams

“I want to help women understand that investing and managing their finances is not as complicated as it seems. Getting started may seem scary but being in control of your money is not only empowering but essential in today’s world,” explains Lena Rizkallah, a thirteen-year veteran of the financial industry. “Everyone should know when they have to save and when they can splurge on a special item, like one of Ceola’s beautiful silk tunics.”

Ceola’s new line features art-inspired pieces on hand-painted silk imported from across Europe. “This collection remains essentially minimalist but keeps the brand’s emphasis on luxe fabrics and classic design. The pieces are light, breezy, and perfect for summer. I consider them to be wearable art so it’s perfect that they will debut at Porter Contemporary,” says Imani Alexander, the designer.

Porter Contemporary’s current exhibition, “A Rolling Stone,” commemorates fifty years of the iconic band, the Rolling Stones. The exhibition was also inspired by the proverb A Rolling Stone Gathers No Moss, meaning those who keep moving never lack fresh ideas and creativity. Highlights from the exhibition include new paintings by Jason Bryant inspired by the Rolling Stones’ song, Moonlight Mile, and their Sticky Fingers album. Additional artists include: JaH-HaHa, Adam Normandin, Naoto Hattori, Jennifer Murray, Johnny Romeo, and TwoOne. Wine at the event will be provided by 5 Ninth Restaurant.

Porter Contemporary is located in Chelsea at 548 w. 28^th Street. This free event will be held on the gallery’s third floor. For more information and to RSVP please visit http://artoffashionandfinance.eventbrite.com.

By: Hyacinth Mascarenhas

Do you wake up to check a celebrity’s twitter feed right as you get out bed? Do you wonder what the Kardashians are having for breakfast? Do you know more about the latest Academy award winners than the presidential election results in France?

Society has always been interested in the most talented, beautiful and successful of our times, from real people like Elvis Presley and Brad Pitt, to fictional celebrities like Edward Cullen and Harry Potter. But are we crossing the fine line into a celebrity-obsessed society?

Every week, billions of people tune in to their favorite reality television shows from the Jersey Shore to tabloid shows like TMZ and Entertainment Tonight to find out what their favorite celebrities are up to. While most plead guilty to these charges (including myself), there are others who consider these their major “news” for the day.

Rather than picking up a copy of the New York Times, people are more likely to pick up any one of the wide variety of celebrity publications at the grocery check-out counter.

According to National Publicist Director R.J. Garis, the media does play a role in promoting this trend, but is still based on reflecting public interest.

“Shows and publications that focus on celebrity driven material tend to get far greater ratings and readership,” said Garis. “In a money-driven industry, you have to sell to survive. The media is just responding to what the public is buying.”

While fans may range from the regular movie-buff to the full on paraphernalia collector, experts have coined the term Celebrity Worship Syndrome, an obsessive-addictive mental disorder where a person becomes overly obsessed with the details of a celebrity.

According a study conducted by Dr. John Maltby, there are three types of CWS ranging from “mild affection” to “hard-core CWS sufferers.” Maltby’s findings, published in the Journal of Nervous and Mental Disease, also show that people suffering from CWS may do it for more than just entertainment. Some do it to create and maintain a bond with a celebrity even so far as to die for them.

Additionally, the study of around 700 people aged 18 to 60, also found that 22 percent of the sample had the low-level form of CWS as opposed to the 2 percent of people who did possess the more serious, “borderline pathological” form of the syndrome.

From icons such as Elvis Presley and Marilyn Monroe to today’s guilty tabloid pleasures such as Lindsay Lohan and Paris Hilton, society has always been fascinated by celebrities.

Jake Halpern, journalist and author of Fame Junkies, however, says this trend has grown with the advancement of media and technology.

“There are so many more news outlets that make these stories both instantly available and ubiquitous,” said Halpern. “Even if you don’t care about Paris Hilton, unless you are living in seclusion in Himalayas, you end up hearing or reading about her.”

Socially media outlets such as Facebook and Twitter also provide people with a more personal view of their favorite celebrities, and allow fans to feel a closer connection to them.

While popular news outlets on Twitter such as CNN have 4.4 million followers, they still pale in comparison to celebrity twitter feeds such as Kim Kardashian who have a whopping14.4 million followers.

“It’s fine to be interested in your favorite stars and to occasionally follow their posts, etc., but it should always remain a casual interest, not a priority,” Garis said.

Everyone has their own favorite reality TV show or follows at least one celebrity on Twitter, and it’s completely normal to do so. Keeping it an interest and not an obsessive need, however, is key to maintaining a healthy balance of interests.

Is this growing obsession with celebrities a cause for concern, or is it simply a part of our personalities and mindsets as humans?

“If the first thing you do in the morning and the last thing you do at night is check a celebrity’s Twitter or Facebook posts — that is a signal you have crossed the line. If you are out with your family or friends and find yourself constantly checking in with celebrities via your smart phone, that’s another sign,” Garis said.

Perhaps the media should pay more attention to what the public should know, as opposed to exclusively what they want to know. Just because a child loves and wants cookies all the time, doesn’t make it the smart, healthy or responsible choice.

“I think a great deal of important news, inspiring stories and information are being lost because the media is using up too much airtime and print space on celebrity related material. I think our society is being damaged and deprived as a result,” said Garis. “If the sign on my door said magician instead of publicist, I would change that.”

By: Moniza Khokhar

Born and raised in Saudi Arabia, HRH Princess Reem Al Faisal, is a professional photographer, whose work is stunning and also serves as a reminder of our sacred journeys.  Granddaughter of the late King Faisal of Saudi Arabia, HRH Princess Reem studied photography at the SPEOS school in Paris, France.  We got a chance to speak to her about her work.

Elan:  Can you tell us a little bit about your professional background?  How did you become interested in art?
HRH Reem Al Faisal:  I write articles that are concerned with the politics of the area.  I’m also president of a Saudi NGO concerned with dialogue of civilization.

I established the photographic gallery The Empty Quarter and the Cube Arts Projects.  I have been photographing all my life, since I was a child, and therefore I don’t consider it a career as much as part of me.  It is as natural to me as talking or breathing. My interest in art, specifically Islamic philosophy in art, started from the time I used photography in a professional way.  I had to make sure that I understood what I wanted to say in order to exhibit my work.

Elan:  As a photographer, how do you choose your subjects or subject matter?
RA:  My work in general is a form of prayer as any Muslim artist or artist expressing the sacred in his/her art. I deal with my photographs to show the manifestations of the Divine in nature and man and the relationship of man with his Creator. Traveling is a very important element in my work.  I need to let my camera expose the hidden side of wherever I’m.

Elan:  How does your background influence your photography?
RA:  My background is totally an influence in my work since both Islam and the Arab language are my greatest inspiration in my work. Also, as I’m the product of a nomadic society I find this has very much influenced my work by my desire to travel and move from place to place.
Elan:  How would you describe your photography style?
RA:  I would say I’m of the school of sacred art.  I surely don’t apply to the modern philosophy in art.

Elan:  If you could pick one image that is amongst your favorite, something that you were happy to capture, what would that be?
RA:  Oh there are several can’t choose just one!

Elan:  What you like people to take from your photography?
RA:  I would like them to forget me, forget who I am and what my name is.  I would like them to take from my work a sense of the sacred and a remembrance of the Absolute.

By: Moniza Khokhar

Michael Cheng, 30, is bringing the world closer by limiting language barriers between our Chinese peers.  A graduate of Stern School of Business at New York University, Cheng saw great opportunities being overlooked because there wasn’t enough understanding of the Chinese culture.  He then started the Mando Mandarin School, in 2009, to teach executives Mandarin Chinese.  Finding great success, we spoke t Michael about his future plans.

Elan:  Can you tell us a little bit about the Mando Mandarin School?  

Michael Cheng:  Mando Mandarin gives schools, businesses, and individuals around the world the ability to open doors to over one billion new peers in China.  We specialize in teaching Mandarin Chinese using web-cams and distance-learning software, by connecting learners to our teachers in China.  All lessons are taught in real-time by live instructors, which makes classes very easy, fun, engaging, and affordable. Students always have access to all lesson recordings, so learners never fall behind.

Elan:  What is behind the Mando methodology?

MC: Our methodology uses a very practical approach to learning.  After just a few hours, students will be able to begin expressing themselves using Mandarin using small-talk or in brief conversations.  We begin by teaching Pinyin (a pronunciation system which uses the Roman alphabet to make learning to speak and pronounce Chinese words much easier) and basic, commonly used phrases in what we call “survival Mandarin.”  Our approach has combined TCFL (Teaching Chinese as a Foreign Language) philosophies from top Chinese universities and American universities, and was developed by our education directors who have a combined teaching experience of over 30 years.  Our experts have also summarized over 100 grammar rules — this is important to note because grammar often is the most confusing part when it comes to learning the language.  This “East meets West” combination allows us to borrow the best approaches to language education from both sides of the world.

Elan:  What motivated you to start a school like this?

MC:  There’s been a lot of talk in the news about rising China, especially in the past few years.  In March 2012, Secretary of State Hillary Clinton reiterated why the US and China must work together in her address about changing US-China relations.  This is a reminder that we must begin to harness a more productive relationship with China than previous generations.  What I’ve found out is that most people don’t know much about the Chinese, the way they think, or about their culture.  And sometimes we see this lack of understanding become a lack of transparency.  And a lack of transparency often leads to fear, or worse, aggression or quarrel.  And we see this happening in the world today between various countries.  My personal in life is helping to preserve balance and a peaceful relationship between the United States and China, and by extension, the rest of the world.   Mando Mandarin’s vision is to bring people together by building bridges of understanding and opening channels of communication, by connecting people through language and culture first.  Now, more than ever, we need to inspire more people to become official or unofficial ambassadors of cultural awareness.  So Mando Mandarin is about more than just teaching language.  It’s really about bringing people together and creating relationships on a grassroots level.

Elan:  Why has there been a sudden increase in the demand for Mandarin speaking employees?  In what fields have you seen this increase?

MC:  China is the most rapidly developing country in the world, and there are tremendous opportunities for foreign companies to do business in China.  Many companies would like to benefit and profit from the rapid development of China.  In order to sell products and services to the Chinese, it is important to learn their culture and language in order to better connect with their people.  In the past, it was acceptable to do business in English when dealing with the Chinese — but that is because they were selling their products to us; we were the buyers.  Now we see are seeing a huge shift, where the Chinese have more buying power and are interested in purchasing goods from abroad.  I’m also a real estate developer, and now, more than ever before, the Chinese are investing more and more in American real estate.  CNN and the New York Times reported that there are also now more Chinese tourists than American tourists traveling around the world.  Smart American businesses in the hospitality, tourism, entertainment, travel, investment, real estate industries and banks should be training its employees to learn Mandarin Chinese so they can benefit from the growing spending power of the Chinese.  America’s strength is in its creativity.  There are also huge opportunities for American web or mobile businesses with unique concepts and services that have not yet been introduced in China to quickly build their bases in China before a Chinese entrepreneur breaks open that market first — or to simultaneously build their platforms in Chinese, in China.

Elan:  You’ve been following the trend closely, what has surprised you the most?

MC:  What surprises me is that American businesses with pioneering, innovative, or unique business solutions, products, or services do not simultaneously introduce build their operations in China from the outset of their company.  For a lot of innovative American businesses, by the time they are interested in building operations in China, some Chinese entrepreneur has already taken their idea and built it out in China first — and is able to promote it to 4x the number of people than their American counterparts can.  The opportunity cost for a start-up to not immediately build out operations in China is basically losing their opportunity to be a leader in China.

Elan:  How many students have you trained successfully?

MC: 500 in the United States, from 40 schools around the country, and 600 expats who are living in Shanghai.

Elan:  How do you hope to develop the Mando Mandarin School?

MC:  The next step for us is to continue to reach out to Americans K-12 schools, universities and also those in other English-speaking countries.  We also plan to expand our services to begin teaching other languages as well.

By: Summer Yasmin

From Cleopatra to Calvin Klein, fashion has always been a form of art; one that transverses cultures, languages, borders and fascinates us with its images and illusions. Today, it is one of the most effective tools of expression in existence.  Notable designers find inspiration even in the most remote corners of the world, remixing the traditional into the trendy.  With such a global presence the glitz and glamor fashion industry has taken an intriguing turn into the world of charitable causes. Many designers (and models) of Eastern influence are now using their spotlights for a greater cause; to help the struggling world around them. And this is only fitting, especially for designers who usually cater to the elite upper echelons of a country in which the majority of citizens struggle to surpass the poverty line.

One of India’s top designers, Manish Malhotra recently took to the run ways with Bollywood legend, Kajol and former Miss Universe, Sushmita Sen for the “Save and Empower the Girl Child” campaign.  In a country in which modern ultrasound technology is being illegally used to weed out “female” fetuses, this initiative by India’s fashion icons is not only symbolic but also necessary given the far reaching effects of Bollywood in India. During a back stage interview Kajol said  “In today’s time people should not think that women are less than men. I don’t think it is like that today. Basically, it is wrong and illiterate attitude.”

Another inspiring fashionista is Waris Dirie. A victim of female genital mutilation at the age of 5 in her native Somalia, Dirie is now an international supermodel and UN Ambassador, fighting to protect young girls from this heinous act of cultural ignorance that was subjected upon her. The model  has not only stepped up to address the needs of at risk women and victims but has also called upon Western governments to become aware and active in handling culture based crimes in their countries, going as far as to say ‘If a white girl is abused, the police come break down the door. If a black girl is mutilated, nobody takes care of her. This is what I call racism.’

Australian design company “Caribana” has boldly crossed the proverbial culture line in an attempt to financially empower the women of a small rural community of Chitral in Northern Pakistan. The founders of the company live and work in the region where they have set up shop, giving the local women much needed opportunities to expose their embroidery skills to an international market. Although the company has garnered some understandable criticism, the women of Chitral themselves, seem to welcome the foreigners who have put them into a position in which they are earning more than most of the men in their community.

Closer to home is a noteworthy organization called “Fashion Fighting Famine.” Based in California, FFF “began as an idea in 2007 when a group of young women at the University of California, Irvine were compelled to do something for charity but were bored by the traditional means to support it.”

This group is a predominantly volunteer based fashion power house, that show case the talents of local designers and artists with a portion of their proceeds going to various charitable organizations.  FFF has worked with Intellect Love Mercy to help fund humanitarian care packages to needy Los Angeles communities and also supported a widow’s cooperative in Mali. On June 3, 2012 the organization will be hosting their annual fashion show, with the charity of choice being “One Laptop Per Child.”  When asked about this choice, the organizers of the show said “we believe that education is the foundation for solutions to challenges that impoverished communities face, like poverty and hunger. The laptops are rugged, low power, and connected to the Internet so they work for children living in the most remote and harsh environments.”

What is interesting about FFF is their unique view on fashion “We challenge the conception that less is more. It is not a question of whether modesty can be stylish; it is stylish. For goodness sake, Vogue can make a paper bag look stylish, so of course modest attire can be stylish.”

This year’s fashion show will feature Rana Greiche Couture, SixteenR, Vela Scarves, Marena Y Sol, Hijabista and Mohajababes. Fashion Fighting Famine also produces the “Flair by FFF” look book. From behind the scenes, to promotion to the runway, FFF is an expression of the creative talents of their volunteers and the organizations underlying intention to change the lives of those in need with fashion as their platform.

The fashion industry is traditionally thought of as a cut-throat, high stakes, competitive, lucrative and lavish affair. Although this definitely is the case, the presence of fashion in humanitarian endeavors has developed a soft side to the industry. With its multicultural nature and far reach, fashion is a very fitting medium to bring about international change and help communities in need. The designers, models and organizations that are involved in this cause have taken a precedent setting step in the right direction.