View allAll Photos Tagged SelfRespect
outside the doors of gods house
his omipresent gates
she waits
and she waits
and she waits
and she waits
muslim poor woman
between remorse and misery
hibernates
the heat and the humidity
ennervates
muslim male dominated society
fatwa friendly male helping traits
her doom reverbrates
packed of as sardines
to be married to rich libidinous arabs
her worth devastates
triple talaq double edged sword
how she hates
bombing her fragile world
cries of anguish
in the hungry stomachs
of her children detonates
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008 Paris
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008-2006 Paris
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008-2006 Paris
136,658 items / 1,056,844 views
She begs and was a regular visitor at my work place on Thursdays, her child likes me because of my camera,my rings and because I dont shun them away from my doors empty handed.
She had gone away to her hometown in Andhra and has returned back to her circuit of begging.
I was saddened somewhat because she is now carrying another child,so whats her story of pain I dont know,but I think it is totally a very irresponsible act bringing in a new life under such circumstances and penury. These are my thoughts I felt and I have no right to tell her it is her decision and that of her husband.
I am a photographer I shoot pictures I dont talk to them much but I did tell her to go to a mosque talk to the elders and find a more upright way out of her bad times.
Unlike others who take potshots with all kinds of excuses giving it a painfully biased tilt I dont, some will accuse her for being an Hindu dressed in Muslim garb,and some will say this is another way of tarnishing Islam luckily here they dont say that this is because of the Americans or the Israelis.
Luckily in Mumbai we are moderate in our views and have no sectarian scores to settle.
If any shortcomings in our community it is because of the mindset of the people and nobody else perhaps some sensitive issues made flammable because of politics too.
Ramzan is the official month where every hue of beggar makes his appearance those who bring in tempos to collect the loot with hardly any creditability .. there maybe some genuine people but very minuscule to say the least.
So such is life and as I have stopped going to my work place through the slums I hardly meet the burkha clad women who sit on the road with their kids near the Jain Mandir Bandra.
I have not met limbless Appu since a very long time though I did give him my card to call me.
Imagine not having arms , and there is so much you cant do yourself.
For the call of nature Indians wash themselves no tissue papers so imagine Appus plight , he needs a person to take care of all this .. and sometimes I stop thinking beyond this , my Facebook friend Yohan tells me to take a break from my camera and the building blocks of words in the garbage gallery of my head.
He wants me to go to green pastures and from where do I get the green bucks to go the green pastures , we all have our problems but how can we share or show it our financial deteriorating conditions emotional turmoils etc..
As some people are addicted to drinking smoking fornicating I am addict to shooting pain and uploading it on the soul of cybernetic humanity as a photo blog.
Even if I stop shooting pictures with the images I have on Flickr I can add text , edit the date posted to the current date , they will show up as new blogs.
This was posted on 8 August without text I have bought it forward today.
I have 136,658 photo blogs at Flickr till date / 1,056,844 views just for the records.
photography of fashion clothing for women's ready-to-wear/young creator, spring-summer 2004
1st collection created by our atelier at Montmartre, Paris 18e arr.
inspired by mixing street tast with "dance"; loose-socks styled jeans, fluid skirt etc...
2nd inspiration : japonism; long coat Kimono, jumpsuit Kimono by cutting a real Kimono, big Hakama pants etc...
design : Lina WU-atelier selfrespect
pattern make : Yusuke OTSUKA
2003 Paris
web:http://www.selfrespect.fr/
“We do not believe in ourselves until someone reveals that deep inside us is valuable, worth listening to, worthy of our trust, sacred to our touch. Once we believe in ourselves we can risk curiosity, wonder, spontaneous delight or any experience that reveals the human spirit.” - E.E.Cummings (Edward Estlin Cummings 1894-1962), Poet.
Cummings's critical reputation has never matched his popularity. The left-wing critics of the 1930s were only the first to dismiss his work as sentimental and politically naïve. His supporters, however, find value not only in its verbal and visual inventiveness but also in its mystical and anarchistic beliefs. The two-volume Complete Poems, ed. George James Firmage (New York and London, 1981), is the standard edition of his poetry.
Model: 9-year old Jonathan Rio Branco Caetano Silva, member of Capoeira Beija-Flor
Or rather, the remains as of August 24, 2016.
A new bus terminal, a new overall traffic solution and.....a new shopping mall.
The latter is exactly what this city needs.
Any area, any suburb with some sort of selfrespect, have a shopping mall.
So, consequently, the city council came up with the brilliant idea to add another one, in what used to be a pretty nice part of the city.
photography of fashion clothing for women's ready-to-wear/young creator, fall-winter 2004
2nd collection created by our atelier at Montmartre, Paris 18e arr.
inspired by 1950's fashion, boxed coat under knee (style Givenchy), long coat shaped cut under knee by using cachemire wool W face, patchwork style's cargo pants (rock-street 50's) , cotton poplin shirt black and white with very modern details...
i tried to present a texture uni-sexe, modern, elegant design for this collection.
in fact, this collection was designed within 2 weeks and 2 monthes for sampling ^^;
design : Lina WU-atelier selfrespect
pattern make : Yusuke OTSUKA
2003 Paris
web:http://www.selfrespect.fr/
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008 Paris
Today feeling slightly better, but not really well...still having vertigo and walking in the house like I'm a bit drunk...Hoope to feel better tomorrow, and especially hoping the doctor will help me to solve the problem soon...
This is just a selfie from my archive.
Hope you're all having a great Sunday!
according to wikipedia
A hijab or ḥijāb (Arabic: حجاب, (he-zjab)pronounced [ħiˈʒæːb]/[ħiˈɡæːb]) is both the head covering traditionally worn by Muslim women and modest Muslim styles of dress in general.
The Arabic word literally means curtain or cover (noun). Most Islamic legal systems define this type of modest dressing as covering everything except the face and hands in public.[1][2] According to Islamic scholarship, hijab is given the wider meaning of modesty, privacy, and morality;[3] the word for a headscarf or veil used in the Qur'an is khimār (خمار) and not hijab. Still another definition is metaphysical, where al-hijab refers to "the veil which separates man or the world from God."[2]
Muslims differ as to whether the hijab should be required on women in public, as it is in countries like Iran and Saudi Arabia, or whether it should be banned in schools, as it is in France and Turkey.
According to the Encyclopedia of Islam and the Muslim World, the meaning of hijab has evolved over time:
The term hijab or veil is not used in the Qur'an to refer to an article of clothing for women or men, rather it refers to a spatial curtain that divides or provides privacy. The Qur'an instructs the male believers (Muslims) to talk to wives of Prophet Muhammad behind a hijab. This hijab was the responsibility of the men and not the wives of Prophet Muhammad. However, in later Muslim societies this instruction, specific to the wives of Prophet Muhammad, was generalized, leading to the segregation of the Muslim men and women. The modesty in Qur'an concerns both men's and women's gaze, gait, garments, and genitalia. The clothing for women involves khumūr over the necklines and jilbab (cloaks) in public so that they may be identified and not harmed. Guidelines for covering of the entire body except for the hands, the feet and the face, are found in texts of fiqh and hadith that are developed later.[4]
In Indonesia, notably the nation with the largest Muslim population, and some cultures or languages influenced by it namely Malaysia, Brunei and the Philippines, the term jilbab is used instead with few exceptions to refer to the hijab, as opposed to its "correct" modern Arabic definition. In some cases, colloquial use of the term Jilbab may refer to any pre-Islamic female traditional head-dress.
Qur'an
The Qur'an instructs both Muslim men and women to dress in a modest way.
The clearest verse on the requirement of the hijab is surah 24:30-31, asking women to draw their khimar over their bosoms.[5][6]
And say to the believing women that they should lower their gaze and guard their modesty; that they should not display their beauty and ornaments except what (must ordinarily) appear thereof; that they should draw their khimar over their bosoms and not display their beauty except to [...] (Qur'an 24:31)
In the following verse, Muslim women are asked to draw their jilbab over them (when they go out), as a measure to distinguish themselves from others, so that they are not harassed. Sura 33:59 reads:[6]
Those who harass believing men and believing women undeservedly, bear (on themselves) a calumny and a grievous sin. O Prophet! Enjoin your wives, your daughters, and the wives of true believers that they should cast their outer garments over their persons (when abroad) That is most convenient, that they may be distinguished and not be harassed. [...] (Qur'an 33:58–59)
Other Muslims take a relativist approach to ħijāb. They believe that the commandment to maintain modesty must be interpreted with regard to the surrounding society. What is considered modest or daring in one society may not be considered so in another. It is important, they say, for believers to wear clothing that communicates modesty and reserve in the situations in which they find themselves.[7]
Along with scriptural arguments, Leila Ahmed argues that head covering should not be compulsory in Islam because the veil predates the revelation of the Qur'an. Head-covering was introduced into Arabia long before Muhammad, primarily through Arab contacts with Syria and Iran, where the hijab was a sign of social status. After all, only a woman who need not work in the fields could afford to remain secluded and veiled.[8][9]
Leila Ahmed argues for a more liberal approach to hijab. Among her arguments is that while some Qur'anic verses enjoin women in general to Qur'an 33:58–59. “draw their Jilbabs (overgarment or cloak) around them to be recognized as believers and so that no harm will come to them.” and Qur'an 24:31. “guard their private parts... and drape down khimar over their breasts [when in the presence of unrelated men]”, they urge modesty.
However according to the vast majority of Muslims Sunni and Shia, al-Mawrid al-Qawrid Arabic dictionary, Hans-Wehr Dictionary of Arabic into English, and the exhaustive ancient Arabic dictionary "Lisan al-arab", (literally the tongue of the Arabs) the word 'Khimar' means and was used to refer to a piece of cloth that covers the head, or headscarf today called 'hijab'.
Other verses do mention separation of men and women but they refer specifically to the wives of the prophet:
Abide still in your homes and make not a dazzling display like that of the former times of ignorance:(Qur'an 33:32–33)
And when ye ask of them [the wives of the Prophet] anything, ask it of them from behind a curtain.(Qur'an 33:53)
According to Leila Ahmed, nowhere in the whole of the Qur'an is the term hijab applied to any woman other than the wives of Muhammad..[8][10]
According to at least two authors, (Reza Aslam and Leila Ahmed) the stipulations of the hijab were originally meant only for Muhammad's wives, and were intended to maintain their inviolability. This was because Muhammad conducted all religious and civic affairs in the mosque adjacent to his home:
People were constantly coming in and out of this compound at all hours of the day. When delegations from other tribes come to speak with Prophet Muhammad, they would set up their tents for days at a time inside the open courtyard, just a few feet away from the apartments in which Prophet Muhammad's wives slept. And new emigrants who arrived in Yatrib would often stay within the mosque's walls until they could find suitable homes.[8]
According to Ahmed:
By instituting seclusion Prophet Muhammad was creating a distance between his wives and this thronging community on their doorstep.[11]
They argue that the term darabat al-hijab ("taking the veil"), was used synonymously and interchangeably with "becoming Prophet Muhammad's wife", and that during Muhammad's life, no other Muslim woman wore the hijab. Aslam suggests that Muslim women started to wear the hijab to emulate Muhammad's wives, who are revered as "Mothers of the Believers" in Islam,[8] and states "there was no tradition of veiling until around 627 C.E." in the Muslim community.[8][11]
The four major Sunni schools of thought (Hanafi, Shafi'i, Maliki and Hanbali) hold that entire body of the woman, except her face and hands- though many[who?] say face, hands, and feet-, is part of her awrah, that is the parts of her body that must be covered during prayer and in public settings.[13][14]
Some Muslims[who?] recommend that women wear clothing that is not form fitting to the body: either modest forms of western clothing (long shirts and skirts), or the more traditional jilbāb, a high-necked, loose robe that covers the arms and legs. A khimār or shaylah, a scarf or cowl that covers all but the face, is also worn in many different styles. Some Salafi scholars encourage covering the face, while some follow the opinion that it is only not obligatory to cover the face and the hands but mustahab (Highly recommended). Other scholars oppose face covering, particularly in the west where the woman may draw more attention as a result. These garments are very different in cut than most of the traditional forms of ħijāb, and they are worn worldwide by Muslims.
Detailed scholarly attention has been focused on prescribing female dress. Most scholars agree that the basic requirements are that when in the presence of someone of the opposite sex (other than a close family member - see mahram), a woman should cover her body, and walk and dress in a way which does not draw sexual attention to her. Some scholars go so far as to specify exactly which areas of the body must be covered. In some cases, this is everything save the eyes but most require everything save the face and hands to be covered. In nearly all Muslim cultures, young girls are not required to wear a ħijāb. There is not a single agreed age when a woman should begin wearing a ħijāb; however, in many Muslim countries, puberty is the dividing line.
In private, and in the presence of mahrams, the rules on dress are relaxed. However, in the presence of husband, most scholars stress the importance of mutual freedom and pleasure of the husband and wife.[15]
The burqa (also spelled burka) is the garment that covers women most completely: either only the eyes are visible, or nothing at all. Originating in what is now Pakistan, it is more commonly associated with the Afghan chadri. Typically, a burqa is composed of many yards of light material pleated around a cap that fits over the top of the head, or a scarf over the face (save the eyes). This type of veil is cultural as well as religious.
It has become tradition that Muslims in general, and Salafis in particular, believe the Qur'ān demands women wear the garments known today as jilbāb and khumūr (the khumūr must be worn underneath the jilbāb). However, Qur'ān translators and commentators translate the Arabic into English words with a general meaning, such as veils, head-coverings and shawls.[16] Ghamidi argues that verses [Qur'an 24:30] teach etiquette for male and female interactions, where khumūr is mentioned in reference to the clothing of Arab women in the 7th century, but there is no command to actually wear them in any specific way. Hence he considers head-covering a preferable practice but not a directive of the sharia (law).[17]
[edit] Men's dress
Although certain general standards are widely accepted, there has been little interest in narrowly prescribing what constitutes modest dress for Muslim men. Most mainstream scholars say that men should cover themselves from the navel to the knees; a minority say that the hadith that are held to require this are weak and possibly inauthentic. They argue that there are hadith indicating that the Islamic prophet Muħammad wore clothing that uncovered his thigh when riding camels, and hold that if Muħammad believed that this was permissible, then it is surely permissible for other Muslim males.[citation needed]
As a practical matter, however, the opinion that Muslim men must cover themselves between the navel and the knees is predominant, and most Muslims believe that a man who fails to observe this requirement during salah must perform the prayer again,[citation needed] properly covered, in order for it to be valid. Three of the four Sunni Madh'hab, or schools of law, require that the knees be covered; the Maliki school recommends but does not require knee covering.
According to some hadith, Muslim men are asked not to wear gold jewellery, silk clothing, or other adornments that are considered feminine. Some scholars say that these prohibitions should be generalized to prohibit the lavish display of wealth on one's person.[18]
In more secular Muslim nations, such as Turkey or Tunisia, many women are choosing, or being coerced, to wear the Hijab, Burqa, Niqab, etc. because of the widespread growth of the Islamic revival in those areas.[citation needed] Similarly, increasing numbers of men are abandoning the Western dress of jeans and t-shirts, that dominated places like Egypt 20 to 30 years ago, in favour of more traditional Islamic clothing such as the Galabiyya.
In Iran many women, especially younger ones, have taken to wearing transparent, colorful and very loosly worn Hijabs instead of Chadors or mantoos to protest but keep within the law of the state.
The colors of this clothing varies. It is mostly black, but in many African countries women wear clothes of many different colours depending on their tribe, area, or family. In Turkey, where the hijab is banned in private and state universities and schools, 11% of women wear it, though 60% wear traditional non-Islamic headscarves, figures of which are often confused with hijab.[19] [20][21]
In many of the western nations, there has been a general rise of hijab-wearing women. They are especially common in Muslim Student Associations at college campuses.
Some Muslims have criticized strict dress codes that they believe go beyond the demands of hijab, using Qur'an 66:1 to apply to dress codes as well; the verse suggests that it is wrong to refrain from what is permitted by God.[cit
John Esposito, professor of Islamic Studies at Georgetown University, writes that the customs of veiling and seclusion of women in early Islam were assimilated from the conquered Persian and Byzantine societies and then later on they were viewed as appropriate expressions of Quranic norms and values. The Qur'an does not stipulate veiling or seclusion; on the contrary, it tends to emphasize the participation of religious responsibility of both men and women in society.[22] He claims that "in the midst of rapid social and economic change when traditional security and support systems are increasingly eroded and replaced by the state, (...) hijab maintains that the state has failed to provide equal rights for men and women because the debate has been conducted within the Islamic framework, which provides women with equivalent rather than equal rights within the family."[23]
Bloom and Blair also write that the Qur'an doesn't require women to wear veils; rather, it was a social habit picked up with the expansion of Islam. In fact, since it was impractical for working women to wear veils, "A veiled woman silently announced that her husband was rich enough to keep her idle."[24]
[edit] Modern practice
Some governments encourage and even oblige women to wear the hijab, whilst others have banned it in at least some public settings.
Some Muslims believe hijab covering for women should be compulsory as part of sharia, i.e. Muslim law. Wearing of the hijab was enforced by the Taliban regime in Afghanistan, and is enforced in the Kingdom of Saudi Arabia and in the Islamic Republic of Iran. The Islamic Emirate required women to cover not only their head but their face as well, because "the face of a woman is a source of corruption" for men not related to them.[25] While some women wholeheartedly embrace the rules, others protest by observing the rules in slipshod or inconsistent fashion, or flouting them whenever possible. Sudan's criminal code allows the flogging or fining of anyone who “violates public morality or wears indecent clothing”, albeit without defining "indecent clothing",
Turkey, Tunisia, and Tajikistan are Muslim-majority countries where the law prohibits the wearing of hijab in government buildings, schools, and universities. In Tunisia, women were banned from wearing hijab in state offices in 1981 and in the 1980s and 1990s more restrictions were put in place.[26] The Turkish government recently attempted to lift a ban on Muslim headscarves at universities, but were overturned by the country's Constitutional Court.[27]
On March 15, 2004, France passed a law banning "symbols or clothes through which students conspicuously display their religious affiliation" in public primary schools, middle schools, and secondary schools. In the Belgian city of Maaseik, Niqāb has been banned.[28] (2006)
On July 13, 2010, France's lower house of parliament overwhelmingly approved a bill that would ban wearing the Islamic full veil in public. There were 335 votes for the bill and only one against in the 557-seat National Assembly.
[edit] Non-governmental
Non-governmental enforcement of hijab is found in many parts of the Muslim world.
Successful informal coercion of women by sectors of society to wear hijab has been reported in Gaza where Mujama' al-Islami, the predecessor of HAMAS, reportedly used "a mixture of consent and coercion" to "`restore` hijab" on urban educated women in Gaza in the late 1970s and 1980s.[29]
Similar behavior was displayed by Hamas itself during the first intifada in Palestine. Though a relatively small movement at this time, Hamas exploited the political vacuum left by perceived failures in strategy by the Palestinian factions to call for a 'return' to Islam as a path to success, a campaign that focused on the role of women.[30] Hamas campaigned for the wearing of the hijab alongside other measures, including insisting women stay at home, segregation from men and the promoting of polygamy. In the course of this campaign women who chose not to wear the hijab were verbally and physically harassed, with the result that the hijab was being worn 'just to avoid problems on the streets'.[31]
In France, according to journalist Jane Kramer, veiling among school girls became increasingly common following the 9/11 Attack of 2001, due to coercion by "fathers and uncles and brothers and even their male classmates" of the school girls. "Girls who did not conform were excoriated, or chased, or beaten by fanatical young men meting out Islamic justice."[32] According to the American magazine The Weekly Standard, a survey conducted in France in May 2003 reportedly "found that 77% of girls wearing the hijab said they did so because of physical threats from Islamist groups."[33]
In India a 2001 "acid attack on four young Muslim women in Srinagar ... by an unknown militant outfit, [was followed by] swift compliance by women of all ages on the issue of wearing the chadar (head-dress) in public."[34][35][36]
In Basra Iraq, "more than 100 women who didn't adhere to strict Islamic dress code" were killed between the summer of 2007 and spring of 2008 by Islamist militias (primarily the Mahdi Army) who controlled the police there, according to the CBS news program 60 Minutes.[37]
Islamists in other countries have been accused of attacking or threatening to attack the faces of women in an effort to intimidate them from wearing of makeup or allegedly immodest dress.[38][39][40]
[edit] Hijab by country
The veil has become the subject of lively contemporary debate, in Muslim countries as well as within Western countries with Muslim populations. For example, in 2006 British government minister Jack Straw suggested that communication with some of the Muslim members of his constituency would be made significantly easier if they ceased covering their faces.[41] In broader terms, the sweep of the debate is captured by Bodman and Tohidi, stating that 'the meaning of the hijab ranges from a form of empowerment for the woman choosing to wear it to a means of seclusion and containment imposed by others'.[42] The subject has also become highly politicized. There is a diverse range of views on the wearing of the hijab in general. Sadiki interviews a woman who views it as 'submission to God's commandments'.[43] Rubenberg illustrates how even secular women in Muslim countries can be made to wear the veil due to a social or political context.[44] Some criticise the hijab in its own right as a regressive device, such as Polly Toynbee stating that it 'turns women into things'.[45] Faisal al Yafai meanwhile argues that the veil should be debated, but that more pressing issues like political and legal rights of women should be a greater priority.[46]
Writers such as Leila Ahmed and Karen Armstrong have highlighted how the veil became a symbol of resistance to colonialism, particularly in Egypt in the latter part of the 19th Century, and again today in the post-colonial period. In The Battle for God, Armstrong writes:
“The veiled woman has, over the years, become a symbol of Islamic self-assertion and a rejection of Western cultural hegemony.”[47]
While in Women and Gender, Ahmed states:
“...it was the discourses of the West, and specifically the discourse of colonial domination, that in the first place determined the meaning of the veil in geopolitical discourses and thereby set the terms for its emergence as a symbol of resistance.”[48]
The issue of the veil has thus been “hijacked” to a degree by cultural essentialists on both sides of the divide.[citation needed] Arguments against veiling have been co-opted, along with wider “feminist” discourse, to create a colonial “feminism” that uses questions of Muslim women’s dress amongst others to justify “patriarchal colonialism in the service of particular political ends.”[citation needed] Thus, efforts to improve the situation of women in Muslim (and other non-Western) societies are judged purely on what they wear.[citation needed] Meanwhile, for Islamists, rejection of “Western” modes of dress is not enough: resistance and independence can only be demonstrated by the “wholesale affirmation of indigenous culture”[49]—a prime example being the wearing of the veil.
Tracing the Victorian law of coverture, Legal Scholar L. Ali Khan provides a critique of the British male elite that wishes to impose its own "comfort views" to unveil Muslim women from Asia, Africa, and Middle East.[50]
In her discussion of findings from interviews of university-educated Moroccan Muslim women who choose to wear the Hijab, Hessini argues that wearing the Hijab is used as a method of separation of women from men when women work and therefore step into what is perceived to be the men’s public space, so in this case, when women have the right and are able to work, a method has been found to maintain the traditional societal arrangements.[51]
Academic Rema Hammai quotes a Palestinian woman reflective of an "activist" resistance to "hijabization" in Gaza saying that "in my community it's natural to wear" hijab. "The problem is when little boys, including my son, feel they have the right to tell me to wear it."[52] Similarly Iranian-American novelist Azar Nafisi, author of Reading Lolita in Tehran, Marjane Satrapi, author of the graphic novel Persepolis, and Parvin Darabi, who wrote Rage Against the Veil are some of the famous opponents of compulsory hijab, which was protested when first imposed.[53]
Cheryl Benard, writing an opinion piece in Rand Corporation, criticized those who used fear to enforce the hijab and stated that "in Pakistan, Kashmir, and Afghanistan, hundreds of women have been blinded or maimed when acid was thrown on their unveiled faces by male fanatics who considered them improperly dressed."[54]
Lubna al-Hussein, a journalist in Khartoum, was arrested by the Public Order Police for wearing trousers. She is protesting the punishment for breaking hijab: forty lashes and an indeterminate fine.
What you can't tell about the REAL me from this photo:
That it was a Sunday in San Francisco, and I look so happy because a man I was in love with had spent the previous night with me, and I believed he was falling in love with me too. I was wrong. That this beautiful picture was taken by my 11-year-old son who had just come over from his dad's to stay with me at noon. That I get chronic migraine headaches, and was probably worried about getting one. That I'm not facing the camera because I have very sensitive eyes and they are closed for most photos. That I had a nose job when I was 19 and my nose is very odd and asymmetrical and I am self-conscious about it. That I still use this as my main professional publicity photo for my business, Aunt Violet Productions. That I am naked under the red kimono.
(are you a REAL model too? submit your photo here)
The first day
of the new year
I am online
me and my child
we both are doing fine
life has lost its shine
but I have no reasons to whine
for my mothers home
in distant Delhi I pine
begging at Bandra Bazar Road
hope and homelessness
a drawn battle line
the streets my singular solace
my spiritual shrine
where lives my maker
his act of compassion
divine
being poor
a Muslim woman
uneducated
despair and despondency
combine
searching
for myself in a crowd
a home that is not mine
breathlessness
beyond the finishing line
dance contemporary's costume drawings book for ［4 saisons］2008 by Yutaka TAKEI-Cie Forest Beats
(you can also find the photos of costumes dance contemporary, 2008 ［4 saisons］ )
design interpret the theme 4 seasons, by using different colors tons & fabrics to distinct the 4 seasons,
spring:pale, fragile, birth
summer:avtive, sharp, vivid
fall:nostalqic,passion,abounded,
winter:ash,death& the birth
design : Lina WU-atelier_selfrespect
2007 Paris
142,828 items / 1,104,852 views
a benign smile
a torturous path
a muslim beggar
woman on a normal day
because i gave money
to her daughter
she was quite amazed
than i took their pictures
a memory now it stays
she may one day
again pass my way
but i am sure i will
see her tomorrow
on idd namaz day
when head bowed
to Allah you will pray
she will wait eagerly
to wish you idd mubarak
khushali come your way
this too is the path
of salvation sufferings
on the way hardships
hand written by her fate
on her motherly face
this is part and parcel
of Islamic society
a pain that never
goes away
next idd the idd after
the next idd
time and again
motherhood
womanhood
on the streets
disgraced
96,436 items / 588,298 views
her destiny
her fate
she cannot escape
her accursed life
as a beggar
on a wretched
male dominated landscape
her life the mullah
or the community leaders
have no time to reshape
for the sake of her children
she has to beg and scrape
as cold sweat
flows down her nape
her pain hidden
in the soul of her hijab
this poet undrapes
as she looks
into the eyes
of life's camera
agape
135,539 items / 1,035,936 views
the silhouette of the hijab
follows me mesmerizing
my camera lens
my pictures
unscripted sorrow
adding to my poems
suspense
the poor muslim woman
battered by fate
as i saw her then
in a world where
women are from mars
men are only men
eden could
not have been
a garden
a mouse
clicks its way
like a pen
one finger driven
kicking ass
of the keyboard
like a steam engine
words emanating
from the soul
of the mind
now and then
my brain
a dead poets den
this poem dedicated to benn and glenn
photography of fashion clothing for women's ready-to-wear/young creator, spring summer 2005
3rd collection created by our atelier at Montmartre, Paris 18e arr.
inspired by "Oyaji"-this japanese word can mean a man roams in the street with the typical big HARAMAKI belt, "Oyaji" misses elegance but caracter sympathy, just like a popular man.
With this theme i wanted to recreate sunny souvenirs my grandpa left me, and i tried to combinate the details and the silhouettes in a lovely way: big HARAMAKI (high waisted) pants, SUTETEKO (loose silhouette) jeans, low waist belt Trench coat, "cargo" jacket etc...
in fact this is my last collaboration with Mr.OTSUKA, after this collection i took a very long vacation^^; out of creating a entire collection but some pieces.
pattern make : Yusuke OTSUKA
design : Lina WU-atelier selfrespect
web:http://www.selfrespect.fr/
photography of fashion clothing for women's ready-to-wear/young creator, spring summer 2005
3rd collection created by our atelier at Montmartre, Paris 18e arr.
inspired by "Oyaji"-this japanese word can mean a man roams in the street with the typical big HARAMAKI belt, "Oyaji" misses elegance but caracter sympathy, just like a popular man.
With this theme i wanted to recreate sunny souvenirs my grandpa left me, and i tried to combinate the details and the silhouettes in a lovely way: big HARAMAKI (high waisted) pants, SUTETEKO (loose silhouette) jeans, low waist belt Trench coat, "cargo" jacket etc...
in fact this is my last collaboration with Mr.OTSUKA, after this collection i took a very long vacation^^; out of creating a entire collection but some pieces.
pattern make : Yusuke OTSUKA
design : Lina WU-atelier selfrespect
web:http://www.selfrespect.fr/
photography of fashion clothing for women's ready-to-wear/young creator, spring summer 2005
3rd collection created by our atelier at Montmartre, Paris 18e arr.
inspired by "Oyaji"-this japanese word can mean a man roams in the street with the typical big HARAMAKI belt, "Oyaji" misses elegance but caracter sympathy, just like a popular man.
With this theme i wanted to recreate sunny souvenirs my grandpa left me, and i tried to combinate the details and the silhouettes in a lovely way: big HARAMAKI (high waisted) pants, SUTETEKO (loose silhouette) jeans, low waist belt Trench coat, "cargo" jacket etc...
in fact this is my last collaboration with Mr.OTSUKA, after this collection i took a very long vacation^^; out of creating a entire collection but some pieces.
Thanks♥for...
photography : Stéphanie BELVEDERE
graphics : Loïc LAUTARD
hair, make-up : Takako NOBORIO
models : Margherita CROCCO, Isabelle RICQ, Nicolas MARAILHAC, Loïc LAUTARD
pattern make : Yusuke OTSUKA
design : Lina WU-atelier selfrespect
support by : Nicolas MARAILHAC-Atelier AE
web:http://www.selfrespect.fr/
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008-2006 Paris
fashion photography for Beauty (Hair, Make-up) and clothing / young creator
...collaborated with Kenzo of agence21, who was the head manager-trainer of hair salons groupe jean marc maniatis.
conception : agence21
artistic director : Kenzo.M
photography : Philippe.L
model : Kirstin, Sandrin, Cecile
Hair : agence21
Make-up : Megumi,
stylist : Lina WU-atelier selfrespect
graphics : Kenzo.M
2008-2006 Paris
135,269 items / 1,020,505 views
mark of death
on her forehead
a mark distinct
survival
on the streets
base instinct
poor muslim woman
almost extinct
Each of these were used to scientificly test the effects of Double digit G-forces on an object while my dirty cheatin' hobag of an exgirlfriend was on the line telling me how much of an asshole I was.
I got rid of her and have since had the same cellphone for three years now.
What I learned was the motorola C120 series, of which there are three is by far the most robust cellular telephone on the market.
The black one passed the" through a window and down four stories to a parking lot" test and continued to work until the second phase of testing was called for. It failed miserably however, with the "chuck it as hard as possible into a working ariconditioning unit" test.. The airconditioning unit as well failed the "cellphone through the condensor" test misreably.
I really liked the audiovox phone on the left. Great features, supurb audio, and rather stylish. This one failed the "bounce it off the concrete floor at 120 MPH" test though.
Many people struggle to love their self. This could be related to their body image or to their personality. Why do more people not love their self?
photography of fashion clothing for women's ready-to-wear/young creator, spring summer 2005
3rd collection created by our atelier at Montmartre, Paris 18e arr.
inspired by "Oyaji"-this japanese word can mean a man roams in the street with the typical big HARAMAKI belt, "Oyaji" misses elegance but caracter sympathy, just like a popular man.
With this theme i wanted to recreate sunny souvenirs my grandpa left me, and i tried to combinate the details and the silhouettes in a lovely way: big HARAMAKI (high waisted) pants, SUTETEKO (loose silhouette) jeans, low waist belt Trench coat, "cargo" jacket etc...
in fact this is my last collaboration with Mr.OTSUKA, after this collection i took a very long vacation^^; out of creating a entire collection but some pieces.
pattern make : Yusuke OTSUKA
design : Lina WU-atelier selfrespect
web:http://www.selfrespect.fr/
fashion drawings book of fashion clothing for women's ready-to-wear/young creator, spring-summer 2003
collection interpret the theme Flower by 3 sub-theme ; pure, nostalgie, sexy
pure : like petal of rose wet with first dew in the morning... pale and dalicate
nogtalgie : like worm souvenirs of our mother or grandma, by using materials/colors/motifs nostalgic
sexy : like butterfly attract by flower, black lace dresses, etc...
design : Lina WU-atelier selfrespect
2003 Paris
web:http://www.selfrespect.fr/
A floral Tight pants pants, inspired by 70's atmosphere, Feminin and casual.
Silhouette encompassing and fix to the hips like a draping-cut pants, straight and not too tight to the ankle.
Flower Print material is no-stretched so if you wish something more easy to wear on a daily basis , the Check Stretched material is more recommended.
But you can have more feminin and High fashion effect with the Flower Print material.
"New Collection of atelier selfrespect,
This is our Shopping site for young casual wear inspired by seventies music and colors.
Creative & Stylish clothing."
to see more:
or
dance contemporary's costume drawings book for ［4 saisons］2008 by Yutaka TAKEI-Cie Forest Beats
(you can also find the photos of costumes dance contemporary, 2008 ［4 saisons］ )
design interpret the theme 4 seasons, by using different colors tons & fabrics to distinct the 4 seasons,
spring:pale, fragile, birth
summer:avtive, sharp, vivid
fall:nostalqic,passion,abounded,
winter:ash,death& the birth
design : Lina WU-atelier_selfrespect
2007 Paris