SCHISM

Dame Copacetic

2 SCHISM JUNE 2011

SCHISMCONTENTS

The Usual MASTHEAD

EDITOR’S LETTER

IN THIS ISSUE

Arts & EntertainmentMUSEUM EXHIBITIONS

COMING TO THEARTERS

Mind & BodyA FIT NATION

JUNE’S BOOK LIST

Cultural CommentaryA WOMAN OF THE REVOLUTION

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Alyssa Merski outlines common health and diet practices in China.

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The rise of the Arab Spring lib-erated nations, but also uncov-ered dark stories of injustice, especially towards women. Saba Chinan reports how one woman, Eman al-Obeidy, bravely broke her silence and shared her painful story with the world.

WHAT WE WEARSufie models modern

Iranian dressPage 34

ON THE COVERJasmine models an original creation by Sam Richardson. Pearl necklace is model’s own. Turban and bracelet is courtesy of Holton-Arms’ Costume

Department.Picture Frame and Background Courtesy

of © Maria Gabriela Recla

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JUNE 2011 SCHISM 3

ARAB FEMINISM

Fashion & FeaturesHIGHLIGHTING DESIGNERS OF

THE MIDDLE EAST AND ASIA

EXPOSING THE EASTERN LENSE: AN INTERVIEW WITH ALEX AUBRY

A LANGUID AFFAIR

WHAT WE WEAR34

From day to evening wear, a view of constant elegance and style.

Five girls of Asian and Middle Eastern origin share their country’s ethnic dress.

Isn’t the veil a tool of male domination? Does Arab femi-

nism even exist? Julia Pieperal and Jennifer Georgia discuss

the remarkable history behind women’s involvement in the

Middle East and how they are still a strong force in shaping

their region.

25

Alexander McQueen (British, 1969–2010)VOSS, spring/summer 2001

Photography by Sølve SundsbøMuseum Exhibitions page 6

22

A FIT NATIONAlyssa Merski sits in

serenityPage 9

A WOMAN OF THE REVOLUTIONEman al-Obeidy passionately telling

her story to international reporters in a Tripoli hotel

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SCHISMSAM RICHARDSON

Editor In Chief

LEE ZAMPELLA

Co-Supervisor

ANNA SMINK

Faculty Advisor

MAGGIE KOZICHAROW

Co-Supervisor

CONTRIBUTORS

ArticlesSaba Chinian, Jennifer Georgia,

Natiaha Hinnerichs, Caitlin Montgomery, Alyssa Merski, Julia Pieperal

ModelsNikky Grover, Sufie Ghatri,Shazray Khan, Priya Krishnan, Jenni JungSelina Dudley, Jasmine Gatten, Natiaha Hinnericks, Caitlin Murphy, Kelsey Spencer, Kim Whitley

SPECIAL THANKS

The Holton-Arms Book Club

Elizabeth Andrews

David Scherbel

The Holton-Arms School

JUNE 2011 SCHISM 5

editor’s letter

What Is This All About? I have a strong infatuation with 1920s and 1930s culture, especially Art Deco. The women, style, and slang all served as inspiration for this issue, primar-ily seen in the fashion feature “A Languid Affair” (page 25) and the title “Dame Copacetic”, meaning wonderful woman. In the early twentieth century not only American women but also Middle Eastern women took a strong stance against discrimination and fought for equality. Julia Pieperal and Jennifer Georgia’s piece “The Power Beneath the Veil” (page 19) debunks feminist myths about a woman’s freedom in Middle Eastern society and reveals the real meaning of a woman’s hijab or burqua.

High style and women’s empowerment are among the notable charac-teristics of the 20s and 30s, but what I particular love about the era is the cos-mopolitan view Art Deco embraced. Art Deco consists of the ideas of futurism, glamour, and modernity, and revived the West’s fascination with the East. Erté‘s illustrations, Agatha Christie’s novels, and Paul Pioret’s clothing all displayed aspects of Eastern culture. Yet although Eastern influence on the West still holds true today, it still does not receive the same amount of recognition as it should (see the interview with Alex Aubry of The Polyglot page 22). The fashion scene of the Middle East and Asia is overlooked and underappreciated. I hope our spotlight feature of highlighting prominent Middle Eastern and Asian designers (page 12), will pique awareness of the talent in those regions, which is as innovative and groundbreaking as the Western counterparts.

“Woman Wonderful” is not just a title but a piece of my personal quest to infuse more realistic images and virtues into the fantasy that fashion magazines and the fashion industry promote. Fashion supposedly mirrors the world, but it fails to reflect the whole picture. It’s more than tall, skinny blondes and Western ideals dominating the definition of beauty and fashion; it should include a repre-sentative, unvarying spectrum of body types and ethnicities and showcase more designers not only from the Middle East and Asia but also from Africa, Latin America, and even Australia. On the contrary, some might believe my quest rests on false hopes and dreams, but in the words of Lady Gaga, I will tell this lie over and over again until it becomes true.

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arts & entertainment

Museum Exhibits: Art of the East

This year, museums across the nation are

featuring art of the East in mediums ranging

from bronze, photography, and to

fashion. Also noted are international exhibits highlighting artworks

and persons of Eastern origin.

Los Angeles Country Museum of Art (LACMA) In “India’s Fabled city: The Art of Lucknow,” LAC-MA explored the rich and colorful history of the Indo-Islamic

kingdom of Lucknow. Although the exhibit concluded, visit http://www.lacma.org/art/Lucknow.aspx, for an overview

of the exhibit. On the site, LACMA also provides photos of the exhibit and more historical information and artwork of

Lucknow.

Mir Kalan Khan, Lovers in a Landsape (Detail), India, Uttar Pradesh, Lucknow, c. 1760-70 , Opaque watercolor on

paper, Page 16 x 11 inches; image 8 1/4 x 6 inches, The David Collection, Copenhagen, 50/1981.

The J. Paul Getty Museum

Currently showing at the Getty Center until August 14th is the, “Gods of Ankor: Bronzes from the Na-tional Museum of Cambodia.” The exhibit high-lights the bronze master artworks the Khamer people achieved during the Ankor period. For more informa-tion, please visit, http://www.getty.edu/art/exhibi-tions/gods_angkor/.

Featured at the Getty Villa is. “In Search of Biblical Lands: From Jerusalem to Jordan in Nineteenth Century Photography.” On the exhibit’s website, http://www.getty.edu/art/exhibitions/biblical_lands/, you can preview the photographs travelers from the 1840s and early 1900s took of Palestine, western Syria, and the Holy Land.

Ganesha, Cambodian, Angkor period, 1200s, bronze. National Museum of Cambodia, Phnom Penh

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arts & entertainmentMusee du Quai Branly

The exhibit, “L’Orient des Femmes,” with Christian Lacroix as its creative direc-tor, displayed the intricate and ornate traditional national dresses of women in the countries of North Africa and the Middle East. May 15th was the last day of the exhibit, but you can visit, http://www.quaibranly.fr/en/programmation/exhibitions/currently/women-in-orient.html, for more information. Also, you can visit, http://myfashionconnect.blogspot.com/2011/02/in-paris-musee-du-quai-branly.html, for a complete overview and pictures of the exhibit.

The Metropolitan Museum of Art (MET)

From May 4th- August 7th 2011, the Costume Insti-tute at the MET is displaying the incredible designs of Alexander McQueen through the exhibit, “Alex-ander McQueen: Savage Beauty.” Organized in five Romantic themes, the MET showcases pieces derived from archives at Givenchy and private col-lections. Visit, http://blog.metmuseum.org/alexan-dermcqueen/about/, for more information about the exhibition.

Alexander McQueen (British, 1969–2010)VOSS, spring/summer 2001

Photography by Sølve Sundsbø

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arts & entertainmentCOMING TO THEATERS

Summer Movies Worth Seeing

According to IMDB Release Date

Based on the book by Lisa See, a story set in 19th century China

and centered on the lifelong friendship between two girls who develop their own secret code as a way to contend with

the rigid cultural norms imposed on women.

A chilling vision of the House of Saddam Hussein comes to life

through the eyes of the man who was forced to become the double

of Hussein’s sadistic son.

A wealthy Iranian family struggles to contain a teenager’s growing sexual rebellion and her brother’s dangerous obsession.

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July 15, 2011

July 29, 2011

August 19, 2011

health & fitness

AMERICANS ARE KNOWN TO BE SOME OF THE unhealthiest people in the world due to unhealthy food, large portions and lack of exercise. Because of this unhealthy lifestyle, many Americans suffer from

obesity, diabetes and heart disease.

In the east, however, Chinese people generally exhibit a healthier lifestyle, ranging from diet to exercise and are pay-ing more and more attention to health. Although we mostly see high-calorie “Westernized” Chinese food, traditional and authentic Chinese food can be very healthy.

A typical Asian diet includes many green vegetables and legumes, a popular one being the azduki bean used for red bean paste, which contain a lot of fiber for digestive health. Nuts, such as peanuts and grains, which, when eaten in small amounts, are also beneficial to heart health. In addition, many Chinese people enjoy eating fresh fruit, including watermelon and bananas, both high in vita-mins and other minerals. They also enjoy lean meats, includ-ing duck, chicken and beef, which are packed with protein and iron.

The Chinese also have a saying that really summa-rizes their eating and dieting habits: “早餐要吃好, 午餐要吃饱, 晚餐要吃少”. The English pronunciation is, “zao can yao chi hao, wu can yao chi bao, wan can yao chi shao,” meaning “eat a good breakfast, a big lunch, and a small dinner.”

Chinese people also engage in physical activity to keep both in goo health and in good shape. Young children enjoy jumping rope at school, and taking daily walks in the early morning is also a very popular activity among elderly Chinese. Also, older people tai chi each morning not only to stay in touch with friends but also to stretch.

Like Washington D.C., the weather in China during the summer season can become very hot and humid, so many Chinese people prefer to exercise indoors and engage in activities such as swimming. Many Chinese people, however, also engage in physical activity by riding their bikes to work, to school or just to run errands because the roads are often too crowded to take their cars.

In short, many Chinese people partake in physical activ-ity and generally eat well, benefiting their health. Therefore, we should learn from the Chinese and try to emulate their healthy lifestyle and good eating habits following by a more intensive and frequent exercise routine and enjoying a more wholesome diet.

JUNE 2011 SCHISM 9

A Fit NationAlyssa Merski outlines common health and

diet practices in China

IN SERENITYAlyssa Merski and friend, Rachel O’Connell practice meditation

10 SCHISM JUNE 2011

summer reading10 Great Reads for JuneTHE BOOK CLUB’S

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The Girls of Riyadh by Rajaa Alsanea The Girls of Riyadh entertains with an insightful view in the lives of four Saudi girls, Sadeem, Qamarh, La-mees, and Mashel, studying at universities in Riyadh, Chicago and San Fransico, as they try mediating between tradition (their families and Saudi soci-ety) and modernity (technology and new forms of beauty), along with the presence of Western culture.

Leo Africanus by Amin MaaloufWritten through memoirs, Leo Africanus depicts the historical adventures of Leo Africanus, a 16th century traveler. The book details his meeting with Renias-sance-era popes, Ottoman rul-ers, and European royalty. The book also displays the connec-tion and effect Islam and Chris-tianity have upon communities.

Miral: A Novel by Rula JeberalBased on a true story, Miral

focuses on the three generations of women during the Palestinian-Israeli conflicts. The story beings

with philantropist Hina Hus-seini, who in 1948 establishes an

orphanage, to Nadia, an abused woman, and then her daughter,

Miral, who at seven is brought to Husseini’s orphanage and become

involved with the radical movements within her country.

Memoirs of a Geisha by Arthur Golden

The novel chronicles the life of Sayuri, a girl sold along with her sister by their father to a geisha

house, who becomes one of the most celebrated geishas in her district.

Through Sayuri, the reader explores the

unique aspects Japanese society and culture during

and after World War II.

Sadako and the Thousand Paper Cranes by Eleanor CarrThis story follows Sadako, a healthy young Japanese girl who contracts leukemia through the exposure of an atomic bomb dropped on Hiroshima. To past time in the hospital, Sadako sets a goal to make 1000 paper cranes, but she dies only at 644. Her friends and family help her make the rest which are all buried with her. Sadako’s story is used to show the effects of war and the cry for peace on earth.

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summer reading

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THE BOOK CLUB’S 10 Great Reads for JuneShabanu, Daughter of the Wind by

Suzanne Fisher StaplesThis coming of age story is about

Shabanu, a girl living in the Cholistan Desert in Pakistan bordering India.

Similar to her sister, Phulan, Shabanu ‘s parents arranged for her to be married to a man who already had three wives.

Shabanu has to choose between honoring her families wishes or running away.

Songs of Blood and Sword: A Daughter’s Memoir by Fatima BhuttoThe Bhuttos are a Pakistani political aristoc-racy marked with assassination and internal family strife. Bhutto’s memoir depicts a personal view of politics interconnected with foreign relations and a daughter’s love for her murdered father and family.

Persepolis by Marjane Satrapi

Persepolis, the name of the capital of the ancient

Persian Empire, is also the story about the author’s childhood

through adult years during and after the

Iranian revolution. Satrapi’s story is

accompanied with black-and-white illustrations

drawn by herself.

A Single Shard by Linda Sue ParkSet in 12th century Korea, a boy named Tree-ear and his master, Crane-man lived under a bridge, where they search for scraps of food to eat. Tree-ear observes and admires the pottery in his village of Ch’ul’po and accidentally breaks a piece. Even after he works of his debt, Tree-ear stays and learns the true meaning of selflessness and the will to action.

The Dressmaker of Khair Khana: Five Sisters, One Family, and the Woman Who Risked Everything to Keep Them Safe by Gayle Tzemach Lem-mon When the Taliban seized control of Kabul, Kamila Sidiqui’s life changed. After receiving the unusual honor of achiev-ing her teaching degree, Sidiqui was banned from school and had to stay at home. When her father and brother fled the city, Sidiqui found a way to care for her five sisters: dressmaking. Lemmon, a former ABC news cor-respondent presents an honest and intimate view of the lives of Afghan women.

spotlight

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Highlighting Middle Eastern and Asian Designers

For ages, established Western designers commanded the attention of the main-stream fashion industry, commonly overshadowing those in the East with equal or

greater craft and skill. But, who are these designers?By Caitlin Montogomery and Natiaha Hinnerichs

Elie Saab

E lie Saab is a Lebanese designer well-known for his high artistry in creating

elegant and figure-flattering gowns. When he was nine, his interest in dressmaking began, and

he started making dresses and patterns from his mother’s tablecloths and curtains. Already a

master at dressmaking, at age 18, Saab opened his first couture workshop in Beirut. In 1997, Saab became the first foreign designer to present his

Spring/Summer Haute Couture collection during Roma Alta Moda Week. In 1998, he launched his ready-to-wear collection during the Milan Fash-

ion Week. Since then, he has expanded his business internationally in Paris and

London, and he even opened a larger couture house and bridal salon in Beirut.

From 1999 to the present, he has designed dresses for the stars; the most famous be-

ing Halle Berry in 2002 when she won best actress for her role in Monster’s Ball. The dress she wore covered the front page of

magazines all around the world. In Spring 2003, Saab received the title of Chevalier de l’Ordre National du Cedre, which was presented to him by the President of the

Lebanese Republic as a tribute to his work and contribution as an artist.

Halle Berry at the 2002 Oscars,

where she won for her role in

Monster’s Ball

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spotlight

JUNE 2011 SCHISM 13

Anna Sui may call Detroit, Michigan home, but she’ll always be known as a denizen of New York. Sui’s an American fashion

designer whose brand retails globally in North and South America, Europe, Asia, and the Middle East. Listed in Time magazine as one of this decade’s top five fashion icons, she creates cloth-ing, fragrances, cosmetics, and accessories, all available at major stores across the nation. Sui started out as a small retailer, designing clothing for locations such as Macy’s and Bloomingdale’s. In 1991, with encouragement from her friends, Naomi Campbell and Linda Evangelista, Sui launched her first runway show. After this successful event, she opened a shop in New York City’s Soho Disctrict – a precedence for SOHO fashion.

In 1997, Pucci debuted a collection of mannequins designed by Anna Sui. Sui, from the beginning of her first boutique, fashioned dozens of paper mache “dolly heads” for deco-ration, which became a signature for Sui. More recently, in 2009, Sui created a youth line called Dolly Girl. Also, she collaborated with Target to create a line inspired by Gossip Girl’s Upper East Side style. Her Spring 2011 collection marked the 20th birthday of her business. Sui’s line displayed her extraordinary ability to build a mythology around her story for the season; she cited Days of Heaven, Terrence Malick’s 1978 movie, in association with her theme of pioneer women and referenced Laurel Canyon’s style in the late sixties L.A. Garments of the show included hand-crocheted sweaters and antique lace, an intriguing collaboration of cowboy meets hippie.

Anna Sui

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Two looks from Anna Sui’s Fall 2011 collection

spotlight

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Arzu Kaprol was born in Bursa, a city in northwestern Turkey. In 1992, she graduated from the Fashion and Clothing Department of Mimar Sinan University. She made a name for herself in the fashion world after she was honored with several prizes and continued

her successful adventure by attending significant national and international fashion events with her collections. For example, in 1995 she won first place in the Beymen Academia New Talents Competition and founded her own office in Nisantasi. She has acted not only as head of her own brand but also as the creative director of Network, the leading brand of Ay Marka Magazacilik and Que brand. Kaprol’s philosophy consists of her expressing her enthusiasm within a context, where many of her inspirations come from the mystery of the city of Bursa and the Ottoman Empire. Unfortunately, during her Fall/Winter 2011-2012 ready to wear show in the Paris Fashion Show, two of her models collided on the runway. Although this “crash” was a terrible accident, Kaprol gained a greater spectatorship from the mishap. With no complications, the Spring/Summer 2011 collection was even more successful. The line was themed around a so-phisticated yet exciting look. Each dress looked intricate, especially dresses adorned with a lamp-shade shaped apparatus dress. Her designs of this collection truly showed the fusion of Ottoman and Turkish culture.

Two looks from Arzu Kaprol’s Spring/Summer 2011 collection

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Arzu Kaprol

spotlight

JUNE 2011 SCHISM 15

Azzedine AlaïaAzzedine Alaïa, a Tunisian-born clothing and shoe designer, has been very successful since the 1980s. His parents were wheat

farmers, but his twin sister inspired his love for couture. He gained more interest in fashion when his French friend’s mother would lend him cop-ies of Vogue. He even lied about his age in order to matriculate into the local school of fine arts. After graduation, he worked as a dressmaker’s assistant, but soon after he began dressing his own clients. In 1957, Alaïa moved to Paris and worked at Christian Dior as a tailor. Finally, in the 1970s he opened his first workshop. In 1984, Alaïa was voted Best De-signer of the Year and Best collection of the Year at the Oscars de la Mode by the French Ministry of Culture in a memorable event because Grace Jones carried him in her arms on stage. His career bourgeoned when two of the most powerful fashion editors of the time, Melka Tréanton of Depeche Mode and Nicole Crassat of French Elle, supported him through their editorials. By 1988, he opened bou-tiques in New York, Beverly Hills, and Paris. He was known as “The King of Cling” because of his popular, seductive, tight-fitting clothing. In 2008, the design-er was named Chevalier de la Legion d’honneur (National Order of the Legion of Honor) by the French government.

First Lady Michelle Obama with President Obama in Azzedine Alaïa

at the NATO Summit in Baden-Baden, Germany, April 2009

Azzedine Alaïa’s black and white pny skin boot with black leather trim

and lace up fastening with silver D-ring detail

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spotlight

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Dice Kayek, the most popular fashion brand in Turkey, was established in 1992 by Ece and Ayse Ege. It is the bridge between the East and West

because its roots are planted in Parisian Couture as well as Ottoman Culture. Using an architectural approach

to femininity, Dice Kayek promotes flawless elegance and modernity. The three labels of Dice Kayek in-

clude: Gold, Black, and Pink. In September 2010, the Ege sisters became bored of fashion shows, so they

opened a clothing exhibi-tion at Istanbul Modern,

Istanbul’s first modern art museum. The

sisters wanted to create something that everyone could enjoy

more fully and intimately, instead of preparing for a transitory fashion show.

While admiring the collection, one can see a mixture of

contemporary and traditional cultural

present in the city of Istanbul. Ece Ege said,

“Turning around the corner of an old building, you bump into a restaurant that you can find in NewYork. There is constant contrast. Whenever we were

asked what Istanbul is like, we always say, ‘It is a city where you have the biggest con-trasts in the world, a city where the synthesis of East and West makes itself felt very

strongly.’”

Dice Kayek

Looks from their Fall 2010 (left) and Spring 2010 (right) collections

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spotlight

JUNE 2011 SCHISM 17

Manish Malhotra is one of Bollywood’s leading designers. He started his career as a model but worked his way through the industry by designing outfits for Bollywood movies. His first break came when he was 25 and was asked by David Dhawan to

make three outfits for a flim. After Malhotra designed one of the outfits for the legendary Sridevi, orders for his designs started pouring in. He began designing for many Bollywood films and won the FilmFare award for costume design. Although he is noted for his Bollywood designs, he has also designed for big names such as Michael Jackson and super-model Naomi Campbell. He is known for playing with colors in his lines and admires the work of fashion designers such as Georgio Armani, DKNY, Vivienne Westwood and Donatella Versace. In 1999 his first fashion show was greeted with so much anticipation that three weeks after it showed 70% of the clothes were sold out. Manish achieved high recognition for his designs in Bollywood and America for his new style and keen eyesight for color and detail.

Manish Malhotra

Bollywood icon, Sridevi, arriving to Manish Malhotra’s show during India Couture Week 2011 in the designer’s sari

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THE SITUATION OF WOMEN IN underdeveloped and undemocratic coun-tries has been under scrutiny in current news, especially with the rebellion break-outs in the Middle East and Northern Africa. While many women feel empowered by this

new outlet of expression, some have become subjected to further harassment and neglect under not only their governments but also other civilians as well. Their voices have been hidden and covered up by corrupt politicians, leaders, and militiamen who govern the me-dia, yet recent reports of cruelty towards women rebels have finally brought this issue into light.

On March 26, 2011, a woman by the name of Eman al-Obeidy burst into a Tripoli hotel, which housed the international journalists covering the recent rebel-lions against Libyan leader Muammar Gaddafi. Desper-ately trying to get the attention of the journalists, she showed the bruises and rope cuts she received after claiming to have been held captive by brigades and raped by 15 men. Her demonstration shocked both the foreign reporters and employees of the hotel. Security forces attempted quieting and muffling the woman’s screams, calling her a traitor and threatening to kill her. In addition, they broke media equipment in an attempt to suppress evidence of these devastating claims. Gov-ernment spokesman Moussa Ibrahim told investigators the woman was drunk and mentally ill and would be charged by the men she accused of raping her for mak-ing a case against them.

On April 3, she conducted an interview with CNN, and graphically described her torture by Gaddaffi’s men and eventual escape. She said her reputation and dignity had been destroyed and had before sought the help of human rights organizations to get her story out into the public. . When she said that she tried taking the rape case to court, an employee threatened to kill her. As a postgraduate law student, she was determined in pursuing justice for herself, and she has been commend-ed for being such a strong, independent woman despite the mental and physical torture she experienced. Yet, the government and even her own lawyers have been pressuring her to amend her story in order of avoiding persecution and possibly execution. Gaddaffi and his supporters have called her a prostitute, even releasing a video of “al-Obeidy” dancing seductively. It was later revealed that the video was fake, a ploy used in turning the Libyan public against her and lessening the support she had.

Despite these attempts in silencing al-Obeidy and her story, the international public has responded with urgency to the issue. Thanks to the internet and so-cial media, her story has become more widespread than any other story of persecution during the Libyan revolts. The reality of the situation of women in Middle Eastern and Northern Africa countries has become more ex-posed as more people being learning about al-Obeidy’s disturbing allegations. In DC, North African women held public protests so that the story could receive more recognition and initiate a political response.

Sexual discrimination and harassment in this re-gion has been demonstrated prior to Eman al-Obeidy’s claim. The earlier riots of Egypt further exposed the hidden truth of harassment of women, foreigners and citizens.

Continued on page 46

A Woman of the Revolution

Saba Chinian reports how one woman, Eman al-Obeidy, bravely broke her silence

and shared her painful story with the world

NOT ON DEAF EARSEman al-Obeidy being taken

to jail the moment after she entered a Tripoli hotel demanding for someone to

hear her story

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cultural commentary

18 SCHISM JUNE 2011

current news

FOR YEARS, WHEN PEOPLE outside the Arab world thought of Arab women, they pictured black-draped ciphers, only their eyes visible, downtrodden and oppressed by men. Suddenly,

with the revolutionary events of the Arab Spring, this image has changed dramati-cally. Now, the media are showing proud women, many in headscarves, some not, standing side by side with men, demand-ing freedom, opportunity and equality. In some cases, women are spearheading these revolutions. From Asmaa Mahfouz, the 26-year-old whose YouTube video brought Egyptians into the streets, to Sally Zah-ran, a 23-year-old Egyptian protester who was bludgeoned to death in Tahrir Square, to Tawakul Abdel-Salam Karman, the activist whose arrest sparked demonstrations in Yemen, to Eman el-Obeidy, the brave Libyan lawyer who fought to tell the world of her heinous treatment by Qaddafi’s troops, women have joined with men in protest, braving beat-ings, rubber bullets, and much worse.1

The images have changed, but in reality, no one should be surprised. Women in the Arab world have been active politically in trade unions and grass-roots movements, as struggling students and factory workers, for decades. In the more progressive Middle Eastern nations, such as Egypt, Tunisia and Jordan, women make up a high percentage of graduates and enter many tradi-tionally male professions.

Scholar Susan Muaddi Darraj notes wryly, “Many American women would be surprised to learn that the history of Arab feminism (a term often considered oxy-moronic) is long, layered, and impressive,” going back at least to Huda Sha’rawi in the early 20th century. Among many other achievements, Sha’rawi founded the Union of Educated Egyptian Women in 1914, followed by the Egyptian Feminist Union in 1923, and published the feminist periodical l’Egyptienne. Indeed, female protest in the Middle East is not unique to the 21st century:

Sha’rawi led the first women’s demonstrations in the Egyptian Revolution against British rule in 1919.

Her pioneering spirit continues in the work of notable women like Nawal al-Saadawi, an Egyptian doc-tor, writer and activist who has been fighting for free-dom in Egypt for 50 years.

One can even argue that Islam itself is feminist. As Jordan’s Queen Noor al Hussein puts it, “Few Westerners realize that 7th century Islam granted women political, legal and social rights then unheard of in the West, rights, in fact, that women in the U.S. and elsewhere still struggled for in the 20th century. Early Islam based these new rights, such as the equal right to education, to own and inherit property, to conduct business and not to be coerced into marriage, on the equality of men and women before God — when the rest of the world considered women chattel.

“Male and female equality is enshrined in nu-merous places in Islamic scripture, such as the Quranic verse:

The Power Beneath the VeilJulia Pieperal and Jennifer Georgia discuss the remarkable history behind women’s involvement

in the Middle East and how they are still a strong force in shaping their region.

Female Yemini activist, Tawakul Abdel-Salam Karman, at a rally calling for Yemeni President Ali Abdullah

Saleh to step down

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`I waste not the labor of any that labors among you, be you male or female—the one of you is as the other.’ And from the later teachings: `For the white to lord it over the black, the Arab over the non-Arab, the rich over the poor, the strong over the weak or men over women is out of place and wrong.’

“It would be hard to imagine any more definite declarations of equality. Many traditions in Muslim countries that are now considered coercive by the West are not mandated in the Qur’an, but are holdovers from pre-Islamic cultures, or the cultural residue of colonial-ism. The oppression of women in parts of the Muslim world is not because of Islam, but contrary to it.”2 Susan Darraj [published writer and Associate Professor of English at Hartford Community College] agrees saying:

“There is a tradi-tion in Islam of women’s equality, and the life of the Prophet Muhammad is often offered as proof of this; it is said that Muhammad washed his own clothes and darned his own socks and of-ten served meals to his youngest wife Ai’sha who later led his army into battle and was re-garded as an important and respected interpreter of Islamic laws. The Qur’an leveled the social balances for women: … It banned several misogynist practices, such as the infanticide of newborn baby girls, who were often unwanted by par-ents who preferred male children.”3

The most prominent and emotionally fraught symbol of Arab feminism or female op-pression is the veil. Ever since 1923, when Huda Sha’rawi caused a scandal in Egypt by throwing her veil into the sea, this simple piece of cloth has been a lightning rod for

heated opinions of Islam, Arabs and women.

Historical examination sheds much light on the topic. One crucial fact often lost in political discus-sions of the issue is that the veil, or hijab, is one of those traditions not mandated by the Qur’an. The practice of veiling and secluding women entered Arab world before Islam, primarily from Syria and Iran, where secluded, idle wives were a sign of men’s social status.

Originally, hijab meant “curtain” or “cover” and applied only to the cloth divide through which men must address the wives of Mohammed. Later it was interpreted to dictate the segregation of the sexes. It has come to mean “modesty, privacy and morality” and the forms of dress that indicate a moral Muslim woman.

Today, a huge range of opinions and regulations exist con-cerning wearing the veil. Much of the Mus-lim world interprets it to require a woman to cover everything but the face, hands and feet. Others feel that modesty can be upheld in rela-tion to the standards of the surrounding society. In some places, veiling involves covering all but the eyes—or even the whole face—in public, in others, women cover only their hair and neck, and in others, the veil is

a simple chiffon scarf draped over the head and tossed over the shoulders, symbolic and graceful.

Wide variations appear, too in hijab require-ments from country to country. Iran, Afghanistan and Saudi Arabia and mandate it by law while Turkey and Tunisia ban it in government buildings, schools and universities. In 2004, France prohibited “symbols or clothes through which students conspicuously display their religious affiliation,” and on April 11, 2011 a law came into force there banning the wearing of the niqab, or full-face veil, in public. At least two women were ar-rested protesting the ban.

Nineteen-year-old Indonesian designer Dian Pelgani’s fashion line for Jakarta Fashion Week 2009

CONTINUED

cultural commentary

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cultural commentary

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Individuals hold varying opinions about the veil. For some observers (primarily in the West), it represents male, patriarchal and religious oppression. For many Muslim women, it genuinely does convey their own sense of religious identity and modesty. For them, the French ban makes them feel the way a Christian would being forbid-den to wear a cross, or even like a student forced to wear a bikini as a school uniform. Among many young women of the Arab world, the hijab has become a symbol of Islamic self-assertion and a rejection of Western cultural imperialism since under co-lonial rule and forced secularization in the early 20th century soldiers were ordered to rip off women’s veils in the streets5. And some Arab feminists endorse it as empowering, arguing that rather than oppress-ing women the veil actually enables them to work and enter male-domi-nated spheres with greater security and confidence. Head covering clearly does not always symbolize sexual op-pression, nor is it unique to Arab culture. Covering (or uncovering) the head has always been an impor-

tant symbol of respect, whether it be a Jewish man wearing a yarmulke on the Sabbath or a Christian man removing his hat when entering a church. Women’s hair has always had strong symbolic value; not only in the ancient Near East but also in Greece and Rome, women covered their hair in public. And signifi-cantly, in Rabbinic times in Judaism, a woman’s leaving the house with her hair uncovered was considered grounds for divorce.

Today, Orthodox Jewish women often shave their heads and wear wigs as a religious observance, many Catholic nuns still wear veils, and Amish women wear bonnets called “kapps.” No one seems out-raged at their oppression or tries to outlaw these practices.

Clearly, there exist many different kinds of Arab and Muslim women, many kinds of feminism, and many interpretations of the

hijab, from religious expression to political statement to fashion acces-sory. Indonesian fashion designer Dian Pelangi started wearing the veil when she realized “a hijab actually makes a woman look more beautiful.”4 She features them in her stylish, contemporary creations for modern Muslim women. All of these are valid choices for a woman herself to make.

The real issues arise when others besides the women them-selves enforce interpretations: either conservative, restrictive ideas of modesty that actually pre-date Islam on one hand or Western stereotypes of Arab women as weak and subservient and Arab men as oppressive monsters, on the other.

Neither approach allows women their fundamental human right of self-determination.

No one can argue that wom-en are not discriminated against and oppressed in the Arab and Islamic world, least of all the women themselves. Serious problems ex-ist, including how to preserve and enhance women’s rights in places like Egypt and Tunisia once the dust of revolution settles. It is sobering to observe that soon after the end of the Tahrir Square protests women who came to demand full participa-tion in building the new country were met with renewed male ha-rassment. But to be surprised that they are demanding their rights, to assume that Arab women are too oppressed to know they are op-pressed and need Western feminists to enlighten them, is condescending.

There is power in the veil— as a symbol, but more importantly, in the women who wear it. It needs to be banned only as a topic of ob-sessed argument. Ultimately, there are more important issues involved in Arab feminism. To veil or not should be the woman’s choice alone, and everyone should move on to ad-dress the crucial issue: how women can take their rightful place as half of Arab society — whatever they choose to wear. Julia Peiperl is a member of the Holton-Arms class of 2013. Jennifer Georgia is an alumna of the Class of 1978 and a speechwriter who specializes in the Middle East and Women’s Rights.

CONTINUEDHIJAB STYLEDian Pelgani modeling her hijab stylePhoto by Burgal Van Jogja

Vogue has established offices in over 30 countries, but it has no presence in the Near and Middle East. Harper’s Bazaar and Elle have their own editions

within the region, by why not Vogue? In an interview with Alex Aubry, author of the blog The Polyglot, Schism explores what it would mean to have a Near and Middle Eastern version of Vogue and whether the region is receiving the

recognition it deserves.

Alex Aubry is an educator, fashion writer, and historian who is based in Chicago and whose work has been featured in Unfair Magazine, Dia Magazine, and Muraqqa. His blog The Polyglot breaks down stigmas about the Middle East and fills the void for regarding the Middle Eastern’s involvement within the fashion industry.

S: How did you get involved in fashion? What served as the catalyst for your interest in fashion? AA: I’ve always been interested in anything related to art, culture and design. All those things are a reflection of the world we live in, and fashion is no different. When I was growing up in the early 90’s, we didn’t have the convenience of the internet, so if you were really inter-ested in knowing more about the fashion world, you had to seek out that information through books, magazines and the few TV shows that were around. I used to go to the library and read every back issue of Vogue from 1960-1979. Those were key years when Diana Vreeland was at the helm of the magazine, and it’s probably one of the best educations you can have.

S: Do you consider Vreeland’s time at Vogue as the magazine’s “Golden years”?

AA: Diana Vreeland came to Vogue at a pivotal moment in history. The result was a publication with fashion stories shot in Syria, Afghanistan and Ethiopia. No one was shooting fashion in these exotic places before then. She also took a very cosmopolitan approach to reporting on the latest art happenings in Tehran, [and] to having Yasmin Aga Khan, the daughter of the Aga Khan, and Rita Hayworth photographed by Avedon for Vogue. It was that mix of high and low, the exotic and the refined, which transformed Vogue into an exciting publication.

S: How does your blog, The Polyglot, prove the Middle East is a region overflowing with a myriad of fashion potential- people, culture, native dress, and art?

AA: The site is about providing a diversity of opinions on art, fashion and design that hopefully make[s] people look at the region in a new light. Because of my work as a writer and editor, I have access to artists, directors and fashion designers, and why not use the power of the blog to change perceptions and bridge cultures.

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interview

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interview I don’t post every day, but I try to put something out there with a little more depth. I’ve also gotten a lot of feedback from individuals thanking me for writing a particular article, and I think at the end of the day that is the best compliment one can give a writer is that their work is having a positive impact.

I’ve been told so many times that people don’t like to read and have short attention spans. But I’ve always believed that if you do your homework and post objec-tively you will attract a like-minded audience. I’m not interested in creating the most popular blog on earth. I would rather stick with quality than offer quick sound bites.

S: Does the fashion industry perpetuate false perceptions of the Orient? AA: The fashion industry is about fantasy, so if it’s go-ing to explore Scandinavia or Africa it will do so in a very light hearted way. There are plenty of examples I can name of designers or publications being culturally insensitive or perpetuating stereotypes, but I don’t think it’s intentional on the part of designers or edi-tors, who are constantly taking inspiration from a myriad of cultural sources. What is help-ful is when readers speak up and point out these things. I recently got a comment on my blog after I posted Oriental inspired im-ages from a 1960’s issue of Vogue. Although the commenter loved the images, she felt some of them were still insensitive. I think when you are tackling the Middle East there is a responsibility to post objectively and show both the good and bad examples. We need dialogue more than ever right now, and this isn’t the time to be scaring de-signers away from anything related to the Middle East when it can serve as an opportunity to bridge cultures...

But I do think readers, bloggers and consumers have the power to change perceptions by speaking up. I wrote a piece for the Paris-based fashion publication Unfair

Magazine on the dearth of Middle Eastern models in the industry, and as a writer I do feel a responsibility to ask those hard questions. But in addition to seeing what’s lacking in fashion you also have to notice the positive changes. The fashion industry has always been open to a certain extent.

If you look at NY fashion week alone you will see design-ers from every conceivable background. Jason Wu, Doo Ri, and Alexander Wang represent a new generation of Asian American designers making an impact. There is always room for improvement, but we also need to

acknowledge those going against the grain.

S: Was there a time when the East had an importance in the fashion industry? Is it slowly gaining back the fashion indus-try’s attention today, or is it more erratic like a fad (one season is influenced by Morocco, another by sarees, another by Javanese headdress, etc.)?

AA: At the turn of the 20th Century, designers such as Paul Poiret were heavily influenced by the Orient, and even today designers such as Anna Sui, John Galliano and the late McQueen traveled to the region for inspira-tion. But fashion is a business, and I think it looks to where the money is, which is why there is

a focus on the Middle East, China and Russia at the moment. Trends today function very differently than a hundred years ago. Today designers reference

different cultures whenever they feel like it, so you can always find a Middle Eastern theme somewhere if you dig deep enough.

S: So, why do you believe Condé Nast should establish a Vogue Arabia? And when you mean Arabia, does that include the Middle East and North African countries (MENA)?

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Cynthia Korman in Isfahan, Iran by Henry Clarke in Vogue US

December 1969

AA: Initially when I started my blog, I wasn’t concerned with whether or not the Middle East had its own Vogue, so much as the reasoning behind not having one in the first place, especially at a time when countries such as Turkey, India and China were getting their own editions. I wanted to take those reasons and debunk them because so much of what we believe is based on perceptions, and fashion maga-zines (when done well) can serve as a powerful tool to change percep-tions. They can also serve as ambas-sadors, not only informing a local readership but an international one as well. Most of Vogue’s potential readers in the Middle East are fluent in English (and already familiar with the US, UK, French and Italian issues of Vogue). Creating an English-language magazine celebrating the Middle East offers flexibility so that a Jordanian artist in LA or a Brit-ish business woman in transit at a Dubai airport can pick up the maga-zine and be engaged in a culture.

What’s also interesting about establish-ing a Vogue in the MENA region, is that it would be a regional publication as opposed to one geared towards a single country. For me the Middle East isn’t so much a specific region as a state of mind; it also includes a Diaspora that’s scattered all over the world. All too often the Middle East is viewed as one monolithic entity when in fact it’s made up of a diversity of cultures, religions and races. It offers an amazing oppor-tunity to look at a region from both a local and global perspective. That’s why in my blog I’ve begun to use the term “Vogue Orient” to describe a publication that is much more inclusive. S: If there is a Vogue Orient, do you believe it would fall victim to modifying itself to fit a Western face while trying to keep a sense of cultural identity like

Vogue Turkey, and – at times- Vogue India? AA: Again it all boils down to percep-tions. Everyone has this fantasy in their head of what the Middle East looks like. Yet any new publication starting out will need to find a balance. One thing that should be kept in mind is that we live in the 21st century and you have a new generation of Middle Eastern designers, editors and art directors who identify with the West and the East at the same time. This provides a unique oppor-tunity to take the region’s rich legacy of art and design and move it into the next century. In fact we have some great examples of that today, many of which I feature on my site. In a sense, Vogue Orient would have a responsibility to capture the creative firmament going on in the region and its Diaspora. S: Until there is a Vogue Orient, do you believe fashion magazines need to include more Near and Middle eastern culture whether through highlighting more designers or models of the region? For example, should there be more issues or editorials dedicat-ed to Near and Middle Eastern culture, similar to Vogue Paris’ highlight of Tom Ford or Vogue Italia’s Black Issue?

AA: It’s important for fashion publications to know their audi-ence and then represent them within their pages. If you are a publication with a wide, international readership, then you do have a responsibility to feature a diversity of faces, opinions and cultures because that is the audience you’re try-ing to attract. Again there needs to be a healthy balance. I would much rather see black models, for example, featured consistently in an issue throughout the

year rather than have a specific addition dedicated to them. Personally I’ve always been inquisitive about cultures throughout the world, so I just naturally gravitate towards publi-cations that look at the world through a sophisticated 21st century lens.

S: Do you believe or hope that within the next five to ten years Vogue will establish their publication in the Middle East?

AA: A Middle East issue of Vogue may happen sooner than we think based on more recent comments made by Jonathan Newhouse [chairman of Condé Nast International]. But we will have to wait and see. I think it would be a great opportunity to create a publication that is very different from anything out there.

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Christian Dior’s New Look meets Morocco inspired Resort

2008 collection

interview

24 SCHISM JUNE 2011

A Languid Affair

From day to evening wear, a view of constant elegance and style

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What We WearFive girls of Asian and

Middle Eastern origin share their country’s ethnic dress

JENNI JUNGSOUTH KOREAN

Jenni is wearing a traditional Korean dress called a hanbok, meaning “Korean clothing.” Her long sleeved jacket is the jeogori and her skirt is the

chima.

What does your dress symbolize in your culture? “In Korean culture, the hanbok symbol-izes elegance and grace. The dress is not form fit-ting and the elegance is created by the abundance in fabric. In ancient times, the colors of the hanbok and the material used for the hanbok represented social class. For example, brighter colors represented a higher social class. Hanboks also come in many different styles, that reflect different time periods.”

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NIKKY GROVER

PUNJABI

Nikky’s outfit of choice is a lengha, which consists of an embroidered top and a

floor-length skirt with a shawl.

What is your favorite thing about this dress? “My favorite thing about the dress is the beautiful peach color of the langha. The color really compliment’s Indian’s skin col-or, so many people wear that color. Also the hand embroidery is amazing on the top and skirt. Most Indian clothes that are tailor made are hand-embroidered and take a long time to make. It really shows how Indians value good clothes and love to adorn it with beautiful

embellishments.”

JUNE 2011 SCHISM 39

SHAZRAY KHANPAKISTANI

Shazray is wearing a traditional Pakistani dress called a salwar

kameez. The salwar kameez, a long tunic with loose, almost pajama-like pants, is the national dress of Pakistan for both men and

women.

When do you wear your outfit? “The particular dress I’m wearing is for a special occasion. I’ve worn dresses like this to Pakistani gatherings, but I was given this particular dress for Eid al-Fitr, the holiday where Muslims celebrate the end of Rama-dan.”

SUFI GHATRIIRANIAN (PERSIAN)

Sufie adorns herself with Iranian jewelry and is wearing a halter dress

reflecting the typical patterns and prints of Persian culture. However, due to Iran’s strict conservative code, any type of revealing clothing, her dress

included, would be usual worn inside during a person’s house party.

What is your favorite thing about your dress? “My favorite thing about this dress is the style and the combi-nation of the patterns and colors. It is not a dress that you would see many people wearing, it’s different and that’s what I like. The specific look of it is what makes it unique and special.”

PRIYA KRISHNAN

INDIAN

Priya is also wearing a salwar kameez, the second most popular dress of choice for women in India after sari. Since the 12th century, the salwar kameez has evolved, varying in looks and purposes. For instance, one can wear a salwar kameez with or without sleeves and can wear it to different functions and occasions ranging from religious holidays to just every day wear.

How often/When if your dress worn (just for special occasions, when you feel like it, etc.)“This is a fancier salwar kameez- the bright colors and rich embroidery help show that. I usually only wear it for special functions and occasions and on holidays like Diwali, Shivaratri, and Navaratri . But I have other, less fancy salwar kameezes that I wear weekly when going to Sunday School and stuff like that.”

in this issueEditor’s Note Border Courtesy of www.istockphoto.com

Continued from page 12

HIGHLIGHTING MIDDLE EASTERN AND ASIAN DESIGNERS

Sources: http://www.eliesaab.com/site.htmlhttp://www.annasui.com/en/fash-ion/accessories.htmlhttp://www.dicekayek.com/ http://web.hurriyetdailynews.com/n.php?n=ege-sisters-istanbul-is-a-city-of-contrasts-2010-09-06 http://www.elle.com/Runway/Ready-to-Wear/Spring-2008-Ready-to-Wear/DICE-KAYEK/DICE-KAYEK#mode=base;slide=0; www.arzukaprol.net/ http://news.style.com/view/1346228/ http://fashiondesigners.instyle.com/who_is_wearing/thumbs/azzedine-alaia/results.htmlhttp://lifestyle.indianetzone.com/fashion/1/manish_malhotra.htm

Continued from page 18

A WOMAN OF THE REVOLUTION

Female rioters claimed they had been verbally or physically abused while participating in the re-volt against Mubarak. In fact, nearly 83% of all female citizen and 98% of foreign women are abused in this manner in Egypt alone1. In addition, CBS’s female reporter Lara Logan stated she was brutally assaulted while filming for 60 Minute’s after Mubarak stepped down. In this way, women are not only discouraged from participating in political and national affairs but also from taking

risky jobs, like that of a reporter. The international community must work together to eliminate sexual harassment to ensure an end to sex-ism, especially in countries such as Libya and Egypt.

Al-Obeidy’s arrival into the Tripoli hotel revealed the story of millions of women living in regions controlled by dictators in patriar-chal societies. Unfortunately in the past several decades, the situation of these woman has not changed dramatically. Yet, stories like Al-Obeidy’s have augmented world-wide recognition towards this issue and have increased the potential for political action against sexism and the harassment of women. We can expect that similar to the Tunisian inspired chain-reaction of North African revolts, Al-Obeidy’s persecu-tion and accusation will commence exposure of the discrimination against women further.

As reported by CNN, in early May, Eman al-Obeidy escaped from Libya to Tunisa through the help of a defecting military official.

Sources:1 http://www.guardian.co.uk/world/2011/mar/26/libya-woman-silenced-accusing-gaddafi-forces-rape

http://www.cnn.com/2011/WORLD/africa/03/26/libya.beaten.woman/index.html

http://www.guardian.co.uk/com-mentisfree/2011/mar/09/egypt-revolution-women

Continued from page 21

THE POWER UNDERNEATH THE VEIL

Copyright © 2011 Jennifer Georgia and Julia Peiperl. Used by permis-sion, all rights reserved

Sources:1 http://ipsnews.net/news.asp?idnews=54439

2 Her Majesty Queen Noor of Jor-dan, “Unique Lives” Speech, Denver, Colorado, May 15, 2006

3 Susan Muaddi Darraj “Under-standing the Other Sister: The Case of Arab Feminism” http://www.monthlyreview.org/0302darraj.htm

4 http://www.thejakartaglobe.com/fashion/indonesias-dian-pelangi-has-passion-for-muslim-fashion/342812

5 The Case for God by Karen Arm-strong.

A LANGUID AFFAIR

Background Courtesy of karmanian-ka.deviantart.com

Frame Courtesy of www. http://ask-loanmodexpert.com/

Unless stated, all photos Copy-right © 2011 by Sam Richardson, all rights reserved.

Unless stated, all articles Copy-right © 2011 by Saba Chinian, Natiaha Hinnericks, Caitlin Mont-gomery, Alyssa Merski, and Sam Richardson. Used with Permis-sion, all rights reserved.

46 SCHISM JUNE 2011

Copyright © 2011 by Schism Magazine, all rights reserved.

SCHISMPRESENTSPUNCHFASHION

SHOW2011

THE HISTORY OF PUNCH

In 1998, Alex Kram and Shaylah Numm were determined to promote fashion design and clothing creation as legitimate art forms. They came up with the concept of PUNCH (People United by New Create Hunches) and organized the first Holton-Arms fashion show. This year marks the thirteenth anniversary for PUNCH, and Holton Upper School students are still designing and making their own original clothing to be worn down the runway.

Since its origin, the fashion show has grown each year, becoming more and more selective, technical, and extravagant. This year’s event featured nine full lines and nine half lines. PUNCH’s creative and extremely talented designers have worked hard all year to produce this year’s PUNCH fashion show. All proceeds from the show benefit Suited for Change.

Suited for Change is a Washington DC-based private non-profit organization, which provides professional clothing and ongoing career education to low-income women who have completed job training and/or job readiness programs and are seeking employment. They receive referrals from more than 107 job-training programs and social services agencies in the Metro area. Since it began in 1992, SFC has helped more than 10,000 women from this area, aiding women’s transition into the work-force. It is one of the founding members of the Women’s Alliance, a national organization of independent community-based “sister organizations” whose mission is to assist low-income women in achieving success in the workforce. They provide several programs for the women they serve including wardrobe consultations, career seminars, and access to their professional attire collection.

PUNCH is proud to support women in the workforce by donating the proceeds from this year’s PUNCH fashion shows to Suited for Change. To find out more about this organization, visit www.suitedforchange.org.

Logo Courtesy of www.facebook.com/suitedforchange

CONTENTS

HALF LINES... pages 5-8FULL LINES... pages 8-14SURPRISE LINE... page 15

SENIOR LINE... page 16

HALF LINESalison cohenmodels: lindsay cane, alison cohen, sam coronel, polly feldman

nikky grovermodels: aimeé jones wilkerson, vivian yu, jenni jung, becca bloom

sarah laskymodels: alexandra martin, angelina dipaolo, sarah lasky, nina cohen

emily lucasmodels: emily lucas, devin lucas, sainab jaffa

kate monahanmodels: annelise corriveau, kate monahan, erin slowinski

caitlin montogomerymodels: millie yu, elizabeth rosenbaum, deepti anthony

brooke neal and dina staurulakismodels: rachel fleischer, aisha khan, aimeé jones wilkerson, kelly krawczyk

aarushi purimodels: priya krishnan, fiona moran, gabriella chen, zoe swinson

stephanie ralesmodels: kate monahan, mishta tak, christopher wilson

FULL LINESabby carrasmodels: emily heald, catherine kliendinst, mishta tak, erin slowinski, natalie berkman, bonnie siler

ella and grace clearymodels: izzy jenkins, sarah edgerton, kate mcdonough, ella cleary, grace cleary,kelly krawczyk

lise courtney d’amicomodels: alexis cutler, jane alexander, sara hou, alexa goldman, julia hinsch,aine connolly

rodina derejemodels: zoe andris, hailey cayne, anisa larochelle, anabel kelso, yassaman erfani, rachel fleischer

sarah mae ettingermodels: ashley martin, lucy dicks-mireaux, liza gurskis, natiaha hinnericks, sophia dipaolo, isabel cabezas, mary ann robison, jojo van hammerstein,annelise corriveau, sarah mae ettinger

alexandra martinmodels: alexandra martin, ashley martin, sarah lasky, angelina dipaolo, kate mcdonough, izzy jenkins

jazmyn mckoymodels: morgan mcnair, austin butler, jenni jung, ena butler, jasmine gatten,emily lucas, jazmyn mckoy

sam richardsonmodels: sydney levy, kimberly whitley, jasmine gatten, natiaha hinnerichs, arabella watt, bailey jackson

michelle ungermodels: emily meyer, alexa goldman, emani walks, neha prasad, anabel kelso,sarah edgerton, michelle unger

SURPRISE LINEsarah loewenstienmodel: lindsay covington

lia downingmodel: maya sorini

christine noumba ummodel: vania canales-canales

elise kletzmodel: alex kletz

SENIOR LINELittle Black Dress

designers/models: catherine maguire, mikki offit, lucy goldberg, kelsey roberts, kathryn skully, emily pence, jessie thompson

All Photos Copyright © 2011 by David Scherbel Photography, all rights reserved.Copyright © 2011 by Schism Magazine, all rights reserved.