Latest news with #AbdelSalam
Egypt Today
22-05-2025
- Business
- Egypt Today
Local alliance formed to support Egyptian exports' expansion into new African markets
Cairo – May 22, 2025: The Egyptian Company for Industrial Exports has revealed the creation of a new industrial alliance, consisting of six local companies, with the aim of expanding into key African markets—Kenya, Nigeria, and Ghana. As part of the alliance's expansion strategy, plans are underway to host an exhibition in Kenya to showcase Egyptian products, creating a platform for increased visibility and export opportunities. Mohamed Adel Hosni, Chairman of the company, shared that the alliance is the culmination of a year-long effort. He emphasized that the primary objective is to support Egypt in achieving its ambitious goal of reaching $145 billion in exports by 2030. Mona Wahba, Managing Director of the Egyptian Company for Industrial Exports, shared that the alliance plans to establish a 4,000 square-meter logistics warehouse in Nairobi, Kenya. This facility will serve as a hub for expanding access to neighboring markets and enhancing the competitiveness of Egyptian products. During the launch of the alliance's activities in Kenya and the inauguration of the Cairo-Africa Economic Forum, Wahba explained that the first phase of the expansion plan will focus on exporting chemical products and construction materials in the first six months. Further phases will see expansion into additional industrial sectors, based on the needs of each market. Wahba emphasized the alliance's cost-sharing model, which will provide high-quality services like warehousing and marketing, reducing risks and boosting operational efficiency. Ibrahim Abdel Salam, Chairman of the Egyptian Company for Industrial Exports, noted that this initiative is part of a larger strategic plan to boost Egyptian exports and strengthen the country's presence in Africa. The alliance includes leading companies specializing in construction materials and chemicals. Abdel Salam also highlighted the role of the Egyptian-African Company for Development Projects, which has been involved in several key projects, including the Present Goods Project. This initiative demonstrates how the African market benefits from Egyptian expertise. The company has also carried out research into the needs of the African market, particularly in Kenya, which serves as a gateway to Uganda, Tanzania, and South Sudan. Abdel Salam stressed the importance of establishing warehouses in these regions to lower logistics costs and improve Egypt's export capabilities. While the initial focus is on the founding companies, the alliance plans to support all Egyptian companies interested in exporting, expanding the base of exporters and increasing Egypt's market share in Africa. Abdel Salam further pointed out that Egypt's presence in African markets has become a strategic necessity, especially with Sudan being a critical gateway to West Africa, which offers promising investment opportunities in multiple sectors. Hosni concluded by noting that the African market needs more partnerships and alliances to drive sustainable growth and enhance the competitiveness of Egyptian products. The alliance is well-positioned to lead this ambitious vision for Egypt's future export efforts.
Fibre2Fashion
14-05-2025
- Business
- Fibre2Fashion
Egypt sees significant growth in textile-garment sector: Trade body
Egypt's textile and garment sector is witnessing significant growth, backed by global economic shifts, a favourable investment climate and a surge in foreign direct investment (FDI), according to Mohamed Abdel Salam, chairperson of the Readymade Garments and Textiles Chamber at the Federation of Egyptian Industries. Recent studies highlight key advantages: electricity costs average $0.07/kWh in the country compared to $0.12 in many other markets. Water prices range between $0.30 and $0.50 per cubic metre, while in competing countries they often exceed $1.50. Construction costs in Egypt range from $500 to $800 per square metre, nearly half of the cost elsewhere. Value-added tax stands at 14 per cent compared to up to 18 per cent in other nations, and wages remain competitive relative to regional benchmarks. Egypt's textile-garment sector is seeing significant growth, backed by global economic shifts, a favourable investment climate and a surge in FDI, Mohamed Abdel Salam, head of the Readymade Garments and Textiles Chamber at the Federation of Egyptian Industries said. Cost benefits in construction, power, water and VAT have led several global apparel players to initiate or expand operations in Egypt. 'These cost efficiencies have led numerous global players in the apparel industry to initiate or expand operations in Egypt,' Abdel Salam was quoted as saying by domestic media reports. Turkish industrial conglomerate Shahinler Group is actively coordinating with Egyptian authorities to explore new investment opportunities. It is mulling over relocating part of its manufacturing operations, specifically in cotton, spinning, weaving and readymade garment production, to Egypt. Shahinler has already invested $50 million in the country. The group's expansion in Egypt is expected to generate up to 3,000 new jobs and annual production from the new facilities is projected to reach 3 million pieces of formal wear. Fibre2Fashion News Desk (DS)
Daily News Egypt
12-05-2025
- Business
- Daily News Egypt
Egypt eyes garment export growth to attract foreign investment
Egypt's garment and textile sector is experiencing significant growth, buoyed by global economic shifts and a surge in foreign direct investment (FDI), according to Mohamed Abdel Salam, Chairperson of the Ready-Made Garments and Textiles Chamber at the Federation of Egyptian Industries. Abdel Salam noted that Egypt's favorable investment climate is attracting increased attention from international manufacturers, thanks to its strong economic fundamentals and competitive production environment. 'Egypt offers one of the most cost-efficient operational landscapes in the region,' he said. Recent studies highlight key advantages: electricity costs average $0.07/kWh in Egypt, compared to $0.12 in many other markets. Water prices range between $0.30 and $0.50 per cubic meter, while in competing countries they often exceed $1.50. Construction costs in Egypt range from $500 to $800 per square meter, nearly half of what they can be elsewhere. The country's VAT stands at 14%, compared to up to 18% in other nations, and wages remain competitive relative to regional benchmarks. 'These cost efficiencies have led numerous global players in the apparel industry to initiate or expand operations in Egypt,' Abdel Salam said, citing rising investor interest in establishing new projects across the sector. Among the most recent developments is the expansion of Turkish industrial conglomerate Shahinler Group, which is actively coordinating with Egyptian authorities to explore new investment opportunities. Shahinler Group Chairperson Kamal Shahin recently held meetings with Minister of Public Enterprises Mohamed El-Shimy and officials from the Industrial Development Authority, facilitated by the Chamber. The discussions focused on mechanisms for collaboration and plans to relocate parts of Shahinler's manufacturing operations to Egypt—specifically in cotton, spinning, weaving, and ready-made garment production. With exports to 170 countries, Shahinler has already invested $50m in Egypt. The group's expansion is expected to generate up to 3,000 new jobs and will require land allocations ranging from 50,000 to 100,000 square meters. Annual production from the new facilities is projected to reach 3 million pieces of formal wear. 'This is a clear signal that Egypt is not only a viable alternative but a preferred destination for global textile production,' Abdel Salam emphasized, adding that the sector's export-oriented growth strategy will continue to play a critical role in attracting foreign capital and creating employment.
Zawya
20-03-2025
- Business
- Zawya
Valero Developments teams up with Sabbour Consulting and DSC
Reaffirming its commitment to quality and excellence, Valero Developments has partnered with Sabbour Consulting and Distance Studio Consultants (DSC) to oversee the design and quality supervision of its latest project, CITALIA, in New Obour City, with targeted sales of EGP 3.2bn. The announcement was made during a press conference attended by the company's executives, employees, clients, and a select group of leading journalists and media representatives. The event took place alongside Valero Developments' annual Iftar gathering, held to honor its employees—reinforcing the company's dedication to supporting its team and strengthening relationships with key stakeholders, including employees, clients, and media partners. Eng. Ahmed Abdel Salam, CEO of Valero Developments, stated that the partnership with two leading engineering consultancy firms reflects the company's commitment to delivering high quality, innovative projects. Abdel Salam said that the new project aims to be a landmark in New Obour City, meeting customer aspirations while adhering to the latest global standards. He added, "At Valero Developments, we believe that sustainable growth and expansion stem from partnering with the best in the industry. We are delighted to collaborate with Sabbour Consulting and DSC, two firms renowned for their expertise and excellence in delivering outstanding projects. This partnership is more than just an achievement—it reinforces our unwavering commitment to developing innovative, integrated communities that fulfill our clients' aspirations and drive urban progress." He noted that partnering with two of the leading engineering consulting firms strengthens the company's strategy to develop a project that upholds the highest standards of quality and advanced architectural design. This collaboration ensures a fully integrated residential and commercial environment that meets the latest customer demands. Sabbour Consulting will oversee project supervision, while DSC will handle the overall design, making CITALIA a valuable addition to Egypt's real estate market. He further explained that CITALIA is a fully integrated residential compound located in one of the strategic areas of New Obour City. Spanning 13 acres, the project targets total sales of approximately EGP 3.2bn. It features a variety of residential units alongside a commercial section designed to serve both the project's residents and the wider New Obour City community. He added, 'CITALIA represents a major milestone in our journey, offering a fully integrated model of luxury and high-quality living in New Obour City. It is a key part of our broader strategy to diversify and expand our real estate portfolio. Accordingly, the company is committed to delivering real estate projects tailored to a specific market segment—primarily the middle-income sector—while maintaining the highest quality standards to enhance the overall living experience. Valero Developments' CEO highlighted the company's strong focus on after-sales services, integrating smart management solutions and partnering with facility management companies to ensure continuous customer satisfaction and efficient service delivery. For his part, Chief Business Development and Excellence Officer at Sabbour Consulting Eng. Mohamed Maarouf emphasized the significance of collaborating with Valero Developments on its latest project in New Obour City. He noted that this marks Sabbour Consulting's first presence in the city, highlighting that the project's prime location and ambitious vision for creating an exceptional and model development make this partnership even more compelling, explained that his company will oversee the project's execution. Maarouf added, "At Sabbour Consulting, we see this collaboration as a great opportunity to contribute to the development of a distinguished project in New Obour City. We are committed to applying the highest standards of quality and engineering supervision to ensure the project's success and meet the expectations of both the company and its clients. Strong teamwork and collaboration among all stakeholders will be key to delivering a project that fulfills everyone's aspirations." Maarouf reaffirmed Sabbour Consulting's commitment to providing effective consulting solutions that incorporate the latest technologies in construction and development, highlighted the company's extensive experience and strong track record, which have earned the trust of real estate developers both in Egypt and internationally. He pointed out that this partnership will result in a project that adds real value to the area and strengthens Valero Developments' position in the Egyptian real estate market. Meanwhile, Eng. Ahmed Rashad, Founder and Board Member of DSC, stated that this agreement marks a significant step toward delivering innovative and distinctive designs that align with the latest sustainability and technology standards in real estate development. DSC will be responsible for the project's master design, leveraging its strategic location to create an architectural concept that prioritizes quality and modern functionality to meet local market demands while offering an integrated and exceptional environment for future residents, Rashad said. He further emphasized the vital role of collaboration among all stakeholders in achieving an exceptional project. "At DSC, we are dedicated to crafting innovative and holistic designs that align with the latest real estate development trends while delivering top-tier engineering solutions that meet the highest standards of quality and performance," he concluded.
CairoScene
15-03-2025
- Entertainment
- CairoScene
The Mummy & the Man Who Remembered: Shadi Abdel Salam's Eternal Cinema
With The Mummy (1969), Shadi Abdel Salam crafted a cinematic tomb—an exquisite meditation on Egypt's past, identity, and memory. A film that transcends time, ensuring history is never forgotten. In 1969, in the dim hush of a screening room, Al-Mummia ( The Mummy , also known as The Night of Counting the Years) unfolded like an ancient funerary text come to life. The film's rhythms were slow and deliberate, its silences more powerful than its words. It was not the bombastic spectacle of Hollywood's Ancient Egypt, filled with golden chariots and cartoonish pharaohs, nor was it an exercise in nostalgia. It was something else entirely—an act of cinematic archaeology. With The Mummy , Shadi Abdel Salam did not merely tell a story set in the past; he resurrected it. To this day, his first and only feature remains one of the most important films in Arab cinema —a quiet yet seismic act of remembering. The Architect of Time Shadi Abdel Salam was not simply a filmmaker. He was an architect of time. Born in Alexandria in 1930, he was raised in a city where Greek, Roman, and Arab legacies coexisted, but his imagination belonged to something far older. He studied architecture at Cairo University, where he became obsessed with the proportions, symmetry, and symbolism of Pharaonic structures. Buildings, he believed, were not just stone and mortar; they were containers of memory, tombs for history itself. Unlike his contemporaries in Egyptian cinema, who gravitated toward neorealism or melodrama, Abdel Salam was drawn to something more monumental. His influences were far-reaching: the sculptural austerity of silent cinema, the philosophical realism of Rossellini, the montage precision of Eisenstein. His visual language was not learned from cinema but from hieroglyphs, murals, and temple carvings. Before becoming a director, Abdel Salam was a sought-after set and costume designer. His obsessive attention to historical accuracy shaped Joseph Mankiewicz's Cleopatra , Youssef Chahine's Saladin the Victorious , and Jerzy Kawalerowicz's Pharaoh . Every carved relief, every textile, every thread mattered. His work caught the eye of Roberto Rossellini, who became an ardent supporter of his filmmaking aspirations. When Abdel Salam finally stepped behind the camera, it was with the precision of a man who had spent his entire life preparing for a single, perfect composition. The Mummy's Curse: A Story of Looted Time At its core, The Mummy is a ghost story, though there are no apparitions. The specters it conjures are not supernatural but historical. The film is based on the true discovery of the Deir el-Bahari Royal Cache in 1881, where the Abdel-Rasoul family—a tribe of tomb raiders in Upper Egypt—had secretly looted and sold the mummies of pharaohs for over a decade. The thieves did not see themselves as desecrators but as survivors; for them, the relics were not objects of reverence but a means to endure in a harsh landscape. The widespread appearance of ancient Egyptian artifacts in the open market and European auctions aroused the suspicions of the government, leading French Egyptologist Gaston Maspero to launch an investigation. His inquiry ultimately revealed the cache—a hidden tomb containing more than 50 royal mummies, including Seti I, Ramesses II, and Thutmose III—one of the most significant archaeological discoveries in Egyptian history. Abdel Salam transforms this into a moral and existential crisis. The film's protagonist, Wanis, is the reluctant heir to this crime. When the elder of his smuggling clan dies, the secret is passed down to him. But Wanis is horrified to discover the full reality—not only are the artifacts sold to Cairo traders for money, but they are also exchanged for prostitutes brought to the village. His disgust deepens, and his refusal to participate leads to a confrontation that ultimately results in the murder of his older brother at the hands of their uncle. Wanis, however, escapes and reaches the Supreme Council of Antiquities, where he reveals everything he knows. The weight of history is not merely a theme but a presence, pressing down on every frame. The film moves with a hypnotic stillness, its dialogue sparse, its emotions restrained. The Mummy doesn't simply transport us back in time to depict ancient Egypt; it instead portrays the everlasting impact the past continues to have on the present, posing fundamental questions about identity, ethics, and legacy. A Language of Stone and Silence Abdel Salam's use of image, sound, and space in The Mummy is unparalleled. Shot by cinematographer Abdel Aziz Fahmy, the film is composed with the precision of a Pharaonic frieze—each figure positioned as though carved in stone. The use of deep shadows, stark desert landscapes, and muted color palettes creates a world where time itself seems petrified. It is a film of whispers, of windswept sands, of men in black moving like specters through the ruins of their own history. The film also eschews colloquial Egyptian Arabic in favor of classical Arabic, making the dialogue feel as though it had been inscribed on temple walls centuries ago. Even the pacing reflects the meditative rhythm of Egyptian ritual—each movement deliberate, each silence sacred. Abdel Salam rejected Western cinematic tropes of Egypt. His was a land not of kitsch and spectacle but of dignity, complexity, and fatalism. His Egypt was not imagined through a foreign gaze—it was remembered. The Book of the Dead and the Death of a Director In the ancient Egyptian Book of the Dead , it is said that a person can only live again if their name is remembered. Abdel Salam weaves this concept into The Mummy in a profound way: Wanis' brother is symbolically erased from existence when his mother declares, 'I no longer know his name.' The film suggests that to forget is to die, but to remember is to grant eternity. Abdel Salam spent the rest of his life on a single project: Akhenaten, a film about the revolutionary pharaoh who sought to redefine Egyptian religion and was ultimately erased from history. It was to be his grand statement, a meditation on power, iconoclasm, and legacy. But it was never made. For years, Abdel Salam meticulously researched, wrote, and sketched the world of Akhenaten , determined to bring it to the screen. But the project was halted due to his declining health and lack of funding. His vision survives only in painstakingly detailed storyboards and notes, now preserved in the Bibliotheca Alexandrina. Abdel Salam died in 1986 at the age of 56. A Monument of Cinema And yet, his work endures. His one film stands taller than most directors' entire bodies of work. The Mummy was not just a film but a monument—a testament to what cinema could be when it dared to look backward not as nostalgia but as a moral imperative. 'I believe many Egyptians don't know much about their history. I feel a deep responsibility to tell them more about it and to share my fascination with them,' Abdel Salam once said in an interview. 'For me, cinema is not merely a consumerist art form for entertainment but a historical document for future generations.' In the final scenes of The Mummy , as the pharaohs' remains are finally taken to the museum at dawn, the sun rises over the horizon. Abdel Salam films this moment like a resurrection, as though the dead are awakening once more, their names intact, their legacy intact. The Book of the Dead says: 'To speak the name of the dead is to make them live again.' Perhaps that is Abdel Salam's greatest achievement. He made us remember.
