I. Islamic Dress

A. Perceptions of veiling

1. Gender
2. Social status
3. Sexuality
4. Power
5. Fashion

B. Misperceptions

1. Islamic dress is sign of Middle Eastern/Islamic "otherness"
2. Western feminists: patriarchy, women's backwardness, subordination, and oppression
3. Public/private distinction

C. Tarlo and Jones consider Islamic dress in England and Indonesia

1. Historical
2. Sociological
3. Anthropological

 

II. Diverse Islamic Dress Practices and Meanings

A. Types of garments

1. Hijab: headcovering, headscarf, "veil." Also, requirement from Qu'ran that men and women dress modestly
2. Jilbab: loose, full-body dress or coat. Indonesia: jilbab is a term for hijab, headscarf
3. Niqab: face covering, worn with headcovering
4. Abaya: outer garment that covers from the head to feet
5. Chador: long garment that is draped over body and held closed over clothing, associated with Iran
6. Burqa: originated in Pakistan, now most popular in Afghanistan, features fabric mesh over face

B. Problems with the term "veil"
C. Multiple meanings

1. Part of fashion processes
2. Outward appearance reflects or inculcates inner spirituality
3. Global Islamic identity versus more specific ethnic/cultural identity (Tarlo)
4. Assert a uniquely Indonesian Islamic identity (Jones)

D. Veiling in the ancient Middle East and Mediterranean

1. Qu'ran: modesty, turn gaze away from temptation, protect Prophet's family, identify Muslims
2. At least 17 Arabic terms for veils and other items of clothing: diversity of practices and meanings
3. Lower status of women and veiling are more associated with ancient Greek and Byzantine societies, not Islamic ones

E. 20th century Islamic reform movements

1. Anti-colonialist, nationalist: Algeria
2. Resist secular modernization/Westernization/materialism: Iran
3. Reaction against growing Israeli power
4. Critique of older generation's corruption/materialism: Indonesia
5. Post-9/11 rejection of negative stereotypes

F. Statement of independence, membership in global community

 

III. Clothing Biographies and the Agency of Hijab

A. Tarlo, Visibly Muslim: visible expressions of faith among Muslims in London, hijab
B. Social, political, ethical, and aesthetic effects of dress choices: "what sort of public intervention they make in a multicultural urban environment" (2).
C. Not oppositions between Islam/West, religion/secularism, or tradition/modernity
D. Diverse ethnicities: South Asian (Pakistani, Indian, and Bangladeshi); also European, Middle Eastern, African, and converts
E. Issues of Bengali "conservative" attitudes toward gender and dress
F. Two methods: clothing biographies and geographies (public gatherings, urban spaces, and online)
G. Dress as work in progress: personal, controversial (e.g., clash of civilizations), relationship between religion and commerce
H. Shazia Mirza

1. Comedian, columnist, and actress
2. Hijab: 2000-2003

a. Background: Pakistani, didn't want to wear shalwar kamiz when younger
b. Focus on words, not appearance
c. Insider position as Muslim
d. Comedy routine

3. Problems with the "agency of hijab": "its effects on both the wearer and those with whom she interacts" (Tarlo 13)

a. "brave Muslim woman" defying convention to be a comedian
b. hijab is too revealing
c. hijab is just a prop
d. Burden of representing

I. Humera Khan

1. Pakistani, resisted shalwar kamiz
2. Desire to fit in while working with Muslim migrant women
3. Distinctive flat style of hijab
4. Active reinterpretation that transcends ethnicity

J. Islamic dress is multicultural, creative, and personal, BUT...
K. ..."clothing choices are never entirely free. They are always made within specific social, spatial, historical, interpretive and interactive contexts and constraints" (42).

 

IV. Hijab as Fashion

A. Creative engagement with fashion in UK, globally: covered, but "skilled dexterity in the manipulation of cloth, a clear appreciation of colour, and an obvious engagement with mainstream fashion" (71).
B. Divert sexual attention or become more visible?
C. Beauty celebrates God's creation (201-2)
D. Aubrey Cannon, revisited: fashion = "the manipulation of appearance to enhance or maintain a positive self-image" (25); status display and distinction
E. Also part of Fashion: alternative to "Western fashion" that also engages it
F. Promotes Islam by making modest dress attractive and approachable
G. Companies engage with fashion scene to reconcile their faith with their love of fashion
H. Customers blending and mix ==> "global Islamic fashion scape" (224); downplays ethnicity
I. Jones, "Fashion and Faith in Islamic Indonesia"

1. Muslims are majority
2. Accusation: wearing Islamic dress = slave to fashion, inauthentic
3. Is commodified fashion antithetical to modesty and non-materialism?
4. Adopting Muslim dress is a way of becoming more pious: the agency of hijab is transformative

 

For more information, contact:  aleshkow@holycross.edu