BA Thesis: Modest Fashion (c) Copy Right Christina Thordal Andreasen

UNDERSTANDING MODEST FASHION AS A NEW WAVE OF SOCIAL AND SELF-REPRESENTATION IN TIMES OF WOMENS REVOLUTION

Christina Thordal Andreasen BA Fashion Marketing & Communication Level 6, 2018- 2019 6FAMK001C Major Project CWK2

Tutor: Teresa Buhigas Word count: 8.641 words

ABSTRACT The purpose of the study exists in comprehending and critically evaluating the current industry interest in the new wave of self-representation within the fashion industry from a social reality and an industry viewpoint.

Through a transversal line of study by sociological and fashion business perspective, several previous pieces of research have failed to consider distinctions and relations of the different social contexts of modest fashion and separating the two categories ‘modest dress as religion’ and ‘modest dress as fashion’ in the evaluation of modest fashion movement. As a result, the movement of modest fashion suffers from a misperceiving social discourse, making traditional Islamic custom of veiling key signifier for the modest movement, disregarding the broader context, meanings and audiences related to modest dress, increasingly challenged by political agenda post-2001. Nevertheless, with modern sociological, feminist and fashion studies, sociocultural shift and social and industry categorisation; a contemporary understanding of fashions ‘modest’ and ‘inclusive’ practices and new interpretation of fashion representation must be examined.

Supported by an extensive literature review in sociology, feminism, communication, fashion and marketing along with key data findings, industry practices and professional first hand interviews; this dissertation studied the rise of modest fashion as a spectrum of modified forms of identity affirmation, social- and self-representation within two social contexts; Fashion, a new young cohort of individual style seekers, and religion, dress as an element of religious beliefs or circumstances and evaluates the fashion business practices and social reality (industry/social inclusivity or business lip service to diversity) hereupon.

This research has concluded that the current conversation around modest fashion must be further complicated than currently communicated, reaching broader than merely a merging of religion and the market place. Social, political and aesthetic movement is on the rise and is projected to involve structural changes in the fashion industry accompanied a fascinating ‘diversity inclusive’ marketing potential. Customer behaviours and reactions to the new wave of fashion representation proved the necessity of careful, but influential industry involvement in the movement. It is recommended to the industry to embrace social response towards a further social conscious business approaches to damage control the effects it might have in related contexts to remain competent by contributing to the success of inclusive and less socially segmenting industry practises.

The readers of this dissertation are furthermore conclusively presented with open questions for further reflection if to continue the development of the modest fashion movement both in and especially outside Western context.

ACKNOWLEDGEMENTS The author would like to acknowledge the indispensable guidance and assistance of Prof. Teresa Buhigas in her role as the principal tutor as well as the insights and professional support of Prof.

Gabriela Pedranti, in the role as specialized tutorship.

Throughout the dissertation research process and development, their critical and analytical commentary has been a direct and vital input to the execution of this study.

Also, Prof. Gabriela Pedranti, and American-Egyptian freelance journalist, author and social commentator, Mona Eltahawy, the interviewees, must be regarded with gratefulness and must be thanked for their time, dedication and collaborative ways.

This dissertation was carried out and executed by the author in compliance with University guidelines and regulations on plagiarism.

This paper consist of 8641 words.

To Modest Fashion Icon, Dina Toiko, who’s courage, authenticity and honesty may never be harmed by the condemnable onslaught of insults she has received from staying true to her unapologetically self.

CONTENTS // Abstract....................................................................................................................................................................................p.3 // Acknowledgements........................................................................................................................................................... p.5 // Contents page...................................................................................................................................................................... p.6 // Introduction.......................................................................................................................................................................... p.8

// Motivation.............................................................................................................................................................. p.8 // Aim and objectives............................................................................................................................................. p.9

// Research questions.................................................................................................................................................... p.10-11 // Research methodology........................................................................................................................................... p.12-13 // Theoretical research................................................................................................................................................. p.14-27

// Modest fashion and its interpretation: religion and fashion................................................. p.14-15

// Modest dress technicalities “Modest dress as religion” vs “Modest dress as Fashion”........................................................................................................... p.14

// Social identity affirmation through modest fashion.................................................................. p.16-21

// Model: feminism........................................................................................................................ p.16-17

// Social identity display.................................................................................................................... p.18

// Model: stereotypical traits........................................................................................... p.19

// Identity revolution: modest fashion as a new wave of representation in fashion.... p.20

// Market and consumer..................................................................................................... p.21

// Criticism................................................................................................................................................................ p.22

// Theoretical research model & key findings.................................................................................. p.24-26 // Data results...................................................................................................................................................................p.28-63

// The relationship between the potential market and the fashion business performance.......p.28-63 // Market potential: financial & sociocultural...................................................................p.29-35 // Study: Consumer behaviour and attitudes towards modest fashion...................p.36-41 // Industry performance................................................................................................................p.42-55 // Social response.............................................................................................................................p.56-59 // Data results model & key findings.......................................................................................p.60-62

// Discussion and conclusion................................................................................................................................... p.64-69

// Social reality of modest fashion........................................................................................................ p.64-69

// Bibliography...................................................................................................................................................................... p.72 // Appendix..............................................................................................................................................................................p.84

Image 1: Halima Aden (first hijab model US) walking Max Mara AW 17/18 Š Photograph: Vogue. Š Getty Images.

INTRODUCTION MOTIVATION In the last decades, it has become increasingly dif cult to ignore contemporary socio-cultural and political debates and uprising about social cohesion, and the perceived rift between Islam and the West. Particularly since 11 September 2001 several western countries look to national and local fostering demonstrating a high level of assimilation and applying political restrictions on religious dress such as Islamic practising of face, hair or body veiling, respectively Burqas, and thus re ects a con icted societal opponent addressing this matter for, against and as a business opportunity.

Simultaneously, the fashion industry is experiencing a growing niche market in Muslim modest fashion, advised by a rapidly expanding Muslim style media in print magazines and on social media and pushed a new wave of soci- al representation that regards these modi ed forms of self-presentation as widening, rather than quitting, the frame of modest embodiment.

In this context, the fashion industry has become a frontrunner and foremost, a key investor in the historical practising of modest dress, tracing roots to the early eighth century of pre-Islamic Arabia. And in line with increasing focus on gender inequality, identity and female rights, the fashion industry recently began tar-

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INTRODUCTION

geting a yet overseen female audience accounting for a (Thomson Reuters, 2018) Muslim fashion expenditure set to increase 5% to $361 billion by 2023 from $270 billion in 2017, who by 2017 for the rst time experienced an entry into the world of modelling and fashion weeks.

This paper questions current fashion business behaviour through a hypersensitive topic that often holds blurred lines and lack of clarity in exploring the social reality of modest fashion. While brands and in uencers state to protest against European Burqa bans and visually comment on women’s liberation and cultural inclusivism, several feminist theories, on the contrary, consider it a social issue of female oppression, turned business opportunity.

This dissertation seeks to complicate the conversation around modest fashion and review the related fashion industry practices.

AIMS AND OBJECTIVES The primary aim of the study seeks to interpret the new practises and interests of the current fashion industry in the context of the rise of modest fashion.

It pursues to address an understanding of both the social and business spectrum to evaluate the industry performance and by benchmarking the role of brands and influencers. Finally, the paper explores the social reality connected to modest fashion.

To effectively reach this aim, the paper sets several objectives seeking to tackle a transversal examination of sociological, social and industry related contexts. The study pursues to analyse modest fashion and the social representation; the technicalities of modest fashion and following its sociological understanding by the objective of identifying the meaning, role and drivers behind the concept by understanding fashion as a communicative tool and the role of religion, feminism, politics and identity and how this relates to the social representation through fashion.

Seeking a sociological understanding of the current context, the importance of influencers and brand effects for social and behavioural change is studied, a feminist and political iden-

tity revolution is augmented along with a demonstration of a sociocultural shift. The study relates these concepts to the fashion industry’s engagement with the movements and modest fashion as a new social representation. These structural changes additionally raise the question of whether this growing movement exists as an attempt on true industry inclusivity (diversity) or a business opportunity? Hereto is the objectives of understanding the relationship between the potential market and fashion business performance.

The research will conclude by evaluating the social reality of modest fashion and how this is met by the society of today and will be complemented by future projections and industry recommendations to handle such sociocultural powers supported by the knowledge attained throughout the study.

The actuality of the research provided is complementary to many sociological theories and fashion studies that regard the matter. However, few of these have been devoted to exposing the limitations, grey areas and consequences on the concept relating to the fashion business.

Objectives 1. Identify the meaning and role of modest fashion and the drivers behind the concept 2. Understanding the relationship between the potential market and the fashion business performance 3. Evaluate the social reality of the concept of modest fashion and how this is embraced by today’s society

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RESEARCH QUESTIONS

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RESEARCH FRAMEWORK

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RESEARCH METHODOLOGY Given dissertation pursues to present a transversal line of study from a sociological, social and industry related framework. To achieve this approach, the thesis is predominantly conducted through a qualitative research method that foremost emphasizes renowned primary sources and an extensive groundwork of secondary sources including key sociological books, celebrated articles, essays, studies, reports and documentaries. Separated into two study chapters, respectively of literature review and data results, this establishment of the full theoretical and analytical research pursues to respectfully address and question fashion business behaviour through a hypersensitive topic as exploring the grey zone of modest fashion. Additionally, the paper aims to present an objective research considering all ends of the spectrum, enabling significant key findings and quality of insights.

Primary sources include in-depth interviews conducted with Prof. Gabriela Pedranti Bracaccini; specialist in communication, semiotics, Mona Eltahawy; American-Egyptian freelance journalist, author and social commentator of Muslim descent.

The interviews will support the line of study by providing testimony and key input to understand the rise of modest fashion from directly affected sources. Themes addressed through the interviews include; the social representation of modest fashion, fashion as a communication tool, religion, feminism, politics, the relationship between the potential market, consumer behaviour and industry performance. Their professional outlook and personal insights are central for validating relating theoretical basis and connects the sociological analysis with the social reality.

In addition to the interviews various sociological theories, books, articles, market reports and documentaries have been reviewed, which theoretical research stands as a crucial factor for the development of this paper. Following methodical clarification will solitary note key authors, theories and reports directing the line of study under each theme, while further in-depth research is considered in the following theoretical research/literature review.

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RESEARCH METHODOLOGY

Modest fashion and its social representation is examined to identify modern studies and social outset on the hypersensitive matter of religion and fashion. A theoretical sociological approach is applied across the complete research methodology to comprehend the sociocultural shifts connected to the movement and social relations of faith and fashion.

Sociological theories are separated by macro and micro orientation. Notable for the macro-sociological theories is the anthology ”The language of fashion” (Roland Barthes, 2005) and ”Conflict Theory” (Brym & Lie, 2012), while micro-sociology is investigated through the theory of Symbolic Interactionism (Davis, 1994) all assisting in understanding the social relations and role of fashion as identity tool that moreover is addressed methodologically through ”The social identity theory of intergroup behavior” (Tajfel & Turner, 1986), evaluated by recent studies on female religious identity (Jardim & (Koos) Vorster, 2003), (Weir & Faulkner, 2014), (Farris, 2017), (Moghadan, 1988), (Secor, 2002), (Singh, 2017), Richard T. Antoun, (1968), Özlem Sandikci, (2007).

The rich interdisciplinary works of Professor of cultural studies at London College of Fashion, UAL, Reina Lewis, ambitious in both theoretical and topical scope, ”Modest Fashion: Styling Bodies, Mediating Faith” (Lewis, 2013), “Muslim Fashion: Contemporary Style Cultures” (Reina Lewis, 2015) and the journal article, “Uncovering Modesty: Dejabis and Dewigies Expanding the Parameters of the Modest Fashion Blogosphere”, (Lewis, 2015), are critical to the study in capturing insights into the ways of young modest dressers (emphasis on Muslim women) and how the fashion system is used to negotiate religion, identity and ethnicity.

The relationship between the potential market and the fashion business performance is analysed to understand the market and consumer powers in shaping business opportunity for the field of modest fashion and how the concept can be considered a new wave of representation in fashion.

Market substantiality is analysed by “The state of the global Islamic economy report” Thomson Reuters, (2017) and (2018).

Using selected sociological framework presented in the first chapter; modest fashion and its social representation, market and consumer behaviour is understood following “Conflict Theory” (Brym & Lie, 2012) and theory of “Symbolic Interactionism” (Davis, 1994), in order provide the study with a sociological clarification for the concept of fashion cycles and market trends and therefore the emergence of modest fashion. Further exploitation of introduced works of Reina Lewis and complementary fashion studies are additionally applied to evaluate the theoretical macro-sociological framework from a micro perspective.

Industry performance is evaluated through a benchmark applied to the research methodology studying the role of brands and influencers and how the movement is adopted.

The third and final chapter examines and discusses the social reality of modest fashion and is largely commented through primary interviews and data results presenting the social response and different viewpoints on modest dress and modest fashion from both ends of the spectrum to strengthen the quality of insights. Finally, this method of research will evaluate the limits and grey-zones connected to the concept from an industry and a social perspective. Furthermore, it assists in understanding how the movement both exist as an empowering and inclusive fashion influence but simultaneously create considerable polarization among feminists and a growing number of women who, for reasons of religion, faith or personal preference, decide to dress in a way that satisfies their spiritual and stylistic requirements.

Image 2: Street style photo in Paris from Purple #31 The Paris Issue. 2019. © Photograph:Ola Rindal.

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THEORETICAL RESEARCH MODEST FASHION AND ITS SOCIAL INTERPRETATION; RELIGION AND FASHION

MODEST DRESS TECHNICALITIES Throughout the study of modest fashion and its interpretation, the relations and distinctions between ”Fashion” and ”Religion” has shown of high importance to evaluate to understand the role of modest dress in the different sociocultural environments, respectively between the West and communities of Muslim majority. Current everyday discourse has caused concept confusion on the role and meaning

Image 3: Collage of religious modest dressers; Christian woman, Jewish woman with wig, catholic nun, muslim woman abaya. Edited by author. © Pakistan Point © My Jewish Learning © Catholic Herald, © Women’s wear Daily.

Image 4: Collage of Modets fashion dressers.

Edited by Author.

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LITERATURE REVIEW

of modest dress expression and has led the social conversation of the modern West to interchange the term ‘Modest dress/fashion’ as a synonym for Muslim clothing largely defined by the practice of veiling. However, an evident dissimilarity is discovered analysing dressing codes of ‘modesty’ from both environments (read; the west and Muslim majority communities).

Chart 1: Dividing “Modest dress as Fashion” and “Modest dress as religion”, the latter is commonly assumed to be dominated by a system of patriarchy and men, who occupy the power positions of religion both ‘really’ and symbolically. ”Religion” and the dressing choices that relate to modest dress codes are, therefore, in profoundly religious cultures (Judaism, Christianity, Islam), not considered fashion, but an element of religious beliefs or circumstances (Lewis, 2013). Reviewing, what may be considered the impaired religious ruling of modest fashion for Muslim women, The Qur’an and respectively (Qur’an verse 24: 30–31), the practice of modest fashion is understood encouraged for both sexes, men and women. However, a stronger emphasis is given to female ways of dressing, as the human body to Islam is thought to be element or reason of shame and a woman’s body is regarded with sexual connotations that are able to prompt male sexual stimulation. Modesty, therefore, come to propose coverage of body and/or hair.

Chart 2: “Modest dress as Fashion” however, is adding to the religious equation and freedom of choice of the West, in which consumers have overcome the religious face, and the fashion industry is considered predominately dominated by women. The fashion element in modest dress may be limited to secular communities of the West rather than Eastern or Southern communities of Muslim descent, as religion in the West have become areas of low prestige (Lewis, 2013). The meaning of modest clothing additionally come to be modified and generally suggest more length options independent of religious affiliation or secularity, hair coverage or not. Women dressing within such context unite by a shared interest to look fashionable to which the individual degree of fashionability may vary as these dressers no longer expect to achieve modesty through wearing ‘ethnic’ or home-made clothing, but apparel that holds a direct relation to mainstream global fashion trends. Modest fashion as a concept or term, therefore, describes garments catered to women who choose to wear less revealing clothing.

This distinction between the two sociocultural environments becomes crucial in comprehending and decoding the specific meaning and role of modest fashion for the different segments of modest dressers and how the industry cater to those. An in-depth interview with Prof.

Gabriela Pedranti Bracaccini (2019) found that in the case of modest western dressers, fashion and choice becomes a possibility as their basic needs are satisfied considering that they live in societies that in the social discourse indulge in diversity and inclusivism on a level that provides self-actualisation. In the case of religious modest dressers, the clothing functions as cultural affiliation and not as fashion and does therefore additionally not serves as self-actualisation.

Further investigation by an in-depth interview American-Egyptian freelance journalist, author and social commentator of Muslim descent, Mona Eltahawy (2019), along with recent sociological studies in women, gender, sexuality and fashion (Lewis 2013) and (Singh, 2017) are also contributing to defining the concept of contemporary ‘modesty’ and Modest Fashion.

With modifications, they understand the modest fashion market predominantly dominated by women of Muslim descent, however, Sikh, Jewish and Christians are additionally commodified or branded as forms of modest fashion (Singh, 2017). The interviews and studies generally define the concept of ‘modesty’ or modest fashion in the present context as a reference to three main functions; narrowly, to coverage of body parts and more humble approach dressing (cultural custom of veiling). In a border sense: to personality or character traits such as humility, shyness and bashfulness, while most commonly; to institutions associated with ideas of the inferiority of women, superiority of men and to the honour of the group (Lewis 2013).

tural Studies at London College of Fashion, University of Arts London, Reina Lewis (2013) traces the roots of modest dress (read: loose, draping and covering clothes) to return from the early eighth century in pre-Islamic Arabia and to be designed and worn by women of different cultural backgrounds. Further examination of the concept proved a tectonic shift in the western religious landscape; a ‘de-reformation’ of religion since the 1980s in which previous orthodox forms shrunk, as religious fashion or dress strictly was regarded to the spiritual rather than the body and the sacred rather than the profane or mundane (Lewis, 2013). Modest fashion offers a good sight-line into an area of new religious vitality (Linda Woodhead, professor of Sociology of Religion at Lancaster University in (Lewis (2013), the ‘new Muslim consumer’ and the role of hijab. These factors all assist a rising global resurgence of religion and renewed visibility in contemporary socio-cultural, political and economic structures resulting in an increased merging of religion and the marketplace (Antoun, 1968) (Sandikci, 2007). Works of Özlem Sandikci, (2007) and later published anthology of Reina Lewis, (2015) have been testimony to clarifying the current Western digital exploration that since the early 2000s has constituted a zone of women-led fashion mediation. A development fostering a contemporary fashion discourse across faiths and religious and secular practitioners of modest fashion as an individual choice coupling everyday religion (modesty) and fashion; A discourse of ”Fashionable hijab” coupling modesty and distinction as the education of religious dress, customs and methods increasingly turn to digital approaches such as YouTube tutorials (Sandikci, 2007).

These findings lead to include the sociocultural evolution that modest dress has reviewed. British art historian, author and Professor of CulMODEST FASHION; RELIGION AND FASHION

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SOCIAL IDENTITY AFFIRMATION THROUGH MODEST FASHION These findings triggered a further sociological debate on how feminism, the related role of the hijab (despite modest fashion reaching far beyond Muslim women and hair coverage), and identity can be considered in relation to modest fashion.

Feminism and themes of women’s freedom and choice related to the discourse on modest fashion, has grabbed significant attention in western media making the religious custom, practice of veiling, the synonym and equivalent to the modest fashion concept. It has created an intergroup division among modest dressers and furthermore created distance to the external or outer groups. Additionally, it has initiated a discussion among feminist theories and sociologists of what may or may not be considered oppression or female liberation concerning dressing modestly.

Following model compares several feminist theories and viewpoints on modest dress and highlights important findings herefrom. It assists in understanding the surface of modest fashion and its expression from both ends of the spectrum.

Image 5: Activist Masih Alinejad insists on her right not to wear hijab. Š Photograph: Caroll Taveras for the Observer. Edited by Author.

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LITERATURE REVIEW

MODEST FASHION AND SOCIAL IDENTITY AFFIRMATION

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SOCIAL IDENTITY DISPLAY In order to comprehend modest fashion and its social interpretation, a social identity context must be defined along with a study of the influence on stereotypes. Hereto, is a segmentation of modest dressers applied and analysed to verify the current shift in mentality (promoting modest fashion as an individual choice coupling everyday religion (modesty) and fashion) and the distinction and relations between modest dressers.

Considering clothing carrying a particular meaning of the body, of the person - all the relationships of ‘man’ to the body as well as the relationships of the body to society creates personality, and personality or identity, makes fashion (Barthes, 2005) and modest fashion both suffers and thrives on this note.

Also contributing to the understanding of the social identity construction related to modest fashion dressers is “The social identity theory of intergroup behaviour” (Tajfel & Turner, 1986). This theory has proven the western viewpoint that sharing the internal representation to an outgroup (read: visually expressed through clothing such as hijab) can become the badge of membership or stereotypical perception and the precursor of understanding the reason for sharing common goals or not.

Society connects meaning to societal happenings highly supported by the mainstream media that tend to regard modest dressers (considering the use of veiling such as hijab) as representatives of essentialized, unchanging, collective religious identities rather than as individual style seekers (Prof.

Gabriela Pedranti Bracaccini, 2019). Despite the segmenting approach of the mainstream media, Modest Fashion and dressers as a predominantly youthful phenomenon tend to use their engagement with mainstream fashion to communicate individual ideas and aspirations about modern Muslim identities (Reina Lewis (2013), (2015)).

The political rhetoric and social discourse on modest dress, however, suffers from an Islamophobic viewpoint (Mona Eltahawy, 2019), and social schedule that increasingly paints an image of veiling practices as oppressive and as an indication of the inferior status of women in Islam post 11th September 2001 (Jardim & (Koos) Vorster, 2003).

Identity of modest dressers carry traits of media’s continuation of connecting traditional and Orientalist stereotypes within contemporary debates about

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LITERATURE REVIEW

social cohesion, and the perceived rift between Islam and the West (Reina Lewis, 2015). As a result, Modest dressers, whether orientated towards religion, fashion, practicality, beauty or identity politics, thus are collectively grouped in a western and theoretical point of view due to the role of custom practising of veiling (hijab) enhancing the negative stereotyping of Islam rooted within western society.

Modest dress becomes an equivalent to Islam and causes a distortion of the greater meaning and purpose of the modest clothing concept and is limited to a stereotype.

Modest fashion thus becomes both a positive and negative factor of social identity distinction and encourages a re-coding of the ”traditional” stereotype generated by western media along with an advanced segmentation of modest dressers setting the foundation for understanding current consumer behaviour and industry performance on modest fashion in the following section of data results.

Image 6: Munira Ahmed’s image used for ‘We The People’ project, © Photograph: Munira Ahmed.

Image 7: Feriel Moulaï A Modest Fashion Model. © Photograph: Style Cartel.

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IDENTITY REVOLUTION; MODEST FASHION AS A NEW WAVE OF REPRESENTATION IN FASHION As established, the concept of Modest Fashion is challenged by a media-made political and social discourse of what may be considered, western ignorance, of the distinctions and relations between the different segments of modest dressers globally and the difference between religion and fashion. Modest fashion and the social identity it carries has therefore been grouped under stereotypical assumptions and behaviour settled through social performance, respectively based and defined upon the Muslim cultural custom of veiling, despite modest dressing including a far broader audience than solitary religious women of Islam and the related hair and/or further body coverage.

Society and social revolution is, therefore, a pivotal character in the formation and acceptance of any discussion of diversity or cultural differences and the social (read: hence, industry adaption) inclusion of these.

Below images are reflective of the current societal divide of modest dressers (further elaborated in following chapter of data results) and are a testimony to the importance of separating fashion and religious context when evaluating modest fashion movement.

Image 8: From left: Online commentary from Egyptian-British Modest fashion influencer Dina Torkio, choosing to compromising the compulsory relationship with the hijab. Right: Niqab dressed woman protesting for rights and freedom of choice for Muslim women in the UK. 2018. Š Dina Torkio Instagram Š Critics Chronicle.

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LITERATURE REVIEW

Market & Consumer However, discussion arises among authors and theorists whether modest fashion may be considered a genuinely social and diversity inclusive movement, or a ‘social issue’ turned business opportunity by the fashion industry.

Focusing on women included in the segment ”Modest dress as Fashion”, macro-sociological theory Conflict Theory (Brym & Lie, 2012) assist in clarifying the underlying market background of fashion cycles and trends as well as the emergence of modest fashion. Accordingly, fashion contributes to maintaining a precarious social equilibrium that may be disrupted by the underlying social tensions between consumers and big players in fashion-related industries. Consumers are diverted from social, economic and political issues that otherwise might cause them to express dissatisfaction with the existing social order and even rebel against it, as industry owners and big players in fashion frequently introduce new collections, styles and trends maintaining a constant purchasing encouragement (Brym & Lie, 2012). The ongoing industry hereby stagnates the consumer in a system under the pretends of being catered to. However, it is rather economic relations than social inclusion that drives the industry performance. Considering the industry to be driver of the modest fashion rise, economic relations on the global Islamic economy Thomson Reuters, (2018) stresses in accordance that Muslim expenditure on modest fashion is set to increase further 5% from $270 billion in 2017 to $361 billion by 2023, and the industry increasingly create imagery and clothing that meets this growing market need.

Recent fashion studies Reina Lewis (2013) and Özlem Sandikci (2007) complementarily address the substantial market possibilities stating that modest consumers increasingly are served by international online retailers and how brands such as H&M, Zara, Uniqlo, Tommy Hilfiger, and Dolce and Gabbana, among others, becoming discussed as global brands that successfully reach out to the ‘new’ Muslim consumer (read: western consumer).

The difference hereto exists in the discourse presented in former sociological theories that comment modest fashion as argued by many feminist theories, is a social issue held on distance (read: women’s

oppression under veiling) turned business opportunity. Fashion studies (Lewis, 2013) and (Sandikci, 2007), however, hold further ideological discourse presenting the industry as culturally inclusive highlighting how religion and ethnic diversity is enmeshed within the experience of selling and consuming fashion, assisted by a consumer, who actively engages in interpreting and re-forming religion in a way that marks a new departure in the history of Islam. Fashion studies, identity politics and social movements are spurring a collective mobilisation and consumer behaviour that shapes business opportunities and not the contrary.

Additionally, understanding the related consumer behaviour through micro-sociology school of thought, symbolic interactionism, much of what consumers assume to be individual preferences, actually reflect deeper social and cultural forces.

Fashion decisions are made only partly by consumers to which fashion convey meaning and thereby assist or impede both internal and external communication (Fred Davis, 1994).

Proving this theory and pushing the social movement towards mainstream embracement, is an increasing number of women, who choose to discard what have come to be the key signifiers of both modest fashion and religious dress in Islam, the hijab.

It is particularly driven by a young generation and prominently online by bloggers and influencers, who regard these modified forms of self-presentation as widening, rather than quitting the frame of modest embodiment. However, a cautious approach towards the mainstream’s embrace of modesty is kept by many influential profiles requesting a reclaim of the modest movement, as they fear it being monopolised by the industry for it to strengthen politically correct credentials and quickly entering a financially booming Muslim market space. On that account, it is crucial for this dissertation to question the fashion industry’s current interest in modest clothing and the relationship between the potential market and the fashion business performance.

The dissertation, therefore, raises the question of whether Modest Fashion must be considered true industry inclusivism or social issue turned business opportunity. Prior to that analysis on the target market and industry performance, a criticism of the reviewed theory is conducted.

MODEST FASHION, FASHION REPRESENTATION, MARKET & CONSUMER

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LITERATURE REVIEW

Image 9: The New Yorker cover 2007 “girls will be girls”.

Cultural appropriation. 2007. The New Yorker. © Photograph: Anita Kunz.

MODEST FASHION: THEORETICAL CRITICISM

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THEORETICAL RESEARCH MODEL LITERATURE ASSESSED & MAIN CONCEPTS

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LITERATURE REVIEW THEORETICAL MODEL

MODEST FASHION

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THEORETICAL RESEARCH MODEL KEY FINDINGS

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THEORETICAL KEY FINDINGS

Image 10: One of 12 New York covers for the October 15–28, 2018, issue. Nancy Pelosi and Ilhan Omar. 2018. © Photograph: Amanda Demme

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DATA RESULTS THE RELATIONSHIP BETWEEN THE POTENTIAL MARKET AND THE FASHION BUSINESS PERFORMANCE As has been established in the previous theoretical framework of this dissertation, Modest dressing, both secular and religious, has shown as a growing trend across the world. It has the last two decades experienced rapidly expanding and diversifying market development initially occurring from meeting and catering to market an increasing market need from consumers dedicated to dress modestly for religious reasons (Islam, Judaism and Christianity). The market growth is additionally sustained by women sharing elements of modest styling, but do not respond to either religious or modest purposes in the process of self-fashioning.

This part of the study uniquely studies and addresses both the consumers and the producers of modest clothing. It examines the growing number of women who, for reasons of religion, faith or personal preference, decide to cover their bodies and dress in a way that satisfies their spiritual and stylistic requirements. These are women who are making fashionable the art of dressing modestly. Scholars and journalists, fashion designers and bloggers explore the emergence of a niche market for modest fashion and examine how this operates across and between faiths, and ’secular’ dressers. For both groups the internet has been central to the rapid growth of the modest fashion sector, fostering the development of a niche market through e-commerce, and providing virtual platforms for debates on modesty and fashion on websites, blogs, and discussion forums.

However, the industry has highly begun targeting a so far overseen female audiences and untapped market of modest dressers and have increasingly turned their attention to regarding Muslim women.

Nonetheless, modest fashion has by 2018 become de rigueur. The segment is no longer confined to brands targeting wealthy Muslims in the GCC with one-off fashion lines for Ramadan and gimmicky launches of hijabs. Modest fashion is moving into the mainstream, from luxury brands to high street stores, albeit with much more room to grow. Models in hijabs have swayed across the catwalk in

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DATA RESULTS

Lake Como for Dolce & Gabbana, Max Mara and Danish high-end street style brand MUF10, while clothing giant H&M released an entire modest fashion collection called LTD, the retailer The Modist pairs up with Farfetch and fashion weeks are specifically dedicated to modest fashion orientation.

On the one hand, Muslim women are delighted to be marketed to, but on the other hand, society may likewise be expecting a more critical response (Lewis, 2013), which will be further investigated in this section of the dissertation. It is therefore relevant to question the fashion industry’s current interest in modest clothing and the relationship between the potential market and the fashion business performance.

The following data results consider the largest demographic of modest dressers, Muslim women and related market sizing, financially and socio-culturally, to understand the increasing societal and industrial focus on modest fashion as Muslim fashion and culture. However, modesty and modest fashion is not only for Muslim women, further elaborated in the segmentation.

The clothing may be modest; its success is anything but.

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“The modest fashion consumer shops luxury, mainstream and modest fashion brands to fulfill their demand in this space,”

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Romana Mirza, senior researcher at the Islamic Fashion Design Council. Source: (Usher, 2018)

MARKET POTENTIAL MODEST FASHION FINANCIAL MARKET POTENTIAL

The financial potential is there. Muslim expenditure on fashion was estimated an increase of 51% from $243 billion in 2015 to $368 billion by 2021 by The State of The Global Islamic Economy Report 2016/2017. Further forecast increase was stressed in the following report for 2018/2019 by 5% CAGR from US$270 billion in 2017 to US$361 billion by 2023 (Reuters, 2018).

Additionally, modest fashion account for the 4th largest field of the Global Islamic Economy.

Chart 4 & 5: Visually edited figure on Total Modest Fashion Market Spending, information is remains unedited, source: “The State of The Global Islamic Economy Report 2018/19” (Reuters, 2018).

MODEST FASHION: MARKET POTENTIAL

29

Chart 6: A significant Muslim clothing

market also exists in countries where Muslims are minorities – in 2012, Germany, France, the UK, Canada and the US collectively spent about $21 billion on clothing and footwear.

Chart 6: Visually edited figure on Top Muslim Apparel Expenditure, information is remains unedited, source: “The State of The Global Islamic Economy Report 2018/19” (Reuters, 2018).

Chart 7: Visually edited figure on Muslim spend compared to global market spend, information is remains unedited, source: “The State of The Global Islamic Economy Report 2016/17” (Reuters, 2017). *Numbers from 2015.

30

DATA RESULTS

Chart 8: Visually edited figure on Modest Fashion expenditure key drivers, information is remains unedited, source: “The State of The Global Islamic Economy Report 2018/19” (Reuters, 2018).

Chart 4-8: The growth of a once niche category has given rise to new design labels and dedicated e-commerce sites, stressed by numbers of both 2015 and 2017 that identifies a substantial market and additional increasing growth. Muslim expenditure being the main expenditure on modest wear positions as the third largest general market spend after the US and China in 2015. However, considering modest fashion’s financial potential and market sizing besides Muslim consumers must be of even greater extent; however, no specific numbers are available on this matter.

A testimony to the market extend and reach of modest fashion additionally show from the significant trade and difference between exports and imports, stressing the fact that the market may be highly interested in Western (life)style and products created for the modest audience in Muslim majority countries.

MODEST FASHION: MARKET POTENTIAL

31

MARKET POTENTIAL MODEST FASHION SOCIOCULTURAL MARKET POTENTIAL

The sociocultural market potential is as the financial likewise substantial.

The theoretical research suggests that modest fashion may be considered a concept that seeks to unite women who share a certain set of common values both in and outside religious context and to provide a meeting point in which these women have a desire to re-think appealing ways of presenting the female body in a less sexualised way (Tarlo, 2019). An essential segment of modest dressers defines themselves as non-religious, or secular, as well as religious women who do not identify faith as the key motivator for their modest self-presentation. These women are often critical of the aesthetics and values promoted in mainstream fashion, and it is, therefore, relevant to look further or beyond the main target of Muslim women and break down the actual segments of modest fashion that in the everyday social and industry conversation has gone lost in the process of branding and selling modest wear.

For some women, modest is a useful term, with all its various overtones, while other women might say that they dress in ways ‘appropriate’ to their age, occupation, or location (Lewis & Tarlo, 2011). However, the Muslim female audience makes up for the largest segment of modest dressers and is therefore demographically commented in the following. Nevertheless, it is essential for this study to recognise the broader extent of the modest fashion audience to complicate the current discourse on the matter.

DEMOGRAPHICS AFFECTING THE CURRENT MAIN MARKET

According to Islamic Fashion & Design Council (IFDC), the muslim population consists of a young demographic profile in which people under the age of 30 currently make up about 62% of the Muslim population and is said to remain comparatively youthful for decades. This young cohort is key driver for the rise of modest fashion in line with the increasing Muslim expenditure on modest wear ; a consumption pattern highly driven on Islamic values supporting market growth and demand for Halal products and services.

By 2030, IFDC has projected that 29% of the global young population (15 to 29 years) will be of Muslim descent(Islamic Fashion & Design Council, 2013).

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DATA RESULTS

EXISTING SEGMENTS OF MODEST DRESSERS; AND THE SYMBOLIC VALUE RELIGIOUS ADHERENCE: Those of religious adherence, especially Muslim women, make up for the largest segment of modest dressers. Modest requirements within this segment are differently expressed and may adhere to their religion’s standard of modesty; with or without head coverings as scarves, wigs, specific undergarments or ankle-length sarees, despite mainstream media generally focusing on the first of the following, traditional Muslim women (Wang, 2017).

Image 11: Girls walking in modest wear street style. 2018.

The Modist. © Photograph: Moeez Ali.

Islam, Traditional Muslims

Image 12: Activist Masih Alinejad © Caroll Taveras in hijab.

Traditional Muslim veiling, including the most used form Hijab, refers to the general terms for modest dress code. Niqab, Burka, Chador & Khimar, are all coverage extensions of this modest form of dress. While the Muslim headdress on one side symbols an assertion of religious and cultural identity, for others, it is a symbol of female oppression, separation and difference; an interpretation generally adopted by Western media, yet additionally in activist groups in Muslim majority societies (Soni, 2013).

Young hijabis and Muslim women without head coverage

Image 13: Girl from London Modest Fashion Week. © Nina Manandhar

Hijab or no hijab and the symbolic value for the wearer either refers to religious adherence or identity politics/choice feminism for wearing it or not. Young Muslim women (with or without the hijab) has revolutionised the meaning of religion and Islam and has both fashionable the practice of wearing hijab as well as a pushed an opponent of individual religious interpretation and choice of wearing the veil or not (Soni, 2013).

Judaism, Jews

Image 14:Jewish woman with wig. © My Jewish Learning.

Married Hasidic women practice a hair coverage by scarves, wigs or hats to signify communal boundaries just as the related clothing since the hair is thought to represent female sexuality. A woman who exposes no hair in public laudably displays total self-control over desires (Silverman, 2013 pp 92-93)

Christianity, Christians

Image 15: Christian women with hair coverage © Pakistan Point

Nowadays, there is a mix of Christians who dress both formally and casually, depending on the particular church they attend. However, the body is for a Christian the temple of God and one must be dressed accordingly not to make a brother or sister sin as wearing sexual showing private female body parts is as exposing God’s temple and dressing like a prostitute. Must be covered (Breasts, Thighs, Waist, Bottom & Inner Wears) (Stiver, 2011).

Hinduism, Hindus

Image 16: Hindu women in Santa Barbara. © UC Santa Barbara

For women to conserve and nurture Hindu culture, it is necessary to always wear a saree as an expression of their pride in Dharma (read: duty) including the obligation to express humility, modesty, stability of the mind and concentration, awakening of material feelings, self-confidence and increased introversion due to awareness of one’s pure form (Hendrickson, 1998).

MODEST FASHION: SOCIOCULTURAL MARKET POTENTIAL

33

Image 17: Edited artwork of Meghan Markle in modest dress. 2018. © Photograph: Nour Algharabally

PERSONAL REASONS : Role in community (i.e. royalties) For other women, they have personal reasons like skin conditions, sun protection or their view of their status in their community or family.

PROFESSIONAL REASONS: Conservative work environment in corporate offices or male dominated fields, may prefer to present a more conservative work appearance.

Royalty

Royalties, a highly celebrated in the current conversation on modest fashion as they serve as a pivotal for expanding the general Muslim-related discourse on modest fashion to other audiences toeing the line past the mum-look into sophisticated. Modesty and modest dress, however, is currently and especially in the UK, under rather strict references in order to communicate status in given community or family. The codes often consist of respectable knee-length hems, covered shoulders, tights and low heels, which additionally showcases humbleness, elegance and a lady-like approach to dressing. It has been speculated that once Kate Middleton moves up to Queen Consort, when her husband Prince William assumes the throne, that she will be allowed a little more fashion-freedom, and may introduce a bit more skin and boldness into the court (Chang, 2017).

Image 18: Meghan Markle in modest dress. 2018. © Getty Images.

Conservative work environment

Many women who work in corporate offices or male-dominated fields, may prefer to present a more conservative work appearance (Hermanson, 2017). This often calls for suits or similar dress for women to align with the general male majority in such fields as politics. The discussion arises whether this further masculine adoption in clothing worn in such environments are forced or a symbol of female empowerment with references to The 1980s advent of the ”power suit” by designers like Donna Karan who tapped into the female Baby Boomers who stormed the corporate workforce (Komar, 2016). However, this further conservative and modest dress generally signifies power and authority and is commonly thought to be mirroring the status of female emancipation and empowerment.

Image 19: Hilary Clinton in Suit in Times Magazine cover. Women’s Wear Daily. © Times Magazine.

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DATA RESULTS

Image 20: : Elizabeth Taylor and Grace Kelly in Kaftans. ©2018.

Photograph: © Photograph: Nour Algharabally

FASHION PURPOSES: Covering up and further modest, but extravagant, clothing has become mainstream despite religious or cultural background.

When paying attention to the runway the past few years, and certainly 2018 (See industry benchmark p.44) , experienced a shift towards more covering styles, layering and oversizing.

PERSONAL STYLE: More covering clothes due to factors such as age, comfort or preferences.

Fashion and trend led

Image 21: Danish influencer and stylist Trine Kjær in H&M Studio SS19 © Trine Kjær Instagram

The fashion and trend driven segment account for a broad audience that quickly adopts the modest movement of layering and street-style fashion element. It finely combines with the global diversity movement largely adopted by the industry in recent years and creates an opponent to the era of Kardashian selfies and ’naked’ dresses on the red carpet (O’neill, 2018).According to statistics released in April 2019 by retail analytical company EDITED, a 15 per cent increase has shown in demand for modest fashion outside the United Arab Emirates since 2018. Additionally, a 50 per cent increase year-on-year on long-sleeve blouses with a high neckline and the midi-length hem in skirts and dresses makes up 53 per cent of total skirt styles. These recent numbers are additionally testimony to the success of brands such as H&M and the recently founded modest retailer The Modist adopting modest fashion collections into their portfolio (further brand analysis in Industry Performance) (Brown, 2019).

Personal style

Aside from the movement, modest dress or attire is to many women a personal style generally described as being comfortable and authentic, chic, simple and elegant. For this audience, modesty or modest dress is a question of preference and often comfort not trend.

It appeals to women that are interested in fashionable and functional pieces that can be appreciated for their style and craft without worrying about sexual associations (Timms, 2017). ”I think it’s more interesting to wear less revealing clothes, that’s just my personal preference.” - Linda Rodin, Interview with The Modist for November Issue 2017.

Image 22: Stylist, boutique owner and beauty mogul Linda Rodin in Marni dress in feature for The Modist © The Modist.

MODEST FASHION: SOCIOCULTURAL MARKET POTENTIAL

35

CONSUMER BEHAVIOUR SHAPING BUSINESS OPPORTUNITIES STUDY OF CONSUMER ATTITUDES TOWARDS MODEST FASHION

CONTEMPORARY MUSLIM WOMEN & ’THE NEW MUSLIM CONSUMER’ Chart 9-15; Islamic Fashion and Design Council Report (Ahmed, N/A). All charts are generalted from a quantitative appraoch that surveyed 130 Muslim women (modest dressers) living in the US and Europe.

THE WESTERN MUSLIM CONSUMER: MODEST DRESS AS CHOICE/FASHION Chart 9; Country of residence and country of origin.

36

DATA RESULTS

Chart 10: 80% of the repsondents claim to consider fashion important to their daily life or as a passion, confirming that 38% of the surveyed women commented that shopping is their favourite way to spend free time.

Chart 11: Ad hereto the 55% preference of buying in physical brick & mortar stores. However, online shopping being a good alternative.

Chart 12: 94% of respondents declare to be interested in modest fashion, however, only 3% of them exclusively wears traditional modest clothes as 45% of respondents said to usually mix both modest and western style apparel. 47% said to mainly wear western style clothes that keep with the reilgious values.

Chart 13: Nevertheless, 43% of women surveyed affirm they find difficulty in locating clothing that respect the religious values. Main obstacle was identified as the lack of proper modest offer, costumer sentiment and industry listening in Western countries.

MODEST FASHION: CONSUMER ATTITUDES

37

CONSUMER BEHAVIOUR SHAPING BUSINESS OPPORTUNITIES STUDY OF CONSUMER ATTITUDES TOWARDS MODEST FASHION

CONSUMER SENTIMENT OF ’THE NEW MUSLIM CONSUMER’ Chart 14: Representation of desirable product attributes for modest dress, emphasizing the fact that comfort and fashion are attributes considered of main importance when purchasing modest apparel, while it additionally must be suitable for career purposes.

Source: Islamic Fashion and Design Council Report (Ahmed, N/A).

Despite Muslim women being the largest segment of modest dressers and the audience mainly catered to, it is simultaneously the most misinterpretated and overheard regarding the actual clothing needs and style.

What does that look like according to Dina Torkio: 1. The brand’s aesthetic, the same or similar items from the current collections with more coverage, such as lenght, non-sheer material or higher neckline.

2. Collections displayed on models in a way that resonates with modest consumers.

3. Easily available to customers all over the world.

4. Similar price points to the brand’s current lines.

Egyptian-British modest fashion blogger, who in 2018 posted a statement on her social media channels addressing her recent decision to stop wearing her hijab full time and occasionally show her hair and generated social backlash and controversy inside the Muslim community.

What it does not look like according to Dina Torkio:

Influencer 1.3 m follower

1. Limited time only collections, such as only for Ramadan.

Stylist

2. Geographically confined collections such as ’sold only in the Middle East’ 3. Ethnic styles, prints and patterns Source: Dina Torkio YouTube channel. (Torkio, 2018).

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DINA TORKIO

DATA RESULTS

Modest Fashion Blogger Muslim Former hijabi

Source: Dina Torkio Instagram (2019).

CONSUMER LISTENING

”

”

SUPPORT FOR MODEST WEAR For so many years, we’ve been written off. No one catered to our dress sense, no one thought about us as an entity.

Firstly, I was tired of the notion that women should shy away from the media in our region (...), Secondly, it was frustrating to see tons of international fashion bloggers and try to adapt their style keeping in mind our cultural and/or religious guidelines

Source: (Sarkar, 2019)

Ascia Al Faraj

Kuwaiti-American Muslim blogger at The Hybrids and Instagram star (2.6 million followers), and an integral part of the modest fashion blogosphere for the past six years (Sarkar, 2019)

”

Source: (Glass, 2017).

”

CRITIC OF EXISTING WESTERN MODEST FASHION

”

Source: (Kaur Beauty, 2018).

Kaur Beauty:

Halima Aden

21 year-old Muslim, Kenya-American fashion model at IMG (894k instagram followers). She is noted for being the first signed hijab-wearing model and by April 2019 the first model to wear a burkini in Sports Illustarted.

Introduced to the industry by French fashion editor, Carine Roitfeld. Runway debut NYFW Fall 2017 by walking in Kanye West’s Yeezy Season 5

(Glass, 2017).

MODESTY AS LIFESTYLE AFTER WESTERN MODEL

”

I feel like the modest collections are more targeted towards Muslims than modesty I general, as they advertise.

Over priced and see-through materials, so you have to wear a top underneath the white shirts from the collection, which is kind of de-feating the purpose of a modest collection

Modest fashion is not only for Muslim women.

It is a global concept and women are free to choose.

A lot of women is now represented. Previously (before modest fashion as a fashion movement), the only people I saw dressed like me was on CNN, and belive me they were not doing anything that I approve of.

”

Punjabi, Indian, 21 year-old fashion/beauty influencer (76.2k instagram followers) and YouTuber (214.104 subscribers) behind the Social media channel Kaur Beauty and medical student (Kaur Beauty, 2018).

Modesty is not only in clothing, it has to be a lifestyle. I like to take example from some of the greatest icons (read:royalties) like Princess Diana, Jacqueline Kennedy and Kate Middleton. All those women are known for beauty and grace; everything about them screams class and modesty.

”

Rachelle Yadegar

Orthodox Jew, influencer (15.9k instagram followers), modest fashion blogger on ”Not Without My Heels”, Co- owner of modest fashion brand RaJu Official.

Source: (Marvizi, 2016)

MODEST FASHION: CONSUMER ATTITUDES

39

CONSUMER CONSUMER BEHAVIOUR BEHAVIOUR SHAPING SHAPING BUSINESS BUSINESS OPPORTUNITIES OPPORTUNITIES STUDY STUDY OF OF CONSUMER CONSUMER ATTITUDES ATTITUDES TOWARDS TOWARDS MODEST MODEST FASHION FASHION

GENERAL SOCIAL AWARENESS: CONSUMERS ADOPTING THE MOVEMENT Muslim consumerism plays a big part in the digital revolution in which the Muslim cellular subscription base is 1.3 billion (21% of the global figure) according to the Islamic Fashion & Desing Council (Islamic Fashion & Design Council, 2013). This highly supports the online Islamic fashion retail and consumption of modest dress as new online fashion retailers continuously enter the market space; a clear sign of growth and popularization of online commerce, despite consumer preferences of brick & mortar shopping (Chart11) and reservations in online security, sizing. Additional factors affecting Islamic fashion market growth include; increase in Muslims women entering the workforce and rising financial independence; Development in technology, allowing increased consumer access to online shopping; Fashion news and consumer platforms and interest has produced opportunity to engage a global audience with modest fashion solutions (Islamic Fashion & Design Council, 2013).

Reuters report (Reuters, 2017) confirmed that social media, especially Instagram and YouTube as Image-heavy mediums, are vital to the growth of the modest fashion movement. Additionally, these mediums assist in spreading the diversity and multidimensionality of modest dressing and represents the opportunity to reject the related religious stereotypes as hashtags are effective to popularize the modest and related hijab fashion scene (Wang, 2017).

Chart 15: The Islamic Fashion and Design Council Report (Ahmed, N/A), additionally identified the most important and significant sources of information regarding modest fashion and found online social sites the most used to find information about style and trends within modest fashion. This has additionally contributed to the social awareness and increased consumer adoptiong of the movement.

Source: Islamic Fashion and Design Council Report (Ahmed, N/A).

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DATA RESULTS

TOP KEYWORDS AND HASHTAGS 2019

Following keywords and hashtags are based upon an algorithm from Best-Hashtags.com that constantly updates the list of hashtags displayed to include new or trending hashtags. Last update was on 2019-04-30 03:24:48 (Best-hashtags.com, 2019) Below chart from The State of The Global Islamic Economy Report 2016/17 a total of 108,000 modest fashion related Facebook ’posts and comments’ (18-35 age group) show increasingly high interactions in non-Muslim majority countries is a reflection of the prominent interest from these markets in Modest Fashion category. Methodology and appraoch for this finding is elaborated in the Appendix, Exhibit 2.

#hijaber 22.3 m.

Instagram posts

#modestfashion 1.3 m.

Instagram posts

Chart 16 VOLUME OF ONLINE INTERACTIONS ON MODEST FASHION 2016/2017

#hijabfashion #hijab #fashion #ootd Modest Fashion Islamophobia Style #hijabstyle Muslim

#modest

Source: “The State of The Global Islamic Economy Report 2016/17” (Reuters, 2017).

YouTube keywords Instagram, Twitter, Facebook, Tumblr #hashtags

MODEST FASHION: CONSUMER ATTITUDES

41

OVERVIEW

42

INDUSTRY PERFORMANCE KEY DEVELOPMENT IN 2017/2018 & INDUSTRY BENCHMARK

DATA RESULTS

MODEST FASHION: INDUSTRY PERFORMANCE

43

BRANDS

INDUSTRY PERFORMANCE

INDUSTRY BENCHMARK: THE ROLE OF BRANDS, INFLUENCERS & FASHION WEEKS

Modest fashion may be considered a niche for a fashion subculture; however, presented silhouettes and aesthetic correspond to the current happenings within the general fashion industry and the most relevant looks such as Vetements’ long-sleeved floral maxi-dresses, Gucci’s nerdy pussybow separates, oversize layering or dresses, Céline’s over-sized suiting or Ganni’s floral maxi skirts from the past few years and seasons may be considered modest (Wang, 2017).

Chart 19: : Lyst annual fashion report lists the industries top performing brands, combining brand awareness, engagement and demand. For respectively 2017 and 2018 it shows Gucci as the leading, hottest or number one searched brand, driving effective consumer engagement through highly popular, fashion-forward, yet accessive products (The Lyst Index, 2019). The index generally shows a broad commitment from the luxury segment in creating further modest practices during 2017 and 2018 shows, here marked by the checking-icon on the side of each index. This is generally testimony to an increased industry awareness and reaction on the financially well positioned modest fashion market and global Muslim expenditure.

Source: Lyst Fashion Index 2017 and 2018. (The Lyst Index, 2019).

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DATA RESULTS

While high-end luxury players dominated the runway with modest adoptions in 2017 and 2018, fast-fashion giants have additionally adopted ‘modest’ or further covering clothing into their portfolio including shapes of long cardigans, roomy pants, high-necked tops and maxi-dresses. However, these shapes have generally been available throughout mainstream retail and diverse brands such as H&M; Mango and Dolce & Gabbana, the difference is the fact that the items and collections now have been dedicated a specific name, ‘modest’ and ‘modest fashion’ catering to a new audience. The issue, however, exists in these specifically targeted collections often are limited editions or timed to Muslim holidays such as Ramadan or Eid. As a result of this, modesty and modest attire is made an occasion rather than a lifestyle (Wang, 2017).

Following pages exemplifies the industry adoption of the modest fashion movement by three different players; the Danish founded from hood to high fashion street style brand, MUF10, online women’s fashion retailer The Modist and finally by Swedish multinational clothing-retail company and fast fashion giant H&M.

Image 23: Gucci Fall 2018 Ready-to-Wear look 86. © Photograph: Marcus Tondo / Indigital.tv

MODEST FASHION: ROLE OF BRANDS

45

MUF10 & founder Reza Etemadi MUF10 is a Scandinavian brand established in 2014. The brand is rooted in current culture and is known for its bold experimentation and unpredictability.

MUF10 has come a long way from hood to high fashion. MUF10 arose from the Copenhagen nightlife scene, to the global stage of Fashion and has the impressive ability to create a buzz and work with the publicity (Hindsgaul, 2018).

MODEST FASHION AS IDENTITY POLITICS

Founded by Iranian-born designer Reza Etamadi, Copenhagen-based MUF10 sent

back a clear answer to the Danish government on the recent Burqa ban that polarized the country and the industry. The brand dedicated its SS19 runway show at Copenhagen Fashion Week to address the political statement and used models wearing burqas and niqabs with Arabic signs down the runway in protest of six European countries (Denmark, Austria, France, Belgium, Latvia, Bulgaria) ban on Islamic face coverings. MUF10’s clothing and style is initially produced for people of the Danish ghetto’s in which the majority is of Muslim descent. The further modest design direction hereby functions as a visible sign of identity politics and empowerment (Hindsgaul, 2018).

“In Iran, where I was born, women are fighting for the right to choose what to wear.

They are fighting for freedom with their lives on the line because, what we see as a basic human right, society and politicians view as a reactionary movement that threatens their beliefs.” Reza Etamadi in Dazed interview, (Cadogan,2018)

Image 24: Amina Adan (Denmark’s first headscarf-wearing model) at MUF10 SS19 Copenhagen Fashion Week. © Photograph: Copenhagen Fashion Week

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DATA RESULTS

The Modist & founder Ghizlan Guenez The Modist, a multi-brand platform dedicated to providing a way and style of dressing that takes into account a certain form and sensibility through curated and integrated blog edits and a wide range of luxury fasion items for those who take a modest approach to dressing. With roots in the Middle East and resonance with the MeToo movement the platform also functions as a community for likeminded consumers (The Modist, 2019).The success of The Modist has been significant since its launch in 2017 and has gained brand recognition postioning it as synonym luxury modest dressing. This level of success has additionally, earned the Algerian financier and founder Ghizlan Guenez (of muslim decent) and her high-fashion empire for modest fashion a place on the BoF 500 list, a grouping of the fashion industry’s most elite and game-changing players (Suhrawardi, 2018)

MODEST FASHION AS MARKET NICHE ”we consider and prioritise length of sleeves, hems, necklines and opacity. Looks, layers and styles that will allow you to express your individuality, yet remain true to the values that define you.” Ghizlan Guenez in interview with Business Of Fashion.

(Chitrakorn, 2018). The Modist claim not to specifically target Muslim women, but rather a diverse audience of all women that wants to dress modestly matching the general trend of inclusivity and diversity in all forms. However, the brand still holds a unique appeal to the female Muslim audience, and both business actions and communicative discourse exist as a testimony to that. With a customer demographic making up for 35% coming from the Middle East, 35% from the US, 30% from the rest of the world of which 15% is form the UK, The Modist received investment from luxury multi-brand retailer Farfetch in 2019 to become the first luxury destination for modest fashion; a move that fitted neatly with Farfetch’s aggressive expansion plans within the Middle East (Suhrawardi, 2018).

The Modist undoubtedly fills a gap in the market with its modest approach to a broader audience independent on religious adherence. However, it may be questioned if both The Modist and in particular its partner Farfetch take advantage of the word ’modest’ to cater to the relevant target.

Image 25: Diverse models in The Modist campaign © Photograph: The Modist.

MODEST FASHION: ROLE OF BRANDS

47

H&M & CEO Karl-Johan Persson Swedish multinational clothing-retail company renowned for its fast-fashion business model and clothing for men, women and kids. H&M has become the latest fashion gigant to adopt the trend or movement of modest fashion and launched in May 2018 its first modest colleciton under the name LTD Collection.

The collection is said to cater to all women who prefer to cover up, and most notably Muslim women who wear the hijab. Featuring loose pants, kaftans, tunic-style blouses, and maxi skirts, the branded ’exclusive spring collection’ was only available online (Colón, 2018). Pernilla Wohlfahrt, head of design at H&M, said the company aims to diversify its consumer base and cater to all types of customers ”Today H&M is present in 69 markets and we want to be diverse and inclusive to all the markets where we operate. We want to be able to offer something for everyone,” (Colón, 2018).

Image 26: H&M LTD Collection © Photograph: H&M

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DATA RESULTS

MODEST FASHION AS A PROFITABLE TREND

Despite the comment from the head of design at H&M, the company seems to have further embraced the rise of modest fashion in line with the publication of new market information on the consumer segment. H&M may with this attempt to increase market reach and profit, while secondarily communicating ’diversity and inclusivity’, however, this attempt has both been celebrated and criticised by the general online social forum.

While H&M as a fast fashion giant successfully cater to a broad consumer audience including modest dressers of different religions they have as following the industry trend launched specifically targeted collections for Muslim women often timed in accordance with Muslim holidays, like Ramadan and Eid. The issue is commented by various influencers and targeted customers of these collections and stresses that modesty does not apply as an occasion, but rather a lifestyle. So while H&M’s specifically targeted collections such as the LTD (limited edition) modest collection seeks to be both a profitable trend and inclusive of the needs of the previously overseen target audience, it has the opposite effect.

H&M MODEST COLLECTION CASE EVALUATION

H&M has chosen to be analysed further through community and target review, as the brand and related collections has been highly disgussed online and center of online social commentary.

”

DINA TORKIO Egyptian-British modest fashion blogger, and one of the significant influencers leading the modest fashion movemet not shying away from calling out major brand and industry mistakes and cultural appropriation.

In 2018 Torkio posted a statement on her social media channels addressing her recent decision to stop wearing her hijab full time and occasionally show her hair and generated social backlash and controversy inside the Muslim community.

It is basically a kaftan, right. When you get these traditional muslim pieces from around the world, they are normally a lot cheaper. So now when H&M does it, should it basically be cultural appreciation? I don’t think so. When brands do a modest line, we are all supposed to be over the moon because we have been included, but then at the same time you are excluding us even more because you are creating a line only for us, which is a pile of shit compared to the rest of the website. And it just got strong ethnical influences in the clothes. WE CAN ALREADY GET THAT! H&M is just half arsing it and selling it for 70 pounds. How the whole thing started was the fact that we like what is on the high street it just need a few adjustment; a slightly longer sleeve or a not see-through top half or a skirt is perfect, it just need to be brought down to the ankles a bit instead of the knee. We are not asking brands to sell us clothing that our cultures around the world has already invented. It seems like they are not working with actual modest dressers and people who have the style of dress or modest fashion bloggers (or that huge modest dressers platform and that includes women who are not muslim, women who do not cover their hair, because covering your hair, so many people mistake it for being the only modest thing) because they would have told them otherwise and ‘that is just a kaftan’, nothing else. - Dina Torkio on H&M’s LTD modest collection (Torkio, 2018)

”

Image 27: Dina Torkio YouTube cover from video on H&M’s LTD modest collection. © Photograph: Dina Torkio.

MODEST FASHION: ROLE OF BRANDS

49

INFLUENCERS

INDUSTRY PERFORMANCE

INDUSTRY BENCHMARK: THE ROLE OF BRANDS, INFLUENCERS & FASHION WEEKS

THE ROLE OF FASHION INFLUENCERS

As modest fashion increasingly has become one of the fastest growing divisions in the industry, a community of journalists, influencers, blogs with interest in modest clothing has likewise risen with its very own specialised digital style influencers and role models, such as Halima Aden, Dina Torikio, Zaynah Ahmed and Ruba Zai, who have challenged the religious and hijab stereotypes proving the combination of being modestly covered-up and looking chic at the same time. According to Zaynah Ahmed, the online social scene and media related have been key for the increase in the number of bloggers and modest fashion influencers as well as improved and eased access on the circuit. This rise in interested profiles has been crucial in creating industry awareness on the level of influence that these profiles carry and has led the industry to collaborate with them to reach the Muslim modest fashion market (Omar, 2017) Reasons behind this rise in influential profiles present as a lack of authentic content highlighting modest fashion inspiration and the underrepresentation of women from minority cultures in the blogosphere. Additionally, the moral or personal restraint towards dress and representation becomes a seedbed of creativity (Sarkar, 2019).

Chart 17: Blogs and Instagram, particularly, have assisted the rise of the movement. They generally work as crucial social commentary critically reviewing the targeted collections, lines and brands arriving in the market. The fashion industry may not ignore these profiles as these account for and drives the brand profit.

THE ROLE OF BLOGS FOR MODEST FASHION INFLUENCERS

BLOGS

INITIATE THE MODEST FASHION MOVEMENT

MEDIA FOR STORYTELLING POSTING OUTFITS AND TUTORIALS COMMUNITY SHARING

THE ROLE OF INSTAGRAM FOR MODEST FASHION INFLUENCERS

INSTAGRAM

Based on source: (Lewis, 2015)

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DATA RESULTS

CONTINUING THE MODEST FASHION MOVEMENT

PERSONAL BRANDING SALES PROMOTION #OOTD SHARING FASHION TIPS TUTORIALS HASHTAGS FOR BRAND INFORMATION

MODEST FASHION: ROLE OF INFLUENCERS

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THE ROLE OF ACTIVISTS INFLUENCES

Despite having established the fact that hijab is not the determinator for dressing modestly, it however still functions as one of the most discussed and centralised objects of the modest fashion conversation and current discourse. As mentioned in the first chapter of the literature review, the contemporary discussion and modern conversation on modest fashion must differentiate between modest dress as fashion and religion. Therefore it is relevant to evaluate the role of activist influencers in relation to religion, now as the role of modest fashion influencers additionally have been identified. While talking about fashion influencers fighting for both being accepted with and without hijab, wig or merely the need for dressing further covering one may additionally consider those who fight choice, and what they emphasise as ’freedom’ in different contexts in non-western communities.

The activists additionally influence through online media and share a similar result of creating community sharing, empowerment and a platform for storytelling and activism. The point of difference to the media function used by fashion influencers exist in while fashion influencers communicate outfit tutorials, #OOTD, styling tips and increasingly choice-related content, the activist communities use online platforms for further activist material

CURRENT MAIN ACTIVIST THEME SUBJECT

MOVEMENT

FOLLOWING

AREA

COMPULSARY HIJAB

White Wednesdays (women wearing a white or no headscarf)

21+ thousand #whitewednesday (Instagram) 3 profiles dedicated to the matter 2 m. followers of the founder Masih Alinejad

Primary: Iran Secondary: Global

Based on source: White Wednesday Instagram account (2019)

THE ROLE OF BLOGS AND FORAS FOR ACTIVISTS INFLUENCES BLOGS & FORAS

CONTINUING THE ACTIVIST MOVEMENT

COMMUNITY SHARING & INFORMATION. FURTHER CLOSED FORUM FOR DIRECT DIALOGUE, HOWEVER DIRECT COMMUNICATION OF ACTIONS & OBJECTIVES.

Based on source: Musawah.org (2019) *international women’s rights defender

THE ROLE OF INSTAGRAM FOR ACTIVISTS INFLUENCES

INSTAGRAM

INTITIATED THE THE FIGHT AGAINST COMPULSARY HIJAB BY #WHITEWEDNESDAYS

Based on source: White Wednesday Instagram account (2019)

Image 28: Women are wearing white on Wednesday to protest Iran’s strict hijab laws. © Photograph: Metro News.

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DATA RESULTS

HASHTAGS FOR MOVEMENT INFORMATION COMMUNITY SHARING VISIBLE SUPPORT & DIALOGUE

MODEST FASHION: ROLE OF INFLUENCERS

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FASHION WEEKS

INDUSTRY PERFORMANCE

INDUSTRY BENCHMARK: THE ROLE OF BRANDS, INFLUENCERS & FASHION WEEKS

THE ROLE OF FASHION WEEKS; TORINO FASHION WEEK, JAKARTA, DUBAI, LONDON, ISTANBUL CONTEXT Modest fashion expansion has been applied to the international fashion weeks through two approaches; international partnerships (Islamic Fashion and Design Council (IFDC) partnered with Torino Fashion Week in 2017 to introduce an official modest category), as well as through specific fashion weeks dedicated to modest wear. Both approaches seeks to implement the modest fashion category to the mainstream scene and create opportunity for category players to achieve international recognition.

TORINO FASHION WEEK; INTERNATIONAL PARTNERSHIP

Chart 18: Partnering up with Torino Fashion Week, IFDC appointed the digital marketing B2C agency, TAAM MEDIA, for

media handling as official ambassador and delivered a successful increase in awareness on IFDC’s social accounts, as well as connecting industry key players with the initiative all introducing the IFDC to international media coverage (including interviews with Italian media (Vogue cover story and television)). The partnership has assisted the modest fashion movement to expand and move in to international mainstream adoption. Set goals, actions and achievements of TAAM MEDIA are listed below and suggests modest fashion as meeting a substantial market need in Western context (TAAM MEDIA, 2019).

Segments

Goals

Actions

Pre & during event

Torino Fashion Week Increase awareness of IFDC presence at TFW in social platforms, press and medias.

Press Release Social Media advertisement Interviews with designers & organisers Cover Fashion Week via social

Create exposure around modest designers’ catwalk before and during TFW

media Create engaging #hashtag Cover live event Cover story on social media

Keep IFDC momentum during TFW by covering the event across multiple channels

Source: (TAAM MEDIA, 2019).

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DATA RESULTS

Generate leads from B2B events and workshop

Achievements

42%

More than 42% increase in followers on Instagram

646%

Facebook engagement rate increased by 646%

48%

Twitter mentions of IFDC increased 48%

JAKARTA, DUBAI, LONDON & INSTANBUL: FASHION WEKS DEDICATED TO MODEST FASHION

Specifically dedicated fashion weeks has increasingly assisted international recognition and movement awareness through global media coverage and has increasingly contributed to mainstreamning the fashion category.

Image 29: Dubai modest Fashion Week Webiste. © Photograph: (Dubai modest Fashion Week, 2019)

GLOBAL MEDIA COVERAGE

Image 32: Christian Dior, Spring/Summer 2017 ”We should all be feminists.”© Photograph: Indigital.tv

Image 30: Ghizlan Guenez, Founder of The Modist in Forbes. © Photograph: The Modist

Image 33: Halima Aden in BOF Voices 2017 with Tim Blanks and Carine Roitfeld © Photograph: BOF

Image 34: 3D Rendered UAE Dirham © Photograph: Shutterstock

Image 31: The Modist analysis in BOF. © Photograph: The Modist

MODEST FASHION: ROLE OF FASHION WEEKS

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SOCIAL RESPONSE TO MODEST FASHION

56

DATA RESULTS

MODEST FASHION: SOCIAL RESPONSE

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DATA RESULTS

MODEST FASHION: SOCIAL RESPONSE

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DATA RESULTS MODEL DATA ASSESSED AND MAIN CONCEPTS

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DATA RESULTS MODEL

MODEST FASHION: DATA ASSESSED

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DATA RESULTS MODEL REVIEW & KEY FINDINGS

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DATA RESULTS KEY FINDINGS

Image 35: Halima Aden in BOF Vocies 2017 © Photograph: Getty Images

MODEST FASHION

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DISCUSSION & CONCLUSION THE SOCIAL REALITY OF MODEST FASHION This dissertation is primarily aimed to interpret the new practices and interests of the current fashion industry in a context of the rise of modest fashion and to address an understanding of the related business spectrum and social reality. The main focus of interest was to evaluate the social representation of modest fashion by its meaning and role in the modern context, to comprehend the increasing industry involvement in modest fashion practices and rise of a new cohort. Introducing the dissertation subject by theoretical research on sociological and industry related contexts, the study advances by contrasting primary and secondary data results, strengthening the transversal examination of the rising concept of modest fashion.

The introductory theoretical review treating fashion business, religion, feminism and sociology, presented an exploration of modest fashion that challenged the traditional/current representation of the concept meaning and divided modest fashion into two categories; modest dress as religion, and modest dress as fashion. Distinguishing the religious context from the fashion context, acknowledge the apparent differences, independent nature and meaning between the two concepts that are needed to understand the current discourse and role of modest dress in different sociocultural environments. This is confirmed by interview and analyses in communication and cultural semiotics (Prof. Gabriela Pedranti Bracaccini, 2019) and recent sociological studies in religion (Lewis, 2013 & 2015) proving that current everyday discourse has caused concept confusion. It has led the social conversation of the modern West to interchange the term ‘Modest dress/fashion’ as a synonym for Muslim clothing largely defined by the custom practice of veiling, despite the concept reaching a far broader audience including fashion, practicality, beauty, identity politics, age, personal taste

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DISCUSSION AND CONCLUSION

and style, role in community and professional reasons (Complicating the previous theories).

With a specific meaning connected to both modest dress as religion and modest dress as fashion, the categories show apparent differences and relations in dressing codes of ‘modesty’ for the different audiences of the respective communities.

By failing to consider the distinctions and relations between “Modest dress as religion” and “Modest dress as Fashion”, contemporary theories and social studies continuously contribute to a simplified and biased (Western) viewpoint on modest fashion as a standardisation and mere equivalent to religious Muslim dress codes, negative cultural stereotyping of Islam (mainly imagery of custom veiling) and oppression of women’s rights. Fashions role as a social integrator and identity tool (“Social Identity Theory of Intergroup Behaviour”, Tajfel, H., Turner, 1986) both positively and negatively affects modest fashion. It contributes to the social identity construction as clothing carry a particular meaning of the body and the person and mirrors the relationships of the body and person to society and creates personality/identity, which makes fashion (Barthes, 2005). Negatively, this affects modest fashion in the West by creating equivalent between the hijab (sharing of internal group representation) and the related to the political activities of the Middle East, and the hijab becomes a badge of membership or stereotypical perception when communicated to an outside group (Western communities). Positively modest dress whether religious or fashion related (including hijab or not) can be understood as a precursor of understanding the reason for many women or men sharing common goals creating movement, community or activism pushing social change.

Image 36: : Illustration on women choice, from left; woman with hijab, woman without hijab. New York Times. © Photograph: Christina Hagerfors

MODEST FASHION: SOCIAL REALITY

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‘Modest fashion’ as a further complicated concept may, therefore, be recognised as a spectrum for identity affirmation or self-expression through clothing as religion or fashion. The notion of modest fashion as standardisation and mere equivalent to religious Muslim dress codes, consequently, stand contradicted as the concept complicates and depends on the context (community, symbolic value and purpose) in which it is considered. However, one cannot entirely discredit the general discourse profoundly connecting the largest and financially resilient consumer segment (Muslim women) directly with the rising modest fashion concept.

The discussion continues stressing whether the modest fashion market is driven by economic relations rather than social inclusion and if the movement may be considered a subject of social and industry inclusivity or merely pushing further exclusivity of groups of religious adherence. Sociological theory (Conflict Theory (Brym & Lie, 2012) and economic reports (Reuters, 2018) and recent fashion studies (Lewis, 2013 & 2015) and (Sandikci, 2007) comments the industry as the driver presenting the industry as culturally inclusive, highlighting how religion and ethnic diversity is enmeshed within the experience of selling and consuming fashion. An analysis of consumer sentiment, however, found an opponent emphasizing a divide in consumer attitudes. On the one hand, influential modest dressers and renowned social commentary (Mona Eltahawy and Masih Alinejad) note the industry adoption as socially excluding and segmenting under the branded pretend of being inclusive. Additionally they comment on the modest fashion adoption as contributing to the stagnation of female oppression in conservative Muslim communities such as Iran, while applauded as it puts brand (Dolce Gabbana & H&M), and retail (Macy’s, Harrods) stamps on a traditional Middle Eastern style and claim its originality, whilst actually catering to the petrol dollars of the gulf. On the other hand, consumer listening and sentiment augmented for modest fashion as an industry and social inclusion and increasing adoption of hijab imagery as empowerment, diversity and subcultural recognition.

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DISCUSSION AND CONCLUSION

All mentioned findings certify that as modest fashion moves from niche to further mainstream embracement a level of social movement follows and is spurring a collective mobilisation and consumer behaviour that increasingly shapes business opportunities welcomed by both Western and Middle Eastern markets. In line with the social movement an increasing number of women (both activists and influencers), choose to discard, compromise or on the contrary increasingly celebrate what have come to be the key signifiers of both modest fashion and religious dress in Islam, the hijab (all for purposes of either empowerment, identity politics, religious adherence or personal taste). Highly driven by a young generation and prominently online by bloggers and influencers, who regard such modified forms of self-presentation as widening, rather than quitting or extremify the frame of modest embodiment. Examples of both scenarios have been celebrated and criticized by the mainstream media. However, disregarding or compromising the hijab to occasion-wear (Dina Torkio, Mona Eltahawy, Masih Alinejad) has received significant backlashes and an onslaught of insults from the Muslim community (increasingly online) from both West and the Middle East. Simultaneously, little to no attention is given to similar concepts of other religions modest dressers (Judaism and women’s compulsory wigs post marriage) or Christianity’s (LDS) covering underwear or Catholic nuns hair coverage)) due to the political agenda on the rift between the West and the Middle East affects the discourse and narrows the field of interest. Despite the establishment of modest fashion reaching further than a female Muslim audience, the role of the hijab is an inevitable factor in discussing the rise and rebirth of the modest fashion category legitimated through and by the internet.

As a mode of communication, the internet and its current handling of modest fashion function as a taste-making mechanism, an ideological category, and a marketing device in accordance with Conflict Theory (Brym & Lie, 2012).

It contributes to an improved social situation for segments of modest dressers that answers to the growing market need and eases the con-

sumption of fashionable dress in line with their sense of piety or personal preferences. Related online forums, communities, blogs, movements, social commentary, magazines or brand platforms generates a space for women of modest dressing to centre their voices and foster new forms of dialogue and debates within, between and across reasons of belonging. Ideally, these environments play a significant role in portraying the lived practices and meanings of religion that may not be communicated from theological text and hereby enhance cultural appreciation over appropriation.

So, while the market place intensifies, expands and diversifies the growing range of online commentary and debate indicates the vitality of a field that continues to develop as well as complicates. This suggests fascinating hypothesises for future research; if modest fashion may assist in building bridge between both sides of the Atlantic or if that may even be considered a possibility with societies of significantly different sociocultural, political and infrastructural evolutions and developments. Further research development might likewise be considering if this Western modest fashion movement affects the original modest communities that are forgotten in the glory of Western inclusivity and branding of social movement?

Image 37: Halima Aden in Balenciaga for Elle Magazine. Š Photograph: Clay Stephen Gardner

MODEST FASHION: SOCIAL REALITY

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In conclusion, the modest fashion concept is more complicated than currently communicated and holds a far to neutral fashion business approach to comprehend all segments, attitudes, ideas and point of views. Main contradictions found throughout this dissertation is the interpretation of freedom based on the different cultural backgrounds, and the debate of modest fashion (here as reference to the Muslim custom of veiling) must be considered oppression of women and women’s rights or a choice.

And as mentioned throughout the dissertation, the discussion must depend on the context in which modest fashion is discussed.

All points of reference, however, has found similarities in expressing the need for freedom to dress.

On the one hand, modest fashion serves as a good sight-line into an area of both new religious vitality and fashion representation; a tectonic shift in the western religious landscape with the market place and is assisting in redefining and modernising ideas of stereotypical cultural perceptions. On the other hand, there is a difference between the west and the ‘rest’ and between fashion and religion, and we of West often tend to forget that in the attempt to be inclusive.

So, if the girls living in the western societies, considers this inclusive, is that less valid than those who believe the opposite such as the activists that seek to revolutionize the way they feel they are forced to dress? Current social and industry conversation generally focus on the challenge of defending a choice whether dressing as the Kardashian’s, traditional Hindu in a saree, Megan Markle or Hilary Clinton or according to trend-led fashion influencers or personal preference.

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DISCUSSION AND CONCLUSION

Or maybe societies must let go of social segmentation and fashion categorisation in order to truly provide freedom of dress without moral associations? *The matter is open for interpretation and further research, and the author genuinly hopes for other students to regard the subject in order to contribute to a social and industry betterment.

Despite identifying the need to create two different modest fashion categories dividing modest dress as religion and modest dress as fashion to understand the changing context and background of modesty in respective communities, the examination is still not clear enough to understand the complexity.

Social inclusivity, business opportinity or both?

Does one discard the other? Or is there momentum for further transforming modest fashion as a fashion topic into a social driver in and outside Western understanding?

Chart 19: MODEST FASHION MODEL: FUTURE DEVELOPMENT AND INDUSTRY RECOMMENDATION. As a final evaluation, illustrated on the right is recommended models of development for the concept of modest fashion to complicate the conversation on the matter.

From the top, the model emphasises three areas of development or effects of the modest fashion industry. From left; a global social revolution responding to the religious ruling. Center; modest fashion as a women’s revolution flag initiated outside western context. Right; an industry development of creating a general fashion universe embraced by personal preferences rather than social, political or religious ruling.

The bottom model, combine these areas of development into the treated fields of study (consumer behaviour, industry adoption and social movement), and suggests that the fields rely on each other in order to create a successful movement. Furthermore, it portrays how modest fashion movement has the potential to revolutionise socially, politically and aesthetically.

MODEST FASHION

SOCIAL REVOLUTION (religion)

WOMEN REVOLUTION FLAG

FASHION UNIVERSE

Modest fashion universe embraced due to personal values, not due to religion and social rules.

Modest fashion as a social revolution as response to religion.

Womens/feminist revolution continued in Muslim communities such as Iran may increase womens liberation in order to consider a rising modest fashion universe

Evaluate

Identify •

Seperate fashion and religious context of modest dress; socioculturally, politically

Development:

Options:

•

•

• •

Socially: Womens revolution, Social movement outisde the West Politically Aesthetically

•

Apply

Fashion universe based on personal preferences rather an social ruling Mainstrem branding: remove moral associations with the concept for the future

source: created by the author.

MODEST FASHION: SOCIAL DEVELOPMENT

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Image 38: Modest fashion-inspired outfits from the runway. From left: Ganni, Max Mara, Pierpaolo Piccioli, Gucci, Calvin Klein, Stella McCartney, Designers Remix. Image text translated: ”Modest fashion?” © Photograph: Emil Thorbjörnsson

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