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Modesty & Elegance 

You may have come across the terminology ‘modesty’ or ‘modest fashion’. You probably have seen glimpses of articles mentioning the new boom of modest fashion. However, you may not have paid too much attention to it, as it’s generally used for a niche group of women within certain cultures and religions. This is where the origins and importance of modesty gets diluted; tying it to a specific group of people only. Though the word modesty can be used in different context, let’s look at it from a fashion’s perspective. 

The general term modest fashion indicates to a style where women wear less skin-revealing clothes, most commonly for spiritual reasons due to aesthetic requirements from religion or even personal preferences. Arguably, one does not have to be of any religious practice to wear modest clothing. In fact, it is not a limiting factor in style. What it comes down to is the styling of individual fashion pieces that are then turned into modest fashion. More so, many brands are blending collections and designs that are considerably modest in style. What’s astounding is that brands always created modest fashion pieces, but it’s not ordinarily labelled as such. Anyone from Zara, COS to Valentino have individual pieces that are full length skirts, long sleeved maxi dresses, palazzo trousers and long-sleeved blouses. Essentially modest fashion is a style open for interpretation depending on socio-culture, individual preferences and experimentation with the newest trends. However, as of 2018 the division ‘modest fashion’ has been considered to be a $250 billion industry. Within the luxury fashion sector, it is vastly the UK and the Middle East Gulf region. A boom since the mid 2000s where brands have designed specific collections for that demographic. Modest fashion is assimilated with elegance more so than what anyone else claims. Modesty is the new elegance. 

It can also be noted that there are more female designers behind practical, modest and elegant clothing. Look at Stella McCartney or the old Celine by Pheobe Philo, even Maria Grazia Chiuri’s Dior celebrates a form of elegant modest fashion pieces. Women all over the world are embracing this style as a form of defiance to patriarchy and showcase their preferred way of dressing. Revealing less is a form of grace, sexy and an attitude solely owned by individual women. Long coats, culottes trousers, mid/kitten heels, loose knitwear and simple sophistication are seen on the streets and runway. Bloggers and influencers are incorporating modest fashion seamlessly into their style, without the labelling it so. But credit needs to be given, where credit is due, Muslim bloggers and influencers have been the forefront of modest fashion and set the trend when fashion claimed that there is no space for such styles. The most notable ones are Hana Tajima, Ascia, Dalal, Dina Torkia and many many more. Numerous magazines and news outlets covered and still write about modest fashion, linking it majorly to Muslim women.   


There are no easy ways to expressing the complexities of modesty, granting the enormity of the topic. It can be both unyielding and ambiguous, taking various religious, cultural and social rationalisations into considerations. Besides those aspects of modesty, there are more entities that contribute to how a group of people or even individuals perceive modesty. Sociology, philosophy, psychology and religion just being one of the many entities contributing to what modesty is. Modesty is a lifelong pursuit that requires constant revaluation and redefinition. We hope that this article contributed to adding a viewpoint to what modest fashion is and has enlightened you to explore more.  
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Symbolism of the Handbag

Fashion is a form of expressing ones’ individual identity through the means of aesthetics; it’s not essentially about utility. Arguably, it wasn’t about utility until recently, where pockets can not only be seen in ready-to-wear dresses but also couture gowns (thank you Raf Simmons). However, before form, function and practicality aligned with fashion, handbags served those purposes since their inception. An early modern origin of handbags came from the 17th century as purses and coin purses, which then evolved into handbags. But we aren’t here to give you a historical lesson about fashion’s favourite accessory products, we would simply like to briefly explore the handbag as a symbolic gesture. 



Let’s agree on the fact that handbags now come in endless shapes, sizes, styles and functions. Most are practical, some are pretty, and others are iconographic to a brand. There are boundless handbags. Although it’s sensible to go for handbags that compliment your style and express your individuality. Style is very personal, fashion isn’t. How you dress is a depiction of your character, your lifestyle, your aspirations and even your personality. The handbag acts as a support to one’s personal style and needs. Naturally, the functionality and size carry more priority to most people, but the style, design and even price tag define your taste and economic prosperity. 

During the early feminists’ movement, handbags symbolised independence and status; women carried their own wallet with their own bank cards, car & house keys and work-related materials. The handbag embodied progression in gender equality. From independence to economic prosperity, women showcased their expensive taste and lifestyle through the investment of designer handbags. Every super brand has its own iconic handbag; Lady Dior, Chanel 2.55, Louis Vuitton Capucine and Hermes Birkin; and every woman wanting to display success would have one. The Birkin remains to be the icing on the cake when it comes to signifying career success, but more so financial success. If you’ve watched Sex and The City TV series, then you may remember Samantha Jones eagerly cutting corners to get her hands on a Birkin, during the early stages of her career in PR. In the films of Sex and The City, Miss Jones already owns numerous Birkin handbags, epitomising her career & financial successes. 



Lately, however, handbags are made smaller in size. Social allegory of the handbag size changed into smaller handbags equating to more success and wealth. Meaning, women can afford personal assistance to carry their work load, so there’s no need to carry large handbags. They only need their phone, cardholder and perhaps cosmetics for touch up. Anyone with a large handbag was briefly seen as aspiring, working their way up and still carrying their own stuff. The symbolism of the handbag is ever changing, not only with time but also with different cultures and societies. However, society dictates trends but doesn’t set them. The handbag is a utilitarian piece that still celebrates individuality, independence and personal identity. Our advice; go for the handbag you love and express your identity.     

All Photography by Zinah Nur Sharif



    
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Dior: Designer of Dreams 

If you have missed the Dior exhibition in Paris in 2017-18, then here’s a chance for you to explore the newest (but a lot smaller) exhibition at the Victoria and Albert Museum; Dior: Designer of Dreams. The exhibition encapsulates the history of the brand and explores the impact it had as one of the most significant couturiers in the 20th century to the present day. It is no coincidence that it’s held in London, as the exhibition also captures the relationship Dior had with Britain. 



The floor plan is set out to guide you through the journey of Christian Dior, both the designer and the brand. The initial rooms capture the work of Monsieur Dior but the following rooms are not set to segregate the former creative directors, but to intertwine their work that has been inspired by Christian Dior and capture reoccurring themes; the garden, flowers, travel and the ball. Despite seven decades with seven different visionaries, the dresses carry the essence of the brand’s DNA and the preliminary vision of the founder. Though arguably three of the former creative directors have a stronger manifestation of their own distinctive creativity than the rest. Yves Saint Laurent who introduced a new silhouette to the brand, John Galliano who brought avant-garde and his own theatrical vision and lastly Raf Simons who carved a way to modernity and minimalism into the brands DNA. 




In one of the many rooms, each creative director has been given their own space within the exhibition to showcase highlights of the dresses they have created and the vision they have presented to the House of Dior. We might be biased, but we’re always in wonderment to what Raf Simons has introduced to Dior, thinking of the modern women in the form of function, practicality, minimalism and elegance. His work modernised the House of Dior without diluting the house codes, but admittedly it must have been a challenge to follow the creative footsteps of John Galliano. The man who enchanted its audience with melodramatic couture pieces and shows. Maria Grazia Chiuri on the other side brought a contemporary feminine touch to a brand that has always been in the hands of men. 




The exhibition design is well structured with a layout that is easy to follow. The toile room emulates an eerie of heavenly light; presenting toile dresses that are finished to the core in details. Each piece in itself brings the structure and form of a design to life with the simplest use of the cotton fabric. A celebration of the seamstresses works for being able to translate a designer’s vision before the finished product. This room is quite state-of-the-art in the form of exhibition design and undoubtedly innovative. The flower room is transformative, romantic and So Dior. The final room makes the audience starry-eyed, entrancing them into a star-showered ball room. The title of the exhibition is truly translated into each space and emits the house codes of Dior. 

We highly recommend you visit it if you have the opportunity to do so, open until July 14th 2019, Dior never fails to captivate its audience. Please note that the images are intentionally mixed, for us not to give away the room orders. 

(All Photography by Zinah Nur Sharif) 


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2014 was my first time travelling without parents, prior to that all my travels was with my parents; any country or destination.
As I was starting up my business, I thought visiting Kuwait would be a good idea…both to explore the country & venture my business. I went during Ramadan in late July 2014 with my brother. It wasn’t exactly the best idea to get to know the country, as many spent the summer abroad or in their homes (due to the immense heat and the holy month). However Kuwait marked a way forward for me to travel more often.
Though I have been sharing my travel journey on my instagram page @thezirkus, it was just in pictures and not writing. My new challenge is to share my travel journeys and what each destination had to offer until I’m up to date…just a heads up, that is going to be 34 different cities between 2014-2018.
Photography and Words | Zinah Nur Sharif

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