Fighting the Frivolity of Fashion: The Serious Cultural Role of Fashion
In today’s TikTok-obsessed, easily-influenced era, the fashion industry is thriving. More and more people, primarily women, are encapsulated by the magic of being able to express themselves through fashion. Yet, even now, fashion is still seen by the general population as frivolous and unserious - and this has much to do with how society views femininity.
Contrary to what’s been ingrained in us since we were children, girlhood is not sugar, spice, and everything nice. Usually, it is corrupted by the brutal double standards of a patriarchal society. Little girls are celebrated for their cute, pink dresses, revered for the bows in their hair, and praised for being so tiny and thin. When these same girls grow into adulthood, however, they’re constantly belittled for caring about what they look like and putting thought into their outfits, makeup, and hair. Girls are supposed to be fashionable, but then get reprimanded for it.
Traditional ‘femininity’ is considered to be whimsical and silly, not nearly as serious as its masculine counterpart, which solves complex problems by day and protects the ‘damsels in distress’ in the wake of night. As a result, fashion too is considered frivolous. And to have fashion as a hobby, or even worse, a major - that’s just for the unintelligent, artsy girls.
When a man is obsessed with getting a new pair of sneakers, no one bats an eye - he’s just a sneakerhead. Yet, if a woman has set her heart on a new pair of sneakers, she’s seen as a shopaholic, ‘wasting’ her time on materialistic things. Thus, fashion, as a result of its categorization as a ‘feminine’ interest, has also grown to be considered an easy, unserious, and unproductive pursuit.
This overarching underestimation of fashion is just another example of how the patriarchy devalues anything associated with women - the truth is that fashion is far from a trivial and unimportant endeavor. For centuries, cultures all over the world have viewed fashion as a primary part of their traditions and heritage: for them, fashion transcends stereotypical gender roles, and is a crucial part of their daily lives, one treated with the utmost seriousness.
Let’s delve into two fascinating examples: South Asia, where fashion preserves rich history, and Palestine, where it becomes a means of resistance.
In the case of South Asia, fashion is seen as a way to pass down the region’s rich history, and ensure that its heritage stays intact. The era of the Mughal Empire, which ruled the Indian subcontinent from the 16th century onwards, is a lavish and essential part of the region’s history: architecture flourished with the construction of grand Mosques and forts, colorful art prospered, and fashion saw a major boom. Mughal fashion was dripping with opulence and luxury: glittering gold, luminous silk, and elaborate embroidery were the norm. A popular garment championed by the emperors was a ‘jama’, a long gown with a fitted bodice, often adorned with intricate details, like the hand-painted gold poppies on the jama at The Met in NYC.
Man’s Robe with Poppies at The Met
The Mughals were innovators in the world of fashion. It was only due to Mughal patronage that the beloved art of block printing grew in India. Today, block printing is prevalent in numerous South Asian regions, each with its unique take on the skill; from the nature-inspired blue Ajrakh of Sindh to the yellow and black Syahi Begar print of Bagru, block printing has become a beloved craft for South Asians, a way for them to keep connected to the legacy of the Mughals.
Ajrakh printing courtesy of Sundari Silks
Traveling now to Palestine, for centuries, the women there have been using fashion through the art of embroidery, known as tatreez, to tell a story, each one unique as a result of the infinite tatreez designs possible. Tatreez celebrates the land, with its depictions of the nature of Palestinian regions, from “the orange blossoms of Bayt Dajan” to the “palm trees of Yaffa.”
A woman’s tatreez could represent where she was from; for example, tatreez from Ramallah was known for its dark red shades. It could also signify a woman’s social and marital status based on what kind of material was used.
Tatreez is also an example of how fashion can be used to connect people; it’s common for women to teach their daughters and granddaughters the art of tatreez, passing down the craft, while also strengthening familial bonds. After 1948, tatreez became a significant form of resistance for Palestinian women. When Palestinians were banned from carrying all national symbols, the women channeled their frustration through tatreez: they embroidered images of maps, flags, and olive trees on their dresses as a form of resistance. Thus, it is clear that fashion can be so much more than a silly ‘girlie’ activity: it can have a tremendous role in politics as well as culture.
Details of tatreez courtest of Capital Current
The overarching narrative that undermines femininity, and hence, fashion, is another consequence of living in a world that is run by men and for men. Yet, as this article has shown, fashion is so much more than a frivolous, ‘girlie’ affair: it is a crucial part of keeping cultures afloat, and a major source of pride for communities all over the world.
Featured image courtesy of Holr Magazine