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From the exhibition Faith, fashion, fusion: Muslim women's style in Australia. Now open at the Powerhouse Museum Sydney.
For more on the exhibition visit http://powerhousemuseum.com/faithfashion
To buy the book: http://from.ph/fffbook
From the exhibition Faith, fashion, fusion: Muslim women's style in Australia. Now open at the Powerhouse Museum Sydney.
For more on the exhibition visit http://powerhousemuseum.com/faithfashion
To buy the book: http://from.ph/fffbook
From the exhibition Faith, fashion, fusion: Muslim women's style in Australia. Now open at the Powerhouse Museum Sydney.
For more on the exhibition visit http://powerhousemuseum.com/faithfashion
To buy the book: http://from.ph/fffbook
2 First published 2012 Powerhouse Publishing, Powerhouse Museum, Sydney PO Box K346 Haymarket NSW 1238 Australia www.powerhousemuseum.com/publications Published in association with the exhibition Faith, fashion, fusion: Muslim womens style in Australia at the Powerhouse Museum May 2012 February 2013. Visit the exhibition online at www.powerhousemuseum.com Exhibition curator: Glynis Jones, Powerhouse Museum Assistant curator: Melanie Pitkin, Powerhouse Museum Publication editor: Tracy Goulding, Powerhouse Museum Designer: Peter Gould (Peter-Gould.com) & Rammal Photography: Photo on page 9 by Geo Friend, Powerhouse Museum. All other photos by Sotha Bourn and Marinco Kojdanovski, Powerhouse Museum, unless otherwise stated. Rights and permissions: Iwona Hetherington Photo librarian: Kathleen Hackett Printing: Playbill Printworks Cover image: Street style photo shoot in Ultimo for the exhibition Faith, fashion, fusion: Muslim womens style in Australia. Photo by Marinco Kojdanovski 2012 Powerhouse Museum, Sydney All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without rst seeking the permission of the copyright owners and the publishers. Every eort has been made to locate owners of copyright for the images in this book. Inquiries should be made to Powerhouse Publishing. Powerhouse Publishing is part of the Powerhouse Museum, a NSW government cultural institution, also incorporating Sydney Observatory, the Powerhouse Discovery Centre and the NSW Migration Heritage Centre. This publication was supported by The Migration Heritage Centre at the Powerhouse Museum is a New South Wales Government initiative supported by the Community Relations Commission for a Multicultural New South Wales. www.migrationheritage.nsw.gov.au 3 Foreword Introduction Glynis Jones Islamic dress and the Powerhouse Museum collection Christina Sumner Contemporary Muslim womens identity Shakira Hussein The business of modest fashion Hijab House Integrity Boutique baraka Ahiida Fay Tellaoui Aida Zein Mya Arin & Delina Darusman-Gala Muslim women in prole Rayan Marabani Mona Marabani Amna Karra-Hassan & Lael Kassem Randa Abdel-Fattah Susan Carland Arwa El Masri Oishee Alam Mecca Laalaa Muslim street style Acknowledgments About the contributors 5 6 8 11 15 35 62 80 CONTENTS 44 Douha El-Assaad 5 FOREWORD The Powerhouse Museum is proud to present what we believe is a groundbreaking exhibition and publication Faith, fashion, fusion: Muslim womens style in Australia. I can recall when rst presented with the outline of this exhibition being captivated by the womens stories; I knew then that it was going to capture the imagination of many. So it is not a surprise that even before its opening the exhibition has attracted much excitement and interest. The exhibition explores the emerging modest fashion market and the work of a new generation of Sydney based designers, who are designing stylish clothing for Muslim women, which meets both their desire to dress fashionably and creatively while observing the requirements of their faith. Through bricks and mortar boutiques, Facebook pages and online e-tailing, they are also rethinking the model for retailing and marketing modest fashion to a broader local and global market, potentially creating a signicant export industry from their Sydney base. Complementing this are the Sydney-based Muslim fashion bloggers who provide advice on modest styles, how to wear them and where to buy them. The project also creates a space where Muslim women can speak about their experiences and faith, countering some of the misconceptions and prejudice that exist in Australian society. Through photographs, treasured objects and interviews, a group of Australian Muslim women share their opinions, challenges and achievements in the exhibition. The exhibition was developed in consultation with a wide range of individuals from Australian Muslim communities and organisations. I would like to thank all those who have given advice and assistance in the exhibition and publication. It has been wonderful to capture the excitement, energy and talent of the people involved in this emerging creative industry. My thanks in particular must go to all the people who have generously given of their time to share their stories, lend objects and take part in the lming and fashion shoots that make the exhibition and publication so visually and emotionally rich. My thanks also to Museum sta who have undertaken this project with genuine engagement and commitment. The Powerhouse Museums NSW Migration Heritage Centre and the Community Relations Commission for a Multicultural NSW provided guidance for Faith, fashion, fusion and I express my thanks for their ideas and input. Dr DAWN CASEY PSA FAHA Director, Powerhouse Museum 11 or even of a high degree of religiosity. Nor did it signify a retreat from public life rather, it often communicated a womans determination to advance her education and career in mixed-gender settings beyond the home. In Australia, too, the hijab was initially adopted by women associated with Islamist networks before being taken up by a broad cross-section of Muslim women. And rather than segregating its wearers from Australian society, its appeal lies in its capacity to allow them to blend into their educational and workplace surroundings, while still signalling their religious identity. Unlike shalwar kameez and other regional outts, the hijab can be teamed with contemporary fashion and with modied school, sports or service uniforms. Yet it continues to be represented as unAustralian the insignia of an alien and unwelcome identity. As Muslim communities in Australia came under scrutiny in the wake of the September 11 2001 attacks in New York and Washington, women wearing the hijab were the most visible targets for verbal and physical harassment and abuse. Hijabs were seen as both a symbol of submission to patriarchy and (in the words of Liberal Party MP Bronwyn Bishop) an iconic emblem of deance of Australian values. Whether as victims or as rebels, hijabis came to be regarded as the standard-bearers of Muslim communities in Australia, despite the fact that the majority of Muslim women wear headscarves only part-time, if at all. The rst wave of hijabis emphasised their concept of modesty as a source of empowerment. Their headscarves signalled that they wished to be judged for their intellect and their personal values rather than for their physical For Muslim women living in Australia, all conversational pathways seem to lead to the issue of the veil. Explanations are sought from all of us, regardless of our own personal attire. Why do we wear it, or not wear it? Do we think that we might ever start to wear it, or take it o? Do we think it should be banned in western countries or compulsory in Muslim-majority societies? Veil-talk can go on and on indenitely. Whenever someone isnt seeking our opinion on the issue, its usually because theyre too busy oering their own. It is not immediately apparent exactly which garment is under discussion, since the word veil is deployed to describe both headscarves (hijab) and face-veils (niqab). However, both forms of veiling have been interchangeably denounced as representing the inltration of a dangerous religious separatism and oppressive gender norms into Australian society. Hijab is widely described as a form of traditional dress, but in its contemporary form it represents a break with both the various regional outts of Muslim-majority societies and the uncovered western-style dress-mode that had largely displaced them. As Leila Ahmed relates, the appearance of the new hijab in Egypt and elsewhere in the Middle East was generated by the ascent of Islamist movements during the 1970s and 80s. The rising popularity of the hijab caused fear among those for whom it represented an augury of possibly unwelcome and even menacing changes to come (Ahmed 2011). However, as the new style of covering became a fashion trend among women with a diverse range of political perspectives across the Muslim world, it ceased to be a signier of Islamism CONTEMPORARY MUSLIM WOMENS IDENTITY SHAKIRA HUSSEIN National Centre of Excellence for Islamic Studies, University of Melbourne 12 attributes, which were for the private enjoyment of their husbands. Hijabis were said to be prioritising intellectual and spiritual development ahead of the expensive and time-comsuming demands of elaborate hairstyles and revealing clothing. However, while modesty remains a key rationale, Muslim women have responded to post 9/11 hostility by emphasising the hijabs compatibility with Australian lifestyles, not to mention the pleasures of global fashion. It signies not separatism, but hybridity. This hybridity was most overtly expressed by the women who donned Australian ag hijabs for Australia Day events. Other important stories of inclusion were to gain traction as the post 9/11 decade progressed. In 2004, Lebanese- born Constable Maha Sukkar became the rst police ocer in Australia to wear the hijab as part of her uniform, dismissing concerns that her Velcro-fastened headscarf might interfere with her work by making her a target for negative attention (Edwards 2004). And Australian Muslim women became enthusiastic consumers of the growing international market for Islamic sportswear. Lebanese- born Australian designer Aheda Zanetti designed and manufactured a high-quality local version under a catchy brand-name, the Burqini. The Burqini gained international media coverage in the wake of the 2005 Cronulla riots. The event said to have triggered the riots was a confrontation on Cronulla beach between lifeguards and young Middle Eastern men. However, underlying tensions included the aftermath of a series of gang-rapes committed by young Muslim men upon non-Muslim women, as well as the alleged Mecca Laalaa at Cronulla Beach in 2006. Photo Matt King/Stringer/ Getty Images 13 Constable Maha Sukkar, 2007 Photo by Stewart Chambers, courtesy Star News Group harassment of white women by young Muslim men on the beach. Text messages urging every Aussie to reclaim the beach in a Leb and wog bashing day drew a 5000-strong crowd, where fellow beach-goers of Middle- Eastern appearance were abused and assaulted (Ho 2006). In the aftermath of this display of masculinist rage, a Burqini-clad young woman emerged as a symbol of post- riot reconciliation. Mecca Laalaa wore a specially designed red and yellow Burqini in order to participate in the On the Same Wave program under which young Muslims were encouraged to train as lifesavers. The image of a Burqini- clad Laalaa appeared in media outlets around the world and was a centrepiece of The Australian newspapers Heart of the Nation advertising campaign (Dutter 2006; Bonner 2007; Fitzpatrick 2007; Squires 2007). The My Dress, My Image, My Choice project exemplied this upbeat hijab message. Undertaken by the Islamic Council of Victoria with funding from the federal government under its National Action Plan to Build on Social Cohesion, Harmony and Security, the women- only interfaith event set out to dispel widespread misconceptions about Muslim women and dress with a program that included a fashion show among other events. As the hijab became more familiar both on the streets and in public life, it lost its media frisson. However, moral panics over Islamic dress did not subside. As France and other European nations introduced legislation to ban face- coverings in public space, the burqa emerged as the new threat to Australian identity and security. ABC journalist Virginia Hausseger, recently returned from Afghanistan where the Taliban regulations had notoriously prohibited women from public visibility as well as from education and employment, described the burqa (which had come to refer to any form of Islamic face-covering) as part of a war on women. And police reports of an armed robbery by a cross-dressing burqa bandit who had held up a cash-distributor at gunpoint in Sydneys south prompted Liberal Senator Cory Bernardi to claim that the burqa was emerging as the preferred disguise of bandits and ne-er- do-wells. Muslim women themselves tend to have a far more ambivalent attitude to the niqab/burqa (face-veil) than to the hijab. Australian author Hanifa Deen writes that in Australia [t]here are burqa babes and bikini babes women who cherish an ber modesty and women who bare everything, except their souls (Deen 2011). Some of those who cover their hair have supported moves to prohibit face-coverings. However, others have felt obligated to respond to racialised scaremongering by defending the entitlement of women to cover their faces if they so choose, even as they contest the claim that the practice is recommended in Islam. 14 References Ahmed, L (2011). A quiet revolution: the veils resurgence, from the Middle East to America. New Haven, Yale University Press.
Bonner, R (2007). Australian Muslims go for surf, lifesaving and Burqinis. New York Times, 9 March 2007. New York.
Deen, H (2011) Editorial. Sultanas dream, March 2011.
Dutter, B. (2006). Aussie lifesavers recruit Muslims with the Burqini. The Telegraph, 26 November 2006. London.
Edwards, L (2004). Making hijab part of Victoria Police uniform. The Age, 27 November 2004. Melbourne.
Fitzpatrick, L (2007). The new swimsuit issue. Time, 19 July 2007.
Ho, C. (2006) Cronulla, conict and culture: How can Muslim women be heard in Australia? 5 September 2006. http://www.hss.uts.edu.au/social_inquiry/research/ utspeaks_cronulla_conict_culture.pdf
Matrah, J E (2005). Stolen voices of Muslim women. The Age, 22 April 2005. Melbourne.
Squires, N (2007). On Aussie beaches, burqa plus bikini equals Burqini. Christian Science Monitor, 9 January 2007. The preoccupation with the veil (however dened) has come at a cost. As Joumanah el Matreh from the Australian Muslim Womens Centre for Human Rights says a signicant amount of Muslim womens time on air has been used to either explain the hijab or to advocate womens right to wear it. There are many consequences of this, but two urgent issues are that Muslim women increasingly appear incapable of addressing any other issue and that in restricting ourselves to this topic, an opportunity has been created for Muslim men to monopolise and dene Islam. (Matrah 2005) While Muslim women who wear the hijab continue to face discrimination and harassment as they go about their everyday lives, those who do not are often judged by many non-Muslims as well as Muslims as being insuciently authentic to serve as representatives for their communities. But as Hanifa Deen writes Nobody listens when Muslim women complain that the annual hijab-burqa debate is boring and irrelevant (Deen 2011). 15 THE BUSINESS OF MODEST FASHION 16 HIJAB HOUSE We want to change the way this product has been sold for centuries. Our vision is to cheer up the world of hijab. Tarik Houchar Hijab House was one of the rst Australian Muslim womens fashion retailers to open inside a mainstream shopping centre. The agship store opened in Bankstown Centro, Sydney, in September 2010 and in the following April, a second store opened in Stockland Mall, Merrylands. Owner Tarik Houchar has set out to create a sophisticated, modern take on what its like to be a fashionable young Muslim woman living in the 21st century, through striking fashion shoots and the careful coordination of marketing images and the colour palette of their in-store products. Unlike the more traditional Muslim womens clothing retailer, which typically stocks and displays imported garments in bulk, Hijab House makes shopping more convenient by packaging and marketing their products as essentials on the run. Staple wardrobe items like the popular long T-shirt abaya, cap and headscarf are sold in beautifully decorated boxes, on ring hooks or in transparent pouches. Hijab House is Sydney based but retails to a global market through an online store and Facebook. The design and contents of the more recently opened Merrylands store have been inuenced by customer feedback on Facebook, with wider aisles to accommodate prams, garments organised according to colours, patterns and trends, and larger changing rooms. We really like to push retail boundaries and peoples expectations we listen to our customers suggestions and include them in our future plans, says Tarik Houchar. 17 We received mixed responses when Hijab House rst opened. The general public were afraid to see a hijab store smack bang in the middle of a shopping mall, while the Muslim community thought we were too expensive just based on our look. We worked very hard to get people into the store, so we held tea party events that tied in with our promotion, we held charity events, we continuously worked on our Facebook page to give the hijab a beautiful and a really approachable context. We were walking in Darling Harbour one day and saw a sculpture with big metal rings attached. And I thought customers could buy a scarf on a ring and the ring could actually become the handle for the box so they can walk out with a really nice box and a ring they can use at home as a scarf hanger. So no more of this digging through piles of fabric or rushing to three dierent stores to nd an outt. We really are starting to push the convenience factor, and again, that is what separates us from dierent hijab stores. Photo courtesy Hijab House 37 MUSLIM WOMEN IN PROFILE 47 RANDA ABDEL-FATTAH Randa Abdel-Fattah is an Australian-born Muslim of Palestinian and Egyptian heritage who works as a lawyer but describes her real passion as writing. She is an award-winning author and in 2011 was named Australian Muslim Role Model of the Year. Can you tell us about your writing? I wrote the rst draft of Does My Head Look Big in This? when I was fteen. I was in Year 9 and I felt very passionate about being an Australian Muslim girl who felt a sense of being misunderstood by the wider community because of my beliefs and also because I wore the hijab as part of my school uniform. I felt compelled to write a book that would somehow allow readers to look past the veil and see the person within and realise I wasnt a walking stereotype. I wrote the rst draft and sent it to publishers and they were interested in the concept but ultimately turned it down. They felt it was a bit too didactic and preachy. When I returned to it in 2003 I thought this time I was going to do something dierent, which is use humour and I really wanted to write a funny book about just an average Australian Muslim girl who is trying to negotiate her place in the world and gure out the age old question Who am I? But at the same time shes got the added burden of having to deal with peoples prejudices because of her decision to wear the veil while shes at a snooty private school in Melbourne. So I guess its a book about her longing to belong and to be accepted for who she is. After writing Ten Things I Hate about Me in 2006, looking at what it meant to be Lebanese in Sydney, I felt 48 passionate about wanting to explore the Israeli occupation. So I wrote Where the Streets Had a Name, looking at the occupation from the point of view of a 13-year-old girl growing up in occupied Bethlehem. Its a story that I wrote because of my heritage as the daughter of a dispossessed Palestinian, and its a cause that Im deeply passionate about. And after those three books I felt Wow! Theyre quite weighty topics, even though I tried to inject comedy into them. I wanted to do something dierent, so I wrote Noahs Law, which is a legal thriller and the protagonist this time is a 16-year-old boy. Ive now started writing for children, and have just started a four-book low-fantasy series. Ive also written my rst adult book, called No Sex in the City, which was enormous fun to write and is a spin on the traditional chick lit with a Muslim/Jewish/Greek/Indian twist! What do you hope to achieve as a writer? One of the things I hope to achieve when I write in the mainstream media is to counter a lot of the misconceptions about Muslims and Islam, about Palestine and about refugees, and provide an alternative voice. I dont ever represent myself as the Muslim voice. Im not speaking on behalf of a monolithic community and I suppose part of my writing is to reinforce the idea that there are many voices within Muslim communities. I also like to challenge peoples idea of what we mean when we say mainstream. Is a Muslim voice seen as some deviation from the norm, or can we accept that Muslim voices contribute to the mainstream space and are part of the mainstream? They are not just a sexy niche voice, an exotic other but are actually part of this us collective. Or are we constantly going to be referenced as them? My human rights work has become more about writing and using a platform in the media when I have the chance to try and raise awareness about issues that dont get /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ ccur/es, c/ /r /c/|//r ~us/r/| enough attention. When it comes to the Israeli-Palestinian conict, we dont often hear the Palestinian point of view. When I rst started it was very dicult to even get an editor to entertain the idea of having a Palestinian write an opinion piece. We are getting more space now. There is still a long way to go but thats what I try to do, use my writing and media interviews to bring across a voice thats often stied. As for my novels, my rst and strongest impulse is the sheer joy of story telling. What does Islam mean to you? Islam to me is many things, but rst and foremost its about a relationship with God. For me Islam nurtures my spirituality and I believe that having that God- consciousness and one-to-one relationship with God in turn aects my lifestyle, the choices that I make, my ethics, the way that I interact with people and the environment, the way that I go about my work, my citizenship. Its ironic, but people often see being Muslim and Australian as somehow mutually exclusive, but I really believe that if I am /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ /rJs /rs/ rcve/ ru|/|s/eJ |r 2CCo ccver rerrcJuceJ ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| ccur/es, c/ /r /c/|//r ~us/r/| 49 /rJ ~|Je///// sre||r //er |e|r rmeJ ~us/r/|r /us/|m /c/e /cJe/ c/ //e Yer |r 2C //c/c |, ~/mJ |r practising my faith to the best of my ability, then really what I am trying to be is the best human being I can be, trying to ornament myself with the highest virtues and ethics. What do you see as some of the challenges of being an Australian Muslim? I think the major challenges for Muslims especially young people living in the West, and in Australia in particular, is overcoming the tendency to dene your identity in terms of resistance: you need to be able to nd who you are in Australia and make a contribution, to ignore the media and the so-called war on terror and the way it feeds into how people perceive Muslims, to overcome the Islamophobia, and still make something of our contribution to Australia thats positive. What I mean is to be able to create rather than just react. We are seeing that happening a lot more now. We are seeing more comedians and artists and writers and poets and poetry-slam artists and people who are using something that is potentially quite negative, which is the stereotyping and prejudice, and channelling that anger into something positive and creative. I think thats really exciting and something that gives me a lot of hope about what Muslims are going to bring to Australia. How would you describe your style? Im not the sort of person who follows fashion. I just wear what I feel comfortable in and meets my standards of modesty, and makes me feel good as well. My modest dress is a personal choice. I will decide what is shown in the public space and what isnt and I think, frankly, its no one elses business why I eschew certain fashion trends because I feel theyre too revealing. I think speaking to Muslim women and girls, the sense I get from the vast majority is that it can become quite draining to have this constant preoccupation with what we wear at the expense of who we are and what we are doing and These are choices that we make ... We are embracing modesty and having fun with it. what we want to achieve. To constantly have a focus on our dress as something that denes us can be quite frustrating. When you look at the bigger picture its almost as inane as asking a woman why are you wearing short sleeves today, and long sleeves tomorrow. The ip side of that is that more and more people are recognising that we are making our own choices, that we are not being forced to dress a certain way to appease a male guardian; that these are choices that we make and that we are embracing modesty and having fun with it. I think thats really exciting, that we can create this space where our choices arent belittled, that they are actually respected and we can talk about them comfortably and freely in a discourse of choice, not oppression. 80 ACKNOWLEDGMENTS We would like to thank the many individuals from Australian Muslim communities and organisations who assisted with the development of Faith, fashion, fusion: Muslim womens style in Australia. Our thanks in particular must go to all those who have generously given their time to share personal stories and take part in the lming and fashion shoots that make the exhibition and publication so visually and emotionally rich. Thank you to the Powerhouse Museum team who have brought their skills and expertise to the development of the exhibition and the publication. Our thanks also to the Powerhouse Museums NSW Migration Heritage Centre and the Community Relations Commission for a Multicultural NSW for their ideas and input during the development of Faith, fashion, fusion. About the contributors Glynis Jones is a curator of design and society at the Powerhouse Museum with responsibility for the fashion and dress collection. Glynis has curated a number of exhibitions including Frock Stars: inside Australian Fashion Week (2010), Sourcing the muse (2002) and the annual Student Fashion display (1993-2012). Glynis has contributed to various publications including Subcultural and alternative style in Australia for the The Berg Encyclopedia of World Dress and Fashion (2010), Smartworks: design and the handmade (Powerhouse Publishing 2007) Absolutely Mardi Gras (Powerhouse Publishing 1996). Melanie Pitkin is an assistant curator of design & society at the Powerhouse Museum. She has curated displays for National Archaeology Week and contributed to a number of publications including Retro: a connoisseurs guide to mid-century design (2011) and A collectors century (2009). Melanie is also a PhD candidate in Egyptology at Macquarie University studying the history of the First Intermediate Period and a student of Arabic. Shakira Hussein is a postdoctoral research fellow at the University of Melbournes National Institute for Excellence in Islamic Studies. Her writing has appeared in various publications including Crikey, New Matilda, The Australian, The Grith Review and Best Australian Essays. Christina Sumner is principal curator of design and society at the Powerhouse Museum, specialising in traditional textiles and textile technology. She has curated numerous exhibitions on the textiles and other arts of the Asian region, including Bright owers: textiles and ceramics of Central Asia (2004), Trade winds: arts of Southeast Asia (2001) and Beyond the Silk Road: arts of Central Asia (1999) and co-authored their associated publications. She has also contributed to publications and exhibitions including Spirit of jang-in: treaures of Korean metal craft (2011). This absorbing publication explores a relatively new sector in the local Australian fashion industry one where faith and fashion form a new relationship in the emerging modest fashion market. It also introduces a diverse group of Australian Muslim women who relate their own stories and experiences of building understanding within Australian communities.