35
Image 2.
http://www.muslimness.com/2009/11/whats-your-hijab.html
Image 3.
http://www.turntoislam.com/forum/showthread.php?t=47697
36
When it comes to ‘how to’
discourses on identities, these discourses are always
accompanied by a ‘how not to’ component explicitly or implicitly embedded in
the ‘how to’. The prescriptive images presented above are all very explicit, and
clearly the objection here is to the stereotypically ‘Western’ fashion element:
these images unequivocally reject the ‘Western’ ideal of female bodies (wear
make-up, show your figure and preferably some skin, follow fashion trends, etc.),
and they guide the viewer in ‘how to do it instead to get it right’. Revealingly, the
text accompanying Image 2 refers to the modification of the template for the
prescribed style ‘to a degree’ – pointing directly to the ‘unique’ recognizability
that should be part of one’s self-articulation, while not being overwhelmed by
too strong an accent.
Here we also see how the notion of authenticity is relevant in understanding
accents: indeed, Entwistle (2000: 121) points to a whole ‘moral universe’ in
which “dress and appearance are thought to reveal one’s ‘true’ identity”. Here,
that ‘true’ identity would be that of a religious, modest self projected onto a fully
‘veiled’ body. However, evoking different centers of recognition – always a
potential ‘risk’ in articulating one’s accent – becomes a problem here, as too
strong a fashion-conscious (‘Western’?) accent potentially overrides the ‘true’
self that is supposed to be visible in the articulation of one’s identity. Crossing
the boundaries of expected authenticity is possible and tolerated, but the limits
of that are strictly policed.
As we shall see next, details are indeed of essence in the successful articulations
of (hijabista) identities
The pink marshmallow look, the hipster hijab and other accents
In today’s global supermarket of identities, the internet is full of instructions on
how to attain certain accents, and the fracturing of identities is visible in the
immense range of items and commodities that are made to seem important in
one’s articulation. As noted earlier, constructing oneself revolves around
arranging an ordered cluster of details; permutations of such clusters enable a
virtually endless range of ‘small’ identities to be produced.
We can view the ‘how to’ discourse, here in the case of the hijabista, as a
continuum, where at one end of ‘how to’ hijab, we find basic, generic
instructions. Hijabista videos on YouTube feature this whole range. For instance
the video “How to wear hijab’
11
gives a detailed description on how to wear the
headscarf, specifying four different types of instruction: how to wear a
square
hijab, an oblong Shayla, a one-piece Shayla, and a Al-Amira hijab. This is quite
general, as we find out when we start examining the ways in which the hijabista
can be accessorised to achieve certain stylised identities. Getting more specific,
we find, for instance, the following: ‘Criss Cross hijab style/tutorial’
12
; ‘Hijab
Tutorial Style for Work/High School/College – A Requested Look’
13
; ‘Hijab Style
11
http://www.youtube.com/watch?v=L1tYfBNfqgU
12
http://www.youtube.com/watch?v=Knb6tJ3N9-s
13
http://www.youtube.com/watch?v=pEwP4h6gxn8
37
Tutorial Using Lace Headband and a Butterfly Brooch’
14
(with the caption
pointing out that ‘The lace headbands and butterfly brooch are all from H&M’);
‘Hijab style/tutorial – The Pink Marshmallow Look’
15
; ‘Hijab/Hijaab Tutorial
Style-Two Arabian Princess Looks’
16
; ‘Hijab tutorial: how to wear a
headscarf/hijab modern style with a flower.wmv’
17
; ‘Hijab tutorial for
glasses/sunglasses’
18
; ‘StyleCovered- hijab tutorial pashmina with accessories’
19
;
‘Pleated caterpillar style Hijab Tutorial By Ruby Ahmed’
20
; ‘The Roley Poley
Style Hijab Tutorial’
21
; ‘Hijab Tutorial: Funky Layered Look (Requested)’
22
;
‘Everyday Hijab Style/Hoodie Hijab Tutorial’
23
– and so on, and so on, ad
infinitum.
Being a hijabista is thus by no means a single, uniform thing, and the ‘how to’
discourse illustrates the infinite possibilities provided by stylisation through the
consumption and display of different commodities to suit certain occasions
(‘everyday’; ‘work/high school/college’) and to produce certain accents
(‘Arabian Princess’; ‘The Pink Marshmallow’). The details and artefacts used give
one one’s accent, and open up whole universes of meaning, pointing to certain
identities and lifestyles. Hence also – given that keeping up with fashion trends
requires the spending of sometimes great amounts of money – we now see that
the phenomenon of ‘frugal fashionistas’ has appeared (e.g. ‘The Frugal
Fatshionista’
24
). As described in the Hijab Savvy blog, “I’m really excited to be
sharing this new series with all of you! The Frugal Hijabista is for the woman
who enjoys – yes I said actually enjoys saving money and finding a bargain.”
25
.
Being frugal is, in fact, about enjoying being frugal, i.e. not something dictated by
economic necessity, but a
lifestyle actively chosen. Another such example is the
14
http://www.youtube.com/watch?v=3kyEYcyMTwA
15
http://www.youtube.com/watch?v=9et52qHKVTY
16
http://www.youtube.com/watch?v=ipgjgKGUqEQ
17
http://www.youtube.com/watch?v=KwRu5ljtD-E&feature=fvst
18
http://www.youtube.com/watch?v=1ZfNqhZEC6s
19
http://www.youtube.com/watch?v=sRpzZhxbm0U
20
http://www.youtube.com/watch?v=fSq9RqIs7pE
21
http://www.youtube.com/watch?v=hs9sTBANRgs
; “Well it’s the turban style
of wearing the hijab but more bulky and more loose. Works well with the crinkly
type rectangular scarves. Inspired by the african dead dresses”.
22
http://www.youtube.com/watch?v=N2u_iXRG9KY
23
http://www.youtube.com/watch?v=mCeZriQma8I
24
http://rhapsodani.com/thefrugalfatshionista
25
http://hijabsavvy.com/category/frugal-hijabista/, emphasis
original