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Navigating the Montreal Fashion Scene Muslim Style Mariam “Proof of Purchase”: Navigating the Montreal Fashion Scene Muslim Style Mariam Esseghaier A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada JUNE 2016 © Mariam Esseghaier, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Mariam Esseghaier Entitled: “Proof of Purchase”: Navigating the Montreal Fashion Scene Muslim Style and submitted in partial fulfillment of the requirements of the degree of Doctorate of Philosophy (Communication Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ____Dr. Gada Mahrouse______ Chair ____Dr. Reina Lewis_________ External Examiner ____Dr. Norma Rantisi_______ External to Program ____Dr. Kim Sawchuk_______ Examiner ____Dr. Jeremy Stolow_______ Examiner ____Dr. Yasmin Jiwani_______ Thesis Supervisor Approved by ____Dr. Sandra Gabriele_______ Chair of Department ____Dean André Roy__________ Dean Faculty ABSTRACT “Proof of Purchase”: Navigating the Montreal Fashion Scene Muslim Style Mariam Esseghaier, Ph.D. Concordia University, 2016 Representations of Muslim women in Western media tend to deploy Orientalist elements portraying them as oppressed, backwards, and in need of saving. These images establish Muslim women as unfashionable, identical to one another, and without personality. However, at times, these representations are compensated with depictions of assimilated or “good” Muslim women in which they are portrayed as fashionable, sexual, and palatable to Western sensibilities and expectations. These portrayals have been maintained and reinforced through governmental policies, popular culture, and consumerism. However, these two dominant frames leave little room for any nuanced understanding of Muslim women themselves. This dissertation explores the lived-experiences of dress and shopping practices of Muslim women in Montreal, Quebec, Canada. Through interviews and fieldwork, I focus on the meaning-making and negotiations that Muslim women make in their consumption of media, their interpretations and development of their own religious practices, their navigation of the consumer sphere, as consumers as well as an entrepreneur, and finally of the place of Islam in relation to fashion. In this context, I explore the Muslim women’s relationship to Islam and fashion. To see fashion and Islam as oppositional and contradictory is to ignore the complex ways in which Muslim women incorporate and synthesize concepts to balance their own interpretations of what fashion means in their own lives. This thesis demonstrates the myriad and complex ways in which Muslim women create definitions of fashion that are compatible with their own interpretations of culture, Islam, modesty, and practice. Their definitions of Islam and fashion are constantly renegotiated, reworked, and renewed throughout the course of their lives. Adherence to fashion, then, does not necessarily mean assimilating to the West and rejecting Islam, but rather, can be interpreted as a means that Muslim women use to create their own way of representing themselves without succumbing to the binary of appearing either as liberated or oppressed. iii Acknowledgements “Proof of Purchase” is a personal project for me. It has been in the works my entire life, which initially foolishly had me believe that it would come together much easier than it did. Throughout this process, I am appreciative of all the help I received from several significant others. This dissertation is dedicated to the next generation of Muslim women. I must first thank my family for their support, most especially my parents Jo-Ann and Zain Esseghaier, my brother and sister, Zain-O and Kaela Esseghaier, and my brother-in-law, Moody Saad, who have all been there for me throughout my PhD journey. Their encouragement and reassurance these last years has not gone unnoticed and has always meant the world to me. I consider myself very lucky to have a family who believes in me and my work. I must also thank my Communication Studies family. First among them is my supervisor, Professor Yasmin Jiwani, who has worked with me since my first year and has been there through topic changes, teaching courses, research, and conferences. Yasmin’s research has always served as an inspiration to me, and I have always felt lucky to be working with a supervisor who not only understands my perspective, but also defends my research. I understand that I am defending this research at a much easier time than my supervisor did during her PhD, and her position made this process much easier than she experienced. For that, I will be forever grateful. I have also been lucky to have a committee of professors who I have known and worked with since my first year: Dr. Jeremy Stolow and Dr. Kim Sawchuk. It has been wonderful going through this process and learning from both of you. I would also like to thank my colleague and good friend, Constance Lafontaine. Even though our research areas have few overlaps, having discussions and receiving feedback from Constance has been almost as important as the many laughs we shared! Finally, I would like to thank the Muslim women who participated in this research. By taking the time to sit down with me and share their stories, these women made this study possible. As a Muslim woman myself, it was heartwarming to have my sisters give up their time selflessly to help me out and I will never forget their contribution. I would also like to thank Fonds de recherche Québec-Société et Culture for funding a portion of my doctoral studies. The funding was especially helpful during the periods I conducted my interviews and fieldwork. iv Table of Contents Table of Figures .................................................................................................................. ix Introduction: The First Stitch ............................................................................................. 1 Who is the Muslim woman in Maher’s show? ...................................................................................... 4 Headscarf Debates ........................................................................................................................6 Good and Bad Muslim Representations ........................................................................................6 Commodification ...........................................................................................................................7 Rihanna Mosque Fashion Show .......................................................................................................... 10 Proof of Purchase ........................................................................................................................ 12 Montreal, Quebec Context .......................................................................................................... 13 Reasonable Accommodation .............................................................................................................. 13 Globalization ....................................................................................................................................... 15 Hybridity .............................................................................................................................................. 16 Locating the Self and the Research Process ................................................................................. 17 Mariam’s Background ......................................................................................................................... 17 Native Ethnographer ........................................................................................................................... 18 Embarking on Interviews .................................................................................................................... 19 Close Positioning ................................................................................................................................. 19 My Role in the Interview Process........................................................................................................ 20 Defining Muslim Women? .................................................................................................................. 21 Criteria for Participants ....................................................................................................................... 22 Finding Participants ............................................................................................................................. 23 Identity ................................................................................................................................................ 24 Interview Process ................................................................................................................................ 27 Field work at N-ti ........................................................................................................................ 32 Challenges to the Research .......................................................................................................... 33 Bill 60 ..................................................................................................................................................
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