Fashion has long drawn inspiration from culture, including global exploration, music, art, and society. While East and West may seem culturally distant now, at some point in history they shared it all, fashion, ideas, religion, which was enabled by trading routes known as the Silk Roads. During this time Europe was far less politically and socially advanced than Asia and its neighbouring regions, because of this they looked to the East for societal innovation. Persia (now modern day Iran) was known as the connector of the trade route and the “vehicle of globalisation.” According to WorldHistory.org, they offered trade from “Silk, Dyes, precious stones, perfumes and gunpowder and in return gained products such as horses, dogs and other animals both exotic and domestic, glassware and textiles.”  Over 1,500 years later, ideas, culture, and fashion are still widely disseminated, but through other means of networks, the majority of which takes place online. 

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It can be difficult for people who live far from home to obtain cultural heritage as a part of their identity. Living in the UK as someone from the Iranian diaspora can prove to be a struggle, because British culture can dominate in their day-to-day lives. Oftentimes those from the Iranian community will find a balance between the two cultures and form a ‘third space’ of hybridised culture, where they overcompensate with cultural tools as a reminder of their Iranian identity. Researcher Orrin Klapp states in his book Collective search for identity, “we tend to be especially concerned with having a past when our current identity has been challenged, as may be the case with excessive change and mobility.” Having an extensive knowledge of our past makes it easier to define ourselves and our identities in the present. These structures of hybridisation often transpire in the form of everyday items, from household objects, such as Persian rugs in every room and evil eyes hanging on the doors, to speaking a second language such as Farsi and wearing cultural clothing. 

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An example of someone reconnecting with her cultural heritage through structures of hybridisation is designer, creative and influencer, Charlize Moradi also known as @Barbiesclutter on TikTok and Instagram. She quite literally wears her Persian heritage with pride, from traditional jewellery pieces, Iranian clothes passed down through generations and even Persian inspired tattoos. With over 77k followers, she uses her platform to inspire others around the world, including many Iranian girls to be themselves regardless of society's standards. Having been born in the UK and never visiting Iran, Charlize found other ways to connect with her heritage, through conversations with her family members, going to libraries where she could learn and read about Iran and finding her passion for sewing and textiles through her grandmother.

 

When asked about some of the ways she incorporates Iranian traditions into her everyday Charlize told Ziba, “I'm always reading about Persian fashion and costume. Other than my jewellery and cultural clothing I love eating my mum's Persian food, these are the things that make me feel most connected to my culture.”

 

In addition to incorporating her culture within her surroundings, Charlize also translates her passion for her heritage within projects, she states “I try to educate my following about current circumstances in Iran and try to bring it up in conversation when I meet new people. Within my clothing I incorporate Iranian references, which make me feel connected to Iran. Some of the jewellery I wear are from these Kurdish costume designers I work with, they tell me the history and stories behind the jewellery, which connects me to my culture on a more personal level.” Charlize talks about creating hybridised designs as an extended attachment of her identity, she describes her designs as “centred around Persian culture, yet being accessible for everybody.” Playing with the style of old Persian garments and rerendering those elements into her contemporary fashion is a part of her process and is arguably a reflection of her identity. She states, “I've recently been experimenting with more traditional Middle Eastern wear and westernising it for the purpose of incorporating both of my cultures more in my everyday style.” Whether it's passed down family heirlooms from Iran or simply enjoying the food of her culture, Charlize found a way to connect with a place she’s never been to and people she has not spoken to before. 

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While on this side of the globe, the diaspora community desperately clings on to their “long distance culture”, the youth of Iran have a different agenda. Don’t misunderstand, the youth of Iran are innately attached to their culture since it is so accessible, yet they crave something else which is ironically something more westernised. From girls dying their hair all colours of the rainbow and secretly wearing crop tops under their chador, or boys spiking their hair up as if it's the 80s, these may seem like efforts of westernised fashion trends, but they are actually subtle signs of rebellion. It’s common knowledge that since the revolution in 1979, the Islamic Republic has had Iran on a tight lockdown of rules and regulations, one being the morality and collective appearance of their nation. Laws on dress code are patrolled by enforced “morality police,” and it is worth saying “there are no clear guidelines or details on what types of clothing qualify as inappropriate, leaving a lot of room for personal interpretation and accusations that allow the "morality police" to arbitrarily detain women” mentioned by Iranaian journalist, Monir Ghaedi for DW.com. 

 

Due to their environment, fashion has become a political tool in communicating resistance and subtle statements speak volumes. Reina Lewis, Professor of Cultural Studies at London College of Fashion states, “Silent rebellion occurs in situations where outspoken opinion, rebellion, or expression of dissent is too dangerous.” She further explains “Fashion is a form of communication. When you live in a society like Iran, the smallest of details can become a very major form of communication, and a way to express desires for social change, and social emancipation. But sometimes that detail has to be coded and it should only speak to some people. The more that clothing is part of a form of social, societal or state control, the more miniaturised the forms of resistant expression becomes.” Over the years rules on dress code have fluctuated, certain colour schemes that are deemed to be “loud” have been banned for individuals as well as clothing manufacturers. Yet this did not stop the people of Iran from revolting, girls have been dying their hair multicolor under their hijabs and many are fashioning brightly painted pedicures with their open toed sandals. 

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Fashion blogger and Influencer Nika Azari, also known as @Nikaazarrii on TikTok and Instagram, has accumulated 77k followers by sharing relatable video content on her life as a first generation Iranian girl living in the US. But unlike her UK counterpart Charlize, she frequently visits Iran. Using her notable fashion sense Nika creates “get ready with me” formated videos which feature a mix of Scandi fashion, meets LA fashion, meets well…Iran dress code. In one enlightening  video she styles herself like the day she was stopped and fined by the “morality police”, she wore straight black trousers, a black tank top, a leather jacket and a blue head scarf. While entertaining from a fashion perspective, the videos are accompanied with a political undertone, as they aid in a wider conversation on the realities of the oppressive laws in Iran and serve as a great eye opener for those who have never been.

 

Another Fashion staple within the Iranian community is the punk scene. Since the revolution punk fashion has subtly featured within Iran's youth culture and remained for the last 43 years. It should be no surprise that punk has played a part in Iran's fashion scene over the last couple of decades as punk began as an anti-establishment movement designed for non-comofrity. And although both men and women participate, this trend is mostly popular amongst the boys. Leather jackets, to graphic-T’s with punk slogans and rock band merchandise may seem like a harmless trend, but to Iran's Islamic Consultative Assembly it is seen as 'devil worshipping'. Even though it is illegal, spiky punk hairstyles can be seen as another form of silent protests. In an article published by The Guardian, Mostafa Govahi, the head of Iran’s barbers’ union says “fancifully spiked hairstyles were banned and those who styled them risked having their shops closed.” Nevertheless the spirit of the Iranian people have proven to be resilient and as with most roadblocks they navigate themselves around it. 

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Iran's youth fundamentally want the freedom to dress however they like, the ability to freely interact with the rest of the world, and the ability to enjoy the same freedoms as their relatives living in other countries. The contrast between the Iranian diaspora and their counterparts in Iran is bittersweet; it shows how two very different worlds have a desire to communicate, connect and share cultures and experiences with one another. 

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On one hand the fight for basic rights and freedom and on the other a fight to stay connected to their heritage and homeland that they never fully experienced.