Islam
Islam From Graphic Novels to Media (Part-1)

Michigan (Imran Y. CHOUDHRY) :- Former Press Secretary to the President, Former Press Minister to the Embassy of Pakistan to France, Former MD, SRBC Mr. Qamar Bashir analysis : Tahar Ben Jelloun, the acclaimed Moroccan-French author, has long been a voice against racism and ignorance. His seminal book Le Racisme expliqué à ma fille (Racism Explained to My Daughter) has just been released in a new graphic novel adaptation, over 25 years after its original publication . The timing could not be more apt. In an era when being visibly Muslim often means facing suspicion or hostility, Ben Jelloun’s message to younger generations about understanding and tolerance resonates deeply. He has remarked on the unique difficulty of being a Muslim today – caught between the criminal acts of extremists and the prejudices of a fearful public. As Ben Jelloun laments, Islam is too often “manipulated by ignorant… sinister people” whose fanaticism “poses a danger to the entire world” – and who “kill many more Muslims” than anyone else . These words ring true as daily headlines and online debates reveal the intense scrutiny on ordinary Muslims for the actions of a distorted few.
To gauge the world’s pulse on Islam and Muslims, one need only scroll through social media. It’s a cacophony of voices – some empathetic, many hostile. In the wake of terrorist attacks, Islamophobic rhetoric often spikes dramatically. After the 2016 Nice truck attack in France, for example, anti-Muslim tweets surged to nearly 22,000 in a single day . Researchers found an average of about 5,000 derogatory tweets about Islam per day in the months after, much of it from Europe . The sentiments behind these numbers are often raw.
Some netizens bluntly declare “Islam has no place in our country,” echoing a fear that Muslim immigrants cannot integrate. In France’s heated “burkini” debate over Islamic swimwear, one French politician even described modest beach attire as an “Islamist provocation” . Such statements imply that no matter how peacefully Muslims live, they are viewed with suspicion. As French legal scholar Rim-Sarah Alouane observed during that controversy, policies targeting Muslim dress send a painful message to French citizens of that faith: “no matter what you do… we don’t want you here.”
Yet social media has also given a platform to those defending Muslims and pushing back against bigotry. When the xenophobic hashtag #StopIslam trended after terror attacks in 2016, it was rapidly flooded by counter-messages from Muslims and allies condemning its premise . Many users spoke up to remind the world that “terrorists don’t represent us.” French Muslim voices have been especially active online. “L’intolérance ne doit pas changer de camp” – “Intolerance must not change sides,” tweeted French senator Samia Ghali, herself Muslim, urging France not to betray its values by mistreating an entire community . Alongside her, countless everyday people – Muslim and non-Muslim – use Facebook, X (Twitter), and other platforms to insist that one cannot blame an entire faith for the crimes of individuals. A scroll through global feeds reveals supportive comments like “My Muslim friends are some of the kindest people – don’t paint them all with the same brush,” juxtaposed with vitriolic slurs. This stark divide in online commentary shows how contested the public image of Islam is today.
Amid the noise, a crucial nuance is often lost: the difference between Islam as a faith and the cultural practices of some Muslim-majority societies. Critics frequently point to images of women in full burqas or other rigid customs and claim they represent Islam’s essence. In reality, many such practices are rooted in pre-Islamic or local traditions. Veiling of women, for instance, long predates Islam – it was present in ancient Byzantine, Persian, and Arabian cultures . Islam’s holy text, the Quran, calls for modesty but does not mandate the burqa or niqab; most Islamic scholars throughout history do not consider covering the face a religious requirement . In fact, the ubiquity of face veils in some regions owes more to cultural norms or recent political movements than to scripture. As one historical review notes, “scarves and veils of different colors and shapes were customary in countless cultures long before Islam” .
Understanding this distinction is key. Oppressive edicts like forbidding girls’ education or forcing women behind veils often stem from patriarchy or local culture, not the core tenets of Islam. By disentangling faith from custom, we see that what’s often attributed to “Islam” – such as the extreme imposition of the burqa by the Taliban – actually reflects a society’s socio-political climate more than the religion itself. Islam as practiced by hundreds of millions of ordinary believers is diverse and flexible, ranging from women in Jakarta wearing colorful headscarves to businesswomen in Dubai pairing designer suits with hijabs. Reducing this rich tapestry to a single caricature does a disservice to the truth.
There is a persistent narrative in some media that Muslims exist only as victims – discriminated against, voiceless, needing saving. While anti-Muslim prejudice is very real, it is only half the story. Muslims worldwide are increasingly taking agency, asserting their rights and identity within secular societies rather than passively accepting marginalization.
In November 2019, thousands of people – Muslim families, women in hijabs, men in prayer caps, and non-Muslim supporters – marched in Paris to protest Islamophobia. They carried placards with messages like “#SignalerLeRacisme, Tolérance Zéro” (“Report racism, zero tolerance”) and “Nous tou·te·s ensemble” (“All of us together”), emphasizing unity in diversity. Banners declared “Stop all racism” and “Islamophobia is not an opinion but a crime” , as the crowd demanded equal treatment under the motto of the French Republic: liberty, equality, fraternity. “We want to be heard… not pushed to the edge of society,” one veiled Frenchwoman at the rally told reporters .
Such public demonstrations – organized by Muslim civic groups and joined by supporters from across the spectrum – highlight that Muslims are not merely begging for acceptance; they are actively participating in democratic life. They vote, they run for office, they form organizations to protect civil liberties. From the Muslim mayors in Western capitals to youth-led initiatives combating hate crimes, Muslims are asserting that they are integral citizens of their countries. The narrative of helpless victimhood is giving way to one of empowerment. Yes, discrimination and hate crimes persist – over 40% of French Muslims say they have felt religious bias against them – but the response is not silence or resignation. It is organization, protest, dialogue, and legal action. Muslim communities are increasingly standing up to say: we are here, we contribute, and we will not be demonized for who we are. Continued…

Islam
Islam From Graphic Novels to Media (Part-II)

Michigan (Imran Y. CHOUDHRY) :- Former Press Secretary to the President, Former Press Minister to the Embassy of Pakistan to France, Former MD, SRBC Mr. Qamar Bashir analysis : In a world where fashion has become the stage for bold experimentation, the lines between tradition and futurism are increasingly blurred. The Muslim silhouette—once marginalized in Western fashion shows—has now emerged as an icon of transformation and creativity.
Today, Muslims across the globe, especially those in fast-developing societies and diasporic communities in the West, are spearheading a revolution in the fashion world. They are no longer silent or sidelined. After years of facing Islamophobia and passive or active discrimination, they are asserting their identities with newfound confidence. Bold, intuitive, creative, and forward-looking, they are shattering the psychological barriers that once hindered their entry into high fashion.
We are witnessing the rise of a new aesthetic—one that preserves the modesty prescribed by Islam while embracing innovation, luxury, and diversity. Whether in the streets of Paris or the malls of Dubai, Muslim fashionistas are no longer apologetic about their religious values or sartorial traditions. Instead, they are redefining them, merging tradition with trend, and faith with flair.
This cultural shift in fashion is not merely symbolic—it has substantial economic implications as well. According to New York-based firm DinarStandard, global Muslim spending on Islamic fashion reached €300 billion in 2022 and is projected to grow significantly, hitting €402 billion by 2027. This growth trajectory, representing an annual increase of 6.1%, highlights that the Islamic fashion market is not just a fleeting trend but a sustainable and thriving segment that is reshaping the global fashion economy.
The 2023–2024 State of the Global Islamic Economy (SGIE) report underscores this seismic shift. The modest fashion industry, distinct from other sectors of the Islamic economy, is evaluated across four critical dimensions: financial performance, public awareness, social impact, and innovation. Significantly, governance plays a less central role in this sector, providing brands and designers with greater freedom and flexibility, thereby fueling creativity and rapid market evolution.
Several countries have emerged as critical players within this transformative landscape. Turkey, Malaysia, Indonesia, Singapore, and Italy have been particularly influential in shaping the modest fashion industry. On the consumer front, the strongest demand has consistently come from markets such as Iran, Turkey, Saudi Arabia, Pakistan, and Egypt. These nations not only represent significant consumer bases but are also increasingly influential in shaping global fashion trends.
Investment activity further validates the vibrancy and potential of this sector. Between 2022 and 2023, Islamic fashion attracted approximately €121.6 million in trade-related investments. The United Arab Emirates, Turkey, and Indonesia are leading the investment charge, acting both as substantial consumer markets and as proactive developers and exporters of Islamic fashion.
Innovations such as modest surfwear, garments designed to optimize vitamin D absorption, and practical water and windproof hijabs reflect the sector’s dynamism. Furthermore, trends like social commerce, clothing resale, and rentals to promote sustainability, alongside rising demand for specialized modest sportswear for women, represent exciting growth opportunities highlighted by the SGIE Report.
Meanwhile, the Organization of Islamic Cooperation (OIC) has seen ten of its member countries emerge as top importers of Islamic fashion. These include the UAE, Saudi Arabia, Turkey, Malaysia, Kazakhstan, Iraq, Indonesia, Qatar, Kyrgyzstan, and Kuwait. This proves that demand is not limited to Western Muslims or diaspora populations—it’s global, encompassing the heartlands of Islam and reaching well into Central Asia and beyond.
This surge is not merely economic or aesthetic; it is cultural and political. Muslim women and men are using fashion as a tool of empowerment and resistance. In the face of homogenizing global trends, they are reclaiming their narrative—showing that modesty does not preclude modernity, and faith does not hinder freedom of expression.
For years, Muslim attire was seen through a narrow lens—too traditional, too conservative, or simply incompatible with Western ideals of beauty and style. But today, hijabs are worn with high heels, abayas are tailored with futuristic silhouettes, and turbans grace the covers of fashion magazines. In an era that celebrates individuality, Muslims are proving that their style is not only relevant but revolutionary.
This transformation is driven in part by rising levels of education and purchasing power among Muslims—particularly in the Middle East and in Western societies. Today’s Muslim consumers are globally aware, digitally savvy, and eager to support brands that reflect their values. This has led to the emergence of Muslim-owned fashion labels, modest fashion weeks in major cities, and collaborations with international luxury brands.
What’s remarkable is that this fashion revolution is occurring without compromising on Islamic principles. Modesty remains central—but it is being reinterpreted through a modern lens. Flowy garments, layered designs, and elegant accessories are replacing outdated stereotypes. The result is a unique style that respects religious guidelines while pushing creative boundaries.
This also allows Muslims to engage confidently with the global fashion community, no longer needing to justify their beliefs or fashion choices. In fact, their designs are now inspiring non-Muslim audiences who seek stylish, ethical, and sustainable alternatives to mainstream fashion.
In the West, this has translated into broader social recognition. Islamic fashion is being integrated into mainstream runways, covered by global media, and appreciated in multicultural neighborhoods. This not only boosts the visibility of Muslims but also fosters greater understanding of Islamic culture in secular societies.
As Islamic fashion asserts itself as a pillar of the global economy, it paves the way for a new wave of stylistic diversity. It challenges long-held assumptions about beauty, femininity, and identity. More importantly, it tells a powerful story: one of resilience, creativity, and a refusal to be sidelined.
Fashion is no longer just about clothing—it’s about values, identity, and self-expression. The global Islamic fashion movement offers a glimpse into the future of style—one that fuses spirituality with sophistication, and heritage with high fashion—where tradition meets innovation, modesty meets modernity, and where Islam, far from being a constraint, becomes a canvas for elegance, creativity, and cultural pride.
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