Few things are as saturated with paradoxes as fashion. Clothing allows people to express their individuality while also fostering a sense of belonging to a group. Fashion is constantly changing, yet clothing can be used to establish cultural stability. The way one dresses can be liberating, but it also comes with restrictive norms.

The fashion culture within Finland’s Somali communities highlights the conflicting issues in fashion and dressing on several levels, says human rights activist and influencer Ujuni Ahmed.

– Identity conflicts are very much present in diaspora communities. The Somali diaspora finds itself between using clothing to maintain their cultural and religious identity and seeking inclusion in the wider society.

Ahmed sees a dialogue in the way people dress. The Finnish Somali community uses style to navigate traditions and modernity. There is an interesting coordination and harmonisation of religiosity and traditions with Western identity and local style.

“Young people in particular find inspiration in hip hop and sneaker culture as well in Western street fashion.”

Young people in particular find inspiration in hip hop and sneaker culture as well in Western street fashion. These are then blended with a more traditional way of dressing.

– Often, it’s as if you are playing around with different dressing norms. A scarf can naturally complement a pair of jeans or a T-shirt.

Currently there is also an interest in reinterpreting the old. Going through, for example, your mother’s or grandmother’s wardrobe or utilising classic fabrics in an innovative way.

– For example, scarves that would traditionally be worn to a wedding might now be part of everyday street style for the new generation. The item and its fabric remain the same, but the meaning is evolving.

The imagery of fashion expands

Over the past decade, there has been substantial movement in the continental plates of the global fashion business.

Western fashion has traditionally featured white models advertising styles designed for Western body shapes and beauty ideals. Practically entire groups of people have been excluded from clothing store and fashion brand offerings due to the limited scope of the fashion imagery.

In the 2020s, clothing stores have begun to offer a considerably wider and more diverse range of styles and apparel. Plus-size options have become more common and, for example, clothing that goes beyond traditional binary gender roles is now available. Shops have also finally started to cater for those who prefer more modest clothing.

“Practically entire groups of people have been excluded from clothing store and fashion brand offerings due to the limited scope of the fashion imagery.”

So-called modest fashion conforms to the recommendations set by religion and brings new fashion influences to traditional Muslim womenswear.

Many international mega-brands like Nike, Chanel and Dolce & Gabbana have finally started to pay more attention to their multicultural clients. The labels have introduced, for example, abaya dresses and hijabs in their collections.

– There is so much more supply nowadays. What is still overlooked, however, is the vast number of people who need clothing in different shapes, or clothing that is more covering or culturally varied, Ahmed says.

Diversity in the doers

When discussing fashion, the term ‘representation’ often comes up. It is tied to norms surrounding appearance and to the extent to which different bodies and ethnicities are favoured and made visible, for example, in clothing advertisements.

– Models with diverse body shapes or different backgrounds are so much more visible today. That is extremely important and a step in the right direction, Ujuni Ahmed says appreciatively.

Ahmed hopes the next step is to have more multicultural individuals as designers and doers. There is a considerable number of minority representatives living in Finland, many of whom are also future makers and employees in the fashion industry – and, from an economic perspective, significant consumers.

– Culturally sustainable fashion is not just about having models with different looks. It’s about respecting and highlighting the values and the history of different cultures. That’s how you make even more inclusive fashion and reduce exoticisation, generalisations and stereotypes.

“Finland’s Somali people represent one of the largest and most visible diaspora communities, yet not much is known about being Somali.”

Ujuni Ahmed introduced some of these future makers in the award-winning Finnish magazine FEW, where she served as guest editor-in-chief for an issue dedicated to Somali culture. Each issue of FEW focuses on a different Finnish minority.

– Finland’s Somali people represent one of the largest and most visible diaspora communities, yet not much is known about being Somali. I wanted to draw special attention to Somali traditions and the change that’s taking place. I did that especially using themes rarely attributed to us in the public sphere, such as fashion, beauty, weddings, food, expertise, art or sports.

Dressing on her own terms

With her own style, Ujuni has gone through periods where clothing played a vital role in conveying meaning and sending a message. Sometimes the inspiration for her clothing choices has come from protesting, sometimes it has been about aesthetics.

– Especially when I was younger, I wanted to dress provocatively against the controlling structures. After that, I mostly wanted to wear clothing that I thought looked good.

Ahmed has also been inspired to bring African influences and prints to the public and everyday life. She wants to set an example and signal respect and increase the visibility of African fashion and doers. Many young diaspora people see things the same way.

– Being African is something we want to proudly play up. It can also be seen as a protest against the depictions of hardship and the stereotypes perpetuated by representations of Africa.

“The way women dress has always been politicised.”

Nowadays, Ahmed feels she dresses more for herself and on her own terms rather than for some presumed observer.

– For me, it’s increasingly important to feel good in clothes instead of concentrating on someone else’s perceptions.

Ujuni, for example, wears a scarf when she feels it is important. If she doesn’t feel like it, she won’t wear it.

– The way women dress has always been politicised. Whether through religious control, community pressure, or structural racism, it remains an easy target for external judgement.