An Interview with Author Umar Siddiqui: Insights into Stylistic About Style

Thank you for agreeing to speak with us again, and congratulations on the release of Stylistic About Style!

My answers are boldfaced, thank you for this opportunity!

-Umar Siddiqui.

1. What inspired you to dive so deeply into the theories around fashion?

I have been introduced to specific theories through my undergraduate and graduate studies. I first was introduced to theories from Jurgen Habermas, Theodor Adorno, Julia Kristeva, and Stuart Hall in media studies classes and cultural studies class in my Bachelor’s degree. I was increasingly intrigued by these theories, mainly because they were so true and helped me navigate my understanding of issues, not only that we studied, but in the vaster world. In my master’s, I came across many of the same theories, like Encoding/ Decoding by Stuart Hall, and the culture industry by Theodor Adorno and Max Horkheimer.  We also went through the ideas of cultural and symbolic capital, which was discussed by Habermas and his ideas of habitus and public sphere. Some of the figures and theories I am talking about are not focused on in this book.

I was introduced to dramaturgical theory and role theory in an Apparel Analysis class in my Fashion Merchandising program at Fullerton College. I admired how these theories explicated how we behave in relation to apparel; these theories rightly explained how fashion extends beyond the body but even beyond individuals. The collective selection theory, as I saw it, was more of a fashion theory in decision making. It states that there are factors (mostly innate and rudimental) that inspire our fashion choices and decision-making. That, in turn, affects meaning-making by dictating what we engage with and how we engage.

2. You mention Walt Disney as a big influence. How does his work shape your view of style?

Walt Disney was a visionary; he was innovative! He helped me always see that there is light at the end of the tunnel, or for Disney fans, the castle at the end of Main Street. He helped me see the world as virtually limitless. I used that inspiration to always style myself. His color stories are just so fitting and salient. The color for evil, which looks like lime green is perfect. The color palette for villains, even obscure villains like The Horned King from The Black Cauldron and Mr. Winky from the Adventures of Ichabod and Mr. Toad is so pleasing and proper. Walt Disney’s ideas and ideals seep into my writing quite effortlessly as well, even when I am writing about style.

The other way in which he inspires me style is more physical. I usually make it a point to incorporate Disney or facets of it into my apparel or accessories.

3. You talk about fashion as both art and science—how do you see those two sides working together?

This question is perfect for me, since I have studied physical aspects of fashion (Textiles, Desing Elements, and Fashion Retailing Math) and more abstract concepts of fashion (Fashion History, Trend Forecasting, and Sociocultural Aspects.)

The fact is that fashion is multidimensional—it blends corporeal, embodied elements and more disembodied, intangible elements. Its reach is widespread, but we consider how it manifests in our minds and our bodies. In textiles, we made a binder of the different swatches and listed their properties. We performed labs that resembled chemistry. In fashion history, we learned the eras of fashion and how fashion markedly looked different from the Renaissance to the Space Age.

The two aspects—science and art blend in fashion because it is an art: a performative and transformative art, since it influences how we behave and can be aesthetically pleasing. The science comes in which its chemical properties and, of course, the numbers (math.) Though I have always gravitated towards humanities and arts and social sciences, I know that fashion must be embraced fully.

4. Has social media made fashion more creative or more restrictive, in your view?

This is a no-brainer to me. We can scan so many sources for fashion; that is because technology has grown and so has our thinking. Social media, in my opinion, is slowly diminishing our sociability and face-to-face interactions, but for fashion, we have creators, innovators, adopters, and influencers.

We see trends all the time on TikTok and saw them on the now-defunct Vine. Social media is a platform for impacts. It collectively feeds fashion by archiving thoughts, insights, and the world’s horizons at large.

5. How does fashion help people show their cultural identity?

An obvious answer is ethnic fashion—it can be traced to race, religion, and tradition. There are subcultures, ingroups, and outgroups, where one can showcase ideology and existentialism. The idea is that one can reinforce and exude the self through fashion. We can feel individualistic and/ or collectivistic through fashion, where we can feel belonging and uniformity. Fashion is just inextricably linked to the sociocultural, economic, and technological factors that propel the world.

6. Fashion trends come and go so quickly. Do you think there’s still a way to create something timeless?

I like this question, since I am currently taking fashion forecasting. We project the trends through many considerations, like color and textile stories. Honestly, the things in fashion that are timeless are ideals like style and communities. We fit on a pendulum and go between skinny and oversized, small and big. Honestly, that is beautiful, because iterations and interpretations on a trend are still timeless. Jeans are timeless. They are classic. Polo t-shirts can be interpreted with notch necks or piping, and this is one of this things that drives me toward fashion, its imaginative aesthetics.

7. You describe fashion as a kind of therapy. How does it help people through tough times?

I am positive that you have heard the term, “art therapy. While “fashion therapy” would be newer as a concept, it assuredly exists. We can find therapy through putting together our outfits and by engaging with the landscape of fashion. We, as I mentioned, find belonging and community, but we can also find the self. We can actualize through fashion, by engaging with its reaffirming and interactive ideals. We can immerse ourselves in it and find creativity in it.

8. Do you see any new places becoming big players in the fashion world soon?

I would name two the should be recognized more: Copenhagen, Denmark and Seoul, South Korea. Of course, we have K-Pop and now we have K-Indie with the band, Wave to Earth. Seoul has K-fashion and a widespread influence of monochrome and street style. Copenhagen has a role in sustainability and an avant-garde approach to fashion. In a world where sustainability is trending, Copenhagen engages in exemplary ethical fashion as well.

9. How do you think fashion can actually make a difference in the world?

If I answered this one on overarching but narrow term, it would be sustainability. When talking about sustainability, we can call it a trend—but it has facets that are more evergreen and long-term. Fortunately, it can be a long-term trend and not just a fad.

It is seeping into the generations’ minds: for example, thrifting is “cool” now; it is trending. The thing with thrift shops is that they offer different fashions at different prices—they are one-stop shops.

10. You talk a lot about the “personal style” in the book—how does someone figure out their own style?

I like to hone in on a word and keep it as a focal point. The path to ascertaining one’s style is focusing on you. Find yourself and you are on the path to making conclusions about your own style. This is what I tell people.

Another thing is to keep a focal point. Fashion is too vast to be a focal point. Narrow it down; this contradicts my present line of thought, but exist in many circles so you can see yourself and where you fit best.

11. What do you hope readers take away from Stylistic About Style?

Readers should be cognizant of the positivity of fashion and not bat an eye at it. They should invite it into their hearts. They engage with it whether they realize it or not, but there is an extent and parameters. They dictate that. The revolutionary and evolutionary aspects of fashion are embedded in its zeitgeist (spirit of the times.) People should see it as agreeing with us; it gives us agency and meaning-making power. They should not see it as trivial and should let it change trajectories of the world.

12. Is there a particular platform where you prefer people to buy the Stylistic About Style?

While it is available on platforms like Amazon.com, Barnesandnoble.com, thriftbooks.com, and the Ingramspark platform, I would say there is no particular platform. If someone wants to engage with fashion and learn ideas, then I  would say buy it anywhere on these.

13. Do you have any book signings or events planned for this release?

I currently do not.

14. Will you be collaborating with any designers, artists, or brands based on the book?

Sadly, no.

15. Where can people stay updated on your future projects and releases?

I would be more than  happy to share my TikTok, which is @siddiquispoken, and my two Instagram pages, @umarrrzy__, and @uniquelyumar. Uniquelyumar is my author page, but there is also a Facebook page for it. My main facebook page is Umar Siddiqui.

You can check out Umar Siddiqui’s book, Stylistic About Style, available on platforms like Amazon, Barnes & Noble, ThriftBooks, and IngramSpark. https://shop.ingramspark.com/b/084?ksLXe65J20fn9jyMAYzESe3VRr6mzkoTHiVDA5Bckpl