Sneakers gain footing with women in the Arab world

Tamila Kochkarova’s dress code for her wedding invitation last year was “Formal + strictly sneakers.” (Supplied)
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Updated 13 August 2020
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Sneakers gain footing with women in the Arab world

  • Comfort and style bring once-niche footwear into Middle East mainstreamComfort and style bring once-niche footwear into Middle East mainstream

DUBAI: “Formal + strictly sneakers” — that was the dress code on Tamila Kochkarova’s wedding invitation last year. “I wore a pair of Nike Air Max 98 that were completely white,” the Uzbek photographer and sneaker collector, who has lied in Dubai for the past 16 years, tells Arab News. “My number one priority on my wedding day was my comfort.”

Once considered niche and alternative in the region, sneaker style has now entered the mainstream, and is increasingly popular among women in the Middle East — a demographic that stereotypically splurges on fancy clothing with ornate embellishments, paired with shoes a little more “ladylike” than sneakers.

But while glamour has traditionally been the driving force behind fashion, comfort is now heavily influencing style movements, particularly two of the most popular in this region: modest fashion and sneaker culture. Both have helped shape Kochkarova’s personal style.




Halima Aden is a US-Somali model. (Getty)

“I got into sneaker culture when I was young, around 12 or 13,” she says. “I just started hanging out weekly in Dubai Festival City at the skate park out there, and my friends were all skateboarders who were really into sneakers.”

Today, skaters aren’t the only ones buying into the trend of clunky, colorful sneakers. Female ‘sneakerheads’ have become influencers on social media, and a number of them happen to dress in skin-covering attire, too. Instagram is now abuzz with modest fashion bloggers — early images of these women were on the more traditionally feminine side — elegant gowns and flowy maxi dresses and skirts, with fabrics fluttering over sling-back heels, strappy stilettos and, occasionally, ballerina flats. But a new wave of sneakerhead hijabis is shedding light on an alternative type of modest fashion.




Su’aad Hassan was born and raised in Dubai and now lives in Canada. (Supplied)

Striking architectural backgrounds, edgy angles, avant-garde poses, and a clear focus on bold — and often rare — sneakers, including limited-edition Nike Air Max, Jordan and Air Force One styles, are features of trending images in the modest-fashion blogosphere. Su’aad Hassan, who was born and raised in Dubai and now lives in Canada, has over 18,000 followers on Instagram. Her outfits include bright tracksuits, plaid blazers, denim vests, bucket hats, silk scarves, retro sunglasses, and a range of sporty footwear. “I think modest fashion and sneaker culture go hand in hand, because, as a whole, modest fashion is a push against the societal standard,” she explains.

Modesty is dominating runways right now, and sneakers are also in vogue, being produced by brands like Gucci, Balenciaga and even Christian Dior, the quintessential “ladylike” French fashion house that recently collaborated with Nike on an exclusive pair of Dior logo-stamped Air Jordans. But both subcultures had been ostracized from mainstream fashion for years. Even in the Middle East, where modest fashion is more prevalent, covering up was not always seen as trendy for young women, Hassan explains.




Sole DXB is the Middle East’s largest sneaker, streetwear and lifestyle fair. (Supplied)

“Whether observing the hijab or not, dressing modestly in the Middle East, especially over the last few years, isn't the cultural norm everyone thinks it is,” she says. “Being able to dress as you wish and to express yourself at your most authentic  — choosing yourself and your comfort over anyone’s expectations of you — requires a level of comfort with your identity, and this ties into general comfort in clothing and appearance. Sneakers make this so easy.”

Femininity has long been synonymous with high-heeled shoes. Louboutin — rather than Reebok or Adidas — has been the brand of choice for glamour-loving women, especially in the Middle East. But Athleisure and sports-luxe trends in mainstream fashion have helped popularize streetwear and sporty shoes, and today, women in the region are pairing clunky sneakers with their abayas, floaty maxi dresses and stylish tracksuits — an eclectic mix of sartorial standards, with room for an array of personal styles that may not necessarily conform to tradition.

“Women, especially nowadays in the Arab world, have completely renovated the term ‘femininity’. It’s by our own rules – we can wear a dress with a pair of sneakers and feel very, very feminine. We don’t have to wear six-inch heels to feel like a woman,” says Kochkarova, who is working on launching a website — noboysallowed.ae — dedicated to female sneakerheads from the Arab World. The site, she says, will highlight muses living in the Middle East, or from the Middle East and living abroad, through creative photoshoots and insightful interviews, forming an online community celebrating women and their coveted sneakers.




Joshua Cox is the co-founder of Sole DXB. (Supplied)

Joshua Cox, co-founder of Sole DXB — the Middle East’s largest sneaker, streetwear and lifestyle fair — says that sneaker culture would be “incomplete” without women, and that labels are now paying extra attention to this demographic.

“Our attendance has always been pretty consistent, with women making up half of our audience, but it's only in the last three years that we've seen the brands in the region increase and improve their offering for women,” he says.

Brands are now also working with creatives who identify with both modest fashion and sneaker culture. Reebok, for instance, ahead of Sole DXB 2019, recruited Sharjah-based Sudanese graphic designer Rihab Nubi for its digital campaign promoting pieces from the Reebok by Pyer Moss Collection 3. Nubi wore a top-and-trousers set with a dramatic, pleated, silhouette paired with chunky black, yellow and salmon-toned shoes from the collection, and an off-white headscarf.




Hassan’s outfits include bright tracksuits, plaid blazers, denim vests, bucket hats, silk scarves, retro sunglasses, and a range of sporty footwear. (Supplied)

While religion is certainly a motivator for women who dress modestly in the region, it isn’t the sole reason why women are gravitating towards conservative cuts. Many, inspired by the appeal of covering your body, rather than being pressured to flaunt it, have begun dressing more modestly without even realizing that their attire could be labeled as “modest fashion.”

“It wasn’t that I was dressing to try and be modest, they’re just the type of clothes I happen to be comfortable in. I never really liked to reveal too much,” says Kochkarova of her trademark loose skirts and oversized shirts. She adds that her favorite element of modest fashion is creative and experimental layering: “I’m heavily influenced by fashion in Japan, especially after visiting twice last year, and that’s something that they do on a regular basis.” She also finds inspiration in the up-and-coming sneaker culture in Saudi Arabia. “These kids in Saudi are insanely creative — they’re so underrated,” she says, citing Jawaher of @fashionizmything and Riyadh-based photographer Hayat Osamah as examples.

The ambitions and aesthetics driving the personal styles of these women are unique and diverse, but it’s clear that comfort and practicality are reigning in the modest fashion and sneaker style subcultures, painting a new picture of what an enlightened and empowered woman can look like.

“What we can see as observers…are that women choose to use sneaker culture for self-expression. They aren’t playing to stereotypes on femininity,” says Cox. “By bringing modest fashion and sneaker culture together, they're making it their own, and are contributing to the culture as much as they're taking from it.” 


Riyadh takes shape at Tuwaiq Sculpture Symposium 2026

Updated 16 January 2026
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Riyadh takes shape at Tuwaiq Sculpture Symposium 2026

RIYADH: This season, one of Riyadh’s busiest streets has taken on an unexpected role.

Under the theme “Traces of What Will Be,”sculptors are carving granite and shaping reclaimed metal at the seventh Tuwaiq Sculpture Symposium, running from Jan. 10 to Feb. 22.

The symposium is unfolding along Prince Mohammed bin Abdulaziz Road, known locally as Al‑Tahlia, a name that translates to desalination. The choice of location is deliberate.

The area is historically linked to Riyadh’s early desalination infrastructure, a turning point that helped to shift the city from water scarcity toward long‑term urban growth.

Twenty‑five artists from 18 countries are participating in this year’s event, producing large‑scale works in an open‑air setting embedded within the city.

The site serves as both workplace and eventual exhibition space, with sculptures remaining in progress throughout the symposium’s duration.

In her opening remarks, Sarah Al-Ruwayti, director of the Tuwaiq Sculpture Symposium, said that this year new materials had been introduced, including recycled iron, reflecting a focus on sustainability and renewal.

She added that the live-sculpting format allowed visitors to witness the transformation of raw stone and metal into finished artworks.

Working primarily with local stone and reclaimed metal, the participating artists are responding to both the material and the place.

For Saudi sculptor Wafaa Al‑Qunaibet, that relationship is central to her work, which draws on the physical and symbolic journey of water.

“My work … presents the connection from the salted water to sweet water,” Al‑Qunaibet told Arab News.

Using five pieces of granite and two bronze elements, she explained that the bronze components represented pipes, structures that carry saline water and allow it to be transformed into something usable.

The sculpture reflected movement through resistance, using stone to convey the difficulty of that transition, and water as a force that enables life to continue.

“I throw the stone through the difficult to show how life is easy with the water,” she said, pointing to water’s role in sustaining trees, environments and daily life.

Formally, the work relies on circular elements, a choice Al‑Qunaibet described as both technically demanding and socially resonant.

“The circle usually engages the people, engages the culture,” she said. Repeated circular forms extend through the work, linking together into a long, pipe‑like structure that reinforces the idea of connection.

Sculpting on site also shaped the scale of the piece. The space and materials provided during the symposium allowed Al‑Qunaibet to expand the work beyond her initial plans.

The openness of the site pushed the sculpture toward a six‑part configuration rather than a smaller arrangement.

Working across stone, steel, bronze and cement, American sculptor Carole Turner brings a public‑art perspective to the symposium, responding to the site’s historical and symbolic ties to desalination.

“My work is actually called New Future,” Turner told Arab News. “As the groundwater comes up, it meets at the top, where the desalination would take place, and fresh water comes down the other side.”

Her sculpture engages directly with the symposium’s theme by addressing systems that often go unseen. “Desalination does not leave a trace,” she said. “But it affects the future.”

Turner has been sculpting for more than two decades, though she describes making objects as something she has done since childhood. Over time, she transitioned into sculpture as a full‑time practice, drawn to its ability to communicate across age and background.

Public interaction remains central to her approach. “Curiosity is always something that makes you curious, and you want to explore it,” she said. Turner added that this sense of discovery is especially important for children encountering art in public spaces.

Saudi sculptor Mohammed Al‑Thagafi’s work for this year’s symposium reflects ideas of coexistence within Riyadh’s evolving urban landscape, focusing on the relationships between long‑standing traditions and a rapidly changing society.

The sculpture is composed of seven elements made from granite and stainless steel.

“Granite is a national material we are proud of. It represents authenticity, the foundation, and the roots of Saudi society,” Al‑Thagafi told Arab News.

“It talks about the openness happening in society, with other communities and other cultures.”

That dialogue between materials mirrors broader social shifts shaping the capital, particularly in how public space is shared and experienced.

Because the sculpture will be installed in parks and public squares, Al‑Thagafi emphasized the importance of creating multi‑part works that invite engagement.

Encountering art in everyday environments, he said, encouraged people to question meaning, placement, simplicity and abstraction, helping to build visual‑arts awareness across society.

For Al‑Thagafi, this year marked his fifth appearance at the symposium. “I have produced more than 2,600 sculptures, and here in Riyadh alone, I have more than 30 field works.”

Because the works are still underway, visitors can also view a small on‑site gallery displaying scaled models of the final sculptures.

These miniature models offer insight into each artist’s planning process, revealing how monumental forms are conceived before being executed at full scale.

As the symposium moves toward its conclusion, the completed sculptures will remain on site, allowing the public to encounter them in the environment that shaped their creation.