Among the buried treasures left in the wake of the Iranian Revolution was the iconic style of Farah Diba, the third wife of Iran’s last monarch, who held the unprecedented title of empress. This role was virtually unknown in the Muslim Middle East.
During the 1960s and 1970s, Iran stood delicately poised on a tightrope between deep-rooted tradition and the promise of progressivism and progress. At the Shah’s side was a woman who looked like she had stepped out of the pages of the latest issue of Vogue magazine.
Farah Diba was a proud Iranian educated in Paris; she embodied a unique blend of Western and Eastern ideals. Her image was meticulously curated and deeply symbolic, and her role as empress encompassed more than just being a fashion icon. Behind her attention-grabbing style and voluminous hairstyles hides a deeper narrative, one that touches on the political, feminist, and personal complexity that came with her role.
Farah wore Western brands such as Chanel and Yves Saint Lauren. Still, at the same time, she seamlessly incorporated Persian motifs into her look, which reflected her proud Iranian identity. She knew how to position the deep visual culture of Iran with spiral architectural patterns to shape a unique aesthetic.
Farah’s legacy as empress extended past her unforgettable style. She was also a progressive force, championing opportunities for women, notably in education and the arts. According to DW, she was involved in cultural activities, and her role in modernizing Iran included the establishment of events like the Shiraz Festival of Arts, the Isfahan Festival of Popular Traditions, and the Tehran International Film Festival. She also focused on literacy, establishing children's libraries and advocating for the preservation of historical buildings.
Fashion as a language of diplomacy
Her unique look also functioned as a political tool – one that worked to bridge the gap between Iran and the West. She used her beauty as power, and her sense of fashion turned into a diplomatic language to help gain Iran's natural trust and prestige.
Iran started to gain more international prestige in the 1960s and 1970s with an expansion of international cooperation and increased trade relationships. However, more involvement with the West did not come without increased criticism at home.
In October 1971, Iran hosted an extravagant, state-sponsored celebration to mark 2,500 years since the founding of the Persian Empire. Spearheaded by Shah Mohammad Reza Pahlavi and Empress Farah Diba, the event aimed to highlight the connection between modern Iran and its ancient imperial roots, present the country as a modern and sophisticated nation, and reinforce both the monarchy’s role in Iranian identity and its standing on the international stage.
According to the BBC, over 60 world leaders attended the event. It marked Iran’s cooperation with both the east and the west, with a menu curated by Maxims of Paris, and thousands of bottles of champagne were shipped in despite Iran’s status as a Muslim country. While the global elite were enamored with Iran's rich display of culture, the celebration faced criticism at home as many Iranians saw it as completely tone deaf to growing poverty and social inequity.
Farah also influenced the style of women across Iran, many of whom were inspired by her expressive fashion sense. Urban, educated women began to embrace bold colors and eclectic fabrics, echoing the empress’s modern and vibrant aesthetic.
Criticism on the home front
However, Farah’s role as empress was not without criticism. Many in Iran viewed her as out of touch, and her liberal ideals as insincere. Her lavish evening gowns came to be seen by some as a form of mockery in a nation grappling with poverty. At the same time, her embrace of Western fashion clashed with the monarchy’s authoritarian grip on power.
Fashion became a visible symbol of division between the center and the periphery, between secular urban women and their more religious counterparts.
When the royal family was forced into exile and Ayatollah Khomeini rose to power, one of his first dramatic decrees was to mandate black as the compulsory color for women. Makeup became a crime. Beauty is a sin.
Farah's legacy in Iran
Farah was more than a fashionable First Lady – she was a living contradiction as an empress in a modern monarchy. She tried to stitch together Iran’s imperial past with a cosmopolitan future. She became a symbol of what Iran aspired to be and also what the casualties of its revolution were.
Farah’s image as a free, expressive woman became a forbidden memory.
She never returned to Iran, but her elegance and image still linger in the hearts of many who remember a different vision of what their country could have been.
Blair Penn contributed to this report