What is iconography?

The word iconography can sometimes feel like something of a relic—the kind of academic term tossed around by enthusiastic, but uncharismatic academics in lectures about historical symbolism. And yet, it still carries weight. It maintains a presence that seeps deep into our visual culture. There are moments and images so iconic, so monumental, that in spite of whatever algorithm-driven reflections of reality we find ourselves thrust deep into, they become collectively immortalised. They influence. They endure.

But these moments are not always celebratory. They also include the world’s richest man throwing up a Nazi salute. They include the crypto scams emanating every single day, including one from a certain inescapable street interview we’ve all seen and heard (a million times). Is that just what iconography is? Images, archives and memories that visualise our present moment? Is it just a fluid term we throw around or is it how we understand the chaotic, image-saturated world we’re all trying to navigate?

In search of an answer, we reached out to our community with a simple (or pointedly difficult) question: What is the first thing that comes to mind when you think of iconography? Their answers range from deeply personal to universally resonant. All of them capture moments in which images mean everything— and, perhaps, nothing at all.

Dima Srouji – architect and artist

My grandmother!

Eman Alali – actress

“This is a farewell kiss from the Iraqi people, you dog.” – Muntazer al-Zaidi

That iconic moment the shoe was thrown at Bush encapsulates decades of anger and resistance so perfectly. For me, it’s more than just an image—it’s everything I feel everyday about reclaiming narrative, reclaiming our identity, and throwing it back in their faces (both literally and metaphorically). As an Arab millennial/Gen Z cusper, iconography, meme culture, and internet humour have been both my saving grace and my ultimate weapon. It’s the medium I cling onto the most and, as someone who is both complexly comedic and political, it’s where I truly feel seen, rebel and find solace in my community. Now that’s power. That’s genuinely f*cking sick.

Trashy Clothing (Shukri and Omar) – fashion label

For us, iconography is embodied in this image of Mia Khalifa wearing our custom Khalifa dress through layered symbolism. The tarboosh, a symbol of leadership and politics, paired with Mia as an icon, turned into a dress, reflects our brand’s political satire and pays homage to the works of Naji Al-Ali, one of our inspirations.

Saem Ouhl – creative director

The connection between the iconic “XOXO” sign-off on Gossip Girl and Vybz Kartel’s “Fever” is a sort of cultural iconography and symbolism, blending themes of intimacy, secrecy and allure. In Gossip Girl, “XOXO” is a recurring phrase symbolising a key part of the show’s branding, identity, and cultural iconography. The repetition of “XOXO” became iconic in pop culture, evoking a sense of intimacy intertwined with mystery and secrets.
“Fever”, meanwhile, plays with themes of seduction, intimacy and desire, concepts that align with the emotional undertones of “XOXO”. In recent interviews, Kartel talked about the verbal symbolism of this sign-off and how it influenced his song in unexpected ways. Though never stated, the symbolism of love and intrigue in the TV show might resonate with his storytelling style in “Fever”. The track, like Gossip Girl, thrives on creating an air of irresistible allure and passion, making the connection quite clear.

Salman AlNajem – artist

An icon, in most cases, is an object that hints to a world of ideas. Take, for example, the Disney villain Scar—just by mentioning his name as an icon, ideas of family dispute, jealousy and royalty emerge.

Somnath Bhatt – designer and artist

Like all beautiful things, belong to someone else. They move through understanding with a silent, back-and- forth rhythm, carrying the invisible between bodies. Both reverberate. Visual icons are like channels; wide, flowing and veiny, pulsing with shared emanation. Icons are not solid forms but vehicles that, at once, produce feelings and refuse to retain them. They stretch their multi-limbed bodies over many spatial dimensions, across time, seeping their way through invisible knots that bind a hidden world tighter than breath. How far can an image travel? How large can it grow? How many places can it exist at once? How many meanings can it hold in its open palm? Fingers close. Each icon, in its quiet transmission, answers with a grasp.

Sara Bokr – architect

My idea of iconography is the famous Big Duck building in Long Island, New York. A duck-shaped shop that sells ducks and eggs. Symbolising (duck architecture), a term that refers to when form takes over function. Opposite to decorated sheds, where function is first and decoration comes second.

Ruba Katrib – curator

Cat DNA has hardly changed since they were domesticated in the Fertile Crescent region 10,000 years ago. Truly iconic.

Rose Nordin – artist and graphic designer

ديوان العدد الوفق

The harmonious disposition of numbers

A mathematical/medical/magical entity

Numbers = planets

Omar Elkafrawy – photographer

Fire and Horse. Majesty and vigour. Firehorse is the symbol. It is the latest in capitalism. It is the edge of image-making, the purest form of visual democracy: a stock video of a horse rendered in flames readily available for anyone to purchase and use. What have been the needs and uses of this symbol so far? Once an aphrodisiac chocolate, once on a condom pack, once on a hookah, and hundreds of times on billboards all around Cairo and its highways. It is an image as commonplace as its aching surroundings although, once noticed, can become an irritable obsession. Once obsessed with, it becomes a peephole into the room in which our material history is made up, curated and filed. It does not take much to realise or fantasise the decision-making (or lack thereof) that leads to this becoming such a present image in Cairo right now.

Noorain Inam – painter

When I hear the word ‘iconography’, the first thing that comes to my mind are all the paintings I’ve studied for years. But when I look at the thousands of screenshots I’ve got saved on my phone, I feel like my answer should be something else. Let’s just say it depends on the time of day, how much time I’ve spent in studio, and how much Twin Peaks I’ve watched.

MOMA Ps5 – music historian, cultural critic, and DJ

One of my favourite images of all time is this particular headline of rapper Young Thug reacting to NBA player James Harden accidentally endorsing the police force. Thug’s reaction is so succinct, yet simultaneously funny. I’ve never seen such a creative way to defend a friend for slippin’ up. Sometimes, artists will have their PR people handle the situation, but Thug stepped in swiftly. I often see this image used across time for many different situations as a means to defend people who do stupid things and didn’t read the room or have knowledge of such. It’s amazing. If you ever look up “he don’t have internet” on X, you’ll see thousands of people using that line to describe a myriad of situations.

Mareeeekh (Mohammed Ali) – visual culture platform

When I think of iconography, I think of the visuals and moments so extra, they can’t help but stick around as ‘iconic’— even if you’re embarrassed by them.

Laila Majid – filmmaker and artist

I often think about Martin Margiela’s ‘Les Topless’ Tabi sandals (1996). He had a wonderful ability to both deconstruct and subvert functionality, frequently playing with unexpected material combinations. These heels have been reduced to their soles. At the time, they were sold with a roll of clear cellotape, used to temporarily affix the shoes to the foot of the wearer.

POSTPOSTPOST – meme account and publication

STYLENOTCOM – fashion commentator

I’m 90s post-Soviet kid, born and raised in Georgia, and some of the first visual icons that I remember are the MTV logo and Coca-Cola Christmas ads with Santa Claus and his truck. They were the first signs and sights of modern pop culture in my country, when we had almost no electricity and there was still a civil war going in the streets. Oh, and I would also add this smiling kid from Kinder chocolate.

Abdullah Al Jahdhami (Shaweesh) – artist  

Iconography, for me, is a tapestry of images that define my identity, blending nostalgia and history through logos, graphics and collectables from my library. Each symbol in my art reflects a chapter of my journey as an artist. My routine shapes my visual language, merging childhood memories and the media I engage with, aiming to encourage connection and reflection among my generation. You are a medium that can connect anything with anything. Your journey reflects your identity, shaped by your unique experiences and choices within your culture.

Tasneem Sarkez – visual artist

I like to think of iconography within the contemporary aesthetics of Arab culture within my work, and the use of the gaze, is iconic to not only how we think of the history of kohl, early 2000s Arab popstars, and the glamorous Arab weddings, but also how communicative we are with our eyes. It can be an indication of evil (the evil eye), how we will even “swear on our eyes” as a way of telling the truth (عينك وحياة( , or calling someone “our eyes” as endearment—the aesthetic and symbolic properties of the eye create a valuable understanding of our own iconography in Arab culture.

Originally published in Dazed MENA Issue 01 | Order Here