Haleh Anvari feels that the black chador has become an icon for Iran. It has been used very effectively by two very opposing camps, both the Islamist government of Iran and the Western media. The government uses it both for religious considerations but also because the image of a black clad woman became the trademark of the Islamic Republic. It was the most visual way of telling the world after the revolution, that something had changed in Iran while the Western media uses it as a proof of the repression of the Islamic state on its citizens. Yet for Anvari, both sources exploit the chador for their own purposes and neither show the true picture of the life of Iranian women. In Anvari’s series Chadornama, she wanted to show that black chadors do not speak for the women of Iran – and instead created colorful chadors and luscious environments. In the Chador-dadar series, Anvari takes her colorful chadors to play outside in locations around the world. In these spaces, the intervention of these chadors with the people and location of the places she visits reveals as much about our ideas about what the chador represents as it does to challenge the viewer to imagine the women of Iran with lives as colorful and playful as the situations in which they find themselves.