Sonakshi Sinha Wears Traditional Outfit at Abu Dhabi Mosque — A Quiet Rebuttal to Hijab Trolls

Bollywood actress Sonakshi Sinha, along with husband Zaheer Iqbal, visited the Sheikh Zayed Grand Mosque in Abu Dhabi, choosing a modest, traditional outfit that stirred fresh debate — especially following the recent trolling of Deepika Padukone’s hijab look.

In the video Sonakshi shared on Instagram, she’s seen walking through the mosque premises in a green-and-white printed short kurta and pyjama, with a matching dupatta draped over her head out of respect for the religious setting. Zaheer complemented her look in a black shirt and green trousers. She captioned the post, “Found a little sukoon (peace), right here in Abu Dhabi!”

Reactions to Sonakshi’s mosque outing have ranged from admiring to biting. Some social media users pointed out the double standard: why was Deepika trolled for a hijab in the same place, while Sonakshi’s more modest, traditional look is being celebrated? One comment read, “So it’s normal for Sonakshi but not for Deepika?” Others defended her pick, arguing that covering one’s head or dressing modestly in places of worship is a universal gesture—not a religious statement.

Yet, even Sonakshi’s post didn’t escape criticism. A few trolls complained she wore shoes inside the mosque, a violation of custom, while another mocked, saying she was turning a simple visit into spectacle by timing it after controversy.

But what stands out is how Sonakshi’s choice acts as a soft critique — or at least a nonverbal commentary — on the uproar around Deepika’s hijab moment. After Deepika faced trolling for her attire, Sonakshi’s approach suggests a more cautious, perhaps safer aesthetic: no extremes, no statements, just modest respect. In doing so, she avoids overt confrontation but still participates in the conversation.

The contrast sharpens the debate over fashion, religion, and public perception: one celebrity’s statement is hailed as sensitivity; another’s is denounced as pandering. When the camera turns on, even the most innocuous outfits morph into political symbols. Sonakshi’s experience shows how closely watched and judged female celebrities are, especially when religion and identity intersect in their wardrobe choices.

In the end, Sonakshi Sinha’s mosque visit may seem serene, but its ripples are loud. It asks: is modesty now the only acceptable boundary in religious spaces for celebrities? And does reacting to criticism with silence—or just carefully chosen visuals—count as resistance or retreat?