This paper aims to investigate how subjects of colonialism and post-colonialism attempt to make themselves visible when they were shamed into being invisible at an experiential and representational level or represented as the objects of visual pleasure and/or desire for the colonizer. Eighteenth- and nineteenth-century Orientalist writers and artists such as Antoine Galland and Jean-Léon Gérôme greatly influenced the Western image of the Muslim woman as passive and silent, with her veil becoming a primary trope in the construction of the “Oriental” feminine. In a postcolonial era, the veil became a uniform with a dual purpose it limited a woman’s visibility in the public sphere while also protecting them from potential shameful encounters. By examining photographs taken by Moroccan artist Hassan Hajjaj and his ‘Kesh Angels series in particular, I argue that the photographed women, each wearing a veil and djellabah, strategically re-appropriate the characteristics that have come to define – and even erase – their identities in order to counter the effects of shame in a postcolonial society. Thus, these veiled women become active participants in producing their visibility and the sartorial inconsistencies they present, from exposed legs to transparent veils, create alternative understandings of modernity through subversion. The women’s postures are also reminiscent of those found in odalisque paintings done by Eugène Delacroix and Henri Matisse and inspired by their travels to North Africa in the nineteenth century. Thus, both the photographer and photographed subjects offer a counterpoint to the legacy of Orientalist and colonialist stereotypes of the exoticized Muslim woman. By donning traditional attire with counterfeit emblems of Western, consumerist logos such as Nike and Louis Vuitton, the artist and his subjects force the Western viewer to confront their preconceived notions of the “East” while showcasing a different perspective on both femininity and contemporary Moroccan culture.