Who says you can’t be pious and fashionable? Throughout the Muslim world, women have found creative ways of expressing their personality through the way they dress. Headscarves can be modest or bold, while brand-name clothing and accessories are part of a multimillion-dollar ready-to-wear industry that caters to pious fashion from head to toe. In this lively snapshot, Liz Bucar takes us to Iran, Turkey, and Indonesia and finds a dynamic world of fashion, faith, and style. “Brings out both the sensuality and pleasure of sartorial experimentation.” —Times Literary Supplement “I defy anyone not to be beguiled by [Bucar’s] generous-hearted yet penetrating observation of pious fashion in Indonesia, Turkey and Iran... Bucar uses interviews with consumers, designers, retailers and journalists...to examine the presumptions that modest dressing can’t be fashionable, and fashion can’t be faithful.” —Times Higher Education “Bucar disabuses readers of any preconceived ideas that women who adhere to an aesthetic of modesty are unfashionable or frumpy.” —Robin Givhan, Washington Post “A smart, eye-opening guide to the creative sartorial practices of young Muslim women... Bucar’s lively narrative illuminates fashion choices, moral aspirations, and social struggles that will unsettle those who prefer to stereotype than inform themselves about women’s everyday lives in the fast-changing, diverse societies that constitute the Muslim world.” —Lila Abu-Lughod, author of Do Muslim Women Need Saving?

The subject of religion and dress in Turkey has been debated at great length both in academia and the media. Through in-depth ethnographic research into the Turkish fashion market and the work of a category of new comers, namely headscarf-wearing fashion professionals, Islam, Faith, and Fashion examines entrepreneurship in this market and the aesthetic desirability, religious suitability, and ethical credibility of fashionable Islamic dress. What makes a fashionable outfit Islamically appropriate? What makes an Islamically appropriate outfit fashionable? What are the conditions, challenges and constraints an entrepreneur faces in this market, and how do they market their products? Is the presumed oxymoronic nature of Islamic fashion a challenge or a burden? Through case studies and ethnographic portraits, Craciun questions the commercialization of Islamic dress and tackles the delicate and often incompatible relationship between clothing worn in recognition of religious belief and clothing worn purely because it is fashionable. This timely analysis of fashion, religion, ethics, and aesthetics presents dress as a disputed and a contested locus of modernity. Islam, Faith, and Fashion will be essential reading for students of fashion, anthropology, and material and visual culture.

The subject of religion and dress in Turkey has been debated at great length both in academia and the media. Through in-depth ethnographic research into the Turkish fashion market and the work of a category of new comers, namely headscarf-wearing fashion professionals, Islam, Faith and Fashion examines entrepreneurship in this market and the aesthetic desirability, religious suitability, and ethical credibility of fashionable Islamic dress. What makes a fashionable outfit Islamically appropriate? What makes an Islamically appropriate outfit fashionable? What are the conditions, challenges and constraints an entrepreneur faces in this market, and how do they market their products? Is the presumed oxymoronic nature of Islamic fashion a challenge or a burden? Through case studies and ethnographic portraits, Craciun questions the commercialization of Islamic dress and tackles the delicate and often incompatible relationship between clothing worn in recognition of religious belief and clothing worn purely because it is fashionable. This timely analysis of fashion, religion, ethics, and aesthetics presents dress as a disputed and a contested locus of modernity. Islam, Faith and Fashion will be essential reading for students of fashion, anthropology, and material and visual culture.

Turkey has witnessed remarkable sociocultural change under the regime of Recep Tayyip Erdogan and his Justice and Development Party (AKP), particularly regarding its religious communities. As individuals with pious identities have increasingly gained access to state power and accumulated economic influence, so religious appearances and practices have become more visible in Turkey's `secular' public spaces. More than this, consumption practices have changed and new Islamic and Islamist identities have emerged. This book investigates three of the most widespread faith-inspired communities in Turkey: the Gulen, Suleymanli and the Menzil. Nazli Alimen compares these communities, looking at their diverse interpretations of Islamic rules related to the body and dress, and how these different groups compete for power and control in Turkey. In tracing what motivates consumption practices, the book adds to the growing interest in the commercial aspects of modest and Islamic fashion. It also highlights the importance of clothing and bodily rituals (such as veiling, grooming and food choices) for the formation of community identities. Based on ethnographic research, Alimen analyses the relationship between the marketplace and religion, and shows how different communities interact with each other and state institutions. Of particular note are the varied expressions of Islamic masculinities and femininities at play. Appealing to a cross-disciplinary readership, the book will be relevant for scholars within Turkish Studies, Gender Studies, Islamic Studies, Fashion, Consumption Studies, Sociology of Religion and Middle Eastern Studies.

Muslims in the West are increasingly choosing to express their identity and faith through dress, whether by wearing colourful headscarves, austere black garments or creative new forms of Islamic. This book cuts through media stereotypes of Muslim appearances, providing intimate insights into what clothes really mean to the people who design and wear them.

Essentials of the Islamic Faith is a selection from some of the speeches M. Fethullah Glen has given to large audiences over a life-time of dedicated service. In these speeches, he explains the principal elements of Islamic belief - belief in the existence and Unity of God; in Resurrection and the Day of Judgment; in Divine Scriptures and other familiar themes of Islamic discourse. What is special and unique about the presentation of them in this book is that the author is constantly aware of the encroachment (and the seductive appeal) of cultural attitudes which are hostile not to Islam only but to any religious and contemplative way of life.

"This lavishly illustrated book presents Muslim fashion as an essential part of contemporary style. This dazzling exploration of contemporary Muslim modest dress, from historic styles to present-day examples, accompanies a major exhibition and reveals the enormous range of self-expression through fashion achieved by Muslim men and women. Filled with documentary and fashion photography as well as stills from runway shows and the media, this book explores the ways Muslim style cultures are shaped by global trends and religious beliefs. From high-end couture to streetwear, this volume shows how established and diaspora regions, such as Dubai, Jakarta, London, and New York, are homes to thriving industries that create classic and cutting-edge looks. Accompanying these images are essays and personal narratives by leading voices that touch on everything from the history of modest dress to social media. A fascinating examination of a major segment of the fashion industry, this book highlights the ingenuity and creativity of Muslim designers and wearers as they deftly navigate the fashion industry while maintaining their religious and cultural identities"--

From food products to fashions and cosmetics to children’s toys, a wide range of commodities today are being marketed as “halal” (permitted, lawful) or “Islamic” to Muslim consumers both in the West and in Muslim-majority nations. However, many of these products are not authentically Islamic or halal, and their producers have not necessarily created them to honor religious practice or sentiment. Instead, most “halal” commodities are profit-driven, and they exploit the rise of a new Islamic economic paradigm, “Brand Islam,” as a clever marketing tool. Brand Islam investigates the rise of this highly lucrative marketing strategy and the resulting growth in consumer loyalty to goods and services identified as Islamic. Faegheh Shirazi explores the reasons why consumers buy Islam-branded products, including conspicuous piety or a longing to identify with a larger Muslim community, especially for those Muslims who live in Western countries, and how this phenomenon is affecting the religious, cultural, and economic lives of Muslim consumers. She demonstrates that Brand Islam has actually enabled a new type of global networking, joining product and service sectors together in a huge conglomerate that some are referring to as the Interland. A timely and original contribution to Muslim cultural studies, Brand Islam reveals how and why the growth of consumerism, global communications, and the Westernization of many Islamic countries are all driving the commercialization of Islam.

From clothing to the painted and scarified nude body, through overt, public display or esoteric symbols known only to the initiated, dress can convey information about beliefs, faith, identity, power, agency, resistance, and fashion. Taking a 'senses' approach, Hume's engaging account takes into consideration the look, smell, feel, touch and sound of religious apparel, the 'smells and bells' of dress and its accoutrements, as well as the emotions evoked by donning religious garb. The book's global perspective provides wide-ranging, yet detailed, coverage of religious dress, from the history and meaning of the simple 'no-frills' attire of the Anabaptists to the power structure displayed in the elaborate fabrics and colours of the Roman Catholic Church; Hume examines the 2,500 year-old tradition of Buddhist robes, the nudity of India's holy men, and much more. With chapters on Sufism, Vodou, modern Pagans, as well as painted and tattooed indigenous and modern Western bodies, the reader is swept along on a sensual journey of the sight, sound, smell and feel of wearing religion. Unique in its field, this intriguing and informative anthropological approach to the body and dress is an essential read for students of Anthropology, Anthropology of Dress, Sociology, Fashion and Textiles, Culture and Dress, Body and Culture and Cultural Studies.

Modest fashion is a young, fast-growing, multi-billion-dollar retail sector. What do we mean by Modest Fashion? Who are the personalities and companies driving this industry?