A collection of carefully chosen excerpts, sermons and an address to Lajna given by Hazrat Khalifatul-Masih V(aba) on the subject of marriage and how to live in harmony with one’s spouse and in-laws, by following which we may experience the peace and security promised to us through Islamic teachings.

As- Salaam Alaikum! I welcome you to our 'Like A Garment' e-book, an initiative that seeks to educate Muslims to find conjugal bliss in their marriages. The name of this project came from one of the most beautiful, poetic and profound metaphors of the Qur'an. Allah states, "Permitted for you, during the night of the fast, that you approach your wives. They are your garments, and you are their garments" [al-Baqarah; 187]. In this verse, each spouse is described as a 'garment' to the other. The famous exegete Ibn Jarir al-Tabari (d. 311) stated that this description most aptly described the act of intimacy between the spouses, for during that act, each spouse sheds his or her other garments and then wraps around the other, taking the place of clothes. Al-Qurtubi (d. 671) also comments on this metaphor, and adds that just as clothes protect their wearer from the external elements, similarly each spouse protects the other from external passions that would harm a marriage. Combining between the various explanations of this beautiful metaphor found in the books of tafseer, we can derive many meanings from it: - The act of procreation is so intimate that it is literally as if one of the spouses covers up the other, just as clothing covers up one's body. Another euphemism that the Qur'aan uses for the sexual act is the verb ghashsha, which means 'to cover up, to envelop'. - One primary purpose of clothing is to conceal one's nakedness, since this nakedness (or `awrah) is embarrassing to display, and should be hidden from the eyes of others. Similarly, each spouse conceals the other spouse's faults, and does not reveal them to others. - Clothing protects one from the external elements, such as heat and cold. Similarly, spouses protect one another from external desires that originate from many different sources. By satisfying these desires within the confines of marriage, external passions are removed. - Clothing is the primary method through which humans beautify themselves. Without clothing, one is incomplete and naked. Similarly, spouses beautify and complete one another; when a person is not married, he or she is not yet complete and has not reached his or her full potential. Marriage is an essential part of being fully human, just like clothes are an essential part of being fully civilized. - Clothes are only worn in front of others, and are not necessary in front of spouses. It is only in front of one's spouse that the other spouse can discard his or her garments. - Clothes are the closest thing to one's body. Nothing comes between a person and his or her clothes. So the analogy of spouses being 'like clothes to one another' implies such a closeness - there is nothing, literally and metaphorically, that should come between spouses.

Here is the straight-up dope on how to make your own clothing. With or without patterns, machines, or fancy materials—anyone can do it! Got some old clothes that you love and that fit well? Use them as patterns for new ones. Want something new and spectacular, something that fits right along where your head is moving? Cut up, remodel, add on, and let your old stuff evolve! Readers will embrace the step-by-step illustrations, clear and encouraging prose, and timeless collection of clothes—from skirts and pants to dresses, a waistcoat, and even a teeny-weeny bikini. The Illustrated Hassle-Free Make Your Own Clothes Book promises to be both an indispensable resource and a much-noticed collectible on every hipster’s bookshelf.

This book covers various aspects of marriage according to the authentic Sunnah. Marriage plays a most central role in the human life, and has been largely discussed by the scholars of Islam through the ages, resulting in numerous writings and treatises. This unique title covers a number of different aspects in marriage, including human sexuality, Islamic etiquettes of intimacy, prohibited acts of intimacy, ghusl, the 'awrah, zina', birth control, indecent acts, and more.

THE GARMENTS OF CAEAN are forbidden in the Ziode Cluster, their qualities little understood. So when Peder Forbath finds the legendary Frachonard suit on a wrecked Caeanic freighter, he immediately tries it on. To his delight he finds that the garment endows him with undreamed-of powers. But is Peder wearing the suit - or is the suit wearing him?

Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

In much of modern fiction, it is the clothes that make the character. Garments embody personal and national histories. They convey wealth, status, aspiration, and morality (or a lack thereof). They suggest where characters have been and where they might be headed, as well as whether or not they are aware of their fate. At the Mercy of Their Clothes explores the agency of fashion in modern literature, its reflection of new relations between people and things, and its embodiment of a rapidly changing society confronted by war and cultural and economic upheaval. In some cases, people need garments to realize themselves. In other cases, the clothes control the person who wears them. Celia Marshik's study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory. She focuses on four distinct categories of modern clothing: the evening gown, the mackintosh, the fancy dress costume, and secondhand attire. In their use of these clothes, we see authors negotiate shifting gender roles, weigh the value of individuality during national conflict, work through mortality, and depict changing class structures. Marshik's dynamic comparisons put Ulysses in conversation with Rebecca, Punch cartoons, articles in Vogue, and letters from consumers, illuminating opinions about specific garments and a widespread anxiety that people were no more than what they wore. Throughout her readings, Marshik emphasizes the persistent animation of clothing—and objectification of individuals—in early-twentieth-century literature and society. She argues that while artists and intellectuals celebrated the ability of modern individuals to remake themselves, a range of literary works and popular publications points to a lingering anxiety about how political, social, and economic conditions continued to constrain the individual.