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?

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, Elizabeth 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." --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?

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?

Liz Bucar navigates the thorny terrain of religious appropriation, from yoga classes to non-Muslims who signal allyship by donning hijabs. Exploring the ethics of alleged appropriations, Bucar argues that borrowing isn’t itself a problem, as long as we are invested in our enthusiasms—committed to understanding their roots and diverse meanings.

Shows how the fashion industry in the mid- to late twentieth century created a particular way of seeing religion as fashionable From cross necklaces to fashion designs inspired by nuns’ habits, how have fashion sources interpreted Christianity? And how, in turn, have these interpretations shaped conceptions of religion in the United States? Religion in Vogue explores the intertwined history of Christianity and the fashion industry. Using a diverse range of fashion sources, including designs, jewelry, articles in fashion magazines, and advertisements, Lynn S. Neal demonstrates how in the second half of the twentieth century the modern fashion industry created an aestheticized Christianity, transforming it into a consumer product. The fashion industry socialized consumers to see religion as fashionable and as a beautiful lifestyle accessory—something to be displayed, consumed, and experienced as an expression of personal identity and taste. Religion was something to be embraced and shown off by those who were sophisticated and stylish, and not solely the domain of the politically conservative. Neal ultimately concludes that, through aestheticizing Christianity, the fashion industry has offered Americans a means of blending traditional elements of religion—such as ritual practice, miraculous events, and theological concepts—with modern culture, revealing a new dimension to the personal experience of religion.

Owning a home has always been central to the American dream. For the more than one million Muslims in the United States, this is no exception. However, the Qur'an forbids the payment of interest, which places conventional home financing out of reach for observant Muslims. To meet the growing Muslim demand for home purchases, a market for home financing that would be halal, or permissible under Islamic law, has emerged. In Pious Property, anthropologist William Maurer profiles the emergence of this new religiously based financial service and explores the ways it reflects the influence of Muslim practices on American economic life and vice versa. Pious Property charts the development of Islamic mortgages in America, starting with Islamic interpretations of the prohibition against riba—literally translated as "increase" but interpreted as "usury" or "interest." Maurer then explores the different practices that have emerged as permissible options for Islamic homebuyers—such as lease-to-own arrangements, profit-loss sharing, and cost-plus contracts—and explains how they have gained acceptance in the Islamic community by relying on payment schemes that avoid standard interest rate payments. Using interviews with Muslim homebuyers and financiers, and in-depth analysis of two companies that provide mortgage alternatives to Muslims, Maurer discovers an interesting paradox: progressive Muslims tend to use financial contracts that seemingly comply better with the prohibition against interest, while traditional Muslims seem more inclined to take on financing very similar to interest-based mortgages. Maurer finds that Muslims make their decisions about using Islamic mortgage alternatives based not only on the views of religious scholars, but also on their conceptions of how business is supposed to be conducted in America. While one form of Islamic financing is seemingly more congruent with the prohibition against riba, the other exhibits more of the qualities of American mortgages—anonymity and standardized forms. The appearance that an Islamic financing instrument is legal and professional leaves many Muslim homebuyers with the impression that it is halal, revealing the influence of American capitalism on Muslim Americans' understanding of their religious rules. The market for halal financial products exists at the intersection of American and Islamic culture and is emblematic of the way that, for centuries, America's newcomers have adapted to and changed the fabric of American life. In Pious Property, William Maurer explores this rapidly growing economic phenomenon with historical perspective and scholarly insight.

Essays re members of the Moravian Church; although many of these Protestant immigrants spoke German, they originated in various countries.