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.

Introduction -- Biographies in dress -- Geographies of hijab -- Navigations of style -- Diversity contested -- Covering concerns -- Hijab online -- Islamic fashion scape.

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.

In the shops of London's Oxford Street, girls wear patterned scarves over their hair as they cluster around makeup counters. Alongside them, hip twenty-somethings style their head-wraps in high black topknots to match their black boot-cut trousers. Participating in the world of popular mainstream fashion—often thought to be the domain of the West—these young Muslim women are part of an emergent cross-faith transnational youth subculture of modest fashion. In treating hijab and other forms of modest clothing as fashion, Reina Lewis counters the overuse of images of veiled women as "evidence" in the prevalent suggestion that Muslims and Islam are incompatible with Western modernity. Muslim Fashion contextualizes modest wardrobe styling within Islamic and global consumer cultures, interviewing key players including designers, bloggers, shoppers, store clerks, and shop owners. Focusing on Britain, North America, and Turkey, Lewis provides insights into the ways young Muslim women use multiple fashion systems to negotiate religion, identity, and ethnicity.

For many Westerners, the veil is the ultimate sign of women’s oppression. But Elizabeth Bucar’s take on Muslim women’s clothing is a far cry from this attitude. She invites readers to join her in three Muslim-majority nations as she surveys pious fashion from head to toe and shows how Muslim women approach the question “What to wear?” with style.

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.

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?