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Muslim Fashion: Contemporary Style Cultures
Ebook Muslim Fashion: Contemporary Style Cultures
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Review
"Muslim Fashion is a thorough and thoughtful study of what it means to be a hijabi in a time and place where religion, politics, ethnicity, class, gender, generation and nationality meet and potentially clash. ... In treating hijab as fashion, Lewis counters the use of images of veiled women as 'evidence' that Muslims and Islam are incompatible with Western modernity and offers another, richer view of women in veils." (Bel Jacobs 2015-10-28)"Lewis's book cheerfully celebrates the confidence of these Muslim women, Peeking into the sanctuary of their subculture and carefully documenting their experience. It is an intelligent and serious study, abstemiously refraining from inferences, criticisms or generalizations, and yet unmistakably polemical too in the quiet case it makes against the idea of an archaic Islam conventionally positioned as antithetical to modernity." (Shahidha Bari TLS 2016-01-15)"Intersecting issues of religion, youth culture and class, Lewis presents a fascinating picture of what Islamic fashion looks like in Muslim minority countries such as France, the United States and the United Kingdom.... Lewis’s book is grounded in her personal experience, archival work of many years and some very rich ethnography making this a key text on Muslim fashion for many years to come." (Rohit K Dasgupta Clothing Cultures 2016-06-01) "Written by a pioneering scholar of gender and Orientalism, Muslim Fashion is one of the most important recent publications in the growing field of Islamic fashion studies. Analyzing the consumption practices of practicing Muslims in Turkey and diasporic communities in Europe, the book would also be of interest for scholars of Europe and the Middle East. With its interdisciplinary approach, rigorous methodology, and elaborate theoretical framework, Muslim Fashion asks new questions about the constitution of Muslim subjectivities and the everyday experience of Islam." (Rüstem Ertug Altinay Europe Now 2016-12-01)"With Muslim Fashion, Reina Lewis makes a rich and welcome contribution to a growing body of interdisciplinary scholarship that explores religiously motivated modes of dressing as evolving, complex and dynamic acts intertwining individual choice, fashion trends and conceptions of piety. . . . Ambitious in both theoretical and topical scope, Muslim Fashion deftly illuminates the multiplicity of approaches to pious dress that constitute Muslim modernities." (Ann Marie Leshkowich International Journal of Fashion Studies 2016-12-01)"The book is a significant contribution to ethnic, gender, cultural, Middle East and migration studies. It will greatly benefit graduate and undergraduate college students in these fields. It is also an attractive topic to general readers who want to learn about Muslim fashion away from the dominant polarized politics about Islam and Muslims in the West." (Enaya H. Othman Ethnic and Racial Studies 2017-02-13)"Through a rich ethnography of Muslim consumers, fashion professionals and media operatives – across a range of entwined religious and secular fashionscapes – Lewis shows that the liminality of a new generation of Muslims is, rather, not a type of crisis, but instead a unique source of competence and cultural capital. . . . Through this invaluable and detailed study, Lewis furthermore contributes to the growing wealth of literature that sympathetically considers the everyday practise and expression of religion through material culture. Muslim Fashion synthesises many relevant cross-disciplinary concerns and will no doubt be widely recognised as a landmark publication." (Carl Morris Religion, State, and Society 2017-03-08)
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Review
"Gracefully interweaving hijab and veiling into historical, political, legal, and cultural contexts, Reina Lewis delves deeply into the everyday style, fashion, and dress of young Muslim women. Lewis captures a dynamic moment in time—transnationally and comparatively—and offers keen insights into the variations and intersectionalities of religion, ethnicity, class, gender, generation, and nation. Muslim Fashion is an extraordinary book and an exemplary model of a feminist cultural studies approach to fashion." (Susan B. Kaiser, author of Fashion and Cultural Studies)"Reina Lewis discusses Muslim dress as fashion in the United Kingdom and its networks elsewhere, eschewing its reception in mainstream media as a sign of ahistorical and unmodern identity. Lewis’ previous scholarship on gendered Orientalism and academic post in fashion studies situates her in the best position to handle this delicate topic, and she admirably achieves to maintain both a critical distance and emphatic proximity to her subject. This is a must read for anyone interested in the visual and politico-economic analyses of Muslim fashion in relation to multiple fashion systems, as well as an ethnographic study of young women who live in Britain among a minority Muslim population." (Esra Ackan, author of Architecture in Translation: Germany, Turkey, and the Modern House)"Muslim Fashion is an important book by an international authority about Muslim fashion, and yet it manages to convey insights that will be of interest across a wide range of disciplines. It is one of those relatively rare books that manages to be methodologically rigorous, while also being theoretically sophisticated. Readable, engaging, thoughtful, lively, and accessible, this book is a landmark publication for our understanding of contemporary Muslim experiences, and offers fascinating insights into the worlds of consumers and producers of Muslim fashion." (Sophie Gilliat-Ray, author of Muslims in Britain)
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Product details
Paperback: 400 pages
Publisher: Duke University Press Books (September 25, 2015)
Language: English
ISBN-10: 0822359340
ISBN-13: 978-0822359340
Product Dimensions:
6 x 1 x 9 inches
Shipping Weight: 12.6 ounces (View shipping rates and policies)
Average Customer Review:
2.9 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#803,634 in Books (See Top 100 in Books)
So you’ve picked up this book because you think Muslim fashion is the next new thing. You’ve made a good choice: this book is totally made for you. It is a book that will teach you things, give you ideas, and make you think. Don’t expect tips on what to wear and how to wear it, though: this you will have to decide for yourself. If who you are is what you wear, then you cannot delegate this task to a third party. But reading Muslim Fashion will help you make your own choices and dress on your own terms. Maybe you won’t feel the same after reading it. Maybe your image will look different into the mirror. This is what they call a transformative book: it will make you see things differently. This is the good thing about reading books in general: you can turn them to your own use. So if this book helps you dress smarter, so be it. But it may also help you think about what you wear and why you wear it. If your style of dress makes a statement, be sure it includes the word fashion in it.To be frank with you, you may find Muslim Fashion a bit hard to read. But relax: this book review is here to help you through the reading. It will give you tips that will make understand things a lot easier. So don’t freak out if you see long sentences and difficult words. This is how people working as university professors make a living. Sentences are like skirts: you can wear them long or short according to your likes and dislikes. Trust me: I will use short sentences to describe long hijabs and ample robes. Or at least I’ll try. As a full disclosure, I don’t work in the fashion industry, and I am not involved in any way with Muslim fashion. I just like to read difficult books and try to make them simpler to read by writing book reviews. I wrote this one especially for you. If you find it helpful, you may provide feedback by clicking on the ‘helpful’ button or by writing a comment. But please understand: I am not a specialist in Muslim or modest fashion, or in any women’s fashion for that respect. So take my writing with a pinch of salt: if you disagree with what you read, blame the author of the book, not me.I am starting from the premise that you are already familiar with basic vocabulary. So you can tell a niqab from an abaya, a jilbab from a hijab, or a shayla from a turban. You may also be familiar with ethnic clothing: burqa cover from Afghanistan, kebaya dress from South-East Asia, chador cloak from Iran, tesettür veil from Turkey, salwar kameez outfit from South Asia. I am also assuming that you know what pious fashion, or modest fashion, is about. So you may be interested to learn where it came from, or how it varies in time and place. The important point to make is that modest fashion is not only about To Veil or Not To Veil. And even if you do, there are many different styles to veiling. Indeed, you may wish to design your own style, based on examples and references glimpsed in magazines or on the street. There are also a lot of tutorials available on Youtube. This is not pure exhibition: people choose what to show and what to hide. All people do.Some islamic clothing are clearly outside the purview of fashion. This is clearly the case with burqa, niqab, or abaya—although you may be interested to learn that some embroidered abaya sell for thousands of dollars in Gulf states. Indeed, some people challenge the idea that you can be both pious and fashionable at the same time. For them, a modest outlook is the antithesis of fashion: modesty is to break free from the tyranny of appearance, to contest the idolatry of the body. And indeed, the fashion world has accustomed us with habits that are far from restrained or modest. Exposed nudity, promiscuity between models and their admirers, rumors of drug consumption and tales of anorexia make the catwalk sound like a freak show. No wonder some customers and clothes designers want to break free from this model. But that’s the thing about fashion: no fashion is still fashion, especially when it becomes fashionable. This is what is happening with Muslim fashion; and this is the story that the author Reina Lewis recollects in her book.On a first look, no industry could be farther from fashion than the tesettür producers in Turkey, This is a country that brands itself secular and where the wearing of headscarves is frowned upon by the state, with an outright ban in schools and colleges or in the national parliament. Women wearing the local headscarf or tesettür have other concerns than fashion. Since Atatürk promoted western clothing and western mores, wearing the veil has always been coded as old-fashioned, rural or excessively religious in secular Turkey. But think again: tesettür companies have gained market share at home and abroad, and are now competing on brand image and seasonal collections. Today’s veiling-fashion producers market colorful and constantly changing styles, from bold and close-fitting to more conservative ones. Istanbul is now developing itself as a fashion city with a critical mass of consumers and fashion specialists, and Muslim fashion is definitely part of the show. For many young Islamic women, wearing a headscarf marks them off as different from their mothers who are going out bareheaded. This is precisely the point: who would like to look exactly like her mother? And as fashion catalogues and lifestyle magazines will show you, there are many ways to wear the tesettür.Doing research for her book, Reina Lewis interviewed several shop workers wearing the hijab in fashion stores or malls located in several British cities. The interviews were conducted between 2005 and 2010, and I am sure many things have changed since then. But maybe some things haven’t. UK law promotes employment equality regardless of religion or belief, and so sales persons have the right to wear the hijab if they choose to do so. Shop rules may define how workers dress and present themselves, but only up to a point. Discrimination on grounds of religion can bring an employer to court. Of course, how sales assistants dress is important for their boss and for their clients. They are the brand’s ambassadors, and their style and advice will help match the product and the consumer. In this context, familiarity with modest or pious style can be an asset, especially in neighborhoods populated by Muslim families. Take the case of Y.S. for instance. She didn’t have to apply for a job: she was recruited while shopping in a branch of Dorothy Perkins because the store manager thought she looked cool. She wore her hijab with style and personality, and being modest and trendy was exactly the image the store wanted to project.Here I may introduce a few concepts proposed by Pierre Bourdieu, a French sociologist. For Bourdieu, style is a form of symbolic capital: it is something that you can cultivate and that can be converted into forms of economic capital, like finding a job in a lifestyle magazine or a fashion store. Style is also a component of habitus, a social property of individuals that orients human behavior without strictly determining it. In a book called La Distinction, Bourdieu described the rise of a new class of cultural intermediaries working in service activities: sales, marketing, advertising, public relations, fashion, decoration, and so on. Upwardly mobile, these middle class individuals used their symbolic capital and were driven by their habitus to give legitimacy to new forms of cultural activities: minor arts such as photography or jazz music, self-presentation through fashion and lifestyle, and mass consumption of goods and appliances designed to make life easier. The young fashionistas described in Muslim Fashion are the heirs of these trendsetters. They do not act in isolation, but in a field (another important concept from Bourdieu) composed of many players and sources of authority. Only this field is not much cultural as it is religious. As surprising as it may seem, women participating in Muslim fashion are also religious intermediaries.Fashion is usually regarded outside of the mainstream of religious concerns. Except for Islam: in this case many people—Muslim and non-Muslim—have an opinion on what Islamic women should and shouldn’t wear. As Reina Lewis describes it in another chapter, Muslim lifestyle magazines and fashion catalogues are faced with a conundrum. How to represent women’s bodies? Some magazines such as Azizah have a policy of always putting a model with a headscarf on their cover. Others, such as the American quarterly Muslim Girl, do exactly the opposite: their idea is to represent as many different girls as possible and all their different approaches to faith. Still others avoid photographs of the human form, or take pictures of women viewed from behind so as not to show their face. Emel, another lifestyle magazine, takes straight-up photos of real people wearing street fashion but avoids professional models. The representation of female bodies raise even more controversies online, where readers and commentators are prompt to express their views in reaction to blog posts or social media pictures. Reina Lewis describes how the rise of online brands selling modest apparel was accompanied by the development of a lively blogosphere and social media devoted to modest style.A new category of “modest fashion†has therefore emerged and become legitimized on the Internet. Women can now find products designed with modesty in mind, consult style guides and join in fashion discussions about how to style modesty. These discussions are not necessarily faith-based and inspired by Islam: they can be inter-faith—as some Christian groups or Jewish believers have similar modesty needs—or based on no faith at all. They are increasingly cosmopolitan: see for example the new fashion line designed by Hana Tajima, an English woman based in Malaysia, which was launched in Singapore by Uniqlo, a Japanese apparel company. I have to confess I learned more from browsing the web using the “modest fashion†keyword than from reading long articles about secularity and attitudes considered as ostentatiously religious in my own country—which is France. Speaking of France, if I have a minor quibble with Reina Lewis’ book, it is when she alludes to a supposedly outright ban of Islamic dress in France, whereas the limitations introduced by French law are only limited to certain types of dress—the face-veil—or to certain locations, such as schools. And even these laws may evolve, along with the changing attitudes among the French public. Paris has long been the capital of fashion: my personal hope is that it will also become a magnet for the creation and expression of Muslim fashion.
So boring. Two pics.
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