Cool Christianity: The Fashion-Celebrity-Megachurch Industrial Complex
In this article, I analyze the ways in which fashion, megachurches, and celebrity and youth cultures coalesce in the 21st century, giving rise to the phenomenon of “Cool Christianity.” I contend that this repackaged Christianity, directed at the middle-class Millennials and Generation Z, is created...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Taylor & Francis
2021
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| In: |
Material religion
Year: 2021, Volume: 17, Issue: 5, Pages: 580-602 |
| Standardized Subjects / Keyword chains: | B
Australia
/ Brazil
/ Hillsong Church
/ Youth culture
B Big church / Celebrity / Costume design / Youth culture / Commercial exploitation |
| RelBib Classification: | CB Christian life; spirituality CH Christianity and Society KBR Latin America KBS Australia; Oceania KDG Free church KDH Christian sects |
| Further subjects: | B
Hillsong
B Celebrities B Fashion B youth cultures B Megachurches B aesthetic formations |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a In this article, I analyze the ways in which fashion, megachurches, and celebrity and youth cultures coalesce in the 21st century, giving rise to the phenomenon of “Cool Christianity.” I contend that this repackaged Christianity, directed at the middle-class Millennials and Generation Z, is created not only by megachurches in a bid to attract new generations, as it is usually argued. It is also produced by celebrities, the fashion industry, and young Christian entrepreneurs. I argue that this assemblage of different elements generates a “Fashion-Celebrity-Megachurch industrial complex” that makes Christianity attractive to middle-class youth who do not find a home in more conservative churches that reject youth cultures. I show that this industrial complex creates an “aesthetic formation” that bonds and binds particularly young people as they transition into adulthood. I also demonstrate that because Cool Christianity is a relatively new aesthetic style, it becomes highly visible and needs to be negotiated with older styles of Christianity. This paper draws on six years of multi-sited fieldwork with the Australian megachurch Hillsong in Australia and Brazil, and monitoring and analyzing media reports on this church, its many social media accounts, and how followers interacted with them. | ||
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