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During the inauguration of one of its stores in Zaragoza, the Álvaro Moreno brand repeated his usual ritual: A priest toured the facilities blessing the premises and the employees, while the motto “May it be for the glory of God” was read on a large screen. The gesture summarizes the philosophy of the Sevillian businessman who has made his Catholic faith part of his business model. Showing faith. “When I open a store I say let it be for the glory of God, because if it is not for his glory, why are we here?” he said in an interview with El Español. He was 21 years old when he opened his first store in Osuna; Today, his brand employs 700 people and has an annual profit of almost 11 million. In the midst of the pandemic, after attending mass one morning, he says he found something more than comfort: a new way of understanding the company. Your company seeks to integrate “social and solidarity projects” through initiatives such as Tiendas con Alma, which collaborates with NGOs such as Down España, ELA Andalucía, Tu Casa Azul or the Daughters of Charity of Pumarejo. “Doing a company with soul” is not marketing, he insists. But the truth is that his way of mixing religion and business fits perfectly with a broader cultural trend: the return of Catholicism as an aesthetic, story and, in some cases, as a brand strategy. In Xataka Rosalía has entered her Catholic phase: she is only the latest in a long list of Spanish artists and filmmakers A new spiritual language? Álvaro Moreno’s public devotion does not come from nowhere. It is part of a broader movement, where religion once again appears among pop songs, fashion shows or company slogans. Catholicism, previously relegated to silence or modesty, now becomes a visible sign, even a form of style. The singer Rosalía has been the most visible face of that trend. Their new album, Lux, is crossed by religious symbols and songs. On the cover she appears dressed in a white habit and in the presentation video you can hear Gregorian choirs and verses about God in fourteen languages. This gesture is located within a broader artistic movementwhere religiosity is no longer taboo for the new generations. Spirituality has become, in other words, a new cultural language. From Rosalía’s habit to Catholic festivals like Hakuna, which brought together 85,000 young people At a massive concert in April, faith is leaving the sacristies and entering the timelines. From TikTok to the pulpit. The phenomenon is not limited to Spain. In the United States, a report from the Wall Street Journal describes how Christian music contemporary “is on fire again for God. Artists like Forrest Frank, former member of the pop duo Surfaces, have brought their faith to TikTok with songs like God’s Got My Back, accumulating more than 15 million streams on Spotify and millions of views on social networks. According to the same medium, Christian artists accumulated more than 1.2 billion views in the US this year. And not just artists: even convents have learned to move in the digital age. Nuns like Sister Marta, Sister Verónica or the Argentine Josefina Cattaneo They accumulate hundreds of thousands of followers showing their daily life in the convents: from how a habit is prepared to how a birthday is celebrated in community. The formula works because it humanizes the religious vocation and makes it accessible to young people who perhaps would never approach a church. What was previously communicated from the pulpit is now shared from the algorithm. From modesty to believing pride. In Spain, the data confirm a generational change. According to the CIS36.4% of young people between 18 and 24 years old declare themselves Catholic, compared to 28% in 2021. 10.5% are practicing. It is the only age group in which religiosity grows. “There is a rise in identity-based Catholicism and a visibility of religious identity among part of the youth,” explains anthropologist Mónica Cornejo in El Correo. “They wear crosses and claim their faith without shame. They say: ‘I’m a Christian, so what?’” For Cornejo, it is a Catholicism that is “more cultural, less dogmatic. They are not as interested in read religion as in lived religion.” In a country where religion seemed a thing of the past, faith is once again a flag—aesthetic, emotional or political. And he does it, curiously, from Instagram, from the reels or from a walkway. {“videoId”:”x8ldfb3″,”autoplay”:false,”title”:”HOW ELON MUSK MAKES MONEY if MANY of his companies ARE NOT PROFITABLE”, “tag”:”Webedia-prod”, “duration”:”797″} Towards chic Catholicism. But there is a question underlying all of this: is it devotion, strategy or both? As Noemí López Trujillo warns in Newtralthe religious aesthetic that Rosalía has embraced “does not seem to renounce or contradict itself, but rather deliberately embrace the idea that what is conservative is subversive.” In the case of Álvaro Moreno, the phrase “Let it be for the glory of God” resonates with authenticity, yes, but also with a precision of branding: store, ritual, history of improvement, visible values. And in a market where consumers seek purpose as much as they seek product, that narrative works. The question is whether something essential is not diluted along the way. Deep spirituality becomes consumer aesthetics, and faith—like almost everything—into a market value. Because believing in something offers comfort; But commodifying belief offers a story that sells. And at that border—between conviction and strategy—we may have to look beyond the blessed display cases. Image | TikTok Xataka |Shein has opened its first store in Europe in Paris. Paris has reacted as always: staging a revolt (function() { window._JS_MODULES = window._JS_MODULES || {}; var headElement = document.getElementsByTagName(‘head’)(0); if (_JS_MODULES.instagram) { var instagramScript = document.createElement(‘script’); instagramScript.src=”https://platform.instagram.com/en_US/embeds.js”; instagramScript.async = true; instagramScript.defer = true; headElement.appendChild(instagramScript); – The news Álvaro Moreno and his Catholic clothing brand is just the tip of the iceberg: the fever for “chic Christianity” was originally published in Xataka by Alba Otero .