Scholars have studied multiple femininities across different spaces by attributing variation to cultural/spatial contexts. They have studied multiple femininities in the same space by attributing variation to class/race positions. However, we do not yet know how women from the same cultural, class, and race locations may enact multiple femininities in the same context. Drawing on observations and interviews in a women-only bazaar in Pakistan, I show that multiple femininities can exist within the same space and be enacted by the same individual. Working-class women workers in Meena Bazaar switched between performances of “pariah femininity” and “hegemonic femininity,” patching together contradictory femininities to secure different types of capital at the organizational and personal levels. Pariah femininities enabled access to economic capital but typically decreased women’s symbolic capital, whereas hegemonic femininities generated symbolic capital but could block or enable access to economic capital. The concept of a patchwork performance of femininity explains how and why working-class women simultaneously embody idealized and stigmatized forms of femininity. Furthermore, it captures how managerial regimes and personal struggles for class distinction interact to produce contradictory gender performances. By examining gender performances in the context of social stratification, I explain the structural underpinnings of working-class women’s gendered struggles for respectability and work.

Research on women’s social media practices in Muslim societies has primarily focused on middle-class or elite women, such as influencers, activists, and members of online communities. However, we know little about working-class women’s use of social media in Muslim contexts. Using ethnography and interviews, I analyze TikTok’s early popularity with working-class women in Pakistan and report three main findings. First, TikTok’s initial reception in Pakistan was fractured across class lines; whereas middle-class and elite women dismissed it, working-class women flocked to it, and TikTok became associated with a “low-class” femininity. Second, women engaged in a range of gender transgressions on TikTok. Third, women simultaneously crafted new practices of “digital purdah,” or veiling, on TikTok. I contribute to scholarship on digital purdah by, first, showing how women combine tools available on TikTok with other veiling strategies to conceal their identity while expressing their sexuality and second, arguing that “digital purdah” is compatible, rather than incongruous, with gender transgressions on TikTok. By showing how co-constituted class and gender dynamics shaped the simultaneous popularity and moral disapproval of TikTok in Pakistan, I argue for increased attention to class dynamics in studies of new social media platforms.

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Scholars have studied multiple femininities across different spaces by attributing variation to cultural/spatial contexts or in the same space by attributing variation to class/race positions. However, we do not yet know how women from the same cultural, class, and race locations may enact multiple femininities in the same context. Drawing on observations and interviews in a women-only bazaar in Pakistan, I show that multiple femininities can exist within the same space and individual. Working-class women workers in Meena Bazaar switched between performances of “pariah femininity” and “hegemonic femininity,” patching together contradictory femininities to secure different types of capitals at the organizational and personal levels. Pariah femininities enabled access to economic capital but typically decreased women’s symbolic capital, whereas hegemonic femininities generated symbolic capital but could block or enable access to economic capital. The concept of a patchwork performance of femininity explains how and why working-class women simultaneously embody idealized and stigmatized forms of femininity. Further, it captures how managerial regimes and personal struggles for class distinction interact to produce contradictory gender performances. By examining gender performances in the context of social stratification, this article explains the structural underpinnings of working-class women’s gendered struggles for respectability and work.