The Achaemenid Empire, which flourished from the 6th to the 4th century BCE, is known for its diverse and sophisticated cultural practices, particularly in terms of clothing. The Achaemenid period saw a complex system of dress codes that signified not only social status but also cultural and ethnic identity. Clothing in this era was characterized by richly adorned garments, often made from fine fabrics like wool and linen, with intricate patterns and colors. The aristocracy wore elaborate costumes, such as the "kandys," a long, flowing robe, while commoners had simpler attire. These clothes were used as symbols of power, ethnicity, and allegiance to the ruling elite. With the fall of the Achaemenid Empire, Iran's clothing codes evolved through successive historical phases, but the influence of the Achaemenid era remained significant in the cultural fabric of the region. Islamic and later dynasties introduced new attire styles, yet they often incorporated elements from earlier Persian traditions. Our problematic is: "How have the socio-cultural clothing codes of the Achaemenid era evolved over time, and what is their impact on contemporary fashion in Iran?" This problem explores the historical transformation of Persian clothing styles from the Achaemenid period to the present day, focusing on how these ancient codes have influenced modern Iranian fashion, especially in the context of cultural identity, social status, and political change. In contemporary Iran, the socio-cultural codes of dress have undergone significant transformations due to political and religious influences, particularly after the 1979 revolution. While modern Iranian fashion is heavily shaped by Islamic principles, there has been a resurgence of interest in pre-Islamic Persian history, including Achaemenid styles. Contemporary Iranian designers are revisiting Achaemenid motifs, using them to create a fusion of traditional Persian designs with modern sensibilities. The modern reinterpretation of these ancient dress codes serves not only as a form of cultural expression but also as a statement of national identity and resistance to Western influence. Thus, the legacy of Achaemenid fashion continues to shape Iranian clothing codes, bridging the ancient and contemporary through a blend of cultural pride and modern creativity.

The aim of this text is to explore conceptually, within the specific spectrum of song, the possible approximations between fashion and literature. In addition, it aims to reveal the meanings attributed to certain items of clothing in Dorival Caymmi's work; and, as a consequence, to propose a reflection on the participation of the fashion system, clothing, material culture - and consumption - and the song itself as constituent, defining and dynamising elements of Brazilian culture. To this end, we began with a conceptual overview of the symbolic relationships between music and literature, followed by an analysis of the songs ‘O que é que a baiana tem?’, ‘Vestido de bolero’, ‘Requebre que eu dou um doce’, “Maracangalha” and ‘A vizinha do lado’. The analyses were able to highlight the dense meanings of fashion and its privileged place in the formation of the Brazilian imagination, as well as being a source of inspiration in artistic, musical and literary productions.

Fashion photography, given its communicative function and rhetorical intentionality, constitutes the ideal vehicle for the transmission and externalization of emerging stylistic trends. The creations go beyond simple garment representation, enriching and enhancing them through visual, narrative and symbolic mechanisms. The objective of this article is to analyse the role of atmosphere and staging as crucial elements in fashion photography during the 20th century. Through a qualitative approach that combines bibliographic review and visual analysis of works by A. De Meyer, I. Penn and D. Turbeville, the evolution of atmospheric strategies from the 1920s to the 1970s is examined. It is concluded that atmosphere not only defines visual narrative but generates different emotional typologies ranging from the romantic and sophisticated to the minimalist and intimist.

This article examines the Manila shawl (mantón de Manila) as a semiotic object in motion, whose trajectory—from Chinese silk to contemporary Spanish fashion—offers insights into processes of cultural hybridization, early globalization, and identity re-signification. Through a historical and semiotic analysis, it highlights how the material transformations of the shawl (embroidery, colors, fringes, uses) correspond to shifts in its symbolic value: from colonial exoticism to national myth, from festive accessory to costumbrista emblem, and from traditional garment to a key resource within the cultural and fashion industries. The study also includes contemporary examples (Juana Martín, Palomo Spain, Rosalía, Queen Letizia), showing how the shawl articulates tradition and modernity, authenticity and market, nationalism and cosmopolitanism. In conclusion, the Manila shawl is not only a hybrid object but also a sign in constant re-signification, a cultural “super-iconeme” that condenses collective imaginaries while maintaining its relevance in the 21st century.

This paper explores the semiotic significance of attire in Hulu's series The Handmaid’s Tale, examining how clothing functions as a tool of power and control within the series. It further investigates the role of uniforms in contemporary society and draws parallels between modern fashion practices and subtle forms of repression and power exerted over women. By analyzing the interplay between fashion, power, and gender, this study aims to highlight the enduring impact of clothing as a medium of socio-political expression and control.

This paper focuses on the relationship between fashion, language and the body. We refer to two theoretical starting points: Lotman's definition of language as a “primary modelling system”, and the relationship, identified by Barthes, between “real” and “written” fashion. The paper studies this relationship within four fields: the performative power of brands, the “playful” role of writing on T-shirts, the function of the written language in some examples of contemporary fashion, tattoos and permanent body modifications between writing and fashion practices.

Korean dramas (K-dramas) have emerged as powerful cultural artifacts that not only entertain but also shape societal perceptions of Fashion, body image, and identity. Fashion in K-dramas operates as a semiotic medium of cultural storytelling, weaving together traditional Korean heritage with contemporary global trends. These audiovisual narratives play a crucial role in constructing and circulating culturally specific ideals of beauty and bodily norms. This article investigates how Fashion and body image are represented in K-dramas and how these representations are interpreted across different cultural contexts. Through a semiotic lens, it explores the mechanisms by which K-dramas mediate notions of identity, desirability, and belonging, revealing the tensions and harmonies between local traditions and globalized aesthetics.

Once the failure of classical fashion Semiotics (1960-1980) was certified, as it conceived the fashion phenomenon as a system devoid of meaning (Barthes), incapable of communicating (Lotman) and unbearable (Volli), the great designers and marketing strategists began a new period, that of the Pragmatics of Fashion (1980-2000), committed to resemiotizing the system by resorting to prestigious referents for their collections (the history of art and culture) and to the brand, defined as a hypericonema loaded with powerful literal, imaginary and psycho-emotional meanings (Paz Gago). This stage of fashion semiotics is described by Floch and Calefato, scholars of fashion brands as written text, since it is the proper name of the great fashion designers that has become a brand. Both agree on the need to move beyond the more linguistic stage of the discipline to develop a visual semiotics or a plastic semiotics that serves to analyze fashion as an essentially visual phenomenon. With the new millennium, in line with the new digital technologies that colonize and are colonized by fashion, the Neosemiotics of fashion (2000-2020) emerges, mediated by the stories and reels uploaded to social networks such as Instagram or TikTok, as Bianca Terraciano or Victoria Nannini will analyze. Fashion semiotics faces a new challenge today due to the emergence of Artificial Intelligence, which has already colonized all processes in the fashion system: design creation, pattern making, manufacturing, advertising and marketing campaigns, fashion shows, distribution, and marketing can all be implemented through generative Artificial Intelligence applications. These new technological phenomena respond to the semiotic mode I have called Machination, as opposed to the Representation and Simulation characteristic of classic analog and digital technologies.