طراحی لباس

The clothing field is very wide. Textile and clothing design is one of its significant topics. Textile and clothing design is an interdisciplinary category and it is difficult to separate it from other disciplines. Although university courses have been planned in this field in Iran, the primary body of these studies has not been quantitatively examined. A method called "scientometrics" is used to review and analyze scientific studies and produces. Scientometrics is one of the methods used to evaluate and predict the scientific status of academic fields by examining the characteristics of scientific articles. Co-occurrence analysis, co-authorship, and co-word analyses are among the most widely-used scientometrics techniques. The co-occurrence analysis focuses on the study of even frequency of units and they can reveal valuable information. The phenomenon of co-authorship is the most formal manifestation of intellectual cooperation among authors in the production of scientific studies. It involves the participation of two or more authors in the production of a work. Co-word is another common technique in scientometrics, so the frequency of occurrence of words is a significant scale in content analysis methods.When two keywords appear in the same article at the same time (co-occurrence/co-word), they most likely have a common meaning. With increasing the number of co-occurrences of two keywords, it can be stated that they are related to a specific research topic and there is a higher correlation between them. Co-word analysis as one of the common methods of scientometrics makes it possible to reveal the subject clusters under a research field and examine its conceptual and semantic relationships, and open a new way by describing the intellectual structure of knowledge in the discussed field. Given what was stated above, the present study tries to present and analyze useful information about the studies in the field of textile and clothing design in Iran using the mentioned indicators and techniques by the scientometrics method. It also tries to describe the perspective of the scientific approach of these articles by analyzing the performance of researchers in this field and evaluating the existing articles. Data included top authors in terms of the number of articles, number of citations and H index, the most-cited articles, the level of participation of women compared to men, co-authorship patterns, the central and key position of authors in terms of rank centrality indicators, betweenness centrality, and closeness centrality, the most frequent keywords and pairs of co-words and finally, thematic clusters of products in the field of Iranian textile and clothing design.The results of the present study regarding top authors in the field of Iranian textile and clothing design in terms of the number of articles showed that most of the studies were in the fields of "clothing design, historical Iranian clothe and clothing in Islam", "Ancient Iranian textiles", "Art and History Studies", "Textile Patterns", "Art and Women Studies". The results of the present study regarding the top authors in the field of Iranian textile and clothing design in terms of the number of citations showed that the number of citations in total is small. Among the factors that increase the number of citations for the author are "a large number of articles", "writing high-quality articles", "being experienced", "addressing new and important topics”, and “scientific cooperation with experienced and influential researchers."These factors have been less considered in writing articles. Also, regarding the top authors in the field of Iranian textile and clothing design in terms of H index, it was found that "Farideh Talebpour", "Maryam Munesi Sorkha", "Seyed Rasool Mousavi Haji", "Zahra Alinejad Asbuei", and “Mahnaz Shayestefar, each with a different number of articles and having an H index of 2, were among the top 5 authors in terms of the H index. It means that each of their 2 articles has been cited at least 2 times. The most cited articles in studies in the field of textile and clothing design in Iran between 2010 and 2019 showed that the article "Mountain goat motif preserver rug from ancient times" written by "Effat Al-Sadat Afzal Toosi" with "7" citations, is the most cited article in this area. Some of the effective factors in increasing the citations of an article are "self-citation of the authors of an article", "scientific collaboration of several researchers in writing an article (self-citation of all researchers to that article)", and "indexing of a scientific work in several databases".The results obtained regarding the researchers in the field of textile and clothing design in Iran in terms of rank centrality index showed that "Farideh Talebpour" is ranked first in this index with the centrality rank of "7". "Mohsen Asghari Nekah", "Mohammed Afroogh", "Reza Afhami", "Hamidreza Behnam Vashani", "Asghar Javani", "Amir Hossein Chitsazian", "Tayebeh Reihani", "Farzaneh Abbasian", and "Fathali Qashqaei Far" were jointly ranked second with the centrality index of "6". The higher the centrality of an author's rank indicates the high scientific influence of that author on other authors in the co-authorship network. Moreover, it shows these people have a higher willingness for scientific cooperation and are related to other authors. With increasing the skill of an author in his or her field of expertise, more scientific cooperation offers will be presented for him or her, and this can be effective in increasing his or her centrality.The results obtained in terms of the betweenness centrality index showed that "Farideh Talebpour" with a betweenness centrality index of "25" was ranked first in this index. "Reza Afhami", "Maryam Munesi Sorkheh", "Mohammed Taghi Ashuri", "Roshank Davari", and "Seyed Rasool Mousavi Haji", respectively, with the betweenness centrality index "11", "8", "5", "3" and "2", were ranked second to sixth. Among the 337 authors, only these 6 people had a betweenness centrality rank and the other 331 authors did not get any scores. These numbers indicate a high level of communication among many authors in the field of Iranian textile and clothing design through these 6 mentioned authors. The first rank for Farideh Talebpour indicates that this researcher plays a key role in the flow of information in this field.The results of the closeness centrality index show that "Farideh Talebpour" with a closeness centrality index of "1.753" is ranked first, "Reza Afhami" and "Roshank Davari" each with a closeness centrality index of "1.752" were jointly ranked second, and "Abolghasem Dadvar" and "Maryam Munesi Sorkheh", respectively, were ranked the third and fourth with the closeness centrality index of "1.751" and "1.75". The closeness centrality index indicates how close an author is to other authors in the network and reveals the availability of an author to other authors. Having skills and knowledge in specialized topics and subjects of a field is another significant factor in increasing the closeness centrality index. Analyzing the scores of the authors in the centrality indices shows that "Farideh Talebpour" and then "Reza Afhami" obtained the highest scores in all three centrality indices. Also, "Maryam Munesi Sorkheh" and "Roshank Davari" are also among the top authors in centrality indices. The results obtained from analyzing the most frequent keywords in the field of Iranian textile and clothing design showed that the keywords "patterns", "clothing", "clothes", "Safavid", "fashion", and "women", respectively, with the frequency of 36, 30, 24, 23, 23, and 21 are the most used keywords in the articles of this field. Generally, 542 keywords were used in the articles of this section. They were repeated 1063 times in the articles and 4.72 keywords on average were used in each article.

With the evolution of the art-industry of cinema in the 20th century, Hollywood as the artistic cultural center of America received the attention of the whole world, and movies became a media full of audiences, which tried to convey new concepts with the help of other arts. One of these arts was costume design, which created the trend of cinema costume design in order to cooperate with cinema. Hollywood clothing designers achieved the desired success very soon and were able to present a new fashion to the market by designing clothes for Hollywood stars, which, in addition to conveying new concepts, was considered a successful commercial advertisement for filmmakers and fashion commercial companies. In these years, Hollywood actors had become role models for young people in fashion and lifestyle, and designers were determining the dominant fashion of that era by presenting their new designs on these actors. The current research aims to investigate the impact of media, especially cinema media, on fashion and by raising the question, what is the relationship between fashion and cinema? And what was the role of Hollywood actors in this? By examining the fashion presented in Hollywood under the name of “Hollywood style”, it tries to study the relationship between fashion and cinema in the method of library study of available sources, and in this way, to study the style of Audrey’s clothes on a case-by-case basis. Hepburn, the famous Hollywood star, has discussed her relationship with the clothing designers of that time such as Hubert Givenchy and his influence on fashion, and for a more detailed analysis, he has criticized the costume design of the movie Breakfast at Tiffany’s (1961) and the effects of the clothes of this movie on fashion in an observational way. Finally, by studying the effects of Hollywood actors on the fashion of the middle years of the 20th century, we realize that actors are one of the most important factors in the formation of fashions and defining cultures, and their effects can be lasting.

The most obvious cultural sign and the most significant ethnic-national manifestation and sign of any society is its clothing, which is rooted in adherence to traditions and religious beliefs. Therefore, a part of the culture, identity and art of every nation and country can be searched in its clothes. The current research was carried out with the aim of investigating the identity-oriented components of Bakhtiari nomadic clothing and designing clothing based on the mentioned components for the new society based on the life of a settler in today's society, because clothing with such a background is due to the change in people's living conditions, use and identity. It has faced fading and oblivion. For this reason, the necessity of designing clothes with these features becomes more clear. And also, with the conducted investigations, it is hoped that with the new design based on the identity components of Bakhtiari clothing, it will be possible for people whose lifestyle changes have changed their clothing taste.The method of this research is descriptive-analytical and the method of data analysis is qualitative. The results of this research, after examining the various functions of clothing in the living conditions of the Bakhtiari tribe, including customs and identification of identity dimensions in the clothing of these people, show that all the identity dimensions of Iranian clothing can be seen, and the ability to generalize, expand and implement in Today's clothes are combined according to the conditions and use.

In order to find new and original works, artists took advantage of ideas and used the principles of different arts and tried to apply them together. In this way, some of them combined the art of architecture and clothing design and created unique works. The art of mirror work, which is one of the inventions of Iranians, has also entered architecture. After that, mirrors were also used to decorate clothes. Since the issue of identity crisis, paying attention to the type of clothing is a very important issue for Iranians, especially Iranian women. The aim of the current research is to use the mirror work of Golestan Palace in the design of women's clothes. This is a developmental research, descriptive and analytical, and the method of collecting information was done in the library and field. The results obtained from this research prove that by studying the mirror works of valuable historical monuments of Iran and using them in the field of designing contemporary clothes and sewing clothes suitable for the taste of young people and sticking mirrors Patterns such as mirror work helped to choose the appropriate type of covering while paying attention to mirror work and traditional architecture to preserve the Iranian identity and prevent the identity crisis and modernity from entering the field of fashion and clothing and even into the field of architecture. also prevented.

One of the main areas that can be changed and transformed into the world is clothing, which has seen more changes in women’s clothing compared to men’s clothing due to the daily supply of styles and designs for women. In every period of history, clothing has undergone many changes and changes, but during different periods and with the development of technology, many changes have been made in the field of clothing and clothing. Paying attention to the style of the cover is what the code of clothes or type of cover means. The way people are depicted in Iranian movies and series is related to the category provided by the type of coverage. In the 70s, there was another transformation in Iranian fashion, and in the 80s, due to the Internet and the opening of a huge window of communication with the youth, Western fashion took on a massive and irregular transformation. Women’s clothing is a component of social class identity. The definition of women’s clothing as a norm is based on the studies and surveys conducted in this field. Women’s clothing in Iran has undergone changes after the revolution. From the 70s onwards, with the revolution in women’s clothing, the shortening of coats, the addition of chucks, the use of decorations, short models, the complete removal of buttons, etc., in the decades after that, is considered one of the most significant changes in women’s clothing. These developments occurred in line with various social events, the most important of which are after the revolution, the imposed war the change of governments and political relations with the West, and the spread of the Internet, social, and satellite networks. The current research shows that the political, social, and cultural developments have had a significant impact on the presence, activity, and clothing of women in post-revolutionary cinema, and the history of cinema indicates that the manner of covering and representing the image of a woman is closely related to the role of that character in the film. It is also a crucial component of filmmaking.

The present essay is based on the foundation of the existence of aesthetic experience and aesthetic judgment, putting the sustainable approach in the category of clothing, experience, and judgment as the main axis of explanation and in this way, freeing the discussion from the prevailing challenges and then By addressing the place of knowledge in the aesthetic experience, a definition suitable for today’s human relationship with the world of art in the field of fashion design will be reached. Sustainable living is a movement that began its activity to defend the environment in the 18th century in Europe, and with the idea of egalitarianism, libertarianism, and the defense of environmental rights, it became popular in fashion design from the late 1960s onwards. Textile design is a changing field of aesthetics that relies on the constant replacement of new designs with the objective of economic exploitation. But today, attention to preserving the environment and utilizing resources has become an important challenge in the path of human life continuity, and the field of textiles, replacing recyclable materials, durable materials and using production methods that comply with environmental standards and... It has been proposed as an alternative to traditional production and a new challenge in the area of design and aesthetics. Designers have turned to new methods for designing textiles, such as using natural and recycled materials and reusing used textiles. Therefore, to achieve the aesthetic criteria of bio-sustainable textiles, the current research has investigated the theories governing this field and with the descriptive-analytical method and library resources, it is trying to present the criteria resulting from this design method. Examining the experiences of designing in this way in recent times shows that this strategy, with ethical attitudes and phenomenological design of the concept of beauty, seeks to develop the personal experiences of the consumer through defamiliarization, transformation of values, attention to cultural values, and the rejection of speculative beauty.

Intellectual property rights are traditionally based on the protection of inventions, copyrights, and trademarks. Also, the special rights of intellectual property, such as the rights of designs, are also placed as a continuation of the subject and research. In the fashion and clothing industry, where intellectual property is particularly important, creative ideas and innovations are continuously produced and commercially exploited. Supporters of intellectual property rights believe that despite the many problems that exist in the creation and production of works of art, it is very easy to copy such works. The lack of strong intellectual property rights to protect works of art has discouraged artists from creating and investing time and money in artistic fields. For this reason, in order to protect fashion and clothing designers against counterfeiting, it is necessary and useful to take advantage of intellectual property rights protection. In this sense, the main goal of this article is to identify and search for alternative legal methods to protect the intellectual property rights of artists, and the main question of the current research is what effect does intellectual property rights have on the creativity of clothing designers? This research is applied research and analytical-descriptive nature. Both desk research and field methods have been chosen in the method of collecting information in a documentary way. In the first part, available sources are used in connection with this topic. And in the field part, the opinions of 304 clothing designers were collected using the questionnaire tool, and the obtained information was analyzed with the help of spss software. The results of the current research have shown that there is a positive and significant relationship between the creativity of a clothing designers and intellectual property rights. But to what extent this issue affects the creativity of clothing designers is still debatable.

How to analyze the deconstruction component in clothing design with emphasis on the works of Maison Martin Margila is the main issue of this research. Deconstruction is one of the components of the postmodern era. Postmodernism refers to a philosophical, cultural, and artistic school that lacks a central hierarchy with distinct structured principles and is fundamentally at odds with modern philosophy and aesthetics. Many artists have performed in the field of deconstruction, including Belgian designer Maison Martin Margila, a leading figure in the wave of contemporary fashion designers; The term deconstructionist fashion was first used to describe her collections. This article, with a qualitative approach and descriptive-analytical nature, intends to introduce and identify the deconstruction component in the costume design works of this artist. This artist as one of the initiators of postmodernism in clothing design. The emergence of a deconstructive component in the works of Maison Martin Margila has not only established his position as one of the pioneers of postmodernism in costume design, but also in the creation of outstanding works to express other ideas and concepts of this current such as carnival. Grotesque helps glamor, time and other deconstructive components. Other results of this research show that in Margila's works, one can see an enthusiasm for a certain path and determination and rethinking in traditional fashion techniques. Margila shows that she has changed her design direction and is following her own rules, and this has been the idea behind the deconstruction in her work. Margila has been in the past for a long time, while deconstructing and denying common concepts, and shows that Derrida's concepts can be seen in the work of this Belgian designer. The concept that is deconstructed from his philosophical texts is also that Martin Margila's works do not speak only of a simple and meaningless subject and try to interpret the concept of beauty, and he exaggerates the usual sizes and shapes, compares and proportions and with The use of different materials in other fields, but in the case of clothing, created an opportunity to go beyond the fixed framework of clothing in the fashion world.

For about three decades, researchers have been developing Additive Manufacturing Technology, or more generally, 3D printing technology. The technology of additive manufacturing or 3D printing can be considered as a result of the fourth industrial revolution in the early 21st century. The Fourth Industrial Revolution is known via concepts such as artificial intelligence, machine-human connectors, robotic technology and sensors, 3D printing technology, and cyber-physical systems, which combine real and virtual technologies to provide autonomy and communication between machines independent of humans. 3D printing is extensively applied in a number of industries, such as aerospace, automotive, medical and, dental components, alternative pieces for electronics, architectural models, and sports equipment. In addition, it is expanding in the fashion industry. In this technology, first, the product is designed using 3D modeling software, then the parts are divided into horizontal layers based on the 3D design in the software. Then the data of the digital file is sent to the printer. After that, the product is made by placing the materials in successive layers on top of each other and each layer is fastened on top of each other with special adhesives or laser beam. This continues until the layers are completed and the final product is made. That is why the technology is called additive manufacturing. Materials used in 3D printing include glass, ceramics, metals, wax, sand, polymers and, resins. However, it is predicted that with the development of science in 3D printing materials, materials made of textile fibers will be introduced. For example, the TamiCare textile company has developed a 3D printing technology that aims to print fabrics using liquid polymers including natural latex, silicone, polyurethane, Teflon, and textile fibers including cotton, Rayon and, Polyamide. To convert a 2D design into a 3D product, 3D Cad software or programs such as Rhino are used. This software provides parametric design tools especially for designers who do not have coding experience. Parametric design tools are more efficient and easier to operate so that multiple changes to a design can be made with a single code. Based on the studies, it seems that the capabilities of 3D printing technology in the fashion industry can help designers to create prototypes, produce the final product, as well as to produce customized products, and create an interactive experience between designers and audiences. The possibilities provided by 3D software to designers lead to more creativity, and designers can easily create what they have in mind by using 3D software. Applying CAD files also allows companies to quickly produce prototypes and create targeted products according to customer needs. In addition, 3D printing can have a huge impact on the supply chain of traditional products such as fast design process, less production time, reduced number of stages required to produce the items, possibility of more distribution and decentralized production, reduced need for warehousing, packaging, and transportation. These are some of the things in the traditional process of production that can be influenced by technology. 3D printing helps businesses by reducing the amount of unused inventory and reducing capital loss. This technology has also contributed to the goals of sustainable fashion, such as minimizing waste in printing, recycling materials as well as the use of environmentally friendly materials that will be highly regarded in the future of the industry. In spite of these advantages, these products also have disadvantages, for example, designing with 3D CAD software, printers and various materials is a complex process that requires the cooperation of interdisciplinary knowledge and skills. In addition, it may be difficult for designers to understand the mathematical algorithms needed to produce accurate three-dimensional structures. Also, the high price of the final product, the low flexibility of the product in some 3D printing methods, the lack of finesse of the filaments compared to textile yarns can be considered as other disadvantages of the technology. Given that the use of 3D printing in the fashion industry is an emerging topic for discussion, the research aims to answer the following question: “How is the 3D printing technology used in the fashion industry?” It seems that the capabilities of 3D printing technology can help designers to produce designs and customize the product with different materials and structures, and the possibilities that 3D software provides designers, make them more creative. It should also be noted that the environmental characteristics of the technology have increased the importance of promoting knowledge about this topic. Thus, introducing and explaining 3D printing technology and understanding the advantages and disadvantages of the technology is important and necessary. In this paper, first, the 3D printing in the fashion industry is introduced. Next, the 3D printing processes and the materials used in it are studied and examples of 3D printing technologies that are often used in the fashion industry are introduced, which include five 3D printing Stereolithography methods, Selective Laser Sintering (SLS), Fused Deposition Modelling (FDM), PolyJet, Binder Jetting. Finally, 3D printing features will be examined to realize a part of sustainable fashion. Since the paper considers the introduction and development of 3D printing technology in the fashion industry, it can be called developmental research. But in terms of content, it is considered analytical research because after recognizing the different aspects of the subject and collecting the acquired information in different areas of additive manufacturing (3D) and the fashion industry, the data have been analyzed and explained. In the research, the qualitative analysis method has been used to analyze the data and the method of data collection is documentary (library) and the data collection tool is note-taking sheets. The sampling method and the approximate volume of data are based on the available samples and are probably simple because among, the various methods using 3D printing, the five most widely used methods in the fashion industry are analyzed and based on the results obtained from the data, the sustainability aspects of 3D printing in fashion have been investigated. The study aims to look at the future of the fashion industry by using Additive Manufacturing Technology (3D printing) and identifying the ability of this technology to achieve the goals and concerns of the fashion industry in the future. The results of the study show that 3D printing has many benefits including the production of prototypes by designers, creating customized products for consumers, improving the quality of products by designers, reducing the cost of packaging, storage, classification and, transportation; time management as well as the environmental properties of the technology, for example minimizing waste in printing, recycling materials and using environmentally friendly materials that will be highly regarded in the future of the industry. However, there are still challenges that designers face, i.e. the unavailability of 3D printing raw materials (filaments) to produce their products, the high cost of the finished product if not combined with textiles; restrictions on mass production of 3D printing products, low flexibility compared to products made with textiles, restrictions on cutting and sewing, lack of variety in the color of the materials, limitation in coloring the materials, facing cutting challenges, removing and polishing supporting structures that need to be considered. It is predicted that when new materials are introduced to produce textile fibers, the quality of 3D printing fashion products will also improve and 3D printing materials can function as fabrics. 3D printing can also provide suitable solutions for the waste generated by fast fashion and test more environmentally friendly materials in the future.

Iranian handicrafts have a brilliant, long history and Iran is considered one of the main centers of this field in the world. Kilim (a flat tapestry-woven carpet) is one of the branches of handicrafts and kilim weaving in Gilan, in comparison to other branches of the handicrafts in this region, is regarded as one of the most important fields with stunning patterns, colors and textures. The variety of Gilan kilim designs and motifs is so great that by putting them together, some new, original and beautiful motifs would be achieved. Throughout history clothing has always represented the culture, personality and dignity of individuals and due to its great importance in people’s lives, it must have been rooted in people’s traditions and believes.
The purpose of this study is to identify outstanding aesthetic potentials in Gilan kilim, and to provide a situation where these old and traditional designs and motifs can be used in designing modern clothes in the form of office suits. The present study seeks to answer the following questions: Could the patterns of Gilan kilim be used in clothing, especially for men’s and women’s office uniforms? Could the designs of such clothes only be applied in this area? The statistical population in the present research is the motifs of Gilan kilims and the sample size is 28 kilims. Based on library and field studies, and descriptive-analytical methodology and qualitative study method, these designs and motifs, as an unwritten encyclopedia of local historical symbols, can also be effective in the growth and development of other arts.
In terms of design, Gilan kilim is classified into two categories: designs based on structure and those based on motifs. The structure-based designs can be divided into five groups, including: vāgire’i (adjacent/interlocking patterns), moharramāt (striped pattern), qābi (frame-like), toranjdār (medallion) and pictorial; and the motif-based designs are the same in number and can be categorized as: zoomorphic, vegetal, objects, humans, and abstract. Among these five designs, abstract designs are the most widely used and diverse ones seen on Gilan kilim. The application of such designs in these textiles is directly related to the beliefs of the weaver, weather conditions, daily life, food, clothing and the like, with symbolic meanings. The present study aims at studying the motifs of Gilan kilim, and it shows the possibility of using the mentioned designs in both types of women’s and men’s clothing in the form of office uniforms. The suits of each set could provide some benefits such as advertising purposes, giving prestige and increasing the credibility of that institution. All this should be prepared with regard to the goals of the organization, environmental climate, working environment and maintaining working personality.
In this study, clothes are designed on the basis of the five motifs of animals, plants, objects, humans and abstract shapes and they should consider masculine and feminine office suits for a particular organization; which is related to the goals of that place. These designs have been selected by taking into account all the cultural and historical rituals and ceremonies of the people of Gilan. They have been presented to explore the possibility of encouraging diversity and continuous changes in them after negligence, for not going out of fashion. The results indicate that the motifs of such kilims have been in harmony with the natural environment of the region, which is formed and developed over thousands of years. Using such traditional motifs in clothing design is an attempt to change the modern clothing fashion with a formal and official nature.

Most of previous researches about Iranian garments concentrated on showing common visual features of various eras and rarely tried to investigate the technical process of cloth design and showing the design of garment, how to cut and use of textiles and how to connect the pieces together to achieve the final result. This paper aims to show the designing process of Parthian garments as one of the richest series of Iran's clothing design, through overall form of garments and how to shape the textiles to create them. Through historical documents and case studies, we’ve tried to recreate these garments, on a Standard figure to show the technology of that era. During reconstruction main shape, cutting and sewing various parts are shown in serial diagrams, to display design stages of popular fashion in men and women dress. Results show that Parthian clothing was the continued evolution of the Achaemenid clothing and was influenced by Greek art which only was visible in women's clothing, especially in western areas of Iran. Design of Men's clothings, were limited, which were included of pants hanging from the belt composed of two separate leg and the upper cover, a simple tonic or been riding jackets and mattresses and in both cases had a simple rectangular shape cut. Schematic ornaments of men's clothing was folded soft cloth that fixed by using decorative stripes. Women dresses in most cases consist of various fabric parts without stitching. These large fabric parts are connecting by metal joints. Garments consists several parts that worn on each other to shape the final form. Using of various textiles, laces and decorative stripes and necklaces changes garment to a sophisticated form and variety of forms that origins from a basic simple shape.