fashion

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.

Without a doubt, clothing photography plays an important role in the world culture of fashion and related industries. It also has a decisive role in raising public awareness. The common and opportune way of social life is called fashionability. Fashion photography is a branch of photography in which fashion and garments are photographed at the same time as the model. This branch of photography is also regarded as a type of publicity photography. Women who work as role models in Iran have been investigated and scrutinized for various reasons. They are busy doing something that seems simple and perhaps enjoyable from a distance, but in fact, its edges are more concentrated than the essence of the issue. Nowadays, the importance of social media is not hidden to anyone and this importance has several reasons. One of these reasons is the ability to communicate and share content with others at all times and remotely, which has reduced communication costs relative to the past. The main purpose of fashion photographers and photography enthusiasts is to create a nonexistent ideology, to impose values on the viewer and to draw attention to the fashion world. In this multidisciplinary research, in addition to the field of photography, in the fields of psychology and sociology, firstly, with the help of a descriptive method and the help of collecting information in the form of a library, the concept of fashion and its history in Iran and the world, the role of photography in the development We discussed the fashion and clothing industry, then by analyzing the impact of social networks on the society, especially in the field of fashion and choosing the type of clothing, by setting up a questionnaire in the field research method to better analyze the extent of this impact from 50 people as people who are in the social network. We are members of Instagram, we asked them to provide appropriate answers to the questions on this questionnaire. The results of this research show that social networks, especially Instagram, have played a significant role in changing the attitude of people in the field of clothing fashion in Iran at least in the last decade through the influence of fashion photography.

The production of clothing had different shapes and pictures in different periods. The sewing workshop in Iran is over 150 years old. Today, workshops around the world are being modernized like other sectors and are trying to teach sewing in a new way with the help of modern technologies. One of the most important pieces of the sewing workshops is the design of clothing patterns. Dress design, like anything else, has changed a lot over time. With the advancement of technology, two-dimensional pattern making has changed to three-dimensional pattern making, and professional tailors and designers no longer use traditional and manual methods to prepare clothes for tasteful and difficult people. Today, with advances in technology and practical tools, the use of traditional methods has become inefficient and outdated because of their high cost and duration of use. In today’s world, the secret of the success of the first world countries in clothing production is the use of industrial methods and along with it, the correct use of modern tools, new methods of design and production management, one of these tools is the use of graphic and design software. Only creators can conceive well in the field of apparel and textiles. But unfortunately, they’re not yet in their place and they’re not being used well. One of those reasons is the lack of familiarity with modern technology in this sector, which can cause the lack of motivation of designers and they lack of justification from the job market. Perhaps by knowing how software works in the clothing industry, we can make meaningful changes. In this research, which is a descriptive method, an attempt has been made to identify the functions of the software, and in field research, the extent of their non-use is determined.

 The concept of taste’ is one of the prominent concepts in art and architecture. This concept is widely used in various fields, such as interior architecture: from deciding on the quality and overall quality of the interior space to determining the materials of the place, choosing furniture and arranging the elements of the interior space, we can trace the presence of ‘taste decision’. On the one hand, it seems like a simple and obvious concept that is present in our daily product selection experience. On the other hand, due to its complexities and dependence on various factors, it seems that it is necessary to pay attention on this complex and complicated issue; With this question, ‘what meaning(s) of taste can be found in art and architecture-interior architecture? The purpose of this research is to understand the different semantic layers of taste to clarify its meaning and provide a way to enter into the discussion about it. For this purpose, the research started with the linguistic study of taste. Then, the origin of taste since it penetrated into art and architecture and the changes and transformations it has undergone until now, were explored. In other words, the way and process of the transformation of the concept of taste from long ago to the present day was followed in order to recognize different explanations and interpretations. So, this research is focused on reviewing the background of the concept of taste from the beginning of searchable moments to the fields of art and architecture-internal architecture; The three main fields of philosophy, social sciences, and psychological sciences provide the possibility of knowing the different layers of the concept of taste so that different dimensions and contexts can be explained. Studies show that almost two important milestones can be identified in the genealogy of taste in art and architecture: first, it is the moment of its emergence in the field of art and architecture, which is used instead of the word ‘judgment’. In this era, the concept of taste created a great change in understanding of subject-object relationship. The second one is the moment of its entry into the field of social sciences. This time, the concept of taste had become a means to understand consumer behavior. From the sum of these studies, it seems that five general concepts are hidden in different semantical layers of taste: beauty, distinction, lifestyle, fashion, and preference. Each of these layers, while being continuous, has a specific meaning range in a specific field; And they show us a certain aspect of taste, which will be briefly mentioned here. The concept of beauty is more theoretical and philosophical. In the philosophical discussions of taste, these two terms are mostly together. The other four terms are related to when taste comes together with choice and emerges. The concepts of distinction, lifestyle, and fashion have more social meaning and each of them shows how social conditions and status can affect taste. And finally, it should be said that when we use preference, the goal is mostly to understand the internal conditions and activities and developments in the brain.

The issue of covering in today's society, in addition to being considered a basic and natural necessity, is also very important from a "social and cultural" point of view and displays various functions and meanings. Studying the common styles of women's clothing in the society enables the necessary knowledge about the current culture, and the possible developments and changes, and can depict the cultural strengths and weaknesses, hence this The research was carried out with the aim of "sociological review of women's clothing style in Iran and the analysis of factors affecting it" and with a descriptiveanalytical method. The conducted investigations showed that 1. Today, the meaning and concept of clothing style has changed for women and clothing style is used to show lifestyle, aesthetic styles, classeconomic base, identification and type of opinion. (or at least showing one's dependence on a certain social stratum and class and finding false identity and showing the role and type of culture) is used. 2. Considering the recent decades' developments in women's clothing style, factors such as "Islamic culture, characteristics of modern lifestyle, consumerism and fashionism, modernity, media, especially new social media and structures Social-cultural such as "social comparisons" have played the biggest role in the changes in the type of clothing and the prevalence of different types of clothing styles in the society. Therefore, according to the culture of the Iranian society, which is a religious and Islamic culture, some of the common styles of clothing in the society are in conflict with it, and there is a need for localized Iranian-Islamic models to be paid more attention to clothing designers. should be placed and try to popularize styles of clothing in the society that, in addition to being compatible with the modern lifestyle, adhere to Islamic-Iranian values and norms.

The issue of façade and design of it in the architectural design process has always been of fundamental importance. Also, the facade is one of the most effective features in creating visual quality for the audience. While Facade design has continued with the least fluctuation until the last decade in the art of architecture, today we witness the emergence of facades with the name of neoclassical (Roman) in the context of Iranian cities. This type of facade uses similar elements such as columns, entrance stairs, proportion, order, and symmetry in stone materials. Neo-classical architecture has inspired government buildings in Iran, although it has less attention to the precise proportions of classical architecture and its intellectual insight. Hence, this study aims to investigate the four economic, social, aesthetic, and fashion indicators in the emergence of the neoclassical facade according to Watson's behaviorist approach. It seems that these four indicators are important according to John B. Watson's behaviorist approach to the emergence of the neoclassical facade. The research method is survey-based. In this article, first, the origin of these facades in Greek and Roman architecture also, in the Qajar and Pahlavi eras are historically analyzed. Then, according to Watson's psychological approach, each environmental stimuli is addressed through a Likert scale questionnaire, considering the statistical population in Shahin Shahr and calculating the number of households using Cochran's formula. It is concluded that the economic, aesthetic, fashion, and social indicators, respectively, in the emergence of the neoclassical facade have motivated the purchase of the buildings with these facades through analyzing and evaluating the questionnaire, using SPSS software, and the received response from the stimulus.

The present situation of clothing and fashion refers indicates that the new middle class generation associates more importance to a clothing’s brand rather than its quality, beauty and other common element and considers it as a way of self-presentation to others. Brand is one of main the concerns in designing and producing commodities, especially in fashion designing industry. In general terms, brand refers to the name and logo of a product, while it conveys a more profound concept in the professional world. The classic definition of brand is: the interaction between the consumer and the product with the intention of shaping the consumer's identity, creating a sense of belonging to a specific product to ensure its continuous use and thus cater for economic benefits. Brand is a system of signs and symbols that involve the consumer in a process of symbolic participation and mental interaction that turn to be the tangible values of a product. This system is organized by a complex matrix of indicative factors. So, usually, its realization is possible through relying on a complex of connotations such as quality, beauty, form and etc. The present research concerns the signs' function in todays' clothing fashion industry and the consumer's behavior in contact with it. In the modern industrial age, every brand was trying to persuade the consumer of the advantages of a product in terms of its superiority, distinct identity and a specific social class through aesthetic factors and signs such as quality, beauty, high costs and etc. As a result, the consumer used to do all his/her best to own the product and that was how the Brand was able to create and provide identity. This way, the leading brands of industrial age became an incentive for creating mental associations and were also able to establish some sort of stable and fixed image about themselves in the minds of the consumers beyond the product codes and the customer's personal mental ambience. At that time, brand was a seamless totality and the design found meaning through production. Every brand used to not only define its consumer class but also set the competition atmosphere and concentrate on this limited yet permanent market. However, in postmodern and present post-industrial age and with the advent of globalization, the structures have changed. Some factors have revolutionized the former situation of brands. Some of these include the surge in competition and consumption, diversity of societies, tastes and cultures, variety of choices for the previous users who were in minority, social classes with different incomes and eager to use brands and finally, fake products of high quality. This will transform one of the most important exterior expressions of the brand: the symbolic expression. The study aims to investigate the functional characteristics and role of the signs in the formation of the consumer's identity and maintaining his/her loyalty to the brand with the purpose of acquiring economic objectives. It also intends to examine the influence of the changes on the signs. With the study of the brand function, the identity, the sign and their relation with fashion’s functions, the changes in signs as well as the relation of the clothing’s brand with the consumer to define identity will be revealed. The research has employed descriptive method and the theories of great postmodern intellectuals including Roland Barthes and Jean Baudrillard on fashion, connotations and signs act, and also Charles Sanders Peirce semiotics to define the rank of signs in a product (clothing) have been applied. The results indicate that besides the postmodern developments in the transformation of structures, the attempts to develop markets and maintain the connection with the consumer, the brands have replaced modern, symbol-index based signs with that of direct implications, self-referrals and inducing identity through iconic immediate interpretations while they still apply connotations to form the user's identity. Such attempt results in decreasing the consumer's role and his/her resistance when facing a brand and results in using the simple symbolic exchange. This can be called a de-identifying process with much transformation.

Taste in architecture means to choose the optimal building which is the most important issues in this area, attributed to different factors.But it can be understood in two introductory ways .The first way relates to outward or objective characteristics, and the second way relates to the perspective of the individual’s subjective perception .In addition to these two cases, functional aspects or living in the building and its location in the urban landscape are also important in architecture. Another noteworthy point is commodity preferences or the importance of fashion in society which plays an important role in building choice. Thus according to various aspects of “taste”, Studies began on sensory perception and its implications in aesthetic perception from Exterior side of the building and its relationship with art. Form-based features and characteristics of the external appearance of the building facade along with its impact on mind studied in beauty and art issues.
Then functional aspects of architecture and the quality of human life in the building were considered. Subsequently, the search in the field of social preferences Which is another influential factor in choosing and in the field of fashion and social trends searched .As a result, it was determined that taste in architecture begins with observing the apparent or objective character of the building, associating with fashion trends to It will lead to the choice of the optimal building.

As a part of the natural world, while making effects on the nature, we take mutual effects from it. Hence, formation of this mutual interaction makes a key feature in sustainable, environmental designs. Clothing products, as a sub-division of seasonal short-lived products, are of great impact on this mutual connection between us, the human kind and the nature. Hence, considering specific standards and solutions through the whole process, from design to production, consumption and post-consumption, the least possible amount of ecological and economic impact is made. The present research tends to focus on solutions for the sustainable development in fashion and clothing, based on the new perspective of “value-making”. Clearly, design process is of the least focus in the cycle of sustainable development, while mostly all the ecological and environmental impacts of the product, either directly or indirectly are referred to the design process. Findings show that the most effective solution to prevent the ecological impacts is the appropriation of natural and organic systems in design. This adaptive model will be based on concision, closed cycles, aesthetic considerations, and responsibility to the nature.

In recent years, fashion has been introduced as a prominent taste which is imposed by owners of this industry to the society. Recently change of consumption patterns have been increased rapidly, while changes in fashion industry has also changed industries and economies of these countries as well. Through changes in global relationships and structures, omitting industrial concentrated production style, presence of multi-national companies, sophisticated conditions of competition in the world and generation of new methods for capturing the market, developing countries are in deep challenge in the field of fashion Industry; a lot of their economic resources would be used for cultural behavior of their middle class in order to access global brands and fast fashion systems. In contrast and in continuum of these changes in economic and trade relationships, those countries have tried to change patterns of consumption and entering the competition through foreign investments; however these countries do not have the potential to compete with this phenomenon through industrial Production-consumption cycle. This research does not aim adapt those mentioned methods with the conditions of developing countries, but some common conditions and real situations are considered in which the potential for competition with other countries is restricted and fashion in these countries are under dominance of brands. That is why this research tries to investigate the reasons for generation of current situation in its historical context and study past activities in the related domain. The result of such a study would be in the shape of recognition of design strategies for those countries, possibilities of participation in those industries and present resultant strategies for limited competition in the domain of fashion design.The result of this investigation shows that by entering the Globalization and Post-Industrial era and by importance of personality which generates a system together with presence of sub-cultures, the need to personal expression and taste has been increased rapidly and current industries cannot fulfill such a need for all the people in the world. As a virtue, such a change would enable developing countries to design production systems without a need to shape industrial infrastructures and they can develop their production plans based on domestic industries and through support of small and creative work stations. In the design phase, approaches like participatory design and increasing role of consumer in design and production of fashion, would let them involve more in design process and would also increase their skills and knowledge. The needs of customers, such as differentiation and eye-catching design would also be involved to the product and new roles for the designer would be shaped; roles such as facilitator, generator and assistant of design process for idealization of personal aims. This would result toward a specific fashion style, which can be named as Slow Fashion and can generate a dynamic economic organization which could compete with increasingly speedy current fashion system (namely Fast Fashion), which tries to fulfill the market based on ready and unified style design.