<p>Throughout history, clothing has been a powerful way of expressing a specific concept. But in the current post-modern era, it is considered as the secondary nature of mankind. Considering clothing as an independent artwork can shed light on what the nature of concept
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<p>Throughout history, clothing has been a powerful way of expressing a specific concept. But in the current post-modern era, it is considered as the secondary nature of mankind. Considering clothing as an independent artwork can shed light on what the nature of conceptual fashion is today, which contains a wide variety of contents. This approach can be traced back to the major dissident art movement. The period in which clothing, as an independent work of art, was considered as an item able to elevate its wearers higher than where they could previously reach with their natural gifts. The main purpose of this study is to identify the mental weaknesses of mankind and the role of conceptual clothing in stimulating, soothing, and guiding the subjects. However, the important question is: How clothing can be therapeutic for its subjects in an interactive environment? In addition to having an artistic view of clothing, which already plays a major role in influencing the subjects in the form of conceptual art, this research seeks to put forward a modern view called interactive-therapeutic clothing. The therapeutic approach to clothing as well as a recent notion stated in this research seeks to replace the notion claiming that it is only possible to have either a practical approach or an aesthetic one towards clothing. Accordingly, clothing is going to be surveyed in respect of the seven psychological functions of art attempting to eliminate the psychological weaknesses proposed by Alain de Botton and John Rutherford Armstrong. And to realise that because of the capabilities of clothing in influencing the subjects clothing is a crucial element in art as therapy. Entering the world of art would be a difficult task, though, since in recent decades clothing has been looked on as an item that can either be useful or aesthetic. Nevertheless, by knowing the importance of the existing web of connections between the phenomenological concepts and descriptions proposed by Merleau-Ponty and by generalizing this to the world of interactive performance we can get the key. the body is our observation platform already present in all of our experiences; thus, it receives some concepts like colour, space and depth. From the beginning to the end of this research conceptual clothing is regarded as an instance of art able to induce different concepts and actions on the subjects since they will have a corporeal experience of art. This experience takes place in an environment where clothing, next to the other instances of art, would be the most influential and leading element in influencing the subjects, since by wearing the clothes they are the actual performer. So clothes, the most intimate work of art to the body, can give the subjects a better understanding of some concepts by making them aware that they all own an artistic self and helping them revive their senses of creativity and innovation. This research is done through correlational and analytical studies. The data of this study has been gathered from other papers and books.</p>
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