The global fashion industry is undergoing a significant paradigm shift, marked by a profound resurgence of interest in vintage clothing. This trend transcends mere nostalgia, constituting a deliberate cultural and economic movement towards the acquisition, valorisation, and integration of authentic garments from previous decades. It is propelled by a powerful confluence of factors: escalating environmental consciousness regarding the detrimental impacts of fast fashion; economic rationales favouring durability and timeless value over disposability; and a deep-seated aesthetic appeal centred on individuality and historical narrative. While this phenomenon enjoys widespread adoption, its articulation within distinct cultural and religious contexts remains an underexplored area of academic inquiry. A particularly compelling yet neglected research avenue is the potential for vintage fashion philosophy to inform and enrich contemporary attire design for Muslim women. This can be achieved not through replication, but through the critical reinterpretation and creative adaptation of historical visual symbols from non-Western sartorial traditions. The vestimentary culture of Iran’s Qajar era (1789–1925) offers a fertile repository of such symbols. Consequently, this research posits a necessity to investigate how these historical elements can be systematically analysed and transformed to synthesise cultural identity, religious values, and sustainable fashion principles for a modern demographic.This study situates itself at the interdisciplinary intersection of cultural heritage studies, religious sartorial codes, and sustainable design theory. It employs analytical frameworks from cultural semiotics to deconstruct the visual language embedded within Qajar women's attire. The primary objective is to demonstrate the practical applicability of these reinterpreted symbols in conceptualising vintage-inspired garments that resonate with the aesthetic, ethical, and modesty requirements of modern Muslim women. The central research question guiding this inquiry is: Which specific visual symbols from Qajar-era women's clothing can be suitably reinterpreted and integrated into the design of vintage-style garments that align with the requirements of modesty (hijab) and the identity narratives of contemporary Muslim women?To address this question with methodological rigour, a qualitative research methodology was adopted, structured into two sequential phases. The initial phase involved extensive archival and documentary analysis of primary and secondary historical sources. This included a meticulous examination of Qajar-era paintings, portrait photography, travelogues, and extant textile collections. The objective was to compile a systematic inventory of visual symbols, garment typologies, fabrics, colour palettes, and embellishment techniques definitive of Qajar women's fashion. This historical corpus formed the foundation for all subsequent analytical and design-oriented work. The second phase utilised the Delphi technique, a structured communication method designed to consolidate expert opinion. Based on the historical inventory, a detailed questionnaire comprising 64 items was developed and distributed to a purposively selected panel of twenty experts in fashion history, Iranian art, Islamic clothing design, and cultural studies. The questionnaire and emerging findings were evaluated over three iterative rounds, enabling the progressive refinement and consensus-based ranking of the identified symbols and their potential applications.The findings from this iterative process yielded significant results. A strong expert consensus identified 42 distinct visual symbols from Qajar-era clothing as possessing high applicability for contemporary design. These validated symbols were systematically categorised across key dimensions of garment construction and decoration. The category of Traditional Fabrics confirmed the enduring significance of specific materials. Luxurious fabrics such as silk brocade (terme), velvet (makhmel), and high-quality woven cottons were highlighted for their aesthetic and tactile qualities, historical authenticity, potential for sustainable sourcing, and inherent durability. These materials align with the principles of slow fashion, offering an antithesis to the synthetic textiles prevalent in fast fashion.The category of Embellishments and Artisanal Techniques revealed a rich array of decorative elements identified as primary carriers of cultural meaning. These included intricate "Zardozi" (metallic thread embroidery), delicate beading using pearls and sequins, corrugated gold beads (chelleh), traditional floral motifs (gol-o bolbol), and the iconic paisley (BotehJegheh). Specific styles of lace insertion (dantelle) and decorative ribbon work were also noted. These techniques represent a heritage of craftsmanship that emphasises detail, longevity, and symbolic communication. Their modern reinterpretation allows for the embedding of cultural narratives into garment design, moving beyond generic ornamentation to create pieces with historical resonance.Finally, the category of Garment Silhouettes and Components identified key items that provide adaptable, modesty-aligned templates for modern design. Foundational elements such as the tailored tunic (Pirahan), wide-legged trousers (Shalvar), and the overarching outer garment (Chador) offer a versatile lexicon of forms. Their structural lines, intelligent use of volume, and sophisticated principles of layering provide a sartorial foundation conducive to contemporary reinterpretation. These silhouettes, by their historical nature, ensure coverage, comfort, and a dignified flow of fabric, thereby offering inherent solutions for modest dressing that can be refined without sacrificing elegance or historical reference.In conclusion, this study argues that the strategic, informed incorporation of Qajar-era visual symbols whether through traditional fabrics, translated embellishment techniques, or adapted historic silhouettes holds considerable promise. This methodology facilitates the creation of vintage-style clothing that authentically adheres to Islamic dress codes, which emphasise modesty through adequate coverage, loose-fitting forms, and a dignified aesthetic. Furthermore, this design philosophy consciously transcends superficial appropriation. It actively strengthens cultural-historical identity by creating a tangible, wearable link to a richly layered heritage, fostering a sense of continuity and pride.Critically, this approach aligns robustly with the environmental and ethical ethos of sustainability. By championing durable materials, artisanal quality, and timeless designs that defy the disposable cycles of fast fashion, it promotes waste reduction and encourages ethical consumption. Thus, this research demonstrates that the thoughtful fusion of Qajar-era symbolism with vintage design principles offers a viable, sophisticated, and culturally resonant strategy for advancing a progressive fashion paradigm. This paradigm is simultaneously heritage-grounded, religiously aligned, aesthetically nuanced, and sustainable, thereby meeting the complex sartorial, identity, and ethical needs of Muslim women in the contemporary world. It posits that the future of meaningful fashion may be found not solely in relentless novelty, but in the intelligent dialogue between a purposeful present and a richly symbolic past.