Mystical clothing is not a determinate object that is put on the body of the subject, it is a lived embodiment, through which the subject experiences Dasein in the performance action of Sufi whirling (Samā). The occurrence of meaning-making creates mystical significations based on existential being. Based on the phenomenological approaches, especially, Martin Heidegger concepts of being-in-the-world and Dasein, the theory of embodiment proposed by Maurice Merleau-Ponty, and discursive semiotic analysis, the given study goes beyond the structural aspect of the clothing as an object. Based on this, the mystical garment is seen as a phenomenological sign, which, by the subject, in the context of the lived body and perception scenario raises the consciousness of the subject. The event that arises as a result of the rotational movement of Samā brings about a disconnection between the subject and the structural action of the garment. This subject then goes into a state of discursive relation and the fusion with the mystical garment and the result is an interwoven experience space whereby the body and the garment are merged when it is being performed, creating a trance like state. This spiritual space is an existential incarnation of mystical motives. The study portrays a phenomenological interpretation of the structural, eventual, and hybrid communicative system that is established between the body of the subject and the mystical garment. The being-in-the-world of Dasein and existential identity is conceptualized by Heidegger; thus, the main question of the paper is how the discourse of Dasein is expressed in the form of clothing and how the subject of perception is born in the process of being fused with the mystical garment. It was found that rearticulation of the mystical thought of Rumi in essence of garment design and Samā practice is bringing an epistemic change of subject. In this fusion discourse, the perception of the subject becomes open to true existence, and this allows existential access to truth and ontological aspect of existence.
 
1. Introduction
Mystical clothing cannot be interpreted just as a material object that is applied to the human body but it is a lived and experienced body where meaning is generated. In Islamic mysticism, clothing (especially that of Sufism) is a symbolic mediator between physical existence and spiritual realization. This paper explores the phenomenological discourse of Dasein as embodied in the design of a mystic garment based on the ghazals of Jalal al-Din Rumi (Rumi) in terms of how clothing is involved in existential disclosure in the ritual performance of samā (whirling). Phenomenology, particularly as described by Martin Heidegger, redefines human existence, but no longer as an abstract subject, but as Dasein, being-in-the-world. Human life is lived by interacting with things, places and lived experiences. Clothing is thus not a lifeless thing but a component of existential structure where the world gains its meaning. In keeping with this perception, Maurice Merleau-Ponty places perception in the lived body and meaning emerges in the body in the interaction of bodies instead of in isolated cognition.
Poetry in Sufi aesthetics can be viewed as a transformative language that can change the perception. The Ghazals by Rumi express the ideas of unity, annihilation of the self, transcendence and ecstatic presence. When these poetic meanings are translated into garment design, the text created is visual and performative. The magical robe turns out to be a phenomenological indicator that bridges the poetic language and experience of life. The perceptual subject experiences an event of meaning during the whirling ceremony, an experience of rupture which interrupts the normal perception and allows existential awareness. The problem of interest in the main research is how mystical fashion design, which is based on the poetry of Rumi, transcends structural or functional clothes systems into an experience and existential discourse. In particular, the research questions are the following: In what way can the body and mythical garment interaction produce a phenomenological event due to which Dasein becomes visible? The research hypothesis is that, poetic symbolism, embodiment motion, and aesthetic design will make clothing a form of existential revelation with the aid of which the subject can gain authenticity and spiritual presence.
 
2. Methodology
The study has a qualitative, corpus-based descriptive-analytical approach based on the phenomenological discourse analysis. The theoretical framework combines three perspectives that are complementary:
1.Heideggerian phenomenology and the idea of Dasein (being-in-the-world);
2.The theory of embodied perception and lived body consciousness by Merleau-Ponty;
3.The post-structural semiotic theory had an impact on phenomenological semiotics and discourse analysis.
The corpus of the research is comprised of the conceptual garments designs of mystical garments based on the chosen ghazals of Rumi Divan-e Shams. Such designs are being studied as semiotic and experience systems but not as aesthetic objects. The main source of data is documented sources, such as philosophical literature, semiotic theory, and Islamic mysticism research. Analytical processes are in three stages that are interrelated:
Structural analysis: analyzing formal components of the garment color, texture, symbolism, and space. Eventual (phenomenological) analysis: this involves instances where the body/garment relationship is no longer functional interaction, but emerges experience based on movement and ritual performance. Fusion (existential) analysis: the interpretation of the unity of subject and garment as a discourse of embodiment creating a different perception and transcendental consciousness. The research uses interpretive qualitative analysis to follow how meaning is created in the process of sensory interaction, movement, and symbolic poetry to design translation. Instead of quantifying empirical results, the methodology aims at showing structures of lived experience and meaning production.
 
3. Results and Discussion
The results indicate that mystical garments are phenomenological intermediaries that turn clothing into existence as an object. It was found that there are three key discursive stages:
 
3.1 Between Structural Object and Lived Presence
First, clothing is a structural object, which is characterized by social or functional value. Yet, when incorporated in the mystical performance, especially in whirling movement, the garment is no longer utilitarian. The movement of the fabric, its spatial enlargement and communion with light generates a perceptual space between the body and the garment. At this point, the garments become a continuation of body intentionality. Phenomenologically, the clothing becomes ready-to-hand, rather than present-at-hand, and breaks down the barrier between the subject and the object. The garment ceases to be something that the wearer sees outside but rather it becomes a constituent of embodied awareness.
 
3.2 Eventual Discourse and Phenomenology of Ecstasy
The practice of samā is what phenomenological semiotics refers to as an evental rupture, a place where habitual perception is interfered with. The motion brings about centrifugal expansion, which represents spiritual ascendancy and unity. The flowing shape of the garment builds upon this sense of experience shift, inspired by the imagery of Rumi of light and divine presence. At this phase, the emergence of meaning is not arrived at through rational interpretation but rather through sensory immersion. The theme of the subject is what can be called a flash moment, in which the aesthetic perception is turned into the existential consciousness. The emotional and affective knowledge substitutes analytical cognition, and this is consistent with the fact that moods reveal the world as Heidegger puts it. The garment is therefore an active participant in the production of meaning where it helps in directing the perception to transcendence. The body is turned into a revelation area, and clothing is a phenomenological interface where poetic symbolism is embodied.
 
3.3 Fusion Discourse and Existential Transformation
The last phase entails amalgamation of subject and garment. In this case, there are no boundaries of body, clothing, and space around. The clothing gains some sort of quasi-subjective agency, and the wearer experiences something close to mystical trance. This conglomeration is associated with existential transcendence the transition between normal being and true existence. The discussion shows that the poetic ideas by Rumi, unity, annihilation of self, and enlightenment are restated using the visual and kinetic elements in the design. Symbolic motifs, flowing lines and colors inspire metaphysical ideas, which are transposed into the sphere of senses. The garment is a phenomenological text that carries spiritual meaning and not just a symbol of it. This synthesis is also an indication of the shift in the mystical philosophy: the shift between the bodily self and the spiritual awareness. The subject does not have an isolated individuality, but he is a part of a greater ontological unity.
 
4. Conclusion
This research paper illustrates the fact that mystic garment design based on the ghazals of Rumi serves as a phenomenological discourse that brings out the existential structure of Dasein. Wearing, being a combination of embodied movement and symbolic aesthetics, outgrows material functionality and turns into a means of existential revelation. The study reveals that meaning is created in a dynamic relationship between poetic imagination, embodied perception and aesthetic design. The magical garment is a sign, experience, and event at the same time. The ritual process of whirling transforms the perceptual object in its structural involvement with clothing to experience fusion, which culminates into more awareness of the true existence. The results indicate that the modern fashion design can go beyond consumerist or structural paradigm to experiential and spiritual paradigm. Designing mystical poetry into something to be put on makes it a place of philosophical inquiry and existential exploration. The garment itself serves as a translation between language and embodiment and allows the re-enactment of mystical knowledge in contemporary settings.
Finally, in the phenomenological discourse of Dasein, it is possible to note that clothing can take part in the development of being itself. The designed garment is inspired by Rumi and his mystic vision, which enables the subject to experience the existence as not an abstract concept but as the lived, embodied, and transformative experience. This kind of strategy provides new interdisciplinary directions between phenomenology, semiotics, fashion studies and Islamic mysticism, which proves that aesthetic practice may be a way of existential cognition and religious consciousness.