Elements of symbolic anthropology in developing the cultural identity of the fashion product author: Marlena POP The art of costumes, made of textile or animal origin fibres, is one of the oldest cultural technologies of humanity, integrated in both the public and the domestic spaces of life. The artistic and cultural imaginary, predominantly feminine, has found an ideal place of expression, because the tradition of social and cultural praxis has a millenary individuality and continuity. In the creative interior of this equally artistic and technological area, the cultural identity of the product is defined by the cultural archetype or pattern which transcends the primary message and reveals, through the symbolic qualities of decorative elements and of ancient artistic techniques, a whole specific universe. Following the scientific line of CG Jung in defining the archetype, but also the philosophy of Mircea Eliade, who said that “symbol, myth, archetypal image are related to the substance of spiritual life, that we can hide, mutilate and degrade them, but never remove them”, the paper proposes to decode that Romanian archetypal syntax, defined by elements of symbolic anthropology, which make up the traditional costume. Analyzing cultural archetypes and patterns which define Romanian spirituality, expressed through symbolic elements and motifs of garb with ritual role, the paper will highlight elements of symbolic anthropology expressed through avant-garde concepts of modern product design. Thus, the paper will argument the thesis that cultural identity sells any product, provided that the authentic intrinsic cultural value is respected, defined and promoted, because the European cultural economy is not only a desideratum and a top strategy, it is also a dynamic multicultural reality directed towards sustainability of heritage values. Key words: symbolic anthropology, archetypes, Romanian cultural patterns, cultural identity, fashion product In terms of visual arts, including fiber arts and fashion, cultural identity is represented by artistic imagination, expressed through theme, language and message, basically, through its symbolic codes. However, artistic imagination is revealed not only through explicit visual semiotics and rhetoric but also through the ineffable emotional transgression, which is much more difficult to decode by psychologists, philosophers and aestheticians. Cultural identity in the visual arts is defined by the archetype that transcends artistic work, beyond the artist's personal myths, beyond semiotic myths of cultural fashion; basically by transgressing the direct message of the artistic work and the intentionality of the artist, the archetype reveals only the original reference point of our historical and spiritual being. Following the scientific line of CG Jung in defining the archetype, but