If the substance of expression, as Dondero suggests, is a mediatic trait, semiotic diversity intended as “the material turn” can find a helpful demonstration in the Fashion system.In this perspective, I’d like to emphasize the relationship between a substrate, its modifications, and the incorporation of creativity into clothing. As Dondero points out, the substance of expression preserves a sort of memory, which is essential when we look at garments with a specific shape or made of a specific material because they produce an ideal body before the actual encounter with a real body.Barthes also asserts that the trait is filled with substance, transforming clothing for physical, historical, ethical, or aesthetic reasons and communicating with social and technical data; for instance, creating and using sustainable materials signals an environmental emergency.Based on these ideas, I plan to investigate how actantial forms and identities emerge from the substance of vestimentary expression from corporeal matter, which Fontanille refers to as the substance of Me, emphasizing the ability of the substance to conserve forces and act as a creating source.Following Fontanille’s lead, we can compare fabric to the ground that Eco and Peirce conceptualized because textiles start the semiotic process and pull something out of the substance. It has two sides: an exteroceptive face that encounters the skin and a resistant “pre-fixed” face. The substance’s memorized forces would bring the two faces together, whereas the substance’s specific virtualities would reveal the meaning.