Aesthetic preferences are deeply personal yet socially constructed, influenced by culture, media, and societal norms. Although aesthetics provides a legitimate comfort state where the consumer has a choice. Fashion serves as a tangible manifestation of these choices, allowing individuals to curate their appearance and project their desired image to the world.
Aesthtics & Fashion
When something is “aesthetic” it refers to the supremacy of beauty. There is a concentration and appreciation of the beauty with a single concept or object/s. G.W.F Hegel, a German philosopher, defines ‘aesthetics’ as the science of sensation of feelings. Leads to aesthetics being the emotions it brings out of the audience, which can be subjective. Aesthetic lies within the sub-category of something we aspire to or resonate with beauty. Beauty can be manipulated and it will not be the same for everyone. As beauty is something that is in the eye of the beholder. Fashion can be considered as the gateway into a certain expression of the aesthetic as the aesthetic may lie in the formation of the physical appearance.
“Aesthetic” is a buzzword for companies, especially in fashion. Refers to an aspiration or an image that the brand wants its client to portray. The aesthetic of the brand can be the single gravitational pull that the client may have on the brand. There is a certain romanticisation of the brand through the aesthetic. Brands define the type of client or the vision through the campaigns and their mentors (also now known as influencers and celebrities), which all are applicable to the aesthetic factor.
Society has become an outlet for buying things for our identity. As well as making buying things our identity. On the internet certain terms are made to define that aesthetic in reality the definition of these terms is the guidance to help sell products of the companies that fit in the category. The aesthetic followed is consistently sticking to certain terms that are categorised towards that applied aesthetic. These terms may be utilised in order to produce micro trends in fashion. Micro trends are created in order to capture the process of the ever-changing trends of aesthetics. Trends or aesthetics co-opts into being something that promotes capitalism. Micro-trends also capture the societal cohesion in following one thing. There is comfort in following what everyone says or promotes to follow, because if your favourite influencers wear it then why not wear it too. It’s a confirmation of the style or the aesthetic.
Due to the global ups and downs rather in the economy, culture, politics or even our own beliefs, aesthetics seems to be the computing mechanism. We turn to aesthetics for the need of refuge against all of the turbulence that goes on due to the possible stability that it is indoors. When sticking to one aesthetic there is stability within that. There is an understanding of what kind of garments you have to buy to stay within the framework of that aesthetic. Aesthetic is almost the definition of you or who you want to display through appearance or even an Instagram feed. It becomes an image that constantly has to be played. Instead of liking the music band, the shirt of the specific music band can be worn by an individual due to its aesthetical display. It displays that the individual is possibly into that kind of music when in reality the person never heard that genre of music. The stability of the aesthetic is also associated with the sense of belonging to a certain social group. A person may feel attracted to a certain social group and in order to “fit in” they may relate to that group on some level, which can be the aesthetic level. Pierre Bourdieu suggests that aesthetics could never be detached from lifestyle and social status but was instead entwined with both. Considering that there can be no separation between the aesthetic and one’s identity while they become one. There is a constant search for who we are through our clothes and who we belong to. In other words, an epidemic of yearning for an identity and yearning for a community.
Interpretation of Aesthetics on the Internet
Hans Eijkelboom, Homme du XXI siècle. Images from Phaidon
Due to aesthetic preferences, there is a divide in groups in the algorithm on social networks. Social media platforms like TikTok and streaming services like Netflix or Spotify foster a feeling of community since streaming the same music or entertainment creates an informal relationship between strangers. These informal bonds create taste, communities, and the definition of “cool” or “iconic.” These bonds shape our taste and create taste communities. The creation of aesthetic groups on the internet creates taste communities. These communities are social groups, that are part of influence networks that they use to decide what to watch, read, buy, and pay attention to. Brands may alter their brand strategy to the reality that consumers are not simply individuals, but also belong to groups and communities. The brand’s product becomes customer-led rather than product-led growth.
Customer-led growth is a business strategy that prioritises understanding and fulfilling the needs of customers to drive growth. It involves deeply engaging with customers to gather insights, feedback, and data, which are then used to inform overall business decisions.
The “old money”, “balletcore” or “opium” aesthetics are all a part of the framework that comforts the consumer in the kind of direction they want to go and what brand they want to choose. There is a goal in the achievement of comfort within the media’s mass exposure. Aesthetics or art in the media can be seen as an outlet for escapism from reality. R.G Collingwood acknowledges that art is frequently used as an escape from life – a simple amusement or a distraction.
The social media platforms provide all of the necessary “personalisations” in order for the consumer to be involved and active on the platform and sell. Selling an aesthetical ideology. Articles, social media profiles, and posts may all be dedicated to a certain aesthetic and will attract individuals with the same aesthetic appreciation. It’s an admiration of a certain type of beauty while finding a taste community.
Within the choices provided, there is such an effect as cultural desensitisation. Lacking a sense of shock from the information you receive from the media, the more acceptable it becomes. The mainstream culture becomes a disposable alternative leading for it to not have the same meaning anymore. The large access to cultural ideologies and knowledge in the media accumulates the disappearance of identification to with those subcultures. In other words, real subcultures may not exist anymore due to their mass exposure of on social media outlets.
As individuals seek refuge and stability among societal turbulence, aesthetics offer a sense of comfort and belonging. Yet, the widespread access to cultural content through social media has led to a cultural desensitisation, blurring the lines between mainstream and subcultures. Fashion serves as a concrete manifestation of aesthetic preferences, allowing individuals to curate their appearance and project their desired image. Despite these complexities, aesthetics remain a powerful tool for self-expression and community building in an increasingly interconnected world.
References:
Rick Owens Menswear SS24 Backstage. Image from Vogue Runway
Andjelic, Ana. “Micro Consumer.” Medium, 7 July 2022, andjelicaaa.medium.com/micro-consumer-8be8c248f00c. Accessed 06 May 2024.
Andjelic, Ana. “Targeting Taste Communities.” Targeting Taste Communities – by Ana Andjelic, The Sociology of Business, 23 Aug. 2021, andjelicaaa.substack.com/p/targeting-taste-communities. Accessed 06 May 2024.
Nguyen, Terry. “Trends Are Dead.” Vox, 11 May 2022, www.vox.com/the-goods/23065462/trends-death-subcultures-style. Accessed 06 May 2024.