GREEN AESTHETICS in CLOTHING Normative Beauty in Commodities

2014 | Volume III, Issue 3 | Pages 3.1-3.13

GREEN AESTHETICS IN CLOTHING Normative beauty in commodities

Kirsi Niinimäki, Aalto University, School of Arts, Design and Architecture

1.0 ABSTRACT this widened approach we gain better understand- This paper presents an approach to understanding of the meaning of aesthetics in our everyday ing green aesthetics in clothing and design-for- life, our judgments and preferences, and moreover sustainability that unifies existing theories and how aesthetic issues profoundly affect all and describes aspects of green aesthetics. The aim of everything. Ossi Naukkarinen (2001) distinguishes this paper is to define the dimensions of aesthetic philosophical aesthetics from everyday aesthetics perception in design and commodities, and while such that the former analyzes aesthetic dimensions doing so the focus is on green aesthetics in cloth- while the latter tacitly describes and creates aes- ing. Hence the approach is made on the basis of thetic dimensions and values. Richard Shusterman aesthetic discourse yet with a multidisciplinary (1997, p. 103) argues (based on Dewey) that there is view. The study first constructs an understanding no reason to distinguish popular art from higher art of clothing aesthetics in general: the definition according to aesthetic principles or evaluation. On and understanding ‘thin’ aesthetics in the context this basis, he proposes, we can also demand high of clothing, which combines product properties, aesthetical quality from design artifacts. Hence it is multilayered pleasure experiences, and creativity most important to study contemporary aesthetics in elements. Secondly the study lays the ground for the design discourse. defining green aesthetics, a ‘thick’ aesthetic evaluation based on environmental aesthetics. Finally The contemporary design field itself strongly the study constructs a framework by which to ap- emphasizes visual attractiveness. Several studies proach green aesthetics in clothing. On the basis of have been published in the field of consumers’ aes- this paper, parallels and synergies between green thetic preferences and how aesthetic dimensions aesthetics in design objects and the definition of can be used in the design field (e.g. Chattaraman design-for-sustainability can be drawn, merging & Rudd, 2006; Rashid et al., 2004; Giannini et al., aesthetic attributes with environmental values. 2006; Hsiao et al., 2006; Crilly et al., 2004 and 2009). Hence the paper opens new views on normative Nevertheless to a large extent the understanding beauty in commodities. of aesthetics in the design discipline encompasses only visual and functional levels, with no deeper Keywords: Green aesthetics, clothing aesthetics, design-for- philosophical discussion on aesthetic foundations sustainability, sustainable design, normative beauty. in the world of artifacts. As sustainable design has emerged as a discipline of its own in recent years, 1.1 INTRODUCTION the discussion on moral and ethical values has Recently discussion in aesthetics has broadened entered the design research field. While the central into the fields of everyday aesthetics and the aes- focus of this study is to increase eco-knowledge thetic value of the environment. Yuriko Saito (2007, in the design field, it is fundamental to approach 52) proposes a new approach to aesthetics away sustainable design also from a philosophical point from the art-centered approach, stating: “… we en- of view. As Jason McLennan (2004) argues, sustain- gage with the diverse aspects of the world aestheti- able design per se is a philosophical approach to the cally”. She also suggests that when analyzing aes- design field, not a visual and stylistic endeavor. thetic aspects outside the art world, the use of the field’s own terms inside the discipline itself is highly Yrjö Sepänmaa (1991) defines aesthetic beauty to recommended. Furthermore she argues that through be one of the principal forms of beauty. According to Sepänmaa other forms of beauty are moral,

3.1 intellectual and functional beauty, which all can be object expresses or externalizes to the observer. linked to clothing and to sustainable design. Rather According to Hosper thick aesthetics thus concerns little is currently known about aesthetic dimensions objects that present life values: that is, general in clothing in general. The concept of beauty is while deeper associations that are common to a fundamental in clothing, yet the beauty of clothing larger group of individuals or communities (cited in is linked to its cultural, social and temporal context Carlson 1976, p. 110). When we feed an aesthetic as well as bodily aspects. Therefore aesthetics experience with our knowledge, we can talk about and beauty as a concept is most complicated or a thick aesthetic meaning. “Knowledge supports even blurry and needs further research attention. in some significant way the aesthetic qualities we As Sepänmaa (1980) states we need to develop discover and engage with” (Brady 2002, p. 120). the same kind of research and analysis systems, critiques and open discussions in environmental The first and most natural approach to studying the aesthetics that currently exists in the field of art. aesthetic evaluation of clothing is to address the Furthermore Naukkarinen (1998) argues that we attractiveness and beauty of the product, i.e. the have to extend the aesthetic discussion from the art thin aesthetical definition. Accordingly aesthetics world to the world of everyday objects. Furthermore is a property of a product while simultaneously building robust knowledge of the green aesthetics it is the reaction or aesthetic expression these of design objects is most important. properties stimulate in the observer’s mind and emotions. Therefore a thin aesthetic evaluation is a Therefore the paper develops the dimension of more common approach to clothing aesthetics. On aesthetic evaluation in design and commodities, and the other hand a thick aesthetical meaning can be while doing so the focus is on green aesthetics in connected to eco-clothing and sustainable design, clothing. Hence the topic is approached on the basis which intertwines aesthetic and ethical values. of aesthetic discourse, while incorporating research Thick aesthetic evaluation and understanding information from the fields of psychology, social need a maturation of our taste, knowledge of the psychology and sustainable design. Aesthetics product’s background, as well as an environmental has not been widely studied in the clothing context value base; this will be further discussed below. and therefore its definition is not established. The First, the following section outlines specific ways to study therefore addresses, firstly, how the issue approach the aesthetics of clothing. of aesthetics in clothing is to be approached in general, illustrating the various dimensions of aesthetic perception in clothing. Secondly the study AESTHETICS IN CLOTHING investigates what green aesthetics is in the realm When aesthetic attributes, through which aesthetic of clothing. In seeking to address these questions, perception traditionally occurs, are limited, we need the aim is to contribute to a better understanding to extend the properties of aesthetic evaluation. of how to make possible aesthetic evaluation Naukkarinen (1998) argues that traditional aesthetic of commodities. John Hosper’s (1946) thin and dimensions, based on the art world, are well thick definition for aesthetics lays the ground for grounded but limited, and another approach to aesthetic understanding in this work. The study will aesthetics needs to be reasoned. Hanson (1998) thus elaborate upon the key concepts, first clothing argues that there has been an antipathy to fashion aesthetics in general and secondly green aesthetics in the tradition of philosophy, because fashion based on theories from environmental aesthetics. In and clothing are inseparable from the body. The the final section the dimensions and framework of ideal concept of Beauty has traditionally been green aesthetics in clothing are constructed. constructed such that the mind is superior to bodily aspects. However, the pleasure and experience clothes offer us is much wider than only visual THIN AND THICK AESTHETICS pleasure. John Hosper (1946) distinguishes two discrete meanings in aesthetical pleasantness: a thin and Jon Lang (1988, p. 11) argues that in the design thick meaning. A ‘thin’ aesthetic is linked to a situ- process the fundamental goal has always been ation where we enjoy objects aesthetically, on the beauty, the aesthetic and delightful aspects of the basic grounds of the apparel, its physical appear- artifact. He also suggests approaching the aesthetic ance, and its surface qualities. This appraisal also experience from three standpoints: the sensory, includes the form and construction of the object. formal and symbolic interaction between the user A ‘thick’ meaning adds to the aforementioned and the built environment. This interaction between particular quality issues and values, which the user and object forms the basis of the experience

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.2 and pleasure that objects offer us. In design the option. Both sections also offered open question attractiveness or beauty of the product is deeply where consumers could describe in their own words interlinked with its functionality, its ease of use. Guy the meaning of clothing and the attributes con- Sircello (1975, p. 73) states that beauty is correlated nected to attachment to clothing. In these replies to utility, suitability, appropriateness, fittingness beauty stood in third place when consumers evalu- and function. Accordingly certain objects, things ated the meaning of clothing. When asked about or materials serve well for certain purposes, and the factors by which consumers become attached therefore we consider them beautiful. Saito (2007, to textiles, beauty was ranked second. Beauty is p. 26) argues that in our normal everyday interaction therefore significant in clothing choices as well as with practical objects, the practical and the aes- in emotional bonding to garments. Furthermore the thetics “…are experienced as fully integrated and beauty aspects, the aesthetic criteria, are central we lose some dimension of its aesthetic value if we when consumers are making the purchase decision surgically remove its functional value.” Therefore in the field of apparel. when studying the aesthetics of design objects the interaction between user and object creates experi- Table I. The meaning of beauty to consumers ence and pleasure, which translates into an evalua- What clothes mean to me I become attached to textiles tion process of the beauty of its use. and clothing, because they Respondents % are Katya Mandoki (2007) argues that business and marketing only use beauty and aesthetic aspects to Respondents % attract a consumer’s attention. The aim is to seduce the consumer into following ever-changing fashion practicality 94 practical/functional 97 trends and to make the consumer buy more. This own identity 91 beautiful 94 argument is convincing: the aspect of beauty is sig- beauty 89 made with high quality 91 nificant when consumers are considering their own clothing choices. The clothing and fashion matrix is How then we can approach clothing aesthetics? one of the fundamental human needs, and clothing Naukkarinen (1998) argues that some things are and beauty can be considered a necessity (Martin, easier to aestheticize than others. “The colors of 1998). clothes are a typical example of properties that can easily be turned into aesthetic ones…. On the other Evidence of this can be seen in consumers’ evalu- hand, how … a fabric feels or smells is not typi- ation of the importance of beauty. Table I presents cally taken as an aesthetic issue…” (Naukkarinen the results of an online consumer questionnaire 1998, p. 36). We learn to identify and comprehend carried out in spring 2009 in Finland (Niinimäki, 2009; many objects at a sensory level, and these learned Niinimäki, 2010). The link to the questionnaire was aesthetic perceptions are a basic part of our culture disseminated among design students at Helsinki as are perception of colors and forms. Quite often Metropolia University of Applied Sciences and the these simple and easily absorbed factors are associ- University of Lapland. The link was also available to ated with more complex ones such as the concept staff at the University of Art and Design Helsinki and of beauty or ugliness (Naukkarinen 2007, p. 50). on the following websites: Fashion Finland, Eettinen Hence we make a quick evaluation of the beauty of Kuluttaja (Ethical Consumer), Vihreät Vaatteet the apparel based on surface qualities and confuse (Green Clothes), and Kierrätystehdas (Recycling it with deeper aesthetics. Factory). A total of 246 respondents answered the questionnaire. The vast majority, 91.8%, of the “What is meant by aesthetic depends heavily on respondents, were women and 8.2% were men. the context, but one possibility is to associate it The majority of the respondents were fairly young: with simple and direct [visual] perceptions and the 38.4% being 18 to 25 years old and 41.6% between pleasure we gain from them” (Naukkarinen 2007, 26 to 35 years old. It can be concluded that the p. 50). To ground this, we have to understand the young female standpoint dominated the responses many levels of pleasure connected to the product in this data, yet young female consumers are also world. Lionel Tiger (1992, cited by Patrick Jordan the biggest fashion consumer group. Through 2000) argues that objects offer us four types of structured questions the meaning of clothing and pleasure: Physio-pleasure, Socio-pleasure, Psycho- attachment towards clothing were sought. Fourteen pleasure and Ideo-pleasure. Physio-pleasure is choices were offered in the ‘meaning’ questions and the link to the body and pleasures derived from twelve choices were offered in the ‘attachment’ the sensory system. These include the touch and question. Respondents could choose more than one

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.3 feeling of sensual pleasure and tactile and olfactory aforementioned levels also offer pleasures, but properties in the object. Socio-pleasure emerges whether we can define them as aesthetic pleasures through the enjoyment derived from relationships needs further attention. Paul Hekkert (2006) states with others and with society. In the context of cloth- that experiences with products consist of three ing socio-pleasure means e.g. the social accept- levels: aesthetic, understanding and emotional. ance and appropriateness the wearer hopes to gain He suggests that only some part of the experience through clothing choices. Psycho-pleasure links the should be considered as aesthetic, and the rest of experience the object offers us with cognitive and the experience is in fact linked to the human mind, emotional reactions such as product satisfaction. that is, the observer’s cognition and emotion. This We feel pretty when wearing a certain dress, or the approach is a rather narrowing way to understand dress gives us positive feedback in the form of en- everyday aesthetics and the aesthetic experience ergy or happiness. Ideo-pleasure is linked to values: per se. that is, it simultaneously relates to the aesthetics of a product and the values that a product represents. A quick and simple evaluation of clothing can be “For example a product made from bio-degradable made according to attractiveness, color, fit, form materials might be seen as embodying the value and style of the clothing. These factors are ground- ideo-pleasure to those who are particularly con- ed in cultural as well personal preferences, the cerned about environmental issues” (Jordan 2000, wearer’s age and societal situation, but also strong- p. 14). ly to the temporal level: present trends and fashion. However, there is a more complex evaluation In exploring the aesthetic dimensions in clothing, procedure of clothing that is intertwined with social Table II is constructed based on the pleasures cloth- situations and group association, and this is also the ing offers us. Are these pleasures directly associ- case in fashion and clothing. In clothing beauty and ated with the basis of the aesthetic experience? Can the approval of others both play an important role. we ground the aesthetic of clothing on a general Someone may have no particular opinion on clothing sense of appreciation of clothing and valuation of its choices and select ‘neutral’ apparel, yet he/she still quality? In Susan Kaiser’s (1990) psycho-sociolog- does not want to look ‘ugly’. ical theory of clothing, time, fashion and aesthetic aspects belong to a cultural contextual approach Therefore the pleasure of clothing is linked to ac- to clothing. Other conceptual levels from which ceptance of others, social situations and the ex- to approach clothing are e.g. group association, perience created by those social situations. Minna social situation, immediate body space, personal Uotila (1995) states that clothes are not only objects: characteristics, kinetic interaction and garment/ they are also acts. Therefore clothes must also be body interaction, according to Kaiser. All these studied as a creation process itself. The creator in

Table II. Dimensions of pleasure with clothing based on Tiger (1992)

Dimensions of pleasure with clothing

Physio-pleasure Socio-pleasure Psycho-pleasure Ideo-pleasure

kinetic dimension social situations product satisfaction, e.g. environ-mental awareness beauty of use

movement social class preferring ecological, ethical experience, also visual expe- and sustainable design rience tactile dimension acceptance, ethical consumption appropri- interaction between the prod- environmental awareness fit, touch, smell etc. ateness appropriateness uct and user’s emotion appropriateness product attachment

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.4 Table III. Aesthetic dimensions in clothing

Aesthetic dimensions in clothing

Visual and Social dimensions Sensory dimensions Creativity dimensions Properties of form qualties technical skillfulness

color social situations kinetic experience uniqueness, creativity in pattern, fit design

style approval tactile experience manufacturing fashion as art

material experience garment/body interaction wearer’s creativity, fashion as act cut, fit interaction touch, smell etc.

functionality in use

clothing is not only the designer but also the wearer. not only in the so-called body organs, but also as a Mandoki (2007, p. 175) maintains that when aes- mental sense, namely the emotional, relational, and thetics are concerned, we are dealing with social sensorial meaning.” Judging the beauty of clothing interaction processes. Furthermore the aesthetic and the aesthetical experience must thereby also level is dominant in communication with others in include the kinetic interaction and garment/body social situations, because aesthetics affects the interaction. The attractiveness of clothing is not way the message is displayed or interpreted in a only visual: styles, fit and color as well experiences communicative exchange process. In other words of a pleasant touch on the skin, that is, softness, we communicate silently with others through our airiness of the material, or the weight of the material appearance. against our body and skin, are all important factors when evaluating clothes, especially during longer Naukkarinen (2007, p. 51) suggests that when use periods or at a sensual level. The kinesthetic making an aesthetic evaluation technical skillful- experience links body awareness and muscular ten- ness could also be taken into account. According sion and movement with the environment (Berleant, to Sircello (1975, p. 56) elegance is one attribute 1992). A pleasant kinetic and tactile interaction can from which to approach aesthetics, and elegance be seen as an objective, and therefore it is possible can be found in, for example, the “…fineness in the to consider these as dimensions in an aesthetic fabrics of one’s dress, in the workmanship of one’s experience with clothing. The dress can be made clothing”. He also states that intellectual beauty is of silk, which offers a pleasant, airy touch on the something that respects extraordinary skillfulness. skin, feels sensual against our body when moving, Hence the interpretation can be made that aesthetic and offers a pleasant aroma. The same dress can dimensions in design objects may also include the be beautiful in design, style and color, and it can be technical realization and manufacturing outcomes. uniquely designed and tailored just for the wearer. Cheap mass-manufactured clothes do not have this This kind of dress will be noticed by others, and the level of skillful technical realization, unlike a unique- wearer will receive positive feedback in social situ- ly tailored suit or evening dress of high quality. The ations; over time and through positive use experi- wearer can experience aesthetic satisfaction with a ences, the wearer will form a deep engagement with suit or evening dress that fits him/her perfectly and the product. is made of high quality material, using a high level of technical skill. Table III outlines the various factors involved when defining the general aesthetic attributes in clothing. We experience beauty in clothing in a multisen- Creativity in this context means the sense of nov- sory way. Mandoki (2007, p. 63) points out that “[s] elty that is always present in clothing and fashion ense is the raw material of subjectivity, and exists design. A fashion designer creates a new collection

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.5 twice or even four times a year. Can this be aes- This section has laid the grounds for a general thetic creativity, which, according to Naukkarinen understanding of clothing aesthetics, and it ap- (2007, p. 53), means “creating a new solution never proached aesthetic evaluation as a multilayered tried before”? Clothing design is generally based experience, which combines different pleasures, on following and interlinking trends and styles, and bodily aspects, product properties and the wearer’s rarely does something completely unique happen in emotional experiences in the cultural and social the area of clothing design. Some designers how- context. This can be seen, as previously explained, ever have developed a new, distinct and personal as a ‘thin’ aesthetic evaluation. The next section will style in fashion, an act that could be considered unpack the notion of ‘thick’ aesthetic evaluation as aesthetic creativity. One example is Issey Miyake, well as the definition of green aesthetics based on who created a radically new clothing concept in the environmental aesthetics. 1980s: the one-size dress made with one cut piece of fabric. Miyake’s style is simple but this was quite revolutionary at that time because it renewed the GREEN AESTHETICS whole concept of making clothes based on tradi- While the discipline of green aesthetics is still tional measuring and model patterns. Miyake has emerging, discussion on it can be grounded on the also skillfully combined creativity, novelty in techni- basis of environmental aesthetics; nevertheless cal skillfulness and innovation, and high quality in even environmental aesthetics is rather new and design, style and materials. still developing as a discipline of its own. Arnold Berleant (1998, p. 114) argues that the environmental The notion of creativity can also be seen in how experience in aesthetics is not only visual; it in- the consumer interprets fashion in their own way volves all experiences through our sensory system. or even in creating their own styles when combin- It is suggested that the environmental experience ing different pieces of clothing to create a unique itself includes the following factors: space, mass, look. Uotila (1995) argues that a consumer creates volume, time, movement, color, light, smell, sound, a “fashion act” when modifying fashion styles and tactility, kinesthesia, pattern, order and meaning. rules to create an individual look according to their These factors are added to the normative dimen- own inner values, emotions and identity. Hence sion of environmental evaluation in environmental highly unique and visually beautiful, interesting and aesthetics. even odd personal deviations from fashion styles can be considered “fashion acts”, which may also This normative dimension of green aesthetics needs be defined as aesthetic creativity. a closer look. Sircello (1975, p. 79) writes about the goodness that beautiful objects may possess. Furthermore a short explanation on how design Goodness means that something is beneficial to or creativity is connected to the art world is needed. for something. Accordingly, the interpretation can Traditionally there has been a clear separation be- be made that green aesthetics is something that is tween the art and fashion fields, but there have been good and beneficial for the environment and sus- instances where fashion has penetrated into the art tainable development. Sircello also states based on world since the 1960s. In these instances a dress Immanuel Kant that beauty can be free or depend- has been a vehicle with which to express artistic ent, adherent, and he points out that up until the identity and intention. Even some fashion shows time of writing (the 1970s) philosophers had not may be constructed in an artistic way, where all been interested in adherent beauty. Environmental elements together create a unique and aesthetical problems have changed this situation, and the disci- experience. Garments may come close to sculpture pline of environmental aesthetics has been develop- or a space installation when exhibited in art muse- ing since the 1970s. The concept of green aesthetics ums. The contexts where the garments are present- has thereby emerged on this basis. ed are also crucial. However, even in these artistic instances, the other aspects of clothing are less In environmental aesthetics, the visual and other important, such as functionality and fit. (Pöppönen, sensory systems are not the only actors in the 20.12.2009) Naukkarinen (2001) distinguishes haute aesthetic experience. In environmental aesthetics couture and fashion from “everyday” clothes. He a deep dive into ecological values has to be made. argues that the former is strongly linked to the art Berleant suggests (2002, p. 16) that “aesthetic value world and its aesthetical dimensions, while the lat- may provide a foundation of intrinsic value for the ter needs a different aesthetic approach. ethical values in the environment.” There is thus a relationship between ethics and aesthetics in environmental aesthetics as well as in green aesthetics

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.6 that is fundamental. Environmental values pen- product as a whole and go beyond appearance, etrate the aesthetic evaluation when the observer is considering the production, materials, use and after- making an environmental aesthetical judgment. The use, and furthermore its meaning and contribution. object under evaluation also includes moral values, Papanek (1995, p. 57) talks about the spiritual values or the observer reflects upon the aesthetic evalu- in design in the following way: “There is a point at ation against ecological values. Jussi Kotkavirta which beauty and high utility through good design (2003, p. 97) argues that “…the aesthetic and the interconnect. If both conditions exist simultaneously ethical are different but connected with each oth- in an object, and are furthermore clear expressions er.” He also maintains that all that is aesthetically of the social intent of the people who designed it, valued is not at the same time ethically appreciated. it is possible to speak of the spiritual in design.” And the reverse is true: all that is ethically interest- This spiritual value in design comes close to the ing does not necessarily embody aesthetical attrib- definition of green aesthetics; furthermore Papanek utes. Victor Papanek (1995, p. 49) quotes Jean-Luc points out that when evaluating design one crite- Godard thus: “It may be true that one has to choose rion could be the dimension through which design between ethics and aesthetics, but whichever one significantly contributes to the sustainability of the chooses, one will always find the other at the end environment. The concept of design-for-sustainabil- of the road.” Berleant (1992) argues that the moral ity has emerged on the basis of this thinking. and aesthetic can join together, and when achiev- ing a breakthrough in ecological development it is There is therefore not only the aesthetical aspect possible to achieve the same also at aesthetic and but also the moral-aesthetical argumentation in moral levels. This is a strong, positive and normative green aesthetics, which merges moral values and statement regarding sustainable futures and what aesthetic sensitivity. Carlson (1976) offers the exam- choices to make to promote environmentalism. ple of plastic trees. Plastic trees can be as attractive as natural ones according to the thin aesthetic Berleant (2002) argues that environmental aesthet- meaning. According to thick aesthetics, however, ics points out important but often overlooked values plastic can be judged as aesthetically unpleasant, in ecological thinking, and it thereby offers ways ugly, on the grounds of the life value the plastic to rethink the conventional aesthetical explana- expresses. tions. Aesthetic qualities are usually identified from surface qualities. Furthermore there are usually Jordan (2002) believes that personal ideologies, two separate categories of sensory perception. such as environmental concerns, affect the aes- Distance receptors can sense using sight and hear- thetic appreciation of products. As the saying goes, ing to gain an aesthetic experience associated with beauty is in the eye of the beholder, but the eye ideal Beauty. Contact receptors engender a tactile notices what it has been taught to behold. Saito experience, which is linked to e.g. surface texture, (2007) asks if it is possible to redirect aesthetic pressure, and temperature, according to Berleant. preferences towards better environmental solu- These aspects are most important when we extend tions; that is, through education aesthetic taste can the concept of aesthetics to concern the world of be directed to appreciate environmental values. artifacts and their aesthetic evaluation. Berleant As described earlier the thick meaning in aesthetic (2002, p. 9) also argues that “aesthetic perception is evaluation can include a deeper evaluation entailing never purely a physical sensation and never dis- quality as well as morality. Hence thick aesthetics crete and timeless. It is always contextual, medi- include life values supporting sustainable develop- ated by the variety of the conditions and influences ment. Saito argues that “a new aesthetic sensibility that shape all experiences.” He points out that our should be cultivated to educate us about the conse- aesthetic perception and judgment are always cul- quences of our aesthetic preferences” (2007, p. 78). tural; therefore environmental aesthetics must also Brady (2002) argues that when feeding new knowl- involve cultural aesthetics, which is most important edge into an aesthetic experience, it is possible to when defining or judging the aesthetics of design rethink and re-evaluate aesthetic qualities. Stuart objects. Walker (2009) argues that knowledge about an artifact affects the way observers see, experience and Berleant and Carlson (2007, p. 207) claim that the respond to the object. strict meaning of beauty and aesthetic judgment implies “…a thorough background check and Ronald Moore (2008, p. 239) argues that “[i]t is consider[ation of the object’s] projected conse- a sign of maturity in general – moral, political, quences.” Walker (2009) points out that in the area and social no less than aesthetics – that feel- of sustainable design, we have to evaluate the ings and thought stratify.” He also points out that

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.7 responsibility helps us to develop a mature appre- be considered attractive. Hence eco-clothing has ciation for our normative response in aesthetics. to be attractive, a good fit, and visually pleasant Moore describes the order of responses to natural even if it is designed and manufactured according to beauty. The first response is an immediate pleased sustainable principles. For sustainable development reaction, where the sensory element is dominant. the best way to promote sustainable futures is to The second-order response is reflective aware- consume less. Hence the best way to try to assure ness, which needs a cognitive reaction and series of sustainable development involves recycling more, reframing and reflective inquiries. At the third level using clothes until they are completely worn out, the pleasure felt moves into commitment (eviden- and avoiding excessive water washing and iron- tiary consideration), and the fourth level entails an ing. This kind of sustainable scenario for clothes, analogical extension, according to Moore. He sug- where they are old, torn and patched up, dirty and gests that at this fourth level the aesthetic values wrinkled, would in practice correspond to environ- can connect with other values. mental values but most certainly would not fulfill our need for beauty or social norms in appropriateness. On this basis green aesthetics can be considered a In other words green but at the same time anti- normative way to evaluate design objects by com- aesthetic, ugly fashion is not possible. Saito argues bining aesthetic values with environmental values, (2007, p. 85) that “[g]reen aesthetics regarding and the aim, while doing so, is to promote sustain- artifacts has an additional mission: to render initially able futures (Saito, 2007). Hence it is not possible to attractive objects not so aesthetically positive if consider only the evaluation attributes proposed in they are environmentally harmful.” John Dewey the previous section; rather new factors with which (1925) states that we can explore changes in our to evaluate the green aesthetics in the clothing field valuing observation when a beautiful, aesthetic ob- must be formulated, while the aesthetic and moral ject is exposed to be something other than what we interests should be so intertwined that they are believed it to be. The most effective way to promote hard to separate. Brady (2002) suggests that we fa- environmental values is to link one’s own aesthetical vor moral values over aesthetic ones. Nevertheless preferences with an attraction to green aesthetics in clothing this is not such an easy process since and to guide design aesthetics in general to promote in appearance the most fundamental attribute is a sustainable world: that is, aligning aesthetics with beauty. environmentalism (Berleant & Carlson, 2007). This needs a maturing process, further research and Norman (2005, p. 38) argues that “[s]ophistication consumer and designer education. often brings with it a peculiar disdain for popular appeal, where the very aspects of a design that make GREEN AESTHETICS IN CLOTHING it appeal to many people distress some intellectu- The final section of this paper develops further the als.” As previously stated, a new kind of knowledge aesthetic dimension of green aesthetics in clothing. and understanding is needed in green aesthetic The approach is thus on the basis of aesthetic dis- evaluation. If we interpret Norman’s argument, we course yet in a more explorative than argumentative could conclude that the current appeal of popular way, unifying the issues previously discussed with clothing design and fashion will not satisfy environ- sustainable design values. mentally sophisticated minds. The cheap, low quality, mass-manufactured clothing presently available and ever-changing fashion styles do not correspond When attempting to pinpoint opportunities for green to ecological balance and environmental values in aesthetics in clothing, it is necessary to study the reaching sustainable futures. On the contrary: an possibilities for green dimensions in artifacts in gen- environmentally conscious consumer does not fol- eral. Saito (2007) shows several ways to approach low fast cycles of fashion trends but instead tries to everyday objects from a green aesthetic point of make environmentally and ethically better consump- view. The first is minimalism, which interlinks with tion choices. such terms as reduce, reuse and recycle from the discipline of sustainable design. In the context of clothing design all these terms are useful. Reduce In green aesthetics regarding artifacts scientific could be understood as the aim to reduce environ- information is needed to transform a negative mental impact in all stages of manufacturing and aesthetic response into a positive response, ac- transportation, and even in the use phase. This also cording to Saito (2007). Nonetheless the need for a means eco-efficiency in sustainable design. Reuse visually beautiful appearance is the most important and recycle are good principles for product design. factor in the field of clothing. Eco-clothes have to The cradle-to-cradle principle advises designers to fulfill the customer’s concept of beauty in order to

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.8 include multiple lifecycles for the object and the ma- appropriateness refers to the suitability for use, e.g. terial of which it is made (McDonough & Braungart, for workwear or in certain social situations, as well 2002). Recycling and multiple lifecycles are possible as the cultural and temporal context. A good fit and if the product does not combine too many materi- appropriateness could also increase the wearer’s als and it is simple enough for a separation process satisfaction and thereby ensure an extended lifes- after use; i.e. it is possible to be disassembled pan of the product. and recycled. Naukkarinen (2001) suggests that minimalism in everyday clothes means simplicity. Designer Anna Ruohonen has created a long lasting This can interpreted as being muted in style and collection, “Black Classics”, where each garment color. Clothing design based on classical styles and is made according to the wearer’s individual meas- colors, which do not change rapidly following fads, urements. This approach better ensures perfect fit, can be used longer and is thereby more sustainable. deep product satisfaction and through high quality This also refers to the second factor, which we will in material and manufacturing longer lasting prod- describe next. ucts. Ruohonen’s design strategy is to create classical and durable design, high quality garments yet The second dimension Saito (2007) suggests is with a creative touch (see Figure 1). This approach the product’s durability and longevity. This is best also respects the environment, as no surplus pro- achieved through high quality and classical design. duction is needed; the production is made according There are examples of this kind of eco-design: for to orders only. example, Anne Linnonmaa’s Eco-Fashion collection (the Anne Linnonmaa ecological fashion firm was Saito (2007) argues that one important value to operational 1993-2007). Linnonmaa’s collection was take into account in green aesthetics is the health made of eco-materials, with high quality standards aspect, describing the environment and its effects and classical styles and colors, and it was even on human health. This can be interpreted in the produced in Finland. The basic collection was added context of design to be a health issue in design, to slowly with new pieces and colors that could be manufacturing and use. The clothing industry in combined with previous Anne Linnonmaa clothes. Asian countries has a huge environmental impact, This lessened the consumers’ need to renew their for example. Some materials (such as cotton) may whole wardrobe according to changing trends and even include chemicals hazardous to the wearer, fashion. Longevity can be achieved by creating e.g. pesticides. To promote these health aspects in opportunities for upgrading and reparability in clothing, it would be beneficial to choose clothes products and by choosing materials that age well. that have an eco-label such as the European Union This is most critical in clothing, because often we eco-label. want new clothes not only because of changing fashions but because the material or the outfit is Saito (2007) further expands the scope of green aes- looking worn out. This means that designers and thetics by including a caring and sensitive attitude, consumers should prefer high quality materials and which she describes as the most general aesthetic carefully consider the prints and colors as well as value expressed by green objects. A responsible at- the textile techniques (printing or weaving) used titude towards the environment and objects we pos- in order to bring about the best result in pleasant sess is fundamental. Such an attitude leads to ethi- and aesthetical ageing. The aging process of, for cal consumption, that is, consuming less, but that example, real leather is more aesthetically pleasant which is durable and repairable. A caring attitude than artificial leather. and increased sense of responsibility is also intertwined with product attachment. A positive feeling Saito (2007) highlights the following dimensions in for green design is something to aim for, because green aesthetics: fittingness, appropriateness and positive emotions create commitment and bonding site-specificity. The last refers to e.g. locally avail- to these artifacts, which will be taken care of and able materials, according to Saito. It can also mean cherished. Recent research in the field of emotional local manufacturing and thus less transport. In the design offers designers several opportunities to clothing business localness is currently not easy embed these emotional bonding possibilities into to ensure, as cultivation, material and manufactur- products. We ascribe value to a product if we can ing processes are global, fragmented and mainly experience enjoyment with it, it offers us interper- located in lower-cost countries. Site-specificity sonal ties, and it becomes linked to the construc- also means respect for diversity and creating tion of our identity. Emotional intensity is greatest less monoculture. Hence the work in the field of new eco-materials is significant. Fittingness and

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.9 towards the objects that provide, for example, deep combine. Many areas overlap, and an individual sensory and aesthetic satisfaction. (e.g. Koskinen & attribute may fall into several categories simultane- Battarbee, 2003) ously. Aesthetics here is approached from a wide perspective, but this approach still leaves outside Jordan (2000) argues that one pleasure artifacts can several choices the designer must make during the provide, as previously mentioned, is ideo-pleasure, product development process. Nevertheless this which is linked to the user’s values such as envi- builds a framework for green aesthetics in clothing ronmental awareness as well as appreciation of and it is a contribution to fill the gap in our knowl- aesthetics. All pleasures can intertwine while using edge when approaching sustainable design from a the product, and through this interaction and pleas- philosophical point of view. According to this study ure an engagement with the product is created. This the definition of green aesthetics in clothing merges is especially meaningful if the user forms a long- with clothing design-for-sustainability. lasting attachment to the object. In green aesthetics both aesthetic and environmental values are “Definitions, be they more or less near the truth, connected, as mentioned, and the previous discus- can in particular situations help percipients to direct sion is summed up in Table IV. The first dimension their attention, but they cannot force percipients to still takes into account the pure visual and sensory see beauty” (Kuisma 2006, p. 73). The concept of pleasure, because beauty is always fundamental green aesthetics is normative, and it enables us to in appearance. The other factors lean strongly on cultivate and mature our aesthetical preferences. Saito’s arguments, and interpretations are made in Green aesthetics offers the possibility to combine order to add knowledge to the sustainable cloth- environmental values with aesthetic experiences. ing field. In these attributes both aesthetic values As McLennan (2004) outlines, while the current and values and principles from sustainable design rather young sustainable design field is developing

Table IV. Green aesthetics in clothing

Visual and Minimalism Durability Site-speci- Fittingness Health Caring and form qualities ficity sensitive Appropriate- attitude ness

color reducing longevity rejecting suitability for environmental responsible monoculture use impact in man- attitude ufacturing style eco-efficiency high quality respect for suitability extended diversity for social eco-materials product material reusing long lasting situation lifespan design and style use of differ- eco-labels cut, fit recycling ent materials, care and especially repairing material dura- eco-ones water footprint functionality multi-lifecy- bility cles satisfied expe- developing carbon foot- rience ageing aes- diversity in print classical thetically materials design deep product ethical manu- attachment reparability supporting facturing timeless different materials and manufacturing colors processes and safe to use small scale manufacturing

Aesthetic + environmental values + design for sustainability values

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.10 and maturing further, it offers us successful mod- design-for-sustainability can be drawn by merging els for combining beauty and high performance in aesthetic with environmental values and attributes. order to achieve successful green aesthetics and The sustainable design process is normative, and satisfying product experience. Papanek (1995, p. 70) it implies environmentalism. Sustainable design summed this up thus: “[t]he rise of a new aesthetic can offer the user positive aesthetic experiences that is formed by environmental and ecological and deep and lasting product satisfaction, and it considerations will be unpredictable in its shapes, should captivate the consumer’s imagination in a forms, colors, textures and varieties and – at the sustainable way. Knowledge about green aesthetics same time – enormously exciting.” and normative beauty helps us to develop our aesthetic evaluation in commodities in the context of sustainable development. CONCLUSIONS Beauty and aesthetic dimensions are the most significant when consumers are choosing his/ ACKNOWLEDGEMENTS her clothing and designers are creating new The author wishes to thank Vice Dean Ossi objects. Nevertheless current consumption is on Naukkarinen (Aalto University, School of Arts, unsustainable ground, and a new ethical consumer Design and Architecture) for his insightful culture and radical changes towards sustainability comments on earlier versions of this article. are needed. Green aesthetics offers the possibility to combine environmental values with aesthetic experiences. REFERENCES Berleant, A. (1992). The aesthetics of environment. Philadelphia: Temple University Press. Aesthetic perception is never only a pure physical or psychological experience, because it is always Berleant, A. (1998). Environmental aesthetics. In connected to time and culture. The concept of green M. Kelly (Ed.), Encyclopedia of aesthetics (Pp.114- aesthetics adds to this the possibility to embody 120). Oxford: Oxford University Press. moral and environmental values in aesthetic Berleant, A. (2002). Introduction: art, environment preferences. A better understanding of how and the shaping of experience. In A. Berleant aesthetic and environmental values are experienced (Ed.), Environment and the arts: perspectives on forms a solid basis for the evaluation process environmental aesthetics (Pp. 1-21). Burlington: through which the observer can evaluate his/her Ashgate Publishing Limited. own aesthetic preferences in the field of design Berleant, A., & Carlson, A. (2007). The aesthetics of and commodities. This profoundly new way to align human environments. Canada: Broadview Press. design-for-sustainability and green aesthetics Brady, E. (2002). Aesthetics, ethics and the natural advances our understanding of material culture. environment. In A. Berleant (Ed.), Environment and Green aesthetics is normative, and it enables us the arts: perspectives on environmental aesthetics to cultivate our aesthetical preferences according (Pp. 113-126). Burlington, Usa: Ashgate Publishing to sustainable values. Furthermore it extends Limited. the possibilities to evaluate design objects and Carlson, A. (1976). Ympäristöestetiikka ja commodities on the ground of aesthetics. esteettisen kasvatuksen dilemma. In Y. Sepänmaa (Ed.), (1994). Alligaattorin hymy. This study has presented an approach to green Ympäristöestetiikan uusi aalto (Pp. 105-117). aesthetics in clothing and design-for-sustainability Finnish Translation Leevi Leht. Jyväskylä: that describes aspects of green aesthetics relevant Gummerus. to the designer and the consumer. The study Chattaram, V., & Rudd, N. A. (2006). Preferences for first constructed an understanding of clothing aesthetic attributes in clothing as a function of aesthetics in general: the thin aesthetic definition body image, body cathexis and body size. Clothing in the context of clothing, which combines product and Textiles Research Journal, 24 (1), 46-61. properties, multilayered pleasure experiences and Crilly, N. (2004). Seeing things: consumer response creativity aspects. Secondly the study grounded the to the visual domain in product design. Design definition for green aesthetics, the thick aesthetic Studies 25, 547-577. evaluation based on environmental aesthetics. Finally the study constructed a framework with Crilly, N. (2009). Shaping things: intended consumer which to approach green aesthetics in clothing. response and the other determinants of product form. Design Studies 30, 224-254. On the basis of this paper parallels between green aesthetics in design objects and the definition of

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.11 Dewey, J. (1925). Art as experience. Chicago: Open Moore, R. (2008). Natural beauty: a theory of aes- Court Publishing. thetics beyond arts. Ontario: Broadview Press. Giannini, F., & Monti, M., & Podehl, G. (2006). Naukkarinen, O. (1998). Aesthetics of the una- Aesthetic-driven tools for industrial design. voidable: aesthetic variations in human appear- Journal Of Engineering Design, 17(3), 193-215. ance. Lahti: International Institute Of Applied Aesthetics. Hanson, K. (1998). Fashion and philosophy. In M. Kelly (Ed.), Encyclopedia of aesthetics (Pp.157- Naukkarinen, O. (2007). Art of the environment. 160). Oxford: Oxford University Press. Helsinki: Okka Foundation For Teaching, Education And Personal Development. Hekkert, P. (2006). Design aesthetics: principles of pleasure in design. Psychology Sciences, Niinimäki, K. (2009). Consumer values and eco- 48(2):157-172. fashion in the future. In M. Koskela, & M. Vinnari, (Eds.). Hsiao, S., & Chiu. F., & Chen, C. S. (2008). Applying Future of the consumer society. aesthetics measurement to product design. Proceedings of the conference “future of the consumer society”, 28–29 may 2009, tampere, finland Industrial Economics, 38, 910-920. (Pp.125-134). Finland Futures Research Centre, Jordan, P. (2000). Designing pleasurable products: Turku School Of Economics. Available at: http:// an introduction to the new human factors. London: www.tse.fi/fi/yksikot/erillislaitokset/tutu/docu- Taylor And Francis. ments/publications/ebook_2009-7.pdf [Accessed Kaiser, S. (1990). The social psychology of clothing: 2 November 2009] symbolic appearances in context (2nd ed.). USA: Niinimäki, K. (2010). Eco-clothing, consumer identity Macmillan Publishing Company. and ideology. Journal Of Sustainable Development. Koskinen, I., & Battarbee, K. (2003). Introduction 18: Forthcoming. to user experience and empathic design. In I. Norman, D. (2005). Emotional design: why we love Koskinen & K. Battarbee & T. Mattelmäki (Eds.), (or hate) everyday things. New York: Basic Books. Empathic design: user experience in product de- Papanek, V. (1995). The green imperative: ecology sign. Helsinki: Edita. and ethics in design and architecture. New York: Kotkavirta, J. (2003). Aesthetic experience and Thames And Hudson. intrinsic values. In A. Haapala & O. Kuisma (Eds.), Pöppönen, H. (2009). Muoti valloittaa taiteen peli- Aesthetic experience and the ethical dimension. kentän. Boijmans-museon näyttely tutkii muodin Essays on moral problems in aesthetics (Pp. 83- Helsingin Sanomat 20.12. 98). Helsinki: Philosophical Society of Finland. ja kuvataiteen suhdetta. 2009. Kuisma, O. (2003). Plotinus: beauty, virtue, and Rashid, A., & Mac Donald, B. J., & Hashmi, M. S. aesthetic experience. In A. Haapala & O. Kuisma J. (2004). Evaluation of the aesthetics of prod- (Eds.), Aesthetic experience and the ethical ucts and integration of the findings in a proposed dimension. Essays on moral problems in aesthet- intelligent design system. Journal Of Material ics (Pp. 65-82). Helsinki: Philosophical Society Of , 380-385. Finland. Processing Technology, 153-154 Saito, Y. (2007). Oxford: Oxford Lang, J. (1988). Symbolic aesthetics in architec- Everyday aesthetics. University Press. ture: toward a research agenda. In J. L. Nasar (Ed.) Environmental aesthetics. Theory, research Sepänmaa, Y. (1980). Tarkoituksenmukaisuus & application (Pp.11-26). Cambridge: Cambridge ympäristön kauneuden kriteerinä. In A. Kinnunen University Press. & Y. Sepänmaa (Eds.), Ympäristöestetiikka (Pp.199- 229). Helsinki: Gaudeamus. Mandoki, K. (2007). Everyday aesthetics: prosa- ics, the play of culture and social identities. Sepänmaa, Y. (1991). Kauneuden käsite & ympäristö Hampshire: Ashgate. kokonaistaideteoksena. Technical Research Centre in Finland, Research Notes 1294, Espoo. Martin, R. (1998). Fashion as art. In M. Kelly (Ed.), Encyclopedia of aesthetics (Pp.154-157). Oxford: Shusterman, R. (1997). Taide, elämä ja estetiikka. Oxford University Press. Pragmatistinen filosofia ja estetiikka. (Translation Vesa Mujunen). Helsinki: Gaudeamus & Finnish Mcdonough, W., & Braungart, M. (2002). Cradle to University Press. cradle. Remaking the way we make things. New York: North Point Press. Sircello, G. (1975). A new theory of beauty. Princeton: Princeton University Press. Mclennan, J.F. (2004). The philosophy of sustainable design. Canada: Ecotone. Tiger, L. (1992). The pursuit of pleasure. Boston: Little, Brown & Company.

Artifact | 2014 | Volume III, Issue 3 | Pages 3.1-3.13 3.12 Uotila M. (1995). Image of clothing – the ways of being. In U. Suojanen (Ed.) Clothing and its social, psychological, cultural and environmental aspects. Proceedings of textiles, clothing and craft design, Helsinki, May 18-20, 1995 (pp. 93-105). University of Helsinki. Walker, S. (2009). After taste – the power and preju- dice of product appearance. The Design Journal, 12(1), 25-39.

BIOGRAPHY Kirsi Niinimäki is a Post Doc Researcher at Aalto University, School of Arts, Design and Architecture. She focuses on design for sustainability issues, strategic sustainability approaches and green business thinking in her research. She has published in the Research Journal of Textile and Apparel, Journal of Sustainable Development, Design Journal, Journal of Cleaner Production, International Journal of Fashion Design, Technology and Education, and Journal of Textile Design Research and Practice.

CORRESPONDENCE Kirsi Niinimäki Aalto University, School of Arts, Design and Architecture Department of Design, Design Research PO BOX 31000 FI-00076 Aalto email: [email protected] Tel +358 40 5539414

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