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 understand- ing 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 evalu- ation 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