Aesthetics of dress contributes to the quality of life and is therefore significant to study. Aesthetics is the reaction of pleasure and satisfaction derived from human sensations. Through experiences of sight, smell, touch, hearing, and taste. When the rules of aesthetics apply. The focuses may be on just the product. The way the product interacts with other products on oneself or others wearing the product. The looks created for a specific time and place. Aesthetics of dress is about how people choose to appear. The way they want to look to themselves and others within a particular context. The outcome is appreciating the richness and complexity of aesthetics outfits.
History of Aesthetic Concepts:
A historical review of the aesthetics of dress reflects a changing perception. In the early twentieth century, recognizing and then practicing “good taste” was a goal of dedicated educators such as Harriet and Vetta Goldstein (1940), sisters and design teachers, who authored numerous editions of the textbook Art in Everyday Life. Aesthetics outfits are tied in a very short time to the experiences of a society. For example, U.S. males identified primarily with their work and showed relatively little interest in aesthetics and fashion compared to females.
In the 1930s dress was heavily influenced by innovation the talking motion pictures. Women were a primary target for star-endorsed products and publicity as analyzed. The idea of aesthetic outfits according to “fashion type” lasted long. After the 1930s and the idea was still prevalent in the 1970s in U.S. textbooks such as the one written by Harriet McJimsey (1974). In the 1980s, the idea of “dressing for success” and according to one’s color palette arose as a result of men and women wanting to dress to be attractive and present their most professional image.
Experience Of Aesthetic:
These various perspectives help understand the aesthetic experience. For example, one’s individual experience and response is one perspective. This includes the experiences of dressing oneself for individual satisfaction. The collective response was noted by Herbert Blumer (1969), a sociologist, in his classic research on the collective selection process of professionals recognizing what is going to be fashionable for a given time and culture.
Finally, a universal perspective comes when many people across cultures and time agree upon the ultimate aesthetic experience. As fashion becomes more global, there may be a push toward understanding a universal aesthetic response. Many writers consider it important to distance oneself from the object under consideration and focus upon the various perspectives from that vantage point. Sorting out and reflecting upon what is individual, collective, and universal. In our response is needed to understand aesthetics, as well as to recognize the importance of interrelationships.