# data[].attributes.body
Fashion is a popular aesthetic expression at a particular time and in a specific context, especially in clothing ,footwear , lifestyle , accessories , makeup ,hairstyle, and body proportions. Whereas a trend often connotes a peculiar aesthetic expression and often lasting shorter than a season, fashion is a distinctive and industry-supported expression traditionally tied to the fashion season and collections.Style is an expression that lasts over many seasons and is often connected to cultural movements and social markers, symbols, class, and culture. According to sociologist , fashion connotes "the latest fashion, the latest difference.

# data[].attributes.attachment_link.readable_text
"Swinging London": Young adults in London's Carnaby Street.

Fashion is a term used interchangeably to describe the creation of clothing, footwear, accessories, cosmetics, and jewellery of different cultural aesthetics and their mix and match into outfits that depict distinctive ways of dressing ( styles and trends) as signifiers of social status, self-expression, and group belonging. As a multifaceted term, fashion describes an industry, styles, aesthetics, and trends.

The term 'fashion' originates from the Latin word 'Facere,' which means 'to make,' and describes the manufacturing, mixing, and wearing of outfits adorned with specific cultural aesthetics, patterns, motifs, shapes, and cuts, allowing people to showcase their group belonging, values, meanings, beliefs, and ways of life. Given the rise in mass production of commodities and clothing at lower prices and global reach, reducing fashion's environmental impact and improving sustainability has become an urgent issue among politicians, brands, and consumers.

Definitions

The French word mode, meaning "fashion", dates as far back as 1482, while the English word denoting something "in style" dates only to the 16th century. Other words exist related to concepts of style and appeal that precede mode. In the 12th and 13th century Old French the concept of elegance begins to appear in the context of aristocratic preferences to enhance beauty and display refinement, and cointerie, the idea of making oneself more attractive to others by style or artifice in grooming and dress, appears in a 13th-century poem by Guillaume de Lorris advising men that "handsome clothes and handsome accessories improve a man a great deal".

Woman's Bicycling Ensemble, 1898, LACMA

Fashion scholar Susan B. Kaiser states that everyone is "forced to appear", unmediated before others. Everyone is evaluated by their attire, and evaluation includes the consideration of colors, materials, silhouette, and how garments appear on the body. Garments identical in style and material also appear different depending on the wearer's body shape, or whether the garment has been washed, folded, mended, or is new.

Fashion is defined in a number of different ways, and its application can be sometimes unclear. Though the term fashion connotes difference, as in "the new fashions of the season", it can also connote sameness, for example in reference to "the fashions of the 1960s", implying a general uniformity. Fashion can signify the latest trends, but may often reference fashions of a previous era, leading to the reappearance of fashions from a different time period. While what is fashionable can be defined by a relatively insular, esteemed and often rich aesthetic elite who make a look exclusive, such as fashion houses and haute couturiers, this 'look' is often designed by pulling references from subcultures and social groups who are not considered elite, and are thus excluded from making the distinction of what is fashion themselves.

Whereas a trend often connotes a peculiar aesthetic expression, often lasting shorter than a season and being identifiable by visual extremes, fashion is a distinctive and industry-supported expression traditionally tied to the fashion season and collections. Style is an expression that lasts over many seasons and is often connected to cultural movements and social markers, symbols, class, and culture (such as Baroque and Rococo). According to sociologist Pierre Bourdieu, fashion connotes "the latest difference."

Bella Hadid at the Cannes Film Festival

Even though the terms fashion, clothing and costume are often used together, fashion differs from both. Clothing describes the material and the technical garment, devoid of any social meaning or connections; costume has come to mean fancy dress or masquerade wear. Fashion, by contrast, describes the social and temporal system that influences and "activates" dress as a social signifier in a certain time and context. Philosopher Giorgio Agamben connects fashion to the qualitative Ancient Greek concept of kairos, meaning "the right, critical, or opportune moment", and clothing to the quantitative concept of chronos, the personification of chronological or sequential time.

While some exclusive brands may claim the label haute couture, in France, the term is technically limited to members of the Chambre Syndicale de la Haute Couture in Paris. Haute couture is more aspirational; inspired by art and culture, and in most cases, reserved for the economic elite. However, New York's fashion calendar hosts Couture Fashion Week, which strives for a more equitable and inclusive mission.

Fashion is also a source of art, allowing people to display their unique tastes, sensibilities, and styles. Different fashion designers are influenced by outside stimuli and reflect this inspiration in their work. For example, Gucci's 'stained green' jeans may look like a grass stain, but to others, they display purity, freshness, and summer.

Fashion is unique, self-fulfilling and may be a key part of someone's identity. Similarly to art, the aims of a person's choices in fashion are not necessarily to be liked by everyone, but instead to be an expression of personal taste. A person's personal style functions as a "societal formation always combining two opposite principles. It is a socially acceptable and secure way to distinguish oneself from others and, at the same time, it satisfies the individual's need for social adaptation and imitation." While philosopher Immanuel Kant believed that fashion "has nothing to do with genuine judgements of taste", and was instead "a case of unreflected and 'blind' imitation", sociologist Georg Simmel thought of fashion as something that "helped overcome the distance between an individual and his society".

History of fashion

Changes in clothing often took place at times of economic or social change, as occurred in ancient Rome and the medieval Caliphate, followed by a long period without significant changes. In eighth-century Moorish Spain, the musician Ziryab introduced to Córdoba[unreliable source ] sophisticated clothing styles based on seasonal and daily fashions from his native Baghdad, modified by his inspiration. Similar changes in fashion occurred in the 11th century in the Middle East following the arrival of the Turks, who introduced clothing styles from Central Asia and the Far East.

Alleged Western distinctiveness

Gensei Kajin Shu by Yoshu Chikanobu, 1890. Various styles of traditional Japanese clothing and Western styles.

Early Western travellers who visited India, Persia, Turkey, or China, would frequently remark on the absence of change in fashion in those countries. In 1609, the secretary of the Japanese shōgun bragged inaccurately to a Spanish visitor that Japanese clothing had not changed in over a thousand years. However, these conceptions of non-Western clothing undergoing little, if any, evolution are generally held to be untrue; for instance, there is considerable evidence in Ming China of rapidly changing fashions in Chinese clothing. In imperial China, clothing were not only an embodiment of freedom and comfort or used to cover the body or protect against the cold or used for decorative purposes; it was also regulated by strong sumptuary laws which was based on strict social hierarchy system and the ritual system of the Chinese society. It was expected for people to be dressed accordingly to their gender, social status and occupation; the Chinese clothing system had cleared evolution and varied in appearance in each period of history. However, ancient Chinese fashion, like in other cultures, was an indicator of the socioeconomic conditions of its population; for Confucian scholars, however, changing fashion was often associated with social disorder which was brought by rapid commercialization. Clothing which experienced fast changing fashion in ancient China was recorded in ancient Chinese texts, where it was sometimes referred as shiyang, "contemporary-styles", and was associated with the concept of fuyao, "outrageous dress", which typically holds a negative connotation. Similar changes in clothing can be seen in Japanese clothing between the Genroku period and the later centuries of the Edo period (1603-1867), during which a time clothing trends switched from flashy and expensive displays of wealth to subdued and subverted ones.

The myth on the lack of fashion in what was considered the Orient was related to Western Imperialism also often accompanied Orientalism, and European imperialism was especially at its highest in the 19th century. In the 19th century time, Europeans described China in binary opposition to Europe, describing China as "lacking in fashion" among many other things, while Europeans deliberately placed themselves in a superior position when they would compare themselves to the Chinese as well as to other countries in Asia:

Latent orientalism is an unconscious, untouchable certainty about what the Orient is, static and unanimous, separate, eccentric, backward, silently different, sensual, and passive. It has a tendency towards despotism and away from progress. [...] Its progress and value are judged in comparison to the West, so it is the Other. Many rigorous scholars [...] saw the Orient as a locale requiring Western attention, reconstruction, even redemption.

-  Laura Fantone quoted Said (1979), Local Invisibility, Postcolonial Feminisms Asian American Contemporary Artists in California, page 166

Similar ideas were also applied to other countries in the East Asia, in India, and Middle East, where the perceived lack of fashion were associated with offensive remarks on the Asian social and political systems:

I confess that the unchanging fashions of the Turks and other Eastern peoples do not attract me. It seems that their fashions tend to preserve their stupid despotism.

Additionally, there is a long history of fashion in West Africa. Cloth was used as a form of currency in trade with the Portuguese and Dutch as early as the 16th century, and locally produced cloth and cheaper European imports were assembled into new styles to accommodate the growing elite class of West Africans and resident gold and slave traders. There was an exceptionally strong tradition of weaving in the Oyo Empire, and the areas inhabited by the Igbo people.

Fashion in the Western world

Marie Antoinette, wife of Louis XVI, was a leader of fashion. Her choices, such as this 1783 white muslin dress called a chemise a la Reine, were highly influential and widely worn.[26]

The beginning in Europe of continual and accelerating change in clothing styles can be fairly reliably dated to late medieval times. Historians, including James Laver and Fernand Braudel, date the start of Western fashion in clothing to the middle of the 14th century, though they tend to rely heavily on contemporary imagery, as illuminated manuscripts were not common before the 14th century. The most dramatic early change in fashion was a sudden drastic shortening and tightening of the male over-garment from calf-length to barely covering the buttocks, sometimes accompanied with stuffing in the chest to make it look bigger. This created the distinctive Western outline of a tailored top worn over leggings or trousers.

The pace of change accelerated considerably in the following century, and women's and men's fashion, especially in the dressing and adorning of the hair, became equally complex. Art historians are, therefore, able to use fashion with confidence and precision to date images, often to within five years, particularly in the case of images from the 15th century. Initially, changes in fashion led to a fragmentation across the upper classes of Europe of what had previously been a very similar style of dressing and the subsequent development of distinctive national styles. These national styles remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France. Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance, but still uncomfortably close for the elites - a factor that Fernand Braudel regards as one of the main motors of changing fashion.

Albrecht Dürer's drawing contrasts a well-turned out bourgeoise from Nuremberg (left) with her counterpart from Venice. The Venetian lady's high chopines make her look taller.

In the 16th century, national differences were at their most pronounced. Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats. Albrecht Dürer illustrated the differences in his actual (or composite) contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the late 16th century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid-17th century, French styles decisively took over leadership, a process completed in the 18th century.

Though different textile colors and patterns changed from year to year, the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut, changed more slowly. Men's fashions were primarily derived from military models, and changes in a European male silhouette were galvanized in theaters of European war where gentleman officers had opportunities to make notes of different styles such as the "Steinkirk" cravat or necktie. Both parties wore shirts under their clothing, the cut and style of which had little cause to change over a number of centuries.

Though there had been distribution of dressed dolls from France since the 16th century and Abraham Bosse had produced engravings of fashion in the 1620s, the pace of change picked up in the 1780s with increased publication of French engravings illustrating the latest Paris styles. By 1800, all Western Europeans were dressing alike (or thought they were); local variation became first a sign of provincial culture and later a badge of the conservative peasant.

Although tailors and dressmakers were no doubt responsible for many innovations, and the textile industry indeed led many trends, the history of fashion design is generally understood to date from 1858 when the English-born Charles Frederick Worth opened the first authentic haute couture house in Paris. The Haute house was the name established by the government for the fashion houses that met the standards of the industry. These fashion houses continue to adhere to standards such as keeping at least twenty employees engaged in making the clothes, showing two collections per year at fashion shows, and presenting a certain number of patterns to costumers. Since then, the idea of the fashion designer as a celebrity in their own right has become increasingly dominant.

Although fashion can be feminine or masculine, additional trends are androgynous. The idea of unisex dressing originated in the 1960s, when designers such as Pierre Cardin and Rudi Gernreich created garments, such as stretch jersey tunics or leggings, meant to be worn by both males and females. The impact of unisex wearability expanded more broadly to encompass various themes in fashion, including androgyny, mass-market retail, and conceptual clothing. The fashion trends of the 1970s, such as sheepskin jackets, flight jackets, duffel coats, and unstructured clothing, influenced men to attend social gatherings without a dinner jacket and to accessorize in new ways. Some men's styles blended the sensuality and expressiveness, and the growing gay-rights movement and an emphasis on youth allowed for a new freedom to experiment with style and with fabrics such as wool crepe, which had previously been associated with women's attire.

Cover of Marcus Clarks' spring and summer catalogue 1926-27

The four major current fashion capitals are acknowledged to be New York City ( Manhattan), Paris, Milan, and London, which are all headquarters to the most significant fashion companies and are renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers exhibit their new clothing collections to audiences. A study demonstrated that general proximity to New York's Garment District was important to participate in the American fashion ecosystem. Haute couture has now largely been subsidized by the sale of ready-to-wear collections and perfume using the same branding.

Modern Westerners have a vast number of choices in the selection of their clothes. What a person chooses to wear can reflect their personality or interests. When people who have high cultural status start to wear new or different styles, they may inspire a new fashion trend. People who like or respect these people are influenced by their style and begin wearing similarly styled clothes.

Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography, and may also vary over time. The terms fashionista and fashion victim refer to someone who slavishly follows current fashions.

Liu Wen, supermodel, walks the runway modeling fashions by designer Diane von Fürstenberg at New York Fashion Week 2013.

In the early 2000s, Asian fashion influences became increasingly significant in local and global markets. Countries such as China, Japan, India, and Pakistan have traditionally had large textile industries with a number of rich traditions; though these were often drawn upon by Western designers, Asian clothing styles gained considerable influence in the early- to mid-2000s.

China

Chinese fashion remained constantly changing over the centuries. In China, throughout the Tang Dynasty (618-907), women wore extravagant attire to demonstrate prosperity. Mongol men of the Yuan Dynasty (1279-1368) wore loose robes; horsemen sported shorter robes, trousers, and boots to provide ease when horseback riding. The leaders of the Qing Dynasty (1644-1911) maintained Manchu dress, while establishing new garments for officials; while foot binding -originally introduced in the 10th century-was not preserved, women of this era were expected to wear particular heels that pushed them to take on a ladylike walk.

Then, in the 1920s, qipao was in vogue and the style consisted of stand collars, trumpet sleeves, straight silhouettes and short side slits. Since then, designers started to move into Western fashion like fur coats and cloaks and body-hugging dresses with long side slits as qipao became more popular. In the 1950s and 60s, 'Lenin coats' with double lines of buttons, slanting pockets and a belt came into vogue among Chinese men.

India

In India, it has been common for followers of different religions to wear corresponding pieces of clothing. During the 15th century, Muslim and Hindu women wore notably different articles of clothing. This is also seen in many other Eastern world countries.

In the Victorian era, most women did not wear blouses under their saris, which did not suit the Victorian society; however, British and Indian fashion would be influenced by each other in following decades. In the 1920s, the nationalists adopted Khadi cloth as a symbol of resistance; here, Gandhi became the face of the resistance which made people spin, weave, and wear their Khadi. Today, the salwaar-kameez is recognized as the national dress of India.

Japan

For Japan, the people during the Meiji period (1868-1912) widely incorporated Western styles into Japanese fashion, which is considered to be a remarkable transformation for the Japanese vogue. They extensively adopted the style and practices of Western cultures.The upper classes wore more extravagant pieces of clothing like luxurious patterned silks and adorned themselves with fancy sashes. Women also started wearing Western dresses in public instead of their traditional Kimono. Most of the officials were also required to wear Western suits. In this way, the Japanese slowly adopted into Western fashion. Moreover, like India, different Japanese religions wear different pieces of clothing.

Fashion industry

Model with a modern dress reflecting the current fashion trend at a fashion show, Paris, 2011

Kaia Gerber at the 2019 Max Mara Fashion Week in Milan

In its most common use, the term fashion refers to the current expressions on sale through the fashion industry. The global fashion industry is a product of the modern age. In the Western world, tailoring has since medieval times been controlled by guilds, but with the emergence of industrialism, the power of the guilds was undermined. Before the mid-19th century, most clothing was custom-made. It was handmade for individuals, either as home production or on order from dressmakers and tailors. By the beginning of the 20th century, with the rise of new technologies such as the sewing machine, the rise of global trade, the development of the factory system of production, and the proliferation of retail outlets such as department stores, clothing became increasingly mass-produced in standard sizes and sold at fixed prices.

Although the fashion industry developed first in Europe and America, as of 2017, it is an international and highly globalized industry, with clothing often designed in one country, manufactured in another, and sold worldwide. For example, an American fashion company might source fabric in China and have the clothes manufactured in Vietnam, finished in Italy, and shipped to a warehouse in the United States for distribution to retail outlets internationally.

The fashion industry has for a long time been one of the largest employers in the United States, and it remains so in the 21st century. However, U.S. employment in fashion began to decline considerably as production increasingly moved overseas, especially to China. Because data regarding the fashion industry typically are reported for national economies and expressed in terms of the industry's many separate sectors, aggregate figures for the world production of textiles and clothing are difficult to obtain. However, by any measure, the clothing industry accounts for a significant share of world economic output. The fashion industry consists of four levels:

1. The production of raw materials, principally fiber, and textiles but also leather and fur.

2. The production of fashion goods by designers, manufacturers, contractors, and others.

3. Retail sales.

4. Various forms of advertising and promotion.

The levels of focus in the fashion industry consist of many separate but interdependent sectors. These sectors include textile design and production, fashion design and manufacturing, fashion retailing, marketing and merchandising, fashion shows, and media and marketing. Each sector is devoted to the goal of satisfying consumer demand for apparel under conditions that enable participants in the industry to operate at a profit.

Fashion trends

A fashion trend signifies a specific look or expression that is spread across a population at a specific time and place. A trend is considered a more ephemeral look, not defined by the seasons when collections are released by the fashion industry. A trend can thus emerge from street style, across cultures, and from influencers and other celebrities.

Fashion trends are influenced by several factors, including cinema, celebrities, climate, creative explorations, innovations, designs, political, economic, social, and technological. Examining these factors is called a PEST analysis. Fashion forecasters can use this information to help determine the growth or decline of a particular trend.

People's minds as well as their perceptions and consciousness are constantly changing. Fads are inherently social, are constantly evolving in a contradiction between the old and the new, and are in a sense easily influenced by those around them, and therefore also begin to imitate constantly.

Timberland boots are an everyday shoe in streetwear.

Continuing on from the maximalist and 1980s influences of the early 2020s, vibrant coloured clothing had made a comeback for women in America, France, China, Korea, and the Ukraine by the spring of 2023. This style, sometimes referred to as " dopamine dressing", featured long skirts and belted maxi dresses with thigh splits, lots of gold and pearl jewelry, oversized striped cardigan sweaters, multicoloured silk skirts with seashell or floral print, strappy sandals, pants with a contrasting stripe down the leg, ugg boots, floral print maxi skirts, Y2K inspired platform shoes, chunky red rain boots, shimmery jumpsuits, knitted dresses, leather pilot jackets with faux fur collars, skirts with bold contrasting vertical stripes, trouser suits with bootcut legs, jeans with glittery heart or star-shaped details, chunky white or black sandals, and zebra print tote bags.

Big, oversized garments were often made from translucent materials and featured cutouts intended to expose the wearer's bare shoulder, thigh, or midriff, such as low-cut waists on the pants or tops with strappy necklines intended to be worn braless. Desirable colours included neon green, watermelon green, coral pink, orange, salmon pink, magenta, gold, electric blue, aquamarine, cyan, turquoise, and royal blue.

In 2023, the predominant colours in Britain, France and America were red, white and blue. As in the mid to late 1970s, Western shirts with pearl snaps in denim or bright madras plaid made a comeback, and sometimes featured contrasting yokes and cuffs with intricate embroidery. Moccasins, stonewash denim waistcoats with decorative fringes, preppy loafers, navy blue suits and sportcoats, straight leg jeans instead of the skinny jeans fashionable from the late 2000s until the early 2020s, stetsons, white baseball jerseys with bold red or blue pinstripes, striped blue neckties, baggy white pants, Union Jack motifs, flared jeans, duster coats as worn in the Yellowstone TV series, preppy style college sweaters, retro blue and white striped football shirts, chelsea boots with cowboy boot styling, two-button blazers with red and blue boating stripes, V-neck sweater vests, royal blue baseball jackets with white sleeves, Howler Brothers gilets, shirts and suits worn open to expose the chest, and boxy leather reefer jackets were popular on both sides of the Atlantic.

Social influences

Fashion is inherently a social phenomenon. A person cannot have a fashion by oneself, but for something to be defined as fashion, there needs to be dissemination and followers. This dissemination can take several forms; from the top-down ("trickle-down") to bottom-up ("bubble up/trickle-up"), or transversally across cultures and through viral memes and media ("trickle-across").

Fashion relates to the social and cultural context of an environment. According to Matika, "Elements of popular culture become fused when a person's trend is associated with a preference for a genre of music [...] like music, news, or literature, fashion has been fused into everyday lives." Fashion is not only seen as purely aesthetic; fashion is also a medium for people to create an overall effect and express their opinions and overall art.

This mirrors what performers frequently accomplish through music videos. In the music video 'Formation' by Beyoncé, according to Carlos, The annual or seasonal runway show is a reflection of fashion trends and a designer's inspirations. For designers like Vivienne Westwood, runway shows are a platform for her voice on politics and current events. For her AW15 menswear show, according to Water, "where models with severely bruised faces channeled eco-warriors on a mission to save the planet." Another recent example is a staged feminist protest march for Chanel's SS15 show, rioting models chanting words of empowerment using signs like "Feminist but feminine" and "Ladies first." According to Water, "The show tapped into Chanel's long history of championing female independence: founder Coco Chanel was a trailblazer for liberating the female body in the post-WWI era, introducing silhouettes that countered the restrictive corsets then in favour."

The annual Met Gala ceremony in Manhattan is the premier venue where fashion designers and their creations are celebrated. Social media is also a place where fashion is presented most often. Some influencers are paid huge amounts of money to promote a product or clothing item, where the business hopes many viewers will buy the product off the back of the advertisement. Instagram is the most popular platform for advertising, but Facebook, Snapchat, Twitter and other platforms are also used. In New York, the LGBT fashion design community contributes very significantly to promulgating fashion trends, and drag celebrities have developed a profound influence upon New York Fashion Week.

Market research

Consumers of different groups have varying needs and demands. Factors taken into consideration when analyzing consumers' needs include key demographics. To understand consumers' needs and predict fashion trends, fashion companies have to do market research There are two research methods: primary and secondary. Secondary methods are taking other information that has already been collected, for example using a book or an article for research. Primary research is collecting data through surveys, interviews, observation, and/or focus groups. Primary research often focuses on large sample sizes to determine customer's motivations to shop.

The benefits of primary research are specific information about a fashion brand's consumer is explored. Surveys are helpful tools; questions can be open-ended or closed-ended. Negative factor surveys and interviews present is that the answers can be biased, due to wording in the survey or on face-to-face interactions. Focus groups, about 8 to 12 people, can be beneficial because several points can be addressed in depth. However, there are drawbacks to this tactic, too. With such a small sample size, it is hard to know if the greater public would react the same way as the focus group. Observation can really help a company gain insight on what a consumer truly wants. There is less of a bias because consumers are just performing their daily tasks, not necessarily realizing they are being observed. For example, observing the public by taking street style photos of people, the consumer did not get dressed in the morning knowing that would have their photo taken necessarily. They just wear what they would normally wear. Through observation patterns can be seen, helping trend forecasters know what their target market needs and wants.

Knowing the needs of consumers will increase fashion companies' sales and profits. Through research and studying the consumers' lives the needs of the customer can be obtained and help fashion brands know what trends the consumers are ready for.

Symbolic consumption

Consumption is driven not only by need, the symbolic meaning for consumers is also a factor. Consumers engaging in symbolic consumption may develop a sense of self over an extended period of time as various objects are collected as part of the process of establishing their identity and, when the symbolic meaning is shared in a social group, to communicate their identity to others. For teenagers, consumption plays a role in distinguishing the child self from the adult. Researchers have found that the fashion choices of teenagers are used for self-expression and also to recognize other teens who wear similar clothes. The symbolic association of clothing items can link individuals' personality and interests, with music as a prominent factor influencing fashion decisions.

Political influences

Political figures have played a central role in the development of fashion, at least since the time of French king Louis XIV. For example, First Lady Jacqueline Kennedy was a fashion icon of the early 1960s. Wearing Chanel suits, structural Givenchy shift dresses, and soft color Cassini coats with large buttons, she inspired trends of both elegant formal dressing and classic feminine style.

Cultural upheavals have also had an impact on fashion trends. For example, during the 1960s, the U.S. economy was robust, the divorce rate was increasing, and the government approved the birth control pill. These factors inspired the younger generation to rebel against entrenched social norms. The civil rights movement, a struggle for social justice and equal opportunity for Blacks, and the women's liberation movement, seeking equal rights and opportunities and greater personal freedom for women, were in full bloom. In 1964, the leg-baring mini-skirt was introduced and became a white-hot trend. Fashion designers then began to experiment with the shapes of garments: loose sleeveless dresses, micro-minis, flared skirts, and trumpet sleeves. Fluorescent colors, print patterns, bell-bottom jeans, fringed vests, and skirts became de rigueur outfits of the 1960s.

Concern and protest over U.S. involvement in the failing Vietnam War also influenced fashion. Camouflage patterns in military clothing, developed to help military personnel be less visible to enemy forces, seeped into streetwear designs in the 1960s. Camouflage trends have disappeared and resurfaced several times since then, appearing in high fashion iterations in the 1990s. Designers such as Valentino, Dior, and Dolce & Gabbana combined camouflage into their runway and ready-to-wear collections. Today, variations of camouflage, including pastel shades, in every article of clothing or accessory, continue to enjoy popularity.

Technology influences

A see-through top worn along with pasties by a model at a fashion show in US, 2017. Such fashion trends get popularised through media.

Today, technology plays a sizable role in society, and technological influences are correspondingly increasing within the realm of fashion. Wearable technology has become incorporated; for example, clothing constructed with solar panels that charge devices and smart fabrics that enhance wearer comfort by changing color or texture based on environmental changes. 3D printing technology has influenced designers such as Iris van Herpen and Kimberly Ovitz. As the technology evolves, 3D printers will become more accessible to designers and eventually, consumers - these could potentially reshape design and production in the fashion industry entirely.

Internet technology, enabling the far reaches of online retailers and social media platforms, has created previously unimaginable ways for trends to be identified, marketed, and sold immediately. Trend-setting styles are easily displayed and communicated online to attract customers. Posts on Instagram or Facebook can quickly increase awareness about new trends in fashion, which subsequently may create high demand for specific items or brands, new "buy now button" technology can link these styles with direct sales.

Machine vision technology has been developed to track how fashions spread through society. The industry can now see the direct correlation on how fashion shows influence street-chic outfits. Effects such as these can now be quantified and provide valuable feedback to fashion houses, designers, and consumers regarding trends.

Environmental impact

Production of cotton requires a large amount of water, and also produces wastewater.

Latin dancers in their costumes. The woman is wearing backless dress with deep slits on its lower portion, while the man is wearing a shirt with top buttons open.

The media plays a significant role when it comes to fashion. For instance, an important part of fashion is fashion journalism. Editorial critique, guidelines, and commentary can be found on television and in magazines, newspapers, fashion websites, social networks, and fashion blogs. In recent years, fashion blogging and YouTube videos have become a major outlet for spreading trends and fashion tips, creating an online culture of sharing one's style on a website or social media accounts (i.e. Instagram, TikTok, or Twitter). Through these media outlets, readers and viewers all over the world can learn about fashion, making it very accessible. In addition to fashion journalism, another media platform that is important in fashion industry is advertisement. Advertisements provide information to audiences and promote the sales of products and services. The fashion industry uses advertisements to attract consumers and promote its products to generate sales. A few decades ago when technology was still underdeveloped, advertisements heavily relied on radio, magazines, billboards, and newspapers. These days, there are more various ways in advertisements such as television ads, online-based ads using internet websites, and posts, videos, and live streaming in social media platforms.

Fashion in printed media

This 1921 clipping from the St. Louis Post-Dispatch, with story and drawings by Marguerite Martyn, represents the saturation newspaper coverage given to society women at a fashionable dance.

There are two subsets of print styling: editorial and lifestyle. Editorial styling is the high-fashion styling seen in fashion magazines, and this tends to be more artistic and fashion-forward. Lifestyle styling focuses on a more overtly commercial goal, like a department store advertisement, a website, or an advertisement where fashion is not what's being sold but the models are hired to promote the product in the photo.

The dressing practices of the powerful have traditionally been mediated through art and the practices of the courts. The looks of the French court were disseminated through prints from the 16th century on, but gained cohesive design with the development of a centralized court under King Louis XIV, which produced an identifiable style that took his name. At the beginning of the 20th century, fashion magazines began to include photographs of various fashion designs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought after and had a profound effect on public taste in clothing. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton, which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).

Vogue, founded in Manhattan in 1892, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap color printing in the 1960s, led to a huge boost in its sales and heavy coverage of fashion in mainstream women's magazines, followed by men's magazines in the 1990s. One such example of Vogue's popularity is the younger version, , which covers clothing and trends that are targeted more toward the "fashionista on a budget". Haute couture designers followed the trend by starting ready-to-wear and perfume lines which are heavily advertised in the magazines and now dwarf their original couture businesses. A recent development within fashion print media is the rise of text-based and critical magazines which aim to prove that fashion is not superficial, by creating a dialogue between fashion academia and the industry. Examples of this development are: Fashion Theory (1997), Fashion Practice: The Journal of Design, Creative Process & the Fashion Industry (2008), and (2009).

Fashion in television

Television coverage began in the 1950s with small fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows such as Fashion Television started to appear. was the pioneer in this undertaking and has since grown to become the leader in both Fashion Television and new media channels. The Fashion Industry is beginning to promote their styles through Bloggers on social media's. Vogue specified Chiara Ferragni as "blogger of the moment" due to the rises of followers through her Fashion Blog, that became popular.

A few days after the 2010 Fall Fashion Week in New York City came to a close, The New Islander's Fashion Editor, Genevieve Tax, criticized the fashion industry for running on a seasonal schedule of its own, largely at the expense of real-world consumers. "Because designers release their fall collections in the spring and their spring collections in the fall, fashion magazines such as Vogue always and only look forward to the upcoming season, promoting parkas come September while issuing reviews on shorts in January", she writes. "Savvy shoppers, consequently, have been conditioned to be extremely, perhaps impractically, farsighted with their buying."

The fashion industry has been the subject of numerous films and television shows, including the reality show Project Runway and the drama series . Specific fashion brands have been featured in film, not only as product placement opportunities, but as bespoke items that have subsequently led to trends in fashion.

Videos in general have been very useful in promoting the fashion industry. This is evident not only from television shows directly spotlighting the fashion industry, but also movies, events and music videos which showcase fashion statements as well as promote specific brands through product placements.

Controversial advertisements in fashion industry

Racism in fashion advertisements

Some fashion advertisements have been accused of racism and led to boycotts from customers. Globally known Swedish fashion brand H&M faced this issue with one of its children's wear advertisements in 2018. A Black child wearing a hoodie with the slogan "coolest monkey in the jungle" was featured in the ad. This immediately led to controversy, as "monkey" is commonly used as slur against Black people, and caused many customers to boycott the brand. Many people, including celebrities, posted on social media about their resentments towards H&M and refusal to work with and buy its products. H&M issued a statement saying "we apologise to anyone this may have offended", though this too received some criticism for appearing insincere.

Another fashion advertisement seen as racist was from GAP, an American worldwide clothing brand. GAP collaborated with Ellen DeGeneres in 2016 for the advertisement. It features four playful young girls, with a tall White girl leaning with her arm on a shorter Black girl's head. Upon release, some viewers harshly criticized it, claiming it shows an underlying passive racism. A representative from commented that the ad portrays the message that Black people are undervalued and seen as props for White people to look better. Others saw little issue with the ad, and that the controversy was the result of people being oversensitive. GAP replaced the image in the ad and apologized to critics.

Sexism in fashion advertisements

Many fashion brands have published ads that were provocative and sexy to attract customers' attention. British high fashion brand, Jimmy Choo, was blamed for having sexism in its ad which featured a female British model wearing the brand's boots. In this two-minute ad, men whistle at a model, walking on the street with red, sleeveless mini dress. This ad gained much backlash and criticism by the viewers, as it was seen as promoting sexual harassment and other misconduct. Many people showed their dismay through social media posts, leading Jimmy Choo to pull down the ad from social media platforms.

French luxury fashion brand Yves Saint Laurent also faced this issue with its print ad shown in Paris in 2017. The ad depicted a female model wearing fishnet tights with roller-skate stilettos reclining with her legs opened in front of the camera. This advertisement brought harsh comments from both viewers and French advertising organization directors for going against the advertising codes related to "respect for decency, dignity and those prohibiting submission, violence or dependence, as well as the use of stereotypes." and additionally said that this ad was causing "mental harm to adolescents." Due to the negative public reaction, the poster was removed from the city.

Public relations and social media

Fashion public relations involves being in touch with a company's audiences and creating strong relationships with them, reaching out to media, and initiating messages that project positive images of the company. Social media plays an important role in modern-day fashion public relations; enabling practitioners to reach a wide range of consumers through various platforms.

Building brand awareness and credibility is a key implication of good public relations. In some cases, the hype is built about new designers' collections before they are released into the market, due to the immense exposure generated by practitioners. Social media, such as blogs, microblogs, podcasts, photo and video sharing sites have all become increasingly important to fashion public relations. The interactive nature of these platforms allows practitioners to engage and communicate with the public in real-time, and tailor their clients' brand or campaign messages to the target audience. With blogging platforms such as Instagram, Tumblr, WordPress, Squarespace, and other sharing sites, bloggers have emerged as expert fashion commentators, shaping brands and having a great impact on what is 'on trend'. Women in the fashion public relations industry such as Sweaty Betty PR founder Roxy Jacenko and Oscar de la Renta's PR girl Erika Bearman, have acquired copious followers on their social media sites, by providing a brand identity and a behind the scenes look into the companies they work for.

Social media is changing the way practitioners deliver messages, as they are concerned with the media, and also customer relationship building. PR practitioners must provide effective communication among all platforms, in order to engage the fashion public in an industry socially connected via online shopping. Consumers have the ability to share their purchases on their personal social media pages (such as Facebook, Twitter, Instagram, etc.), and if practitioners deliver the brand message effectively and meet the needs of its public, word-of-mouth publicity will be generated and potentially provide a wide reach for the designer and their products.

Fashion and political activism

As fashion concerns people, and signifies social hierarchies, fashion intersects with politics and the social organization of societies. Whereas haute couture and business suits are associated by people in power, also groups aiming to challenge the political order also use clothes to signal their position. The explicit use of fashion as a form of activism, is usually referred to as " fashion activism."

There is a complex relationship between fashion and feminism. Some feminists have argued that by participating in feminine fashions women are contributing to maintaining the gender differences which are part of women's oppression. Brownmiller felt that women should reject traditionally feminine dress, focusing on comfort and practicality rather than fashion. Others believe that it is the fashion system itself that is repressive in requiring women to seasonally change their clothes to keep up with trends. Greer has advocated this argument that seasonal changes in dress should be ignored; she argues that women can be liberated by replacing the compulsiveness of fashion with enjoyment of rejecting the norm to create their own personal styling. This rejection of seasonal fashion led to many protests in the 1960s alongside rejection of fashion on socialist, racial and environmental grounds. However, Mosmann has pointed out that the relationship between protesting fashion and creating fashion is dynamic because the language and style used in these protests has then become part of fashion itself.

Fashion designers and brands have traditionally kept themselves out of political conflicts, there has been a movement in the industry towards taking more explicit positions across the political spectrum. From maintaining a rather apolitical stance, designers and brands today engage more explicitly in current debates.

Tie dye vendor, July 2013

For example, considering the U.S.'s political climate in the surrounding months of the 2016 presidential election, during 2017 fashion weeks in London, Milan, New York, Paris and São Paulo amongst others, many designers took the opportunity to take political stances leveraging their platforms and influence to reach their customers. This has also led to some controversy over democratic values, as fashion is not always the most inclusive platform for political debate, but a one-way broadcast of top-down messages.

When taking an explicit political stance, designers generally favor issues that can be identified in clear language with virtuous undertones. For example, aiming to "amplify a greater message of unity, inclusion, diversity, and feminism in a fashion space", designer Mara Hoffman invited the founders of the Women's March on Washington to open her show which featured modern silhouettes of utilitarian wear, described by critics as "Made for a modern warrior" and "Clothing for those who still have work to do". Prabal Gurung debuted his collection of T-shirts featuring slogans such as "The Future is Female", "We Will Not Be Silenced", and "Nevertheless She Persisted", with proceeds going to the ACLU, Planned Parenthood, and Gurung's own charity, "Shikshya Foundation Nepal". Similarly, The Business of Fashion launched the #TiedTogether movement on Social Media, encouraging member of the industry from editors to models, to wear a white bandana advocating for "unity, solidarity, and inclusiveness during fashion week".

Fashion may be used to promote a cause, such as to promote healthy behavior, to raise money for a cancer cure, or to raise money for local charities such as the Juvenile Protective Association or a children's hospice.

One fashion cause is trashion, which is using trash to make clothes, jewelry, and other fashion items in order to promote awareness of pollution. There are a number of modern trashion artists such as Marina DeBris, Ann Wizer, and Nancy Judd. Other designers have used DIY fashions, in the tradition of the punk movement, to address elitism in the industry to promote more inclusion and diversity.

Anthropological perspective

Indigenous Americas Map Tunic designed in 2018 by Carla Fernández and Pedro Reyes for Taller Flora.

From an academic lens, the sporting of various fashions has been seen as a form of fashion language, a mode of communication that produced various fashion statements, using a grammar of fashion. This is a perspective promoted in the work of influential French philosopher and semiotician Roland Barthes.

Anthropology, the study of culture and of human societies, examines fashion by asking why certain styles are deemed socially appropriate and others are not. From the theory of interactionism, a certain practice or expression is chosen by those in power in a community, and that becomes "the fashion" as defined at a certain time by the people under influence of those in power. If a particular style has a meaning in an already occurring set of beliefs, then that style may have a greater chance of become fashion.

According to cultural theorists Ted Polhemus and Lynn Procter, one can describe fashion as adornment, of which there are two types: fashion and anti-fashion. Through the capitalization and commoditization of clothing, accessories, and shoes, etc., what once constituted anti-fashion becomes part of fashion as the lines between fashion and anti-fashion are blurred, as expressions that were once outside the changes of fashion are swept along with trends to signify new meanings. Examples range from how elements from ethnic dress becomes part of a trend and appear on catwalks or street cultures, for example how tattoos travel from sailors, laborers and criminals to popular culture.

To cultural theorist Malcolm Bernard, fashion and anti-fashion differ as polar opposites. Anti-fashion is fixed and changes little over time, varying depending on the cultural or social group one is associated with or where one lives, but within that group or locality the style changes little. Fashion, in contrast, can change ( evolve) very quickly and is not affiliated with one group or area of the world but spreads throughout the world wherever people can communicate easily with each other. An example of anti-fashion would be ceremonial or otherwise traditional clothing where specific garments and their designs are both reproduced faithfully and with the intent of maintaining a status quo of tradition. This can be seen in the clothing of some kabuki plays, where some character outfits are kept intact from designs of several centuries ago, in some cases retaining the crests of the actors considered to have 'perfected' that role.

Anti-fashion is concerned with maintaining the status quo, while fashion is concerned with social mobility. Time is expressed in terms of continuity in anti-fashion, and in terms of change in fashion; fashion has changing modes of adornment, while anti-fashion has fixed modes of adornment.

From this theoretical lens, change in fashion is part of the larger industrial system and is structured by the powerful actors in this system to be a deliberate change in style, promoted through the channels influenced by the industry (such as paid advertisements).

Intellectual property

Gross sales of goods vs IP laws (US 2007)

In the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. Robert Glariston, an intellectual property expert, mentioned in a fashion seminar held in LA[which? ] that "Copyright law regarding clothing is a current hot-button issue in the industry. We often have to draw the line between designers being inspired by a design and those outright stealing it in different places." To take inspiration from others' designs contributes to the fashion industry's ability to establish clothing trends. For the past few years, WGSN has been a dominant source of fashion news and forecasts in encouraging fashion brands worldwide to be inspired by one another. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with this process of trend-making would, in this view, be counter-productive. On the other hand, it is often argued that the blatant theft of new ideas, unique designs, and design details by larger companies is what often contributes to the failure of many smaller or independent design companies.

Since fakes are distinguishable by their poorer quality, there is still a demand for luxury goods, and as only a trademark or logo can be copyrighted, many fashion brands make this one of the most visible aspects of the garment or accessory. In handbags, especially, the designer's brand may be woven into the fabric (or the lining fabric) from which the bag is made, making the brand an intrinsic element of the bag.

In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.

References

Further reading

Cabrera, Ana, and Lesley Miller. "Genio y Figura. La influencia de la cultura española en la moda." Fashion Theory: The Journal of Dress, Body & Culture 13.1 (2009): 103-110

Davis, F. (1989). Of maids' uniforms and blue jeans: The drama of status ambivalences in clothing and fashion. Qualitative Sociology, 12(4), 337-355.

Hanifie, Sowaibah (5 August 2020). "Australia's first National Indigenous Fashion Awards winners revealed, signaling hope for a more diverse industry". ABC News. Australian Broadcasting Corporation.

Steele, Valerie, Encyclopedia of clothing and fashion, Detroit: Thomson Gale, 2005

Turrell, Claire (2 Mar 2023). "The Asian blouse that tells a tale of many cultures". BBC.

External links

Media related to Fashion at Wikimedia Commons

The dictionary definition of fashion at Wiktionary

Quotations related to Fashion at Wikiquote

# data[].attributes.attachment_link.description
Fashion is a term used interchangeably to describe the creation of clothing, footwear, accessories, cosmetics, and jewellery of different cultural aesthetics and their mix and match into outfits that depict distinctive ways of dressing ( styles and trends) as signifiers of social status, self-expression, and group belonging.

# data[].attributes.body
Beauty is the ascription of a property or characteristic to an animal, idea, object, person or place that provides a perceptual experience of pleasure or satisfaction. Beauty is studied as part of aesthetics, culture, social psychology and sociology. An "ideal beauty" is an entity which is admired, or possesses features widely attributed to beauty in a particular culture, for perfection. Ugliness is the opposite of beauty.

# data[].attributes.attachment_link.readable_text
Rayonnant rose window in Notre Dame de Paris. In Gothic architecture, light was considered "the source and actual essence of all that is beautiful", which was heralded in its design.[1]

Beauty is commonly described as a feature of objects that makes them pleasurable to perceive. Such objects include landscapes, sunsets, humans and works of art. Beauty, art and taste are the main subjects of aesthetics, one of the major branches of philosophy. As a positive aesthetic value, it is contrasted with ugliness as its negative counterpart.

One difficulty in understanding beauty is that it has both objective and subjective aspects: it is seen as a property of things but also as depending on the emotional response of observers. Because of its subjective side, beauty is said to be "in the eye of the beholder". It has been argued that the ability on the side of the subject needed to perceive and judge beauty, sometimes referred to as the "sense of taste", can be trained and that the verdicts of experts coincide in the long run. This suggests the standards of validity of judgments of beauty are intersubjective, i.e. dependent on a group of judges, rather than fully subjective or objective.

Conceptions of beauty aim to capture what is essential to all beautiful things. Classical conceptions define beauty in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. Hedonist conceptions see a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause disinterested pleasure. Other conceptions include defining beautiful objects in terms of their value, of a loving attitude toward them or of their function.

Beauty, together with art and taste, is the main subject of aesthetics, one of the major branches of philosophy. Beauty is usually categorized as an aesthetic property besides other properties, like grace, elegance or the sublime. As a positive aesthetic value, beauty is contrasted with ugliness as its negative counterpart. Beauty is often listed as one of the three fundamental concepts of human understanding besides truth and goodness.

Objectivists or realists see beauty as an objective or mind-independent feature of beautiful things, which is denied by subjectivists. The source of this debate is that judgments of beauty seem to be based on subjective grounds, namely our feelings, while claiming universal correctness at the same time. This tension is sometimes referred to as the "antinomy of taste". Adherents of both sides have suggested that a certain faculty, commonly called a sense of taste, is necessary for making reliable judgments about beauty. David Hume, for example, suggests that this faculty can be trained and that the verdicts of experts coincide in the long run.

Beauty is mainly discussed in relation to concrete objects accessible to sensory perception. It has been suggested that the beauty of a thing supervenes on the sensory features of this thing. It has also been proposed that abstract objects like stories or mathematical proofs can be beautiful. Beauty plays a central role in works of art and nature.

An influential distinction among beautiful things, according to Immanuel Kant, is that between adherent beauty ( pulchritudo adhaerens) and free beauty ( pulchritudo vaga). A thing has adherent beauty if its beauty depends on the conception or function of this thing, unlike free or absolute beauty. Examples of adherent beauty include an ox which is beautiful as an ox but not beautiful as a horse or a photograph which is beautiful, because it depicts a beautiful building but that lacks beauty generally speaking because of its low quality.

Objectivism and subjectivism

Judgments of beauty seem to occupy an intermediary position between objective judgments, e.g. concerning the mass and shape of a grapefruit, and subjective likes, e.g. concerning whether the grapefruit tastes good. Judgments of beauty differ from the former because they are based on subjective feelings rather than objective perception. But they also differ from the latter because they lay claim on universal correctness. This tension is also reflected in common language. On the one hand, we talk about beauty as an objective feature of the world that is ascribed, for example, to landscapes, paintings or humans. The subjective side, on the other hand, is expressed in sayings like "beauty is in the eye of the beholder".

These two positions are often referred to as objectivism (or realism) and subjectivism. Objectivism is the traditional view, while subjectivism developed more recently in western philosophy. Objectivists hold that beauty is a mind-independent feature of things. On this account, the beauty of a landscape is independent of who perceives it or whether it is perceived at all. Disagreements may be explained by an inability to perceive this feature, sometimes referred to as a "lack of taste". Subjectivism, on the other hand, denies the mind-independent existence of beauty. Influential for the development of this position was John Locke's distinction between primary qualities, which the object has independent of the observer, and secondary qualities, which constitute powers in the object to produce certain ideas in the observer. When applied to beauty, there is still a sense in which it depends on the object and its powers. But this account makes the possibility of genuine disagreements about claims of beauty implausible, since the same object may produce very different ideas in distinct observers. The notion of "taste" can still be used to explain why different people disagree about what is beautiful, but there is no objectively right or wrong taste, there are just different tastes.

The problem with both the objectivist and the subjectivist position in their extreme form is that each has to deny some intuitions about beauty. This issue is sometimes discussed under the label " antinomy of taste". It has prompted various philosophers to seek a unified theory that can take all these intuitions into account. One promising route to solve this problem is to move from subjective to intersubjective theories, which hold that the standards of validity of judgments of taste are intersubjective or dependent on a group of judges rather than objective. This approach tries to explain how genuine disagreement about beauty is possible despite the fact that beauty is a mind-dependent property, dependent not on an individual but a group. A closely related theory sees beauty as a secondary or response-dependent property. On one such account, an object is beautiful "if it causes pleasure by virtue of its aesthetic properties". The problem that different people respond differently can be addressed by combining response-dependence theories with so-called ideal-observer theories: it only matters how an ideal observer would respond. There is no general agreement on how "ideal observers" are to be defined, but it is usually assumed that they are experienced judges of beauty with a fully developed sense of taste. This suggests an indirect way of solving the antinomy of taste: instead of looking for necessary and sufficient conditions of beauty itself, one can learn to identify the qualities of good critics and rely on their judgments. This approach only works if unanimity among experts was ensured. But even experienced judges may disagree in their judgments, which threatens to undermine ideal-observer theories.

Conceptions

Various conceptions of the essential features of beautiful things have been proposed but there is no consensus as to which is the right one.

In Analysis of Beauty, William Hogarth depicts the effect of changing proportions and attempts to define what proportions are beautiful.

The "classical conception" (see Classicism) defines beauty in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. On this account, which found its most explicit articulation in the Italian Renaissance, the beauty of a human body, for example, depends, among other things, on the right proportion of the different parts of the body and on the overall symmetry. One problem with this conception is that it is difficult to give a general and detailed description of what is meant by "harmony between parts" and raises the suspicion that defining beauty through harmony results in exchanging one unclear term for another one. Some attempts have been made to dissolve this suspicion by searching for laws of beauty, like the golden ratio.

18th century philosopher Alexander Baumgarten, for example, saw laws of beauty in analogy with laws of nature and believed that they could be discovered through empirical research. As of 2003, these attempts have failed to find a general definition of beauty and several authors take the opposite claim that such laws cannot be formulated, as part of their definition of beauty.

A very common element in many conceptions of beauty is its relation to pleasure. Hedonism makes this relation part of the definition of beauty by holding that there is a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause pleasure or that the experience of beauty is always accompanied by pleasure. This account is sometimes labeled as "aesthetic hedonism" in order to distinguish it from other forms of hedonism. An influential articulation of this position comes from Thomas Aquinas, who treats beauty as "that which pleases in the very apprehension of it". Immanuel Kant explains this pleasure through a harmonious interplay between the faculties of understanding and imagination. A further question for hedonists is how to explain the relation between beauty and pleasure. This problem is akin to the Euthyphro dilemma: is something beautiful because we enjoy it or do we enjoy it because it is beautiful? Identity theorists solve this problem by denying that there is a difference between beauty and pleasure: they identify beauty, or the appearance of it, with the experience of aesthetic pleasure.

Hedonists usually restrict and specify the notion of pleasure in various ways in order to avoid obvious counterexamples. One important distinction in this context is the difference between pure and mixed pleasure. Pure pleasure excludes any form of pain or unpleasant feeling while the experience of mixed pleasure can include unpleasant elements. But beauty can involve mixed pleasure, for example, in the case of a beautifully tragic story, which is why mixed pleasure is usually allowed in hedonist conceptions of beauty.

Another problem faced by hedonist theories is that we take pleasure from many things that are not beautiful. One way to address this issue is to associate beauty with a special type of pleasure: aesthetic or disinterested pleasure. A pleasure is disinterested if it is indifferent to the existence of the beautiful object or if it did not arise owing to an antecedent desire through means-end reasoning. For example, the joy of looking at a beautiful landscape would still be valuable if it turned out that this experience was an illusion, which would not be true if this joy was due to seeing the landscape as a valuable real estate opportunity. Opponents of hedonism usually concede that many experiences of beauty are pleasurable but deny that this is true for all cases. For example, a cold jaded critic may still be a good judge of beauty because of her years of experience but lack the joy that initially accompanied her work. One way to avoid this objection is to allow responses to beautiful things to lack pleasure while insisting that all beautiful things merit pleasure, that aesthetic pleasure is the only appropriate response to them.

G. E. Moore explained beauty in regard to intrinsic value as "that of which the admiring contemplation is good in itself". This definition connects beauty to experience while managing to avoid some of the problems usually associated with subjectivist positions since it allows that things may be beautiful even if they are never experienced.

Another subjectivist theory of beauty comes from George Santayana, who suggested that we project pleasure onto the things we call "beautiful". So in a process akin to a category mistake, one treats one's subjective pleasure as an objective property of the beautiful thing. Other conceptions include defining beauty in terms of a loving or longing attitude toward the beautiful object or in terms of its usefulness or function. In 1871, functionalist Charles Darwin explained beauty as result of accumulative sexual selection in "The Descent of Man and Selection in Relation to Sex".

In philosophy

Greco-Roman tradition

Greek mythology mentions Helen of Troy (left) as the most beautiful woman.

The classical Greek noun that best translates to the English-language words "beauty" or "beautiful" was κάλλος, kallos, and the adjective was καλός, kalos. This is also translated as "good" or "of fine quality" and thus has a broader meaning than mere physical or material beauty. Similarly, kallos was used differently from the English word beauty in that it first and foremost applied to humans and bears an erotic connotation. The Koine Greek word for beautiful was ὡραῖος, hōraios, an adjective etymologically coming from the word ὥρα, hōra, meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, hōraios had many meanings, including "youthful" and "ripe old age". Another classical term in use to describe beauty was ( Latin).

Beauty for ancient thinkers existed both in form, which is the material world as it is, and as embodied in the spirit, which is the world of mental formations. Greek mythology mentions Helen of Troy as the most beautiful woman. Ancient Greek architecture is based on this view of symmetry and proportion.

Pre-Socratic

In one fragment of Heraclitus's writings ( Fragment 106) he mentions beauty, this reads: "To God all things are beautiful, good, right..." The earliest Western theory of beauty can be found in the works of early Greek philosophers from the pre-Socratic period, such as Pythagoras, who conceived of beauty as useful for a moral education of the soul. He wrote of how people experience pleasure when aware of a certain type of formal situation present in reality, perceivable by sight or through the ear and discovered the underlying mathematical ratios in the harmonic scales in music. The Pythagoreans conceived of the presence of beauty in universal terms, which is, as existing in a cosmological state, they observed beauty in the heavens. They saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive.

Classical period

The classical concept of beauty is one that exhibits perfect proportion (Wolfflin). In this context, the concept belonged often within the discipline of mathematics. An idea of spiritual beauty emerged during the classical period, beauty was something embodying divine goodness, while the demonstration of behaviour which might be classified as beautiful, from an inner state of morality which is aligned to the good.

The writing of Xenophon shows a conversation between Socrates and Aristippus. Socrates discerned differences in the conception of the beautiful, for example, in inanimate objects, the effectiveness of execution of design was a deciding factor on the perception of beauty in something. By the account of Xenophon, Socrates found beauty congruent with that to which was defined as the morally good, in short, he thought beauty coincident with the good.

Beauty is a subject of Plato in his work Symposium. In the work, the high priestess Diotima describes how beauty moves out from a core singular appreciation of the body to outer appreciations via loved ones, to the world in its state of culture and society (Wright). In other words, Diotoma gives to Socrates an explanation of how love should begin with erotic attachment, and end with the transcending of the physical to an appreciation of beauty as a thing in itself. The ascent of love begins with one's own body, then secondarily, in appreciating beauty in another's body, thirdly beauty in the soul, which cognates to beauty in the mind in the modern sense, fourthly beauty in institutions, laws and activities, fifthly beauty in knowledge, the sciences, and finally to lastly love beauty itself, which translates to the original Greek language term as . In the final state, auto to kalon and truth are united as one. There is the sense in the text, concerning love and beauty they both co-exist but are still independent or, in other words, mutually exclusive, since love does not have beauty since it seeks beauty. The work toward the end provides a description of beauty in a negative sense.

Plato also discusses beauty in his work , and identifies Alcibiades as beautiful in Parmenides. He considered beauty to be the Idea ( Form) above all other Ideas. Platonic thought synthesized beauty with the divine. Scruton (cited: Konstan) states Plato states of the idea of beauty, of it (the idea), being something inviting desirousness (c.f seducing), and, promotes an intellectual renunciation (c.f. denouncing) of desire. For Alexander Nehamas, it is only the locating of desire to which the sense of beauty exists, in the considerations of Plato.

Aristotle defines beauty in Metaphysics as having order, symmetry and definiteness which the mathematical sciences exhibit to a special degree. He saw a relationship between the beautiful ( to kalon) and virtue, arguing that "Virtue aims at the beautiful."

In De Natura Deorum Cicero wrote: "the splendour and beauty of creation", in respect to this, and all the facets of reality resulting from creation, he postulated these to be a reason to see the existence of a God as creator.

Western Middle Ages

In the Middle Ages, Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being. In his Summa Theologica, Aquinas described the three conditions of beauty as: integritas (wholeness), consonantia (harmony and proportion), and claritas (a radiance and clarity that makes the form of a thing apparent to the mind).

In the Gothic Architecture of the High and Late Middle Ages, light was considered the most beautiful revelation of God, which was heralded in design. Examples are the stained glass of Gothic Cathedrals including Notre-Dame de Paris and Chartres Cathedral.

St. Augustine said of beauty "Beauty is indeed a good gift of God; but that the good may not think it a great good, God dispenses it even to the wicked."

Renaissance

Classical philosophy and sculptures of men and women produced according to the Greek philosophers' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called a "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty and female beauty in western civilization as seen, for example, in the Winged Victory of Samothrace. During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and considered beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his "Lives of Artists") criticised the Gothic period as irrational and barbarian. This point of view of Gothic art lasted until Romanticism, in the 19th century. Vasari aligned himself to the classical notion and thought of beauty as defined as arising from proportion and order.

Age of Reason

The Birth of Venus (c. 1485) by Sandro Botticelli.[53] The goddess Venus (Aphrodite) is the classical personification of beauty.

The Age of Reason saw a rise in an interest in beauty as a philosophical subject. For example, Scottish philosopher Francis Hutcheson argued that beauty is " unity in variety and variety in unity". He wrote that beauty was neither purely subjective nor purely objective-it could be understood not as "any Quality suppos'd to be in the Object, which should of itself be beautiful, without relation to any Mind which perceives it: For Beauty, like other Names of sensible Ideas, properly denotes the Perception of some mind; ... however we generally imagine that there is something in the Object just like our Perception."

Immanuel Kant believed that there could be no "universal criterion of the beautiful" and that the experience of beauty is subjective, but that an object is judged to be beautiful when it seems to display "purposiveness"; that is, when its form is perceived to have the character of a thing designed according to some principle and fitted for a purpose. He distinguished "free beauty" from "merely adherent beauty", explaining that "the first presupposes no concept of what the object ought to be; the second does presuppose such a concept and the perfection of the object in accordance therewith." By this definition, free beauty is found in seashells and wordless music; adherent beauty in buildings and the human body.

The Romantic poets, too, became highly concerned with the nature of beauty, with John Keats arguing in Ode on a Grecian Urn that:

Beauty is truth, truth beauty, -that is all

Ye know on earth, and all ye need to know.

Western 19th and 20th century

In the Romantic period, Edmund Burke postulated a difference between beauty in its classical meaning and the sublime. The concept of the sublime, as explicated by Burke and Kant, suggested viewing Gothic art and architecture, though not in accordance with the classical standard of beauty, as sublime.

The 20th century saw an increasing rejection of beauty by artists and philosophers alike, culminating in postmodernism's anti-aesthetics. This is despite beauty being a central concern of one of postmodernism's main influences, Friedrich Nietzsche, who argued that the Will to Power was the Will to Beauty.

In the aftermath of postmodernism's rejection of beauty, thinkers have returned to beauty as an important value. American analytic philosopher Guy Sircello proposed his New Theory of Beauty as an effort to reaffirm the status of beauty as an important philosophical concept. He rejected the subjectivism of Kant and sought to identify the properties inherent in an object that make it beautiful. He called qualities such as vividness, boldness, and subtlety "properties of qualitative degree" (PQDs) and stated that a PQD makes an object beautiful if it is not-and does not create the appearance of-"a property of deficiency, lack, or defect"; and if the PQD is strongly present in the object.

Elaine Scarry argues that beauty is related to justice.

Beauty is also studied by psychologists and neuroscientists in the field of experimental aesthetics and neuroesthetics respectively. Psychological theories see beauty as a form of pleasure. Correlational findings support the view that more beautiful objects are also more pleasing. Some studies suggest that higher experienced beauty is associated with activity in the medial orbitofrontal cortex. This approach of localizing the processing of beauty in one brain region has received criticism within the field.

Philosopher and novelist Umberto Eco wrote On Beauty: A History of a Western Idea (2004) and On Ugliness (2007). The narrator of his novel The Name of the Rose follows Aquinas in declaring: "three things concur in creating beauty: first of all integrity or perfection, and for this reason, we consider ugly all incomplete things; then proper proportion or consonance; and finally clarity and light", before going on to say "the sight of the beautiful implies peace". Mike Phillips has described Umberto Eco's On Beauty as "incoherent" and criticized him for focusing only on Western European history and devoting none of his book to Eastern European, Asian, or African history. Amy Finnerty described Eco's work On Ugliness favorably.

Chinese philosophy

Chinese philosophy has traditionally not made a separate discipline of the philosophy of beauty. Confucius identified beauty with goodness, and considered a virtuous personality to be the greatest of beauties: In his philosophy, "a neighborhood with a man in it is a beautiful neighborhood." Confucius's student Zeng Shen expressed a similar idea: "few men could see the beauty in some one whom they dislike." Mencius considered "complete truthfulness" to be beauty. Zhu Xi said: "When one has strenuously implemented goodness until it is filled to completion and has accumulated truth, then the beauty will reside within it and will not depend on externals."

Human attribute

The bust of Nefertiti, 14th century BC

The characterization of a person as "beautiful", whether on an individual basis or by community consensus, is often[how often? ] based on some combination of inner beauty, which includes psychological factors such as personality, intelligence, grace, politeness, charisma, integrity, congruence and elegance, and outer beauty (i.e. physical attractiveness) which includes physical attributes which are valued on an aesthetic basis.[citation needed ]

Standards of beauty have changed over time, based on changing cultural values. Historically, paintings show a wide range of different standards for beauty.

A strong indicator of physical beauty is " averageness". When images of human faces are averaged together to form a composite image, they become progressively closer to the "ideal" image and are perceived as more attractive. This was first noticed in 1883, when Francis Galton overlaid photographic composite images of the faces of vegetarians and criminals to see if there was a typical facial appearance for each. When doing this, he noticed that the composite images were more attractive compared to any of the individual images. Researchers have replicated the result under more controlled conditions and found that the computer-generated, mathematical average of a series of faces is rated more favorably than individual faces. It is argued that it is evolutionarily advantageous that sexual creatures are attracted to mates who possess predominantly common or average features, because it suggests the absence of genetic or acquired defects.

Since the 1970's there has been increasing evidence that a preference for beautiful faces emerges early in infancy, and is probably innate, and that the rules by which attractiveness is established are similar across different genders and cultures.

A feature of beautiful women which has been explored by researchers is a waist-hip ratio of approximately 0.70. As of 2004, physiologists had shown that women with hourglass figures were more fertile than other women because of higher levels of certain female hormones, a fact that may subconsciously condition males choosing mates. In 2008, other commentators have suggested that this preference may not be universal. For instance, in some non-Western cultures in which women have to do work such as finding food, men tend to have preferences for higher waist-hip ratios.

Exposure to the thin ideal in mass media, such as fashion magazines, directly correlates with body dissatisfaction, low self-esteem, and the development of eating disorders among female viewers. Further, the widening gap between individual body sizes and societal ideals continues to breed anxiety among young girls as they grow, highlighting the dangerous nature of beauty standards in society.

Western concept

An 1889 U.S. newspaper ad for "arsenic complexion wafers" decried blotches, moles, pimples, freckles, and "all female irregularities".[107] Arsenic was known to be poisonous during the Victorian era.[108]

A study using Chinese immigrants and American citizens found that their ideals of female beauty were not significantly different. Participants in the study rated Asian and Latina women as more attractive than White and Black women, and it was found that Asian and Latina women had more of the attributes that were considered attractive for women. Exposure to Western media did not influence or improve the Asian men's ratings of White women.

One study found that East Asian women in the United States are closer to the ideal figure promoted in Western media, and that East Asian women conform to both Western and Eastern influences in the United States. East Asian men were found to be more impacted by Western beauty ideals then East Asian women, in the United States. East Asian men felt as though their bodies were not large enough and therefore deviated from the Western norm. East Asian men and white Western women were found to have the highest levels of body dissatisfaction in the United States. A study of African American and South Asian women found that some had internalized a white beauty ideal that placed light skin and straight hair at the top.

Eurocentric standards for men include tallness, leanness, and muscularity, which have been idolized through American media, such as in Hollywood films and magazine covers.

In of the United States, African Americans have historically been subjected to beauty ideals that often do not reflect their own appearance, which can lead to issues of low self-esteem. African-American philosopher Cornel West elaborates that, "much of black self-hatred and self-contempt has to do with the refusal of many black Americans to love their own black bodies-especially their black noses, hips, lips, and hair." According to Patton (2006), the stereotype of African-American women's inferiority (relative to other races of women) maintains a system of oppression based on race and gender that operates to the detriment of women of all races, and also black men. In the 1960s, the black is beautiful cultural movement sought to dispel the notion of a Eurocentric concept of beauty.

Much criticism has been directed at models of beauty which depend solely upon Western ideals of beauty, as seen, for example, in the Barbie franchise. Criticisms of Barbie are often centered around concerns that children consider Barbie a role model of beauty and will attempt to emulate her. One of the most common criticisms of Barbie is that she promotes an unrealistic idea of body image for a young woman, leading to a risk that girls who attempt to emulate her will become anorexic.

As of 1998, these criticisms of the lack of diversity in such franchises as the Barbie model of beauty in Western culture, had led to a dialogue to create non-exclusive models of Western ideals in body type for young girls who do not match the thinness ideal that Barbie represents. Mattel responded to these criticisms.

An Indian woman in her traditional attire

In East Asian cultures, familial pressures and cultural norms shape beauty ideals. A 2017 experimental study concluded that Asian cultural idealization of "fragile" girls was impacting Asian American women's lifestyle, eating, and appearance choices.

Effects on society

Researchers have found that good-looking students get higher grades from their teachers than students with an ordinary appearance. Some studies using mock criminal trials have shown that physically attractive "defendants" are less likely to be convicted-and if convicted are likely to receive lighter sentences-than less attractive ones (although the opposite effect was observed when the alleged crime was swindling, perhaps because jurors perceived the defendant's attractiveness as facilitating the crime). Studies among teens and young adults, such as those of psychiatrist and self-help author Eva Ritvo show that skin conditions have a profound effect on social behavior and opportunity.

How much money a person earns may also be influenced by physical beauty. One study found that people low in physical attractiveness earn 5 to 10 percent less than ordinary-looking people, who in turn earn 3 to 8 percent less than those who are considered good-looking. In the market for loans, the least attractive people are less likely to get approvals, although they are less likely to default. In the marriage market, women's looks are at a premium, but men's looks do not matter much. The impact of physical attractiveness on earnings varies across races, with the largest beauty wage gap among black women and black men.

Conversely, being very unattractive increases the individual's propensity for criminal activity for a number of crimes ranging from burglary to theft to selling illicit drugs.

Discrimination against others based on their appearance is known as lookism.

References

1. Stegers, Rudolf (2008). Sacred Buildings: A Design Manual. Berlin: De Gruyter. p. 60. ISBN 3764382767.

2. ^ Gary Martin (2007). "Beauty is in the eye of the beholder". The Phrase Finder. Archived from the original on November 30, 2007.

3. ^ Kriegel, Uriah (2019). "The Value of Consciousness". Analysis. 79 (3): 503-520. doi:10.1093/analys/anz045. Archived from the original on January 11, 2022.

4. Zangwill, Nick (2003). "Beauty". In Levinson, Jerrold (ed.). Oxford Handbook to Aesthetics. Oxford University Press. doi:10.1093/oxfordhb/9780199279456.003.0018. Archived from the original on January 11, 2022.

5. De Clercq, Rafael (2019). "Aesthetic Pleasure Explained". Journal of Aesthetics and Art Criticism. 77 (2): 121-132. doi:10.1111/jaac.12636.

6. ^ Rogerson, Kenneth F. (1982). "The Meaning of Universal Validity in Kant's Aesthetics". The Journal of Aesthetics and Art Criticism. 40 (3): 304. doi:10.2307/429687. JSTOR 429687. Archived from the original on February 10, 2021.

7. ^ Berg, Servaas Van der (2020). "Aesthetic Hedonism and Its Critics". Philosophy Compass. 15 (1): e12645. doi:10.1111/phc3.12645. S2CID 213973255. Archived from the original on February 11, 2021.

8. ^ Hansson, Sven Ove (2005). "Aesthetic Functionalism". Contemporary Aesthetics. 3. Archived from the original on February 13, 2021.

9. Euripides, Alcestis 515.

10. P.T. Struck - ^ The Trojan War Archived December 22, 2021, at the Wayback Machine Classics Department of University of Penn [Retrieved 2015-05-12]( < 1250> )

11. R Highfield - ^ Scientists calculate the exact date of the Trojan horse using eclipse in Homer Archived December 24, 2021, at the Wayback Machine Telegraph Media Group Limited 24 Jun 2008 [Retrieved 2015-05-12]

12. Bronze Age first source ^ C Freeman - Egypt, Greece, and Rome: Civilizations of the Ancient Mediterranean - p.116 Archived February 3, 2023, at the Wayback Machine, verified at A. F. Harding - European Societies in the Bronze Age - p.1 Archived February 3, 2023, at the Wayback Machine [Retrieved 2015-05-12]

13. ^ Sources for War with Troy Archived December 8, 2015, at the Wayback Machine Cambridge University Classics Department [Retrieved 2015-05-12]( < 750, 850 > )

14. ^ the most beautiful - C.Braider - The Cambridge History of Literary Criticism: Volume 3 Archived February 3, 2023, at the Wayback Machine, The Renaissance: Zeuxis portrait (p.174) ISBN 0521300088 - Ed. G.A. Kennedy, G.P. Norton & The British Museum - Helen runs off with Paris Archived October 11, 2015, at the Wayback Machine [Retrieved 2015-05-12]

15. W.W. Clohesy - ^ The Strength of the Invisible: Reflections on Heraclitus (p.177) Archived August 12, 2017, at the Wayback Machine Auslegung Volume XIII ISSN 0733-4311 [Retrieved 2015-05-12]

16. ^ J.L. Wright. Review of The Beautiful Shape of the Good:Platonic and Pythagorean Themes in Kant's Critique of the Power of Judgment by M.C.Fistioc Volume 4 Issue 2 Medical Research Ethics. Pacific University Library. Archived from the original on March 4, 2016.(ed. 4th paragraph - beauty and the divine)

17. N Wilson - ^ Encyclopedia of Ancient Greece (p.20) Routledge, 31 Oct 2013 ISBN 113678800X [Retrieved 2015-05-12]

18. ^ K Urstad. Loving Socrates:The Individual and the Ladder of Love in Plato's Symposium (PDF). Res Cogitans 2010 no.7, vol. 1. Archived from the original (PDF) on October 10, 2015.

19. F. McGhee - ^ review of text written by David Konstan published by the Oxonian Review March 31, 2015 [Retrieved 2015-11-24](references not sources: Bryn Mawr Classical Review 2014.06.08 (Donald Sells) Archived November 26, 2014, at the Wayback Machine + DOI:10.1093/acprof:oso/9780199605507.001.0001 Archived July 16, 2020, at the Wayback Machine)

20. ^ "NPNF1-02. St. Augustine's City of God and Christian Doctrine - Christian Classics Ethereal Library". . Archived from the original on July 1, 2017.

21. ^ Ames-Lewis, Francis (2000), The Intellectual Life of the Early Renaissance Artist, New Haven, Connecticut: Yale University Press, p. 194, ISBN 0-300-09295-4

22. Guy Sircello, ^ A New Theory of Beauty. Princeton Essays on the Arts, 1. Princeton, NJ: Princeton University Press, 1975.

23. ^ Love and Beauty. Princeton, NJ: Princeton University Press, 1989.

24. ^ Reber, Rolf; Schwarz, Norbert; Winkielman, Piotr (November 2004). "Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?". Personality and Social Psychology Review. 8 (4): 364-382. doi:10.1207/s15327957pspr0804_3. hdl:. PMID 15582859. S2CID 1868463.

25. ^ Armstrong, Thomas; Detweiler-Bedell, Brian (December 2008). "Beauty as an Emotion: The Exhilarating Prospect of Mastering a Challenging World". Review of General Psychology. 12 (4): 305-329. CiteSeerX 10.1.1.406.1825. doi:10.1037/a0012558. S2CID 8375375.

26. ^ Marin, Manuela M.; Lampatz, Allegra; Wandl, Michaela; Leder, Helmut (November 4, 2016). "Berlyne Revisited: Evidence for the Multifaceted Nature of Hedonic Tone in the Appreciation of Paintings and Music". Frontiers in Human Neuroscience. 10: 536. doi:10.3389/fnhum.2016.00536. PMC . PMID 27867350.

27. Phillips, Mike (January 29, 2005). "Review: On Beauty edited by Umberto Eco". the Guardian.

28. ^ Fasolini, Diego (2006). "The Intrusion of Laughter into the Abbey of Umberto Eco's The Name of the Rose: The Christian paradox of Joy Mingling with Sorrow". Romance Notes. 46 (2): 119-129. JSTOR 43801801.

29. ^ Artists' Types of Beauty Archived February 3, 2023, at the Wayback Machine", The Strand Magazine. United Kingdom, G. Newnes, 1904. pp. 291-298.

30. ^ Chō, Kyō (2012). The Search for the Beautiful Woman: A Cultural History of Japanese and Chinese Beauty. Translated by Selden, Kyoko Iriye. Lanham: Rowman & Littlefield. pp. 100-102. ISBN 978-1442218956..

31. ^ Galton, Francis (1879). "Composite Portraits, Made by Combining Those of Many Different Persons Into a Single Resultant Figure". The Journal of the Anthropological Institute of Great Britain and Ireland. 8. JSTOR: 132-144. doi:10.2307/2841021. ISSN 0959-5295. JSTOR 2841021. Archived from the original on July 26, 2020.

32. ^ Koeslag, Johan H. (1990). "Koinophilia groups sexual creatures into species, promotes stasis, and stabilizes social behaviour". Journal of Theoretical Biology. 144 (1). Elsevier BV: 15-35. Bibcode:1990JThBi.144...15K. doi:10.1016/s0022-5193(05)80297-8. ISSN 0022-5193. PMID 2200930.

33. Symons, D. (1979) ^ The Evolution of Human Sexuality. Oxford: Oxford University Press.

34. ^ Kramer, Steve; Zebrowitz, Leslie; Giovanni, Jean Paul San; Sherak, Barbara (February 21, 2019). "Infants' Preferences for Attractiveness and Babyfaceness". Studies in Perception and Action III. Routledge. pp. 389-392. doi:10.4324/9781315789361-103. ISBN 978-1-315-78936-1. S2CID 197734413.

35. ^ Apicella, Coren L; Little, Anthony C; Marlowe, Frank W (2007). "Facial Averageness and Attractiveness in an Isolated Population of Hunter-Gatherers". Perception. 36 (12). SAGE Publications: 1813-1820. doi:10.1068/p5601. ISSN 0301-0066. PMID 18283931. S2CID 37353815.

36. ^ "A Woman's Face is Her Fortune (advertisement)". The Helena Independent. November 9, 2000. p. 7.

37. ^ Little, Becky (September 22, 2016). "Arsenic Pills and Lead Foundation: The History of Toxic Makeup". National Geographic. Archived from the original on November 5, 2018.

38. ^ Cunningham, Michael (1995). ""Their ideas of beauty are, on the whole, the same as ours": Consistency and variability in the cross-cultural perception of female physical attractiveness". Journal of Personality and Social Psychology. 68 (2): 261-279. doi:10.1037/0022-3514.68.2.261. ISSN 1939-1315.

39. ^ Patton, Tracey Owens (July 2006). "Hey Girl, Am I More than My Hair?: African American Women and Their Struggles with Beauty, Body Image, and Hair". NWSA Journal. 18 (2): 45-46. JSTOR 4317206. Project MUSE 199496 ProQuest 233235409. These stereotypes and the culture that sustains them exist to define the social position of black women as subordinate on the basis of gender to all men, regardless of color, and on the basis of race to all other women. These negative images also are indispensable to the maintenance of an interlocking system of oppression based on race and gender that operates to the detriment of all women and all blacks" (Caldwell 2000, 280).

40. ^ DoCarmo, Stephen. "Notes on the Black Cultural Movement". Bucks County Community College. Archived from the original on April 8, 2005.

41. ^ Begley, Sharon (July 14, 2009). "The Link Between Beauty and Grades". Newsweek. Archived from the original on April 20, 2010.

42. ^ "Image survey reveals "perception is reality" when it comes to teenagers" (Press release). multivu.prnewswire.com. Archived from the original on July 10, 2012.

Further reading

External links

# data[].attributes.attachment_link.description
Beauty is commonly described as a feature of objects that makes them pleasurable to perceive. Such objects include landscapes, sunsets, humans and works of art. Beauty, art and taste are the main subjects of aesthetics, one of the major branches of philosophy. As a positive aesthetic value, it is contrasted with ugliness as its negative counterpart.