Green Aesthetics in Clothing

Abstract

This paper presents an approach to understanding green aesthetics in clothing and design-forsustainability that unifies existing theories and describes aspects of green aesthetics. The aim of this paper is to define the dimensions of aesthetic perception in design and commodities, and while doing so the focus is on green aesthetics in clothing. Hence the approach is made on the basis of aesthetic discourse yet with a multidisciplinary view. The study first constructs an understanding of clothing aesthetics in general: the definition and understanding 'thin' aesthetics in the context of clothing, which combines product properties, multilayered pleasure experiences, and creativity elements. Secondly the study lays the ground for defining green aesthetics, a 'thick' aesthetic evaluation based on environmental aesthetics. Finally the study constructs a framework by which to approach green aesthetics in clothing. On the basis of this paper, parallels and synergies between green aesthetics in design objects and the definition of design-for-sustainability can be drawn, merging aesthetic attributes with environmental values. Hence the paper opens new views on normative beauty in commodities.

Preface to Transitioning to Responsible Consumption and Production

“…If accepted widely, this approach could mean a big change in the fashion culture. Earlier studies have shown that social acceptance is an important element when we are choosing a garment, and accordingly our appearance is "built" to reflect our identity in a social context (Niinimäki 2009(Niinimäki , 2014Freeburg and Workman 2010). Perhaps the ethos of sustainability needs also a new kind of aesthetic understanding and aesthetic appreciation, where the repaired and used outlook is accepted based on a sustainable value base (Niinimäki 2014).…”

Dissolving distances: Designing close-to-body experiences for remote settings

“…While neutral and classic visual expressions by designers are often associated with the design being used in many contexts, the participant's involvement with the design process opened another dynamic of use where frequent and active use relates more to colors and stylistic expressions matching the participant's preferences. In this way, the co-explorative engagements with the personalized jumpers manifested as a prototype of a new consumer role challenging assumptions that neutral and classic visual expressions provide the only route toward more frequent and long-lasting garment use (Niinimäki, 2014).…”