First, as psychology developed an epistemology, aestheticians began to apply its theory and methods to the study of aesthetic judgments.Second, as standards of living rose, consumers began to demand products that were both functional and attractive.The focus of most research on the aesthetics of fashion has been the evaluation of clothing worn by others, with an emphasis on expressiveness, rather than attractiveness.The results of such research provide valuable information on one set of inputs to the decision-making process, but tell little about how consumers process information on fashion objects for their own use.CONCEPTUAL AND EMPIRICAL WORK ON THE AESTHETICS OF FASHION Sproles (1979) proposed a model of fashion-oriented consumer behavior.[Published in book form, the Sproles (1979) L model has had relatively little exosure.Molly Eckman and Janet Wagner (1995) ,"Aesthetic Aspects of the Consumption of Fashion Design: the Conceptual and Empirical Challenge", in NA - Advances in Consumer Research Volume 22, eds. Kardes and Mita Sujan, Provo, UT : Association for Consumer Research, Pages: 646-649.
The results of research on judgments of attractiveness are useful in building the Sproles (1979) model.
To achieve significant form, applied art must meet utilitarian as well as aesthetic needs.
Examples of significant form in the design of household objects include the Norelco shaver, the Black & Decker drill, the Bentwood rocker, and the Chanel suit.
Despite sporadic attempts to rise to Holbrook's challenge, we continue to neglect the aesthetic aspects of consumption.
Nowhere is this more apparent than in the design of fashion goods. While fashion affects the design and consumption of many products, clothing is the classic example.