The Geometry of Beauty

¨We accept localized beauty from a predetermined perspective, but overall, it is stifling. Cold authority creates a rigid aesthetic standard that starkly contrasts with the true essence of beauty. This elitist aesthetic, shaped by white supremacy and far-right politics, promotes exclusivity and marginalizes diversity. In the ongoing clash between elite standards and genuine beauty, this so-called perfection is fragile.¨

BEAUTY = AESTHETIC?

Beauty and aesthetics are distinct concepts. Beauty exists objectively, while aesthetics are subjective. As aestheticians and philosophers laboriously attempt to describe and define the birth and composition of beauty using precise scientific methods, a clear, non-objective standard for evaluating "aesthetics" emerges. In fields such as art, various schools and systems develop, leading to fundamental criteria for what constitutes "beauty"—geometry, perspective, color theory, and composition, among others. Consequently, we subconsciously adopt certain evaluative frameworks, such as perceiving Morandi’s gray tones as sophisticated while dismissing discordant color schemes as lacking rigor and comfort.

Although aesthetic relativism remains a mainstream view, and we advocate for diverse aesthetics, can we truly claim that aesthetics have no clear classification? Otherwise, where do all these adjectives come from? When we label something with a descriptive term, we have already categorized it in our minds. Ironically, these aesthetic adjectives often carry explicit positive or negative connotations and a comprehensive grading system, such as refined vs. coarse, avant-garde vs. traditional, and elegant vs. vulgar.

ARE AESTHETICS DEMOCRATIC?

Differences in cultural background, regional customs, and personal experience determine individual aesthetic systems. Aestheticians interpret beauty through their tastes, preferences, pleasures, utility, self-expression, and psychological release.
Yet, it is ironic that, amid increasing globalization setbacks, the definition of "high-end aesthetics" becomes increasingly homogenized. Who decides the standards for "high-end aesthetics"? Discussing elitism alone seems overly rigid and tedious, and contemporary society is somewhat plagued by elitist tendencies. To be blunt, "high-end aesthetics" are defined by a level beyond your current sphere, one you cannot yet reach.

Every social class has its objects of admiration, aspiring to emulate higher social strata to achieve (at least outwardly) a class crossover. The ruling class, which sets the rules, is a small minority.

Just as ordinary people look at Zara, Zara looks at luxury brands, and luxury brands? They do whatever they please, however absurd, and are venerated as standards by those at the lower end. Initially, art and luxury goods, both domestically and internationally, served religious and elite purposes. They controlled production resources, societal resources, and guided societal trends; the standards they set for public consumption and emulation were, in essence, a form of Nazi Aesthetimism.

Their overwhelming social resources create a longing and envy that remains out of reach, driving people to imitate external forms in a bid to boost their own perceived taste to announce "I Have real good taste". Unwittingly, you reinforce their dominance.

CAN AESTHETICS BE TRULY DEMOCRATIC?

Human nature is quite peculiar; on one hand, we debate class conflicts and rigidity; yet on the other hand, we practice upward learning principles in every facet of life.

When stripped of cultural context, personal experiences, and genuine preferences, all this carefully packaged beauty seems incredibly fragile and ironic. And this charade won’t end unless you become powerful enough to withdraw from societal activities and ignore the class-based games. The real question is, how many can genuinely achieve that?

CREDITS

CREDITS

PHOTOGRAPHY: Miquel Cabello
PHOTO ASSISTANT: Olivier
CREATIVE DIRECTION: Sofía Paura
STYLIST: Jose Carlos de la Osa
MUAH: Mauro Saccoccini
STARRING: Nuria, Tan and Eli from UNO MODELS
LOCATION: Tribu Studio, Madrid
CONTENT CREATIVE: EST8 Mag

Back Drop Photo
Eli: Top SPORTMAX;
Tan: Blazer MARINA RINALDI, Shirt KNOW TOWN;
Nuria: dress ACROMATIX

Photo 4
Nuria: Jacket and pants ANGEL SCHLESSER

Photo 5
Nuria: Dress ACROMATIX

Photo 8
Eli: Padded cape IT SPAIN

Photo 6,7
Tan: Cape MESON MESA,
Boot Tabi, MARGIELA en LOUE

Photo 9,10,11
Nuria: Dress BIMONE ATELIER, Corset BIMBA y LOLA,
Japanese ÁNGEL SCHLESSER, Heel-Boot JIMMY CHOO