5 reasons why minimalist design is so aesthetically pleasing and alluring
Wondering why minimalist design has become a standard in art, fashion and other industries? Here’s why this perspective on beauty is so aesthetically pleasing.
A 1927 Atlantic article called “Beauty is the New Business” tool speaks eloquently about the rise and fall of the ugliness era that spurred out of the prioritization of efficiency during the industrial revolution.
As the desire for beauty transcended mere utility, it gave way to a fresh wave of design, showcasing, and branding practices that still influence how we create and consume today.
Of the different aesthetic trends, there is one that has dominated the scene across a plethora of industries: minimalist design.
For the past two decades this perspective on beauty has an appeal that stands up against the persistence of mass production, fast fashion, tasteless promotions, and ubiquitous design.
Minimalist design is aesthetically appealing and emotionally alluring in a way that other design perspectives simply can’t replicate. So much so that we decided to expand our mission by launching a minimalist art shop out of acknowledgement of the importance of design to intentional living.
Minimalist design and minimalist living are typically discussed as if they are completely separate concepts. But they are not:
People often talk as if there was an opposition between what is beautiful and what is useful. There is no opposition to beauty except ugliness: all things are either beautiful or ugly, and utility will be always on the side of the beautiful thing, because beautiful decoration is always on the side of the beautiful thing, because beautiful decoration is always an expression of the use you put a thing to and the value placed on it.
To understand why visual simplicity is so important to simple living, we curated five excerpts from this enduring Atlantic article. As you read you’ll note an an important and pertinent reminder: beauty and utility (i.e. form and function) go hand-in-hand.
1. HOLISTIC DESIGN
Thus it might be said that good taste passed from the advertisement to the package, and from the package to the product, keeping pace with the growing appreciation of taste on the part of the public due to increased culture and sophistication.
Immediately these better-designed goods and packages demanded a better environment in which to be sold, and thus we have a revolution in the furnishing of shops and stores.
2. IRRESISTIBLE APPEAL
Beauty is introduced into material objects to enhance them in the eyes of the purchaser. The appeal of efficiency alone is nearly ended. Beauty is the natural and logical next step. It is in the air.
When choice rests between two articles of equal utility, it veers toward the more attractive ... Moreover, in the new contest of beauty the possibilities are greater than in the contest of efficiency. In beauty the sky is the limit.
3. PROGRESSIVE VALUES
[A]rt should reflect the age, especially an age which has introduced so many new values. The modern school of artists insists that we must have art that grows out of our life, not out of the life of a dead-and-gone era subject to influences so remote from today ...
It is logical that business should prove susceptible to these new art forms, because, in a way, both are the result of the same set of causes.
4. ECONOMIC VIABILITY
[T]here is now an economic reason for beauty. Art is indicated as a selling argument. Among other things it means that the artist is going to have a better market for the products of his imagination.
Buying pictures to help the artist, or endowing art galleries in order that the public may have an opportunity to see beautiful things, is after all a makeshift. Subsidized art is of its very nature impermanent. It exits only through philanthropy.
If art is the vital force in our lives that it should be, it does not need to ask favors. It does not need to depend upon charity. The only art that can survive and grow is art that is related to our life and our needs, and that has a sound economic foundation.
5. INHERENT UNIQUENESS
It is to be hoped that manufacturers in the search for design to beautify their products will start with a clear conception of what beauty is, especially beauty in an article of use. Beauty is original. It is found in the thing itself.
Good design is never imitative ... Good design is produced only by studying the article to be treated, its use, its purpose, so as to shape and color it to suggest unerringly that use and purpose. It must make the thing beautified newly significant.