Vestigial fashion, which creates artistic images of a person, is guided by the aesthetic significance of the organization of the costume. However, the suit, as the shell closest to the human body, requires ensuring the comfort of its owner's existence. In this regard, tactile sensations are important, that is, sensations of touch and pressure arising on the surface of the skin. The development of tactile aesthetics, the essence of which lies in the combination of beauty and benefit, has not occurred for a long time historically, since there was a disregard for touch as the lowest of the senses. Tactility as an element of tactility has a special role in the field of vestigial fashion, where the sense of self arises from our sensual existence in the world, that is, touch, along with visual, determines the degree of aesthetic. The art of the twentieth century turned to tactility in practical experience, the greatest contribution to the “subordination of the eyes to the control of touch” was made by constructivist artists of Soviet Russia in the 1920s, led by V. E. Tatlin. Currently, tactile aesthetics, based on aesthetic and philosophical concepts of the twentieth century, fully enriches modern artistic practice.

Vestigial fashion, which creates artistic images of a person, is guided by the aesthetic significance of the organization of the costume. However, the suit, as the shell closest to the human body, requires ensuring the comfort of its owner's existence. In this regard, tactile sensations are important, that is, sensations of touch and pressure arising on the surface of the skin. The development of tactile aesthetics, the essence of which lies in the combination of beauty and benefit, has not occurred for a long time historically, since there was a disregard for touch as the lowest of the senses. Tactility as an element of tactility has a special role in the field of vestigial fashion, where the sense of self arises from our sensual existence in the world, that is, touch, along with visual, determines the degree of aesthetic. The art of the twentieth century turned to tactility in practical experience, the greatest contribution to the “subordination of the eyes to the control of touch” was made by constructivist artists of Soviet Russia in the 1920s, led by V. E. Tatlin. Currently, tactile aesthetics, based on aesthetic and philosophical concepts of the twentieth century, fully enriches modern artistic practice.