In this post, Nicholas Wiltsher discusses his article recently published in Ergo. The full-length version of Nick’s article can be found here.

Sometimes, you write a paper because you think you’ve got the right answer. Sometimes, you just want to explore some ideas; whether you have them exactly right isn’t so important. This paper is of the second kind. It starts from the thought that genders are socially constructed. This means that they’re made from coordinated human thought and action—what we can call social practices. These social practices generate constraints, enablements, and norms: rules about things you can, can’t, should, and shouldn’t do, according to your gender. A gender is constituted by those rules, and thus constructed from social practice.
My general notion was to think about whether, and how, aesthetic practices such as judgements of attractiveness and dress codes contribute to the construction of genders by generating constitutive rules.
Now, you might think that it’s obvious that genders have something to do with aesthetics, but let’s be clear: the claim isn’t just that genders have aesthetic effects. The claim is that what makes genders substantial, what really makes them whatever they are, is in large part rules generated by the gendered aesthetic practices in which we collectively engage. In the paper, I try to justify this claim in three stages: first, by showing that there’s conceptual space for it; second, by showing that the conceptual space can be filled; third, by suggesting that it’s useful to do so.
Let’s start from conceptual space. We can divide human thought and practice into three domains: epistemic, practical-ethical, and aesthetic. Each has its own distinctive kind of value (truth, goodness, beauty), its own salient mental states (knowledge, virtue, appreciation), and so on. On my reading, most of the work on genders is either about epistemic practice or practical-ethical practice. On the epistemic approach, the categories woman and man are constructed from the explanations and predictions we make of people so categorised: for example, from explanations for action appealing to gendered character traits (emotionality, aggression). On the practical-ethical approach, the categories are constructed from the ways we treat and judge people so categorised: for example, from differential judgement of similar sexual behaviour in women and men (promiscuity). Very few people have thought about genders as constructed through their use in aesthetic valuation of people. So there’s the conceptual space.
How do you fill such a conceptual space? With a model, is my answer. A model is a selective account of something. You could think of it in terms of telling a story from a perspective. When it comes to complicated things, it’s worth making multiple models, telling multiple stories, which highlight different important aspects. A model of gender construction shows us one important aspect of it. So aesthetic, epistemic and practical models aren’t really in competition: they’re showing us different things.
The aesthetic model begins with an account of aesthetic social practices. These are coordinated patterns of thought and behaviour focussed on the creation and appreciation of things with aesthetic value. Making art is an obvious example of such a practice. So are lots of practices with humans at their centre. Think of fashion, grooming, perfume; think, in fact, of what people often mean by “aesthetics”. These are coordinated ways of finding aesthetic value in people: of finding each other beautiful, striking, interesting, stylish, expressive.
Lots of human-centred aesthetic practices are gendered. But that doesn’t mean they all contribute directly to constructing genders. The really important practices are those in which gender differentiation occurs essentially: those where it’s definitional of the practice that it’s done differently by people of different genders. It’s essential to the practice of professional dress that men and women do it differently—you can tell this because the very same action, say wearing red lipstick, has very different aesthetic consequences depending on the gender of the actor. Perhaps surprisingly, drag is another aesthetic practice in which gender differentiation is essential. It’s definitional of drag that aesthetic value varies depending on the gender of the performer.
These important aesthetic practices help to construct genders because they generate constraints, enablements, and norms. They tell us how people belonging to a given gender ought to look, dress, comport themselves, express themselves. You can see this most clearly by thinking of gender policing. Which transgressions of gender norms are most often and obviously punished by societies? I say it’s transgressions of aesthetic norms: norms of what we wear and how we present ourselves.
So there’s a model of how aesthetic social practices in which gender differentiation occurs essentially generate norms that are sufficiently substantial to constitute genders. But is this model useful? The third part of the paper says it is, because it can bridge a troublesome gap between gender categories and self-identity.
We each establish our gender identity in relation to gender categories. Moreover, people want to identify with genders. They often put their gender at the core of their self-identity. But, ideally, we want our self-identity to be something we positively embrace. Yet if we think of genders as defined by epistemic or practical-ethical practices, it’s not clear why anyone would want to positively embrace them, rather than just accept them.
The aesthetic model allows us to tell a fluent story about how genders can be embraced as constituents of self-identity. Identifying with a gender means embracing the aesthetic norms that constitute it. By embracing those norms, one adopts reasons to value oneself and makes assertions about how one wishes to be valued. Moreover, by participating in gendered aesthetic practices, one finds tools with which to construct and express one’s gendered identity, while also actively participating in the construction of gender itself.
So there’s the argument. There’s space for an aesthetic model of genders; there’s a credible model to be made; and the model can do useful work. I don’t think I’ve done everything right in this paper, and I’d be delighted if someone else were to do it better. But I think the basic idea is sound: whatever genders are, aesthetic practices substantially make them so.
Want more?
Read the full article at https://journals.publishing.umich.edu/ergo/article/id/6160/.
About the author

Nicholas Wiltsher is currently a lecturer at Uppsala University. He will take up a similar position at St Andrews in September 2025. He has previously worked in Belgium, Brazil, the USA, and the UK. His research encompasses several topics in aesthetics, and also the imagination.