If you have a background in the humanities, you may have wondered how medieval philosophy is reflected in today’s classic menswear. Part of the aesthetics of medieval scholasticism, which emphasized integrity, proportion, and radiance, seems to have survived over time, subtly influencing the way the world’s great tailoring houses interpret and apply the rules of modern style.
This article is not didactic. Its goal is to show how the medieval vision of beauty has been transmitted to the present, unconsciously shaping the way stylish men approach clothing. We will examine how the formal qualities of beauty are reflected in modern suits, lending tradition and nobility to your wardrobe.
Integrity
For an object to be considered beautiful, Thomas Aquinas wrote in Summa Theologica that three conditions must be satisfied simultaneously. First, he addressed integrity or completeness: objects that are incomplete are inherently unattractive. An object is beautiful if it is whole, unaffected by defects or deficiencies. To fulfill its purpose, it must possess all its parts, meaning it must correspond appropriately to what it is meant to be according to its form.
For example, a mutilated object lacks integrity because it does not suit its intended form. Similarly, a jacket sleeve lacks integrity if it has decorative buttons instead of functional ones. In short, the sleeve fails to meet the requirements dictated by its form.
Proportion
Second, medieval thinkers, led by Thomas Aquinas, argued that beauty requires proportion or harmony. Inspired by Pythagoras’ theory of numerical proportions and filtered through Augustine’s philosophy, the Thomistic idea suggests that beauty arises when there is balance among the parts of a structure.
Proportion represents the measured and well-balanced arrangement of a whole’s constituent parts, resulting in symmetry. A sense of proportion and symmetry is the secret weapon of any master tailor. In classic menswear, this principle is expressed through appropriate jacket drops, balanced lapels, cuff widths, or the number of vents—each contributing to a pleasing, harmonious look.
Radiance
Third, medieval thinkers added that beauty requires clarity or inner radiance. Beauty is not only a matter of external proportions but also of inner emanation, where the essence of a thing is made visible through the form it expresses. Theologically, this radiance is closely tied to the idea that beauty reflects divine light. Saints in icons, for example, are depicted with halos to signify the radiance of sanctifying grace.
In secular terms, a suit is worn from the inside out, not the outside in. The wearer imbues the suit with radiance and taste; the suit itself does not confer taste that the wearer lacks. A man’s suit acts like a magnifying glass: it amplifies what is already present.
Integrity, proportion, and radiance are the three qualities that allow a form—whether a person, an object, or a monument—to be called beautiful. Beginning in the 13th century, these criteria were adopted and transmitted throughout the philosophical tradition, constituting the essence of beauty. They resonated in other domains, such as Gothic architecture or, closer to modern times, sartorial architecture. Medieval scholasticism thus viewed beauty as an attribute of God—a metaphysical category. Unlike modern thinkers, medieval people saw beauty as both an aesthetic and a moral value.
In the 19th century, English and Italian tailoring schools revived these criteria (albeit unconsciously), removing the moral dimension and emphasizing aesthetics and functionality. A well-made suit must look good and feel comfortable—this means high-quality materials, precise cuts, and refined design. The medieval vision of beauty unexpectedly persists in today’s bespoke tailoring, where integrity, proportion, and radiance should be evident in every detail.
Beauty, whether in philosophy, theology, or sartorial aesthetics, rests on universal ideals that people of different eras aspire to in their own way. Yet all of us, thanks to subtle intuition, are aware of our proximity or distance from beauty, showing that beauty—like love, courage, or death—can always serve as a bridge connecting generations.
