Take musical instruments. In a symphony orchestra the customary ranking of sections recognizes the difficulty and degree of subtlety of various kinds of instruments: strings are on top, woodwinds just below, then brass, and, at the bottom, percussion. On the difficulty scale, the accordion is near the bottom, violin near the top. Another way of assigning something like "social class" to instruments is to consider the prestige of the group in which the instrument is customarily played. As the composer Edward T. Cone says, "If you play a violin, you can play in a string quartet or symphony orchestra, but not in a jazz band and certainly not in a marching band. Among woodwinds, therefore, flute and oboe, which are primarily symphonic instruments, are 'better' than the clarinet, which can be symphonic, jazz, or band. Among brasses, the French horn ranks highest because it hasn't customarily been used in jazz. Among percussionists, tympani is high for the same reason." And (except for the bassoon) the lower the notes an instrument is designed to produce, in general the lower its class, bass instruments being generally easier to play. Thus a sousaphone is lower than a trumpet, a bass viol lower than a viola, etc. If you hear "My boy's taking lessons on the trombone," your smile will be a little harder to control than if you hear "My boy's tаking lessons on the flute." On the other hand, to hear "My boy's taking lessons on the viola da gamba" is to receive a powerful signal of class, the kind attaching to antiquarianism and museum, gallery, or "educational" work. Guitars (except when played in "classical" - that is, archaic - style) are low by nature, and that is why they were so often employed as tools of intentional class degradation by young people in 1960s and '70s.
А то, что он пишет про одежду, я бы вообще включил в обязательную школьную программу, если бы я был из этих.