Some preliminary research

Habitus is a complex concept, but in its simplest usage could be understood as a structure of the mind characterized by a set of acquired schemata- sensibilities, dispositions and taste. (Scott, John & Marshall, Gordon (eds) A Dictionary of Sociology, Oxford University Press, 1998)

A Habitus displays the influence of social structure on the individual and is 'isomorphic' to the society it originates in. It includes aspects of cultural practices- taste, aesthetics and similar 'non discursive' knowledge- that are imbibed through an individual's lifetime.

Taste and Aesthetics
Taste as a sociological concept refers to cultural patterns of choice and preference- the human ability to distinguish and judge aspects of the external world as beautiful, good, and proper, as opposed to vulgar, hideous, etc.

Pierre Bourdieu
In Distinction- The Social Critique of the Judgement of Taste, Bourdieu states that individuals derive their aesthetics and notions of good and bad taste from their social position. He describes how those in power define aesthetic concepts. 'Subordinate' classes may have their unique sensibility, but these are always defined in relation to the dominant aesthetic.
Symbolic Capital is a term popularized by Bourdieu, refering to aspects of culture that indicate individual prestige, honour.
Symbolic Violence refers to the unconscious modes of cultural and social domination imposed by those higher up in the social order, that are apparent in our daily lives.

Cultural Capital refers to non-financial assets (such as education or specialized skills) that equip an individual to advance in society.

Immanuel Kant

According to Kant's aesthetic philosophy, there is no 'standard' aesthetic preference of the majority that impacts the sensibilities of the whole. He argues for a universal aesthetic standard and the prevalence of a sencus communis, or consensus of taste. He believes that an actual 'good' taste standard exists, although it cannot be empirically defined. Kant considers fashion to reinforce distinctions, and therefore exludes it from pure aesthetics.

"..we must [here] take sensus communis to mean the idea of a sense shared [by us all], i.e., a power to judge that in reflecting takes account (a priori), in our thought, of everyone else's way of presenting [something], in order as it were to compare our own judgement with human reason in general... Now we do this as follows: we compare our judgement not so much with the actual as rather with the merely possible judgements of others, and [thus] put ourselves in the position of everyone else..." -Immanuel Kant, The Critique of the Power of Judgement, 1790