I think you need to read an overview about musical intervals. You can get that from a harmony textbook or this Wikipedia page about intervals. It seems like you are inventing your own naming system, but there is a very, very well established nomenclature.
Perfect/imperfect are terms applied only to the unison, octave, fourth, and fifth.
Major/minor are terms applied to the second, third, sixth, and seventh.
What is meant by perfect, imperfect consonace and dissonance?
Perfect means: a unison or 0 semi-tones, fourth of 5 semi-tones, fifth of 7 semi-tones, or an octave of 12 semi-tones. Any one of those intervals that differs in the semi-tone size could be called imperfect but normally is called augmented if it is bigger, or diminished if it is smaller.
The sense of dissonance is a bit tricky. The perfect intervals are consonances... except the perfect fourth is considered dissonant in some styles/contexts. The imperfect intervals may or may not be dissonant. For example, an augmented fourth is a dissonance. But a diminished fourth is enharmonically equal to a major third, a consonance. Similarly an augmented fifth is enharmonically equal to a minor sixth, a consonance. But when an augmented fifth is used in an augmented triad, the chord is considered - at least by some/most - as dissonant.
My original answer misunderstood the question. I thought the question was why are some intervals called perfect? My original answer is below. Maybe it will be helpful.
If we think of intervals in relation to a tonic, then the perfect/imperfect intervals are about the relationships between the tonal degrees of the scale the tonic, subdominant, and dominant (numerically ^1, ^4, and ^5.)
You can think of perfect/imperfect being descriptors only applied to the intervals between the tonic and tonal degrees, and the tonic to itself for the unison and the octave.
The other degrees above the tonic - ^2, ^3, ^6, and ^7 are the modal degrees (sometimes ^2 is described as both a tonal or modal degree) - and the intervals between the tonic and those degrees are described as major/minor.
This seems to be the association of the interval descriptors to the various interval numbers. The associations originate from intervals relative to the tonic.
Those associations are then maintained to the intervals in any scale position or even outside of any scale or tonal context.
So, the fifth from a tonic to a dominant is a perfect fifth and is 7 semi-tones in size. Any other fifth of 7 semi-tones in size is also called a perfect fifth.
I don't know if that is the historic origin of the terminology, but it is how I make sense of it.