• Journal of Fashion Business
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• v.28 no.2
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• pp.76-91
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• 2024

This study analyzed the colors used in the logos of infants' and children's clothing brands, comparing them based on brand type and the pursued image. A total of 34 brands with the highest recent sales rates were selected. Among these, 17 were large-sized enterprise brands found in department stores, and the other 17 were in-house production enterprise brands. All colors used in the logos of the selected brands were extracted from the brand logo images. In addition, the study classified the pursued images of the selected brands using emotional adjectives in order to assess variations in different color attributes of the logos according to the brand type and pursued image. The study found that in-house production enterprise brands used lighter and more varied colors compared to department store brands. For both brand types, reddish-to-yellowish hues were most commonly used. Brands projecting a 'cute' and 'gorgeous' image exhibited a greater array of colors in their logos, while brands with a 'neat', 'modern', and 'luxurious' image used less saturated colors. In terms of logo type, symbol logos used the most colors with a moderate level of lightness, while typographic logos used the fewest colors with a low level of lightness.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.108-125
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• 2014

The purpose of this study is to provide the basic information necessary to develop sports uniform design by comparing and analyzing the color features and images of professional football uniforms in Korea and foreign countries. The subjects of this study were limited to 5 top leagues in Europe (Premier League, Primera Liga, Bundesliga, Serie A, and Ligue 1) as well as J-League, and K-League. This study was done using the 2012/2013 season home and away uniforms for European leagues and 2013 season home and away uniforms for Korean and Japan leagues. Using the Adobe photoshop CS2 eyedropper tool, color chips and RGB values were extracted from digital images and converted into HV/C of Munsell Conversion. Finally, a total of 735 colors were used for the analysis. The color image scale by Shigenobu Kobayashi was used to position the color images. The results are as follows. First, the color analysis of professional football uniforms in leagues suggested that chromatic color (53.7%) was more prevalent than achromatic color (46.3%). The two most common colors of the ten chromatic colors were R(19.7%) and PB(18.0%), followed by Y(5.4%), RP(2.0%), G(1.9), GY(1.8%), B(1.6%), YR(1.5%), P(1.1%), and BG(0.7%). Second, for the color tone comparison and analysis of professional football uniforms in leagues, the most commonly used color tone was W(28.4%), followed by v(25.5%), Bk(16.3%), s(5.8%), dk(5.2%), b/lt(5.2%), dp(3.0%), sf(2.0%), ltGy(1.0%), p(0.5%), G/dkGy(0.4%), and ltg/mGy (0.1%). Third, for the comparison and analysis of color and color tone of professional football uniforms in leagues, W(28.4%), R(v)(17.7%), and Bk(16.3%) were commonly used. Finally, for the comparison and analysis of color images of professional football uniforms in leagues, the most commonly used color image was a casual image(31.8%), followed by modern image(26.5%), dynamic12.8%), cool casual(12.0%), gorgeous(9.3%), clear(6.6%), chic(3.5%), and elegant images. Dandy, classical, romantic and pretty images(0.4% respectively) were also used.

• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• Journal of Digital Convergence
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• v.12 no.2
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• pp.483-493
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• 2014

In a modern society where various kinds of cultures coexist, kidult culture seeking something pleasant and interesting in the adult culture has made an appearance affected by pop art. The goal of this study is to help the kidult culture carrying on the feature of pop art to promise a bright future in the consumer market and to help kidult marketing through the expansion of globalization of kidult culture goods. The first study method was to refer to the theoretical research material like theses or academic journals to analyze the feature of pop art and cultural phenomenon. The second one was to analyze media reports, TV programs, movies, and ads currently in issue about kidult cultures in news, media data, and internet materials to feel the kidult cultural phenomenon at the moment. The result of this study shows that, especially, popularity, vividness, and sense of humor and wit among the features of pop art have a great influence on the kidult culture. As a result, Firstly, We can expect a vitalization in the consumer market through qualitative and quantitative improvement of kidult consumer culture. Secondly, We should make an effort to expand kidult consumer culture by developing various kinds of culture goods for each age groups. Thirdly, Domestic companies should open up an adult consumer market with self-developed character products. Fourthly, We should make an aggressive marketing strategy for kidult culture goods in the world market in the flow of Hallyu.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.