• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.1-10
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• 2009

The purpose of this study was to investigate the effects of the types and the colors of men's casual wear, hairstyles, and the methods of stimulus manufacture on men's image perception. The subjects were 360 women from the metropolitan area of Seoul. The clothing types used for the study were a sweater and a jumper(casual jacket) with jean pants. The clothing colors were beige, indigo, and red. Two hairstyles, the short and the medium length hairs, were compared. Two types of stimuli, the photograph and the computer simulation picture, were used. The results of the factor analysis disclosed five dimensions on men's image: neatness, individuality, ability, activity, and sociability. In general, the photograph stimuli were evaluated more positively in activity, individuality, and sociability than the picture stimuli. The sweaters were perceived higher in ability, activity, and sociability than the jumpers. The Indigo color was evaluated as neat. The medium length hairstyles were perceived as neat and the short hairstyles were perceived as sociable. The jumpers were evaluated lower in individuality in the picture stimuli than in the photograph stimuli. The beige and indigo colors were evaluated to be neater in the picture stimuli than in the photograph. When using the picture stimuli, the men's image wearing the sweaters with the medium length hairstyles were evaluated lower in individuality. When using the photograph stimuli, the men's image wearing the sweater with the short hairstyles were evaluated higher in activity. Men's image wearing the indigo jumper and the beige sweater with medium length hairs were evaluated as high in neatness.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• Archives of design research
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• v.15 no.4
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• pp.327-336
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• 2002

This paper is intended to help cool-skin-colored people to choose suitable clothing colors confidently and look well-dressed and to make positive self-images. A pseudo-experimental method has made it possible to analyze the visual evaluations of clothing color images for cool-skin-colored people and obtain the following results. 1. Reddish colors of vivid tone for doffing give positive images and those of dull and dark tone, negative ones. 2. Yellowish colors of vivid and bright tone for doffing show positive images and those of dull and dark tone, negative ones. Cool yellow of light tone proves to contribute to a well-looking image. 3. Warm green of vivid and deep tone, and cool green of vivid tone for clothing present positive images. 4. Warm blue of vivid and deep tone, and cool blue of vivid and bright lone make positive images. Either blue with dull tone gives a negative image. 5. Purple colors whose tone is vivid, deep and light contribute to positive images, and those of dull tone, negative ones.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.12
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• pp.1247-1256
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• 2012

The paper details the development of a Korean style loungewear based on traditional Korean hanbok clothing. For this, we surveyed and collected data from 3,500 adults over 20 years of age. The questions were on their preferences of hanbok for both traditional and contemporary styles as well as loungewear. The survey showed that preferences for hanbok were high for both traditional and contemporary styles. The survey also suggests how a successful mass-produced Korean style loungewear should be designed to increase its popularity. It should feature comfortably simplified silhouettes, a selection of contemporary colors from Korean symbolic colors, modernized Korean textile surface designs, and easy-to-maintain healthy fabric. Based on these results, the development direction of Korean style loungewear was set and various loungewear samples were produced. Another group of survey participants were asked to try on samples and their preferences were surveyed. At the conclusion, a version that was most preferred among the participants was obtained. We suggest one-piece style and two-piece style designs with silhouettes based on the characteristics of traditional Korean costumes. The preferred fabric for loungewear was natural and soft cotton. We suggest the necessity and effectiveness of loungewear made with environment-friendly hanji-fabric. The main colors for loungewear were selected based on survey: blue, red, white, and saekdong (color stripes). We made color combinations with the main colors then applied the textile surface designs. The traditional Korean patterns of Hangeul (Korean letters), taegeuk (yin-yang), geometric figures, and samjogo (three-legged crow) were also chosen, and then loungewear using the textile designs was developed. The results have been shown on the "Han Style Fashion Show" by Jeonju City and exhibited in the "Seoul Living Design Fair" and the "International Art & Craft Trend Fair" in COEX, Seoul.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.5
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• pp.607-616
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• 1998

The purpose of this study was to develope a practical color range for the fashion industry in Korea. 3623 color sample used by 109 brands from'93 spring/summer to'96 spring/summer were collected. Also, the application frequency and consumer responses of each collected colorwere analyzed in this study. To clarify the characterstics of color range used in the fashion industry, density of color was etermined by color clustering based on A: and consumer responses. The resultsof this study were as follow; 1. The result analyzed based on the Munsell System revealed that the distributions of hue were concentrated in R, YR, Y, and PB. The chroma was concenturated mostly in the low range and the value, on the contrary, showed relatively even distribution. 2. 458 representative colors were selected by color clustering based on the toEless than 1. 0. In addition, the frequency of color applications and consumer responses were also considered when selecting the colors frequently used in the fashion industry and finals, 1163 colors wereobtained. The color range of the representative colors showed similar color characteristics with the 3623 colors supplied by the fashion industry. As a results, this approach was proven to appropriate to develope a color range for a practical use. 3. In conclusion, around 1200 colors were suggested to organize the color range to reflect the characteristics of the fashion industry with an acceptable color differance for color planning and management.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.7 s.144
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• pp.959-967
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• 2005

The color of apparels has the interaction of the face skin colors of the wearers. This study was carried out to classify the face skin colors of Korean males into several similar face skin colors in order to extract favorable colors which flatter to their face skin colors. The criterion that select the new subjects who have the classified face skin colors have to be decided. With color spectrometer, JX-777, face skin colors of subjects were measured quantitatively and classified into three clusters that had similar hue, value and chroma with Munsell Color System. Sample size was 418 Korean males and other 15 of new males subjects. Data were analyzed by K-means cluster analysis, ANOVA, Duncan multiple range test, Stepwise discriminant analysis using SPSS Win. 12. Findings were as follows: 1. 418 subjects who have YR colors were clustered into 3 kinds of face skin color groups. 2. Discriminant variables of face skin colors was 4 variables : L value of forehead, v value of cheek, c value of forehead, and b value of cheek from standardized canonical discriminant function coefficient 1 and c value of forehead, L value of forehead, b value of cheek. and L value of cheek from standardized canonical discriminant function coefficient 2. 3. Hit ratio of type 1 was $92.3\%$, of type 2 was $96.5\%$ and of type 3 was $92.6\%$ by the canonical discriminant function of 4 variables. 4. The canonical discriminant function equation 1 and 2 were calculated with the unstandardized canonical discriminant function coefficient and constant, the cutting score, and range of the score were computed. 5. The criterion that select the new subjects who have the classified face skin colors was decided.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1338-1349
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• 2003

The color of apparels has the close interdependency on the skin colors of the wearers. This study was carried out to group the skin colors of Korean males into several similar skin colors and to analyze their preference colors. The skin colors were measured quantitatively and classified into several clusters that has similar hue, value and chroma with Munsell color system that is internationally used to communicate the colors. Sample size was 420 Korean males. With color spectrometer, JX-777, 4 points of the body were measured. All subjects had been shown with 40 color chips and answered their preference colors. Data were analysed by K-means Cluster analysis, Duncan test, Frequency and Chi square test using SPSS WIN 10 statistical package. Findings were as follows: 1. The skin colors of Korean males were mixed with skin colors of YR, R, and Y. 2. 420 subjects who have YR color were clustered in 3 kinds of skin color groups. 3. The average face color of total subjects was 4.81YR 5.91/4.97 in Munsell color system, 60.74 in L value, 13.71 in a value, 24.54 in b value. 136 observations out of 420 subjects were composed of Type 1: 4.50YR 6.35/4.87 and 192 observations were composed of Type 2: 4.62YR 5.86/5.12 and 92 observations were composed of Type 3: 5.67YR 5.37/4.79. 4. The average skin color of total 420 subjects was 6.26YR 6.07/4.41 and 62.33 in L value, 10.64 in a value, 23.48 in b value. The average skin color of Type 1 was 6.27YR 6.44/4.27 and of Type 2 was 6.15YR 5.91/4.49 and of Type 3 was 6.49YR 5.84/4.43 respectively. 5. 3 groups showed that the most preference color of sport$.$casual was 2.5Y 8/16 and 7.5PB 4/16 and the most preference color to their skins was 7.5PB 4/16 and 7.5YR 7/16.

• Journal of Fashion Business
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• v.15 no.5
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• pp.144-160
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• 2011

This study investigated the colors of the costumes and backgrounds of characters in the films "Thirst" and "Mother" from an integrated perspective. As a study method, ten scenes per film, which contained the characters and backgrounds from the start to the end of the DVDs of "Thirst" and "Mother" were examined. For integrated color analysis of the costumes and backgrounds, the colors of the captured scenes were simplified to extract representative colors, and then color palettes were presented according to the ratio of area. The colors of costumes were analyzed by recognition through the eyes based on the I.R.I. Hue and Tone 120. Furthermore, the color images of the two films were analyzed using the I.R.I. adjective image scales and the I.R.I. color image scales. The colors of the film "Thirst" were generally low in brightness and high in chroma. They are characterized by dark, gloomy toned-down background in the first half, highly chromatic vivid background in the second half, and the contrast of purple blue colors and red colors. The colors of the film "Mother" are characterized by complementary colors between background and costume colors, and various tones of blue and green colors. From the aspect of color tones, they were relatively high in brightness compared to the film "Thirst" but low in chroma. On the I.R.I. adjective image scale, contrasting adjectives were extracted simultaneously from the film "Thirst" as the adjectives were evenly distributed at hard, dynamic and static, whereas the adjectives extracted from the film "Mother" were distributed at hard and statistic. On the I.R.I. color image scale, both films were located at hard, but the film "Thirst" was located at dynamic whereas the film "Mother" was located at static.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.662-670
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• 2005

The purpose of this study was to find out the effect of color, tone, perceiver's gender on image perception of natural dyeing of cotton and mosi. The experimental materials developed for this study were a set of stimuli and response scale(The 7-point semantic). The stimuli was 20 fabrics manipulated with two kinds of fabrics(cotton, mosi), five colors(red, yellow, blue, green, purple) and two tone variations. The subjects were 412 adults in Daejeon and Kongju. The results were as follows: The perceived image of the stimulus material consisted of 4 dimensions (attractive, conspicuous, hand, weight) colors, tons, materials as well as perceiver's gender affected on some selected image dimensions color affected on the four image dimensions, tone affected on the conspicuous, hand and weight images, materials affected on the attractive and hand image and perceiver's gender affected on the weight image. Interaction effects existed among colors, tons and materials on the conspicuous image. In conclusion the results support gestalt theory in which the sum of the parts is bigger than the whole and design strategies for the Mosi fabrics should be developed on the basis of persuited design image as well as target consumers.