• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.15-30
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• 2007

The purpose of this study is to investigate the effect of makeup, clothing tone and clothing style on wearer's with same color coordination of lipstick and clothing. The experimental materials developed for this study were a set of stimulus and response scales (7-point scale semantic). The stimuli were 64 color pictures were manipulated by computer simulation. This experiment design was $2{\times}2{\times}4{\times}4$ factorial design. The stimuli were a set of eyeshadow color(brown), clothing style (formal style of Jacket / skirt and casual style of cardigan / pants), lipstick and clothing color (red and orange), lipstick tone(vivid, light, dull and dark), clothing tone(vivid, light, dull and dark). The subjects of this research were 384 female undergraduates living in Gyeongsangnam-do. The investigation was carried out at a lecture hall at the time between 10 a.m. and 3 p.m. in May 2006. The data were analyzed using SPSS program. Factor analysis, 4-way ANOVA, t-test, and Duncan test were used as analysis methods. Image factors according to variation of clothing style, clothing color, and makeup color are composed of 4 different dimensions (visibility, attractiveness, tenderness, and stability). In dimension of the visibility, the image was perceived to be glowing and luxurious regardless of lipstick tone and lipstick color in the case of the vivid tone clothing. According to the variation of clothing style, clothing color and tone, makeup color composed of eyeshadow color, lipstick color and tone, it was investigated that the images for a clothing wearer were expressed diversely, were shown differently in image dimensions, and could be produced to different images. The analysis data for images according to the combination of makeup and clothing color, tone, and style thus provide basic material for image consulting or color coordination.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.109-121
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• 2013

Modern Hanbok uses newly different color coordination based on traditional color coordination and symbolic meaning. Thus, this study would investigate the aspects of color coordination and symbolic meaning and present the characteristics of Hanbok as the data of corresponding period in the modern times. In order to investigate recent trend of preferred colors and color coordination of Hanbok, this study focused on the period of 2005~2010. When analyzing colors of Jegori(jacket), Wh, Y, B, YG, P and Gy series are shown in order. For trends for color of Chima(skirt), Pk, R, P, Gy and Bk series are shown in order. When you look into the color coordination of skirt and jacket on whole, color coordination of Pk-Wh represents the highest frequency. Color coordinations of Pk-Y, Pk-B, R-Y, R-G and Pk-G are followed in order. Color coordinations of R-YG, Bk-Wh, O-Y, P-Wh, Pk-YG, Gy-Y, R-Wh series and Gy-Wh are followed in order. When looking into characteristics of overall color coordination of Hanbok, it was shown that there were many opportunities to meet a variety of culture and various colors had emerged depending on individual taste and skin color in the modern times within the framework of basic colors of woman's 'Nokeuihongsang'(Green upper garment and red skirt) R-G, Y series, which are traditionally inherited. In addition, unlike existing traditional color coordination of five elements in the past, P, Gy and Bk series of color appeared in the skirt and Jacket. It could be affected by fashionable drama and films at that time and newly attempted colors ahead of fashion were reflected on the magazine. Therefore, it implied that it naturally gave new awareness of colors to the general public and the width of selection of colors became diverse.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.139-152
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• 2004

The main objective of this research is to investigate the color coordination types and their characteristics of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i.e., cities) - Paris, Milan, New York, London - from the periods of 2000 S/S to 2002/3 A/W. Through the review of various books and articles written on the subject, the color coordination types and their characteristics were categorized and defined. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 4,269 observations were made. These in turn were categorized into eight color coordination and three color tone categories through the content analysis. Frequency analysis was used to analyse the data. The findings are as follows; First of all, there were 8 observable color coordination categories in contemporary women's fashion. The most used color coordination was chromatic & achromatic color coordination. It was followed by chromatic identical, and then by achromatic identical color coordination. These three color coordinations were the majority, comprizing 73.4％ of the total. The rest were in the order of complementary, gradation, similarity, accent. And the most used tone type was contrasting tone and followed by similar and identical. Next, the analysis of each coordination categories shows that; The chromatic identical coordination focused on presenting its own unity or break it using the contrasting color tone. Meanwhile, the achromatic identical coordination project a clean and strong feeling through black and white combination or a subtle feeling through the different material combination. The chromatic & achromatic coordination showed strong colors and contrasting tones of clear and bright colors. Meanwhile, the characteristics of complementary coordinations are that these coordinations seem to free the colors and show the subtle changes in tones very clearly. The gradation coordination was used to create a cool and lively feeling. Next, the similarity coordination seems to create feminine and warm feeling by taking advantage of similar color feelings, often through the use of warm to warm, cool to cool color matching. Lastly, the accent coordination, through the use of contrasting tones emphasizes the differences in colors, while separation coordination mostly uses black and white on various color coordinations.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1291-1304
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• 2010

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical 'Chicago' formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

• Journal of Fashion Business
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• v.5 no.2
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• pp.149-166
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• 2001

The purpose of this study was illumination of the stage costume by applying the study of a subject of human expression, which establishes identity of dramatic characters. This study was conducted by referring a variety of theses, an extensive national and international literature. The color symbolism that is depicted in Shakespeare‘s work manifests the transition period of old days, which was influenced by the Renaissance and the Religious Reformation. And color preferences and the meanings I attach to them in his play, definitely reveal the Middle Ages Christian way of thinking which was obsessively dominated their mind. I also determine that the color preferences and use in Elizabeth Era also distinctively separate the social status, which were also influenced by its social conditions. Besides this, colors that were depicted in Shakespeare's work also shown many similarities from Italian Commedia dell‘arte, which were in vogue all over the Europe. Customary color symbolisms which from natural color experiences were also applied in "The Tempest". "The Tempest" was presented on the first day of November in 1611 for the first time. Following this, many plays and films have been produced in foreign countries and Korea. With an analysis of "The Tempest", costume designs for Miranda and Ferdinanad were illustrated at the end. The costumes for Miranda and Ferdinand were mainly considered to express pure love and vigorous youth of two lovers, symbolizing the image of the theme love, forgiveness, and reconciliation.

• Journal of the Korean Society of Costume
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• v.35
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• pp.195-210
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• 1997

Movie clothing is what is recreated as a character in work after being worn for actors (or actresses). And it is not added for heightening only fantasy but it acts for heightening only fantasy but it acts for reinforcing the side of character or subject. Especially the clothing in color movie gets to have very psychological effect. Thus Accord-ing to the clothing the effect of the represen-tation style may become large and small. So as to make the gesture or attitude of each character valuable in accordance with the ac-tion and expression of the figure clothing is different from other device essentially One may attain various goals through the color of movie clothing, First movie clothing may show the vogue color of the time and the representative time color, Second the color of movie clothing helps one to able to recognize the socio-econmic position of character easily as the color to symbolize the specific jobs such as nurse soldier and doctor etc. Third the color of movie clothing may show the charcter temperament as to whether one is young or old and whether one has pessi-mistic temperament or one is extrovert or introversive etc. easily. Fourth setting the clothing color of hero as the color to set off helps it easy to distinguish from representation staffs. Fifty the whole color establishment of movie clothing gives help to expressing the at-mosphere of movie. Color is one of the most powerful means that the person in charge of clothing may express the character of movie. He should ex-press the feature of a wearer with the colors of each clothing through showing the lack of taste of characters or hinting the resistant character with the clothing color which is not suitable for situation or the conservative character with suppressed color etc. Thus he (or she) should express the clothing color which is suitable for being able to express each character by analyzing the work whole through script and grasping the character of each character so as to establish the clothing which is suitable for individual character.

• Journal of the Korean Society of Costume
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• v.14
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• pp.133-144
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• 1990

The purpose of this study is to investigate the absorbance of the Shikonin, one of the major purple pigments, and the stability against the effect of light, $O_2$, and temperature. The effect of mordant and mordanting condition to color and color-fastness is compared and analysed through the color-fastness-test, color-difference value-test, and IR-test. The results were as follows; 1. The absorbance of Shikonin was examinated through 6 kinds of solutions and distilled water. Shikonin was absorbed by solutions rather easily than distilled water. 2. The light effect to Shikonin indicated that the solution with the light was more stable than that without it. 3. The effect of $O_2$ to Shikonin showed that the solution with the $O_2$ was more stable that without it $O_2$. 4. Shikonin -methyl alcohol solution was stable in $25^{\circ}C$. It was unstable in $60^{\circ}C$ and $100^{\circ}C$ with lowered absorbance and changed colors. 5. Color-fastness test to silk and cotton indicated washing color-fastness and perspiration color-fastness was more than 3 grade. But the light color-fastness and crocking color-fastness was low. 6. The comparison between non -colored sample and colored-sample showed the latter was better in fastness. 7. Mordant as $Alk(SO_4)_2{\cdot}24H_2O$ and $AlCl_3{\cdot}6H_2O$ was better than anything else in fastness. 8. Color-difference value-test indicated that the mordant which had the jade green color, the original purple pigment color, was the best in use. 9. The best way to extract the original purple pigment color was in $25^{\circ}C$, because extracted dyeing solution by Soxhlet had the bluish color.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.19-37
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• 2012

This study was done to define the color range, images and color characteristics of beige in fashion by analyzing the characteristics of beige that appears in contemporary fashion. In reference research, the general characteristics, the color name and range of beige was examined. In investigation research, color characteristics and images of beige that appear in contemporary fashion was defined, and it was discovered that the cases that the use of beige took more than 50% of the entire in the major collection from S/S season in 2007 to F/W season in 2010 as the subject of color analysis. The result of the study could be summarized as follows: First, the color range of beige consisted of the standard color from 2.5YR to 5YR, and color tone was pale and light gray. Second, the analysis of color beige that appear in contemporary fashion didn't show big differences according to year, season, and region. The color tones consisted of light grayish, pale, light, soft focusing colors from 5YR to 10YR. As for the arrangement of colors, it was arranged with black and it was used with the affiliation of YR, R, Y in many cases. Third, beige monochromatic image appeared soft, plain and classic. The arrangement of the image, modern, feminine, luxurious, gentle, intelligent five types were derived. Arrangements with achromatic colors were expressed in contemporary and sophisticated styles and arrangements with chromatic colors appeared to be soft, feminine and luxurious. This study draws the result to apply the fashion image of beige that was insufficient in other various color researches to design various color aspects by defining the image of beige that appears in contemporary fashion. Based on practical analysis for the color beige, it is evident that beige is an important factor and a powerful influence on fashion images.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.997-1010
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• 2014

The purpose of this study is to propose the information and idea that can be applied to color planning by investigating preferred color according to ages, items by distribution of 30s~50s women. As the survey method, questionnaire survey and one-to-one investigation by preparing the color table of basic color and trend color were conducted, and total of 280 questionnaires were used for statistical analysis. The results of this study areas follows. First, in basic color, there were significant differences in preferred hues and tones by age groups. The preferred hues were N, PB in all ages, and the higher the age, the more people preferred vivid tones. Second, in basic color, there was significant difference in preferred hues of jumpers, one-pieces by distribution, and the preferred hue was found to be N in the items except jumpers. There were significant differences in preference tones of all items according to distribution. Third, in trend color, there was no significant difference in preferred hues by age groups. Preferred tones had significant differences by distribution, and the higher the age, the more people preferred vivid tones. Fourth, in trend color, some items had significant differences in preferred hues and tones by distribution. B was preferred in all age groups, and vivid tones were more preferred in wholesaler than the department store. Based on these results, this study proposed 30s~50s women's wear color planning idea that applied consumers' preferred color according to ages and items by distribution.