Journal of Fashion Business (패션비즈니스)

The Korean Society of Fashion Business (한국패션비즈니스학회)
권호 표지

Complementary Color Scheme Which Appeared in Women's Fashion Collections of New York, Milan, Paris, and London

  • Kwon, Hae-Sook (Dept. of Clothing and Textiles, Sang Myung University)
  • Published : 2009.12.30
Download PDF
⟨ Previous Next ⟩

Abstract

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 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 also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

Keywords

References

  1. Davis, Marian L.(1996), Visual design in dress, 3rd. ed., New Jersey: Prentice-Hall, p.146
  2. "Ask me about clothes", (2009, Aug. 9), Retrieved Aug. 20, 2009, from http://www.askandyaboutclothes.com/Clothes%20Articles/Color%20Coordination.htm
  3. "Color theory", from Wikipedia, Retrieved Aug. 23, 2009, from from http://en.wikipedia.org/ wiki/Color theory
  4. "Color harmony", Retrieved Aug. 23, 2009 from http://colorlab.webespacios.com/colorharmony.php
  5. Color scheme, from Wikipedia, Retrieved on Aug. 23, 2009, from http://en.wikipedia.org/wiki/Color_scheme
  6. McClurg-Genevese, Joshua David(2005), "Elements of design", Retrieved Aug. 23, 2009, from http://www.digital-web.com/articles/elements_of_design/
  7. Carlson, Neil R. (1988). Foundations of physiological psychology. University of Massachusetts at Amherst. p. 158
  8. Fashion 101: How To Combine Colors: Complementary Colors and the Two-Thirds Rule, (2009, Feb. 2), Retrieved Aug. 23, 2009, from http://www.academichic.com/2009/02/02/fashion-101-how-to-combine-colors/
  9. Jones, Sue Jenkyn(2005), Fashion design, 2nd. ed., N.Y;Watson-Guptill Publication, pp.112-113
  10. Lee, Ho-Jung(1987), Fashion design, Kyohakyeongoo-sa, p.77
  11. Chijiiwa, Hideaki(1987), Color harmony; a guide to creative color combinations, Rockport; Rockport Publishers, p.6
  12. "Automated Color Harmony Tools", (2007,Jan. 16) Retrieved Aug. 11, 2009, from http://www.websiteoptimization.com/speed/tweak/color-harmony/
  13. Davis, Marian L., Color harmony; a guide to creative color combinations, Rockport; Rockport Publishers, pp.171-172
  14. Chijiiwa, Hideaki, Color harmony; a guide to creative color combinations, Rockport; Rockport Publishers, p.6
  15. Davis, Marian L., Color harmony; a guide to creative color combinations, Rockport; Rockport Publishers, p.172
  16. Nakanish, S., Takagi, T., Inamura, S.(1990), Color harmony by fuzzy set theory, Proceedings of the international conference on fuzzy logic & neutral networks, p.419
  17. "Complementary color", from Wikipedia, Retrieved Aug. 18, 2009, from http://en.wikipedia.org/wiki/Complementary_color
  18. Boddy-Evans, Marion(2009), "Art Glossary: Complementary Colors", Retrieved on 10. 18, 2009, from http://painting.about.com/od/artglossaryc/g/defcompcolours.htm
  19. Davis, Marian L., (1990), Color harmony by fuzzy set theory, Proceedings of the international conference on fuzzy logic & neutral networks, p.173
  20. Chijiiwa, Hideaki, (1990), Color harmony by fuzzy set theory, Proceedings of the international conference on fuzzy logic & neutral networks, pp.78-79
  21. "Basic color schemes - Introduction to Color Theory", Retrieved Aug. 20, 2009, from http://www.tigercolor.com/color-lab/color-theory/color-theory-intro.htm
  22. Carlson, Neil R. (1988). Foundations of Physiological Psychology. University of Massachusetts at Amherst. p. 158
  23. "NCD Color System", (2005), NIippon color & design research institute Inc., Retrieved Aug. 30, 2009, from http://www.ncd-ri.co.jp/english/main_0103.html
  24. Lee, Eun-Young(2000), Fashion design, Kyomoonsa, pp.170-171
  25. Park, Pil-Jae . Baik, Sook-Ja(2001), Introduction to chromatology for color coordination, Hyungseul Publisher, pp.89 -91
  26. Jun, Sun-Jung et al. (2000), Total coordination, Chungkoo Moonwha-sa, p.113
  27. Park, Pil-Jae . Baik, Sook-Ja(2001), Total coordination, Chungkoo Moonwha-sa,p.40
  28. Collections, '04 S/S I, II, III, '04/'05 A/W I, II, III, '05 S/S I, II, III, '05/'06 A/W I, II, III, ''06 S/S I, II, III, '06/'07 A/W I, II, III, '07 S/S I, II, III, '07/'08, I, II, III, '08 S/S I, II, III, '08/'09 A/W I, II, III, '09 S/S I, II, III, '09/'10 A/W I, II, III
  29. Collections, '09/'10 AW III, Milan, p.215
  30. Collections, 04 SS, I, NY, p.59
  31. Collections, 08/09 AW, III, Ml, p.422
  32. Collections, 05 SS, III, Milan, P.116
  33. Collections, 05/06 AW, I, Lon p.398
  34. Collections, 07/08 AW, I, Lon. p.308
  35. Collections, 08 SS, II, Par. p.65
  36. Collections, 09 SS, III, ML P.74
  37. Garthe, Mary(1995), Fashion and color, Rockport, Rockport Publishers, Inc., p.26
  38. Collections, 05 SS, I, London P.442
  39. Collections, 05 SS, III, Milan p.7
  40. Collections, 05/06, III, Milan p.129
  41. Collections, 08 SS Milan p.41 08 SS, III, Milan p.41