• Korean Journal of Human Ecology
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• v.13 no.6
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• pp.1007-1021
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• 2004

The purpose of this study is to find out the effect of wearers' body types and clothes' neutral tone combination on impression formation. The experimental materials developed for this study are a set of stimulus and response scales(7-point semantic). The stimulus include 45 pictures manipulated by computer simulation in wears' body types and neutral tone variation. The subjects are 540 female undergraduate students in Gyeong-nam. The results of this study are as follows: Impression factor of the stimulus consisted of 5 different dimensions including tenderness, cuteness, attractiveness, elegance, intrepidity. Each impression of neutral tone combinations, along with wears' body types, had a significant effect on tenderness, attractiveness, and intrepidity. Especially, it had the strongest effects on attractiveness. Each impression of wearers' body types along with neutral tone combinations affected cuteness significantly. According to the fact above, wears' body types and neutral tone combination have a significant influence on the impression formation of wearers.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.126-127
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• 2012

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.10
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• pp.1028-1039
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• 2012

This study identified color emotion factors of naturally dyed two-color combination fabrics focused on yellowish and reddish shades to examine the relationship between color emotion factors and physical colorimetric variables (as well as tone combination groups) to provide prediction models for color emotion factors of naturally dyed fabrics with a two-color combination. Each of eight different stimuli were prepared by paring two pieces of silk fabrics colored in red and yellow by natural dyeing respectively; in addition, their color emotion descriptors were evaluated by human subjects using semantic deferential scales. 'Joyful', 'Natural', 'Classical', and 'Soft' were extracted as color emotion factors for the naturally dyed yellowish-reddish combination fabrics. They were found to be significantly affected by physical colorimetric variables such as CIE $C^*$ and $L^*$ and tone combination groups. Finally, prediction models for all color emotion factors were established using physical colorimetric variables and tone combination groups that led to the conclusion that they could be applicable to design a color combination for naturally dyed fashion fabrics.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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• pp.632-645
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• 2005

The purpose of this research was to investigate the harmony evaluation and the effects used clues on harmony perception in terms of 32 tone on tone coloration of male shirt and necktie by male and female students when it comes to the coloration of male clothes shirts and necktie, after shirts matched necktie with warm and cool color, such as red, blue, and changed only value among three attributes of color. The results are as fellows. As to the red, light-dull, dull-dark was evaluated as harmonized coloration regardless of area-ratio by both male and female students. As to the blue, vivid-dark, light-dark, dull-dark was evaluated as harmonized coloration regardless of area-ratio by both male and femate students. Among 16 red tone on tone coloration stimuli, both female and male students evaluated the same 10 set as harmonized, but among 16 blue tone on tone coloration stimuli, female students evaluated 9 set, male students 12 set, so proved that male's range of harmony more extensive than that of female. It is significant difference between female and male on red dull shirt and vivid tie, blue dull shirt and dull tie combination. Females were positive to red dull shirt and vivid tie combination, males were negative, on the other hand, males were positive to blue dull shirt and dull tie combination, females were negative.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.804-818
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• 2005

The purpose of this study is to investigate the effect of tone-on-tone coloration on the visual images of traditional Korean dress. The materials in the experiment developed for this study were made up of various stimuli and the response scales for each stimulus. The stimuli were 48 color pictures with various combination of colors, in which the tones of jackets and skirts were manipulated by computer drawing. 24 bi-polar adjectives, each of which was graded into seven in its degree, were used to evaluate each image. The subjects were 576 female students in Jinju City. This experiment was based on the $3{\times}4{\times}4$ factorial designs: color (red, yellow and green), jacket tone (vivid, light, dull and dark) and skirt tone (vivid, light, dull and dark). The results of the study can be summarized as follows; Impression factor of the stimuli consisted of the 5 different dimensions - youthfullness and activity, attractiveness, gracefullness, visibility, and tenderness. The colors and the tone of jackets and skirts used in this experiment influenced 5 impression dimension by interaction of two valuables or working independently. Yellow and green with vivid or light tone had an effect on the formation of youth and activity image, and dark-light combination had an effect on the formation of attractiveness image. In case of green color, light tone of a jacket and vivid or dull tone of a skirt affected gracefulness, while yellow has no impact on visibility image regardless of skirt tone. Red and yellow with vivid or light tone were a factor to decide tenderness.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.309-319
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• 2009

This study's goal is to analyze the color characteristics of Blue used in men's fashion for design developing process. First, we researched the previous studies and examined documents about color characteristics of Blue in general as well as coloration in fashion design and men's fashion. We composed color samples by collecting two-color coloration used in men's fashion collection for 5 years from 2004 S/S to 2008 F/W through a specialized fashion information web-sites. We limited the colors from Blue Green(BG) to Purple Blue(PB). Second, we analyzed the characteristics of hue combination and tone combination. A total of 351 pictures were collected and RGB and HV/C value were converted with Munsell Conversion program(ver.8.0.1). Color data has been sorted to 10 hues and 12 PCCS tones. From this, we were able to figure out that similar/same hue coloration was used more than contrary hue coloration and similar/same tone coloration was used more than contrary tone coloration for Blue. We've limited Blue coloration characteristics of men's fashion to two-color coloration for an analysis; the succeeding study will need to examine on the characteristics of multi-coloration and detailed Blue coloration image by various garments.

• Science of Emotion and Sensibility
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• v.12 no.4
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• pp.545-556
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• 2009

The purpose of this study was to investigate the sensibility image of necktie according to width and color combination of checked pattern. The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 18 color pictures, in which the width(small: 0.2cm, medium: 1cm, large: 2cm), tone combination(similar, contrast), and hue combination(WR: white+red, WB: white+blue, WG: white+gray) were manipulated. The 7-point scale was used for evaluation of sensibility image. The subjects of this research were 216 female college students living in Gyeongnam. The investigation was carried out at September 2009. The data were analyzed by using SPSS program. Analysis methods were ANOVA and Duncan-test. The results of this study were as follows.; The analyses of sensibility for necktie according to width and color combination of checked pattern revealed that the concerned factors are five characteristic dimensions of attractiveness, youth, appeal, elegance, and warmness. Width showed an independent effect on appeal. Tone combination showed an independent effect on attractiveness, appeal, elegance, and warmness. Interaction effects of width and tone combination on attractiveness were found. Hue combination showed an independent effect on all dimensions. In addition, significant interaction effects of width and hue combination on attractiveness, youth, appeal, and elegance were found. Significant interaction effects of tone combination and hue combination on attractiveness, youth, and appeal were found.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.423-438
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• 2021

This study compared and analyzed the direction of Louis Vuitton creative directors Kim Jones and Virgil Abloh. Accordingly, 485 photos(251 Kim Jones, 234 Virgil Abloh) were collected. For data analysis, statistical and content analyses were combined. First, as for the overall design characteristics of creative director Kim Jones, complex colors, colorful barrels, tone-in-tone color schemes, H-line, plain fabrics, soft materials, heterogeneous material combinations, casual style. Second, as for the overall design characteristics of creative director Virgil Abloh, achromatic color, colorful tone, tone-on-tone color scheme, I-line, plain fabric, soft material, similar material combination, casual style. There were significant differences in color, tone, color scheme, silhouette, pattern, material type, material combination, fashion image, detail, trimming, top and bottom that differed in the creative directors' design direction. Therefore, it appears that Kim Jones has been directing the luxurious and unique men's wear through H-line, coat and slim pants, colorful color combination, soft material, heterogeneous material combination, plain fabric, and chic active sensibility. Meanwhile, Virgil Abloh is directing men's wear in a loose and trendy street mood through the I-line, jacket and wide pants, achromatic color, soft material, plain fabric, similar material combinations, and soft and sophisticated modern sensibility.

• Journal of Fashion Business
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• v.13 no.6
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• pp.125-136
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• 2009

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.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.138-144
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• 2007

The purpose of this research was to compare the harmony of tone on tone coloration according to transformation of color area-ratio in shirt and necktie. The respondents were asked to evaluate 48 stimuli of the shirt and necktie with the coloration of the shirt/necktie, the necktie/shirt was separately compounded to be 4 tones such as vivid, light, dull, dark. The subjects were 288 female undergraduate students. The data was analyzed by using SPSS program. Analysis methods were ANOVA, LSD test and t-test. The results of each can be summerized as follows. As to the red, combination of v-lt made a difference in the harmony of coloration according to the transformation of color area-ratio. As to the blue, combination of v-lt, v-dk, lt-d made a difference in the harmony of coloration according to the transformation of color area-ratio. As to the purple, v-lt, v-d was evaluated as harmonized coloration regardless of area-ratio by both male and female students. As to the green, v-lt, lt-d was evaluated as harmonized coloration regardless of area-ratio by both male and female students.