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문양에 따른 소재의 감성이미지와 선호도- 문양의 종류와 문양 색을 중심으로 -

Effects of Colors and Categories of Motifs on Evaluating Sensory Image of Fashion Fabrics

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주제분류생활과학

초록

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating sensory image of fashion materials with the gestalt theory as the background. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of fabric stimuli and semantic differential scales were developed. The stimuli were thirteen fabric species(each measuring 12 by 13cm). Variables included; (a) motif colour(white, grey, pink and blue) (b) motif categories(plain, paisley, flower, stripes and zebra effect). The semantic differential scale to measure sensory image of fabric stimuli included 23 sets of bi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows 1) Four sensory dimensions emerged of importance: salience, attractiveness, comfort and softness. 2) The motif category effected on the four sensory image dimensions while the motif colour effected on salience, comfort and softness sensory dimensions. 3) An interaction effect was founded between motif category and motif colour. 4) Motif category showed significant effects on the preference and liking of the fashion, however the motif colour did not show any significant effects on the preference and liking. As a whole the results supported the gestalt theory and the results can be used for the marketing strategy for developing fashion fabrics.

Abstract

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating sensory image of fashion materials with the gestalt theory as the background. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of fabric stimuli and semantic differential scales were developed. The stimuli were thirteen fabric species(each measuring 12 by 13cm). Variables included; (a) motif colour(white, grey, pink and blue) (b) motif categories(plain, paisley, flower, stripes and zebra effect). The semantic differential scale to measure sensory image of fabric stimuli included 23 sets of bi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows 1) Four sensory dimensions emerged of importance: salience, attractiveness, comfort and softness. 2) The motif category effected on the four sensory image dimensions while the motif colour effected on salience, comfort and softness sensory dimensions. 3) An interaction effect was founded between motif category and motif colour. 4) Motif category showed significant effects on the preference and liking of the fashion, however the motif colour did not show any significant effects on the preference and liking. As a whole the results supported the gestalt theory and the results can be used for the marketing strategy for developing fashion fabrics.

참고문헌 (13)

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  2. 남기선, "성격유형에 따른 복식문양 이미지 평가에 관한 연구", 복식문화연구, 12(1), pp.59~72 (2004), 복식문화학회
  3. 박영희, "남성복에 나타난 문양의 감성이미지와 선호도", 복식, 54(4), pp.113~127 (2004), 한국복식학회
  4. 박영희, "당초문양의 특성변인에 따른 감성이미지 -표현유형, 문양배열, 적용대상, 구매욕구, 연령을 중심으로-", Clothing Research Journal, 7(2), pp.169~178 (2005), 한국의류산업학회
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  6. 이 소 라, "의복의 문양에 따른 의복 및 직물 선호- 포카다트, 스트라이프, 체크 문양을 중심으로 -", 복식문화연구, 15(2), pp.193~202 (2007), 복식문화학회
  7. 이순임, "소재의 특성과 감성을 중심으로 한 한산모시 특성화 연구", 박사, pp.2006
  8. 이인자, "직물문양 차이에 따른 이미지 지각", 건국대학교 생활문화예술논집, 21 (1998)
  9. 이혜숙, "복식 무늬가 한복착용자의 인상 형성에 미치는 영향", 한국의류학회지, 23(7) (1999)
  10. 장수경, "韓國傳統紋樣의 種類, 表現類型, 構成形式 및 適用對象에 따른 感性이미지와 選好度", 박사, pp.1999
  11. Matlin, M. W., "Sensation and Perception, Third Edition" (1992), Allyn and Bacon
  12. Miller, Susan, "Textile Designs" (1991), Thames & Hudson
  13. Naruse, Robuco, "Visual evaluation of polka-dot patterns for Korean students", Journal of the Korean Society of Design Culture, 9(1) (2003)

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