268. Allen, Jeanne. Showing Your Colors. Designer’s Guide to Color 3:

Coordinating Your Wardrobe. London: Angus and Robertson, 1987. 135

pp. Glossary, color illus. 1sBN -207-8185409-o.

    By the author of Designer’s Guide to Color 3, this publication uses

a similar format to present nearly 1,400 groupings of two or more colors.

Each page presents 15 simple outline drawings of a woman wearing a two-

or three-piece garment. One part of the garment remains constant in color

throughout a two- to four-page spread while the other part(s) change. The

many different combinations of small flat color areas present a total of 53

basic colors. The brief text comments only in generalities and colors are

never considered in combinations of more than four colors or in relation to

personal coloration. However, the colorful format and number of examples

may inspire designers seeking ideas for color combinations.

269. Anderson, Barbara, and Cletus Anderson. Costume Design.

New York: Holt, 1984. 401 pp. Index, bibl., B/W illus., color illus.

ISBN 0-03-060383-8.

    This excellent text on designing costumes for the theater combines

conceptual material on costume design history, psychology of clothing, and

color on the stage, with practical information on techniques for developing,

sketching, and making costumes. Color is presented as a powerful design

element that must be understood and carefully controlled because of its

immediate impact on audiences. The “Color theory and Effects” chapter

covers color characteristics and discusses Itten’s seven color contrasts. In

reviewing color associations and symbolism, the authors note that audiences

bring these associations with them to the theater and can be expected to react

to colors in certain ways. Strategies for applying theoretical color

information to productions are given, and the effect of colored light on

fabric is also considered. The illustrations in the color chapter are taken

from Itten’s Elements of Color. Excellent bibliographies on costume

history and costume design add to the value of this book. The clear

explanations of the interaction of color and light will be especially useful to

students and practitioners.

270. Benetton Colour Style File. London: Octopus, 1987. 12 pp. B/W

illus., color illus. ISBN 0-7064-2906-0.

    A book production team and fashion consultant Caroline Baker

created this lively spiral bound “file” of Benetton ideas on color and apparel.

In the introduction Luciano Benetton states that “colour was my first

business idea: designing clothes purely by colour was a totally original

concept.” His passion for color is at the heart of this exuberant statement on

life-style and fashion. Various sections present color theory and color

preference; a self-test for four personality and mood types; and eleven different

hues, values, or color groupings illustrated by Benetton garments. Other

garments demonstrate camouflage, playing with pattern, and themes related

to occasion or function. An afterimage exercise is suggested for the reader

to follow. While books on color and fashion usually only give general

guidelines, this one provides an exciting approach to color that can be

followed up in Benetton shops. The unusual design of the file and vivid

use of color will cheer anyone with an eye for color.

271. Burris-Meyer, Elizabeth. Color and Design in the Decorative Arts. New

York: Prentice-Hall, 1935. 572 pp. Index, bibl., B/W illus., color illus.

    This how-to approach to color harmony in dress and retailing

presents color principles and theory as well as design principles. Much of

the information is now dated, but this book is interesting for its historical

perspective on the teaching of color in an applied design format. A classic

of its type, it is frequently cited in bibliographies for that reason.

272. Chambers, Bernice G. Color and Design in Apparel. New York: Prentice

Hall, 1942. 627 pp. Index, glossary, B/W illus., color illus.

    Written by a professor in the New York University School of

Retailing, this comprehensive work surveys all aspects of apparel --

design, design periods, fashion, selection of apparel, and grooming -- and

contains 40 pages on men’s clothing. The substantial color harmony and

color selection chapters include a color plate with 21 paint chips based on

colors selected by the Textile Color Card Association. Although this

informative work has a strong flavor of the 1930s, it may hold historic

interest for some readers.

273. Davis, Marion. Visual Design in Dress. Englewood Cliffs, NJ:

Prentice Hall, 1987. 314 pp. Index, bibl., footnotes, glossary, B/W

illus., color illus. ISBN 0-13-942459-8.

    Design principles and elements, especially as they relate to clothing

design, are clearly and logically presented here in separate chapters on

individual principles and elements. Illustrations are abundant and up-to-

date. Two excellent chapters cover light and color more thoroughly than

many basic design or clothing design texts. While the focus is on clothing,

the underlying information is so complete and well documented that any

student of design will find a perusal of the book rewarding.

274. DeLong, Marilyn Revell. The Way We Look: A Framework for Visual

Analysis of Dress. Ames: Iowa State University Press, 1987. 171 pp.

Index, bibl., glossary, B/W illus., color illus. ISBN O-8138-1906-7.

    The author’s interesting methodology for visual analysis of dress

based on design elements and principles relates to Gestalt perception

principles. Clear and concise explanations of her visual analysis process are

well supported by numerous illustrations. The brief discussion of color

covers color characteristics, warm/cool contrast, simultaneous contrast,

visual mix, spatial proportion, meaning, and priority. Useful visual

exercises for students are provided at the end of each chapter. Those

interested in better understanding the aesthetics of dress will find this a

handsomely illustrated, straightforward, and appealing text.

275. Drake, Nicolas. Fashion Illustration Today. London: Thames and

Hudson, 1987. 175 pp. Color illus. ISBN 0-500-27486-X.

    This publication brings together the exciting work of 22 leading

illustrators from four great international fashion capitals: New York, Paris,

Milan, and London. Comments on color appear in the short introductory

text and in the captions on the artist’s purpose that accompany each

illustration. The author’s main point is that expressive fashion illustration is

triumphing again over photography and color is a vital component of

fashion illustration.

276. Franz, Carl. ColorMe Macho. Santa Fe, NM: John Muir, 1985. 112 pp.

B/W illus., color illus. 

    This book on male apparel burlesques the topics and illustrations in

Color Me Beautiful by Carol Jackson. Chapter topics range from

“Machismo: The Myth and the Majesty” to “Your Closet: Heart Of

Darkness.” The author claims that the task of producing the text and the

contrived photographs occupied a team of eight consultants and designers,

all of whom may be fictional.

277. Horn, Marilyn J. The Second Skin: An Interdisciplinary Study of Clothing

Boston: Houghton Mifflin 1975. 468 pp. Index, bibl.,

endnotes/footnotes, B/W illus., color illus. ISBN 0-395-18552-1.

    This text looks at clothing in social, cultural, psychological,

physical, economic, and aesthetic contexts. The author discusses color in

dress in several chapters as an aspect of artistic perception and expression,

as it relates to standards of beauty and taste, and as it influences appearance.

She covers the three dimensions of color in the Munsell color system,

afterimages, simultaneous contrast, and the standard color harmonies.

Unlike many texts, this one provides the reader with footnotes and a short

bibliography after each chapter.

278. Jackson, Carole. ColorMe Beautiful. New York: Ballantine, 1980. (214

pp. Index, B/W illus., color illus. ISBN 0-345-29015-1.

    In the 1970s prescriptive books on creating images through

wardrobe planning became popular. In his Dress for Success series John

Molloy concentrates on how clothing can project an image of power in the

business world, entirely overlooking the effect of color on personal

appearance. In direct contrast, Jackson’s aim is to enhance personal

appearance through analysis of personal coloration and color preferences.

She explains that all individuals can use her method to analyze the color of

their eyes, hair, and skin, including olive and black skin, as the basis for

selecting one of four color groupings based on spring, summer, fall, and

winter colors. She also discusses fashion types, wardrobe, and make-up.

Jackson’s program, which is now promoted by a large network of image

consultants, continues to be popular with American consumers. The book

lacks general discussion of color and any explanation of the exact

relationship between personal coloring and the 30 colors recommended for

the four palettes.

279. Kentner, Bernice. Color Me a Season: A Complete Guide to Finding Your

Best Colors and How to Use Them. Concord, CA: Kenkra, 1983. 156 pp

B/W. illus., color illus.

    First printed in 1979, this prescriptive book on personal wardrobe

colors focuses on eye and iris color but also factors in hair and skin colors.

Alter other books were published using the season theme the author

increased her color order from four to sixteen harmonies to provide more

nuances and variations. A color wheel, four charts with 16 colors for each

season, and four plates that represent the iris coloration linked with each

“season” are included. This curious book may interest the reader looking

for color formulas for personal dress.

280. Kunagai, Kojiro. Fashion and Color: Total Fashion Color

Coordinate. Tokyo: Graphic-sha, 1985. 144 pp. Color illus. ISBN4-

7661-0351- 3.

    This outstanding color reference predates another much smaller

fashion design guide by Allen (1987) that also features superb Japanese

color printing. The introduction features a 16-hue circle, a diagram of ten

color families, and brief discussions of warm and cold, opposing, and

juxtaposed colors. Most of the pages of this 9” by 12” book feature spirited

full-page fashion drawings of three figures in western dress that are labeled

throughout as sexy-modem, sporty, or feminine. Below each figure which

is drawn in pencil and splashed with bold watercolor or pastel strokes, is a

visual footnote in the form of small color proportion swatches with CMYK

percentages needed to match the colors. Interesting captions describe the

impact of the colors or suggest cultural or other color associations. The

result is an exciting visual guide to apparel color.

281, London, Liz E., and Anne H. Adams. Colour Right, Dress Right: The

Total Look. London: Dorling Kidersley, 1988. 96 pp. Color illus. ISBN


    London is a British fashion coordinator, while Adams is an

American public relations specialist. The premise of their book is that color

is “central to successful appearance.” The range of live color types

presented, all based on hair and skin color, includes dark and black skin

colors. Core colors recommended for each type are organized into purse-

sized color charts on the book jacket. A lively “Changing Images” section

suggests color and dress for six different roles that women play in the

workplace and after five. Lavish photographs enhance the brief and

readable text.

282. Lurie, Alison. The Language of Clothes. New York: Vantage, 1981. 273

pp. Index, bibl., endnotes/footnotes, B/W illus., color illus. ISBN 0-394-

7 1 7 13 - 9.

    From historical, sociological, psychological, and anthropological

viewpoints, Lurie examines the relationship between clothing and the

wearer’s gender, age, class, status, and opinions. The 30-page chapter on

color and pattern focuses on the impact of color and the associations

attached to the primary colors, secondary colors, black, white, and brown.

Lurie also looks at the use of stripes, plaids, checks, dots, flowers, and

words on clothing. This is a delightfully entertaining explanation of fashion

choices as a reflection of the wearer.

283. Molloy, John T. New Dress for Success. New York: Warner, 1988. 390

pp. B/W illus., color illus. ISBN 0-446-38552-2.

    Molloy presents his views on managerial dress codes for men in the

U. S. and abroad. He advocates a carefully calculated approach to clothing

selection and purchase on the basis of the desired or appropriate image

related to the business world. He claims that his recommendations, which

cover every aspect of a “gentleman’s” personal wardrobe from ties to socks,

are based on his own extensive research. He scatters brief generalizations

on the negative or positive effect of clothing colors in the one- to two-page

discussions of suitable color and color conventions that appear in most

chapters, but he ignores the effect of color on personal appearance.

284. Molloy, John T. The Women ’s Dress for Success Book. New York:

Warner, 1977. 189 pp. B/W illus. ISBN 0-446-87672-0.

    This author of books on dressing for success for men states that

most women dress for failure because they are unduly influenced by

fashion, socioeconomic background, and perception of themselves as

sexual objects. He recommends “wardrobe engineering” to achieve a more

satisfactory response from clients, coworkers, and supervisors. This

includes both style of clothing and accessories and optimum color choices

for “power” clothing. Molloy claims that his authoritative advice is based

on scientific research but does not reveal his data or sources. This book

aims at the general rather than the academic/scholarly reader, which may

explain but does not excuse the absence of documentation. Carleton

Wagner addresses the color aspect of the same issues in his books, but

Molloy is more thorough and more convincing.

285. Pankowski, Edith, and Dallas Pankowski. Art Principles in Clothing: A

Programmed Manual. New York: MacMillan, 1972. 158. pp. B/W illus.

color illus.

    This easy to follow programmed manual for individualized

instruction consists of units on the conventional art elements of line, form,

color, texture, balance, proportion, emphasis, and rhythm. Each unit

provides information in the form of frames with questions followed by

answers for immediate response and reinforcement. Thirty pages are

devoted to units on color theory and color in costume. Besides the many

B/W diagrams are four pages of color plates that include the traditional 12-

hue circle which the author attributes to Brewster. This book may be valued

as an example of programmed instruction in apparel, and can be compared

with other learning programs developed in the 1970s such as Color Primer I

and Color Primer II for photographers and designers by Richard Zakia and

Hollis Todd (1974).

286. Ryan, Elaine, with Pam Hait. Color Your Life. San Francisco: Strawberry

Hill, 1987. Index, bibl., glossary, B/W illus. ISBN 0-89407-085-1.

    The author, an interior designer, maintains that the reader’s

confidence in their ability to deal with color will improve after completing

the included exercises, which range from viewing fruits and vegetables in a

supermarket test to identify color preferences, to a review of color taste

related to childhood experiences. This popular color psychology book is

similar to the many titles for selecting color for personal clothing.

Curiously, there are no color illustrations.

287. Steven, John Culbert. Colourgenics as Body Language. London: W.

Foulsham, 1987. 125 pp. Index, B/W illus. ISBN 0-572-01404-X.

    Culbert presents his opinions on and interpretations of color

preferences in clothing, declaring that the wearer’s personality, attitudes

toward others, emotional contentment or discontent, and other aspects of the

emotional and material sides of life can be discerned from clothing-color

choices. He differentiates between inner and outer clothing, whether worn

on the upper or lower body, and gives associations for nine color families,

warm and cool colors, and male and female colors. This curious and

undocumented book, with only one black-and-white illustration, may be of

some interest to those seeking entertaining lore on “reading” character clues

from clothing-color choices. Readers may wish to compare Steven’s verbal

color test with the Liischer or Friehling color tests, which provide color