The article covers the issues of color preferences in designer’s creativity of the 20th and beginning of 21st centuries. The research problem is quite difficult, as it is based on a wide range of objective and subjective aspects of individual creativity. Socio-cultural and geopolitical outline on the one hand, individual psychological experience, physiological principles, on the other, formed a stable or short-term color trends in the work of designers. Individual means of expression of color, its psychophysiological properties in art, first of all, in fine arts, are considered in scientific works sporadically. Researchers of color in the fields of physics, chemistry, history, sociology, psychology, urban planning, art history, designers, marketers say different things about color and have their own beliefs and concepts.Over the years, progress in understanding the synthetic nature of the phenomenon of color has become more noticeable as naturalists are trying to communicate with the humanities. In fact, modern researchers such as Michelle Pasturo, Laurie Reid, Rosalind Ormiston, Michael Robinson and others are calling for this today. As for the comprehensive study of color in the art of costume, the work of leading designers of the last century and especially today are practical. missing. The colors of Elsa Schiaparelli, Coco Chanel, Yves Saint Laurent, Gianni Versace, Valentino, Rhea Cavacubo very often, breaking with the established tradition and "functional compatibility" of color and shape, are the expression of aesthetic and ethical preferences of the designer, taking into account the challenges of time. Influencing the well-being of man, color contains historical memory, semantics, which are correlated with its characteristics and place in culture. A single, scattered and unsystematized scientific material on the color perception and preferences of fashion designers in various publications encourages further study.
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