BUILD SIMUL (2016) 9: 641–658

DOI 10.1007/s12273-016-0312-5

Simulation and perceptual evaluation of fashion shop lighting design

with application of exhibition lighting techniques

Research Article
Tae-Kyoung Ko, In-Tae Kim, An-Seop Choi (), Minki Sung

Department of Architectural Engineering, Sejong University, Kunja-Dong, Kwangjin-Gu, Seoul, 143-747 R.O. Korea

Abstract Keywords
Fashion shops employ visual merchandising strategies to display products through improvement fashion shop lighting,
of luminous environment, which can enable customers to better appreciate fashion products. museum lighting,
Such a strategy can eventually increase sales. This study proposed a lighting plan for fashion subjective evaluation,
shops that applies exhibition lighting techniques. First, a fashion shop lighting plan was proposed lighting simulation
based on exhibition lighting techniques in museums, and a subjective evaluation was performed
by simulation and visualising the design of fashion shop lighting considering various parameters. Article History
The characteristics of preference, perceptual clarity and visual attention were assessed for various Received: 4 January 2016
Revised: 7 July 2016
lighting and correlated color temperature (CCT) conditions. Various display lighting methods in
Accepted: 21 July 2016
fashion shops for mannequins, tables and hangers were also evaluated. Then, an overall assessment
for these objects based on the results of the subjective evaluation was discussed.
© Tsinghua University Press and
Springer-Verlag Berlin Heidelberg
2016

1 Introduction method and light source.

1.1 Study purpose
As customers’ lives are enriched by social progress, a new
era has arrived for customers to pursue individual styles.
Fierce competition has arisen in the fashion market to
accommodate the diverse demands of consumers. Therefore,
However, previous studies on fashion shop lighting
have been limited to studies on the aesthetics and psychology
of consumers; studies that specifically suggest particular
lighting schemes for fashion shops are lacking. A preliminary
study for this paper was conducted by surveying fashion shop
lighting (Ko et al. 2015). This assessment was carried out on
fashion retail stores that carried mid- and low-priced brands

Building Thermal, Lighting,

that were visited by many consumers as well as in luxury

and Acoustics Modeling

fashion shops attempting to survive such competition have
implemented a strategy called visual merchandising to
attract consumers and increase their purchasing demand
(Kwon and Shin 2009). Visual merchandising is a strategy that
combines visualisation and merchandising plans for product
display, and the visual elements employed are representative
environmental elements that attract the consumer’s attention
to stimulate purchasing demand. Lighting affects product
sales by enhancing visual merchandising effects, and product
display lighting has a greater impact on consumers than
general lighting (Kim and Hong 2012). Display lighting
is not only used to simply illuminate products, but it also
creates an environment in which properly lit products can
stimulate a consumer’s emotions via the lighting angle,
brand shops that carried expensive brands. The lighting
strategies used for mannequins, tables and hangers were
investigated in 14 retail fashion stores and 4 luxury brand
shops. The study confirmed the need to improve fashion
shop lighting, and the application of display lighting used
in museums as lighting in fashion shops was reviewed.
The most important function of fashion shop display
lighting is to reveal the essence of the products displayed
and to make them stand out. Most museums use various
lighting methods for each object displayed and the types of
objects displayed in museums are similar to products
displayed in fashion shops. In fact, vertical illuminance can
play an important role in enhancing visual perception in

E-mail: aschoi@sejong.ac.kr
642
both museums and fashion shops (Schielkea 2013). Fashion
shops must use lighting that emphasises certain aspects of
products so that consumers can properly understand each
product, which ultimately leads to sales. However, proper
proportion of lighting and shadow in fashion shop displays
should be maintained with an appropriate level of general
lighting. If there exists an excess in either one of them
(lighting and shadow), product details cannot be seen, or
recognition of color appearance can be affected.
In this study, the use of exhibition lighting techniques in
museums was proposed as a lighting plan for fashion shops.
Various options of the lighting design reflecting different
illuminance and correlated color temperature (CCT)
conditions were suggested, and a subjective evaluation was
performed by simulating various lighting designs on a
computer monitor. The subjective evaluation of various
lighting design option in a mock-up space is the best
methodology to investigate a proper lighting design in a
fashion shop. But only limited options of the lighting design
can be performed to carry out this evaluation effectively.
Otherwise, due to many independent variables, this research
would take a long time to get reasonable results. To assess
various options of the lighting design, the method of lighting
simulation is a proper option. The lighting simulation is
basically performed to identify the quantitative luminous
values including illuminance and luminance. In addition,
the rendering images by lighting simulation is also required
to assess luminous environment qualitatively.
An overall assessment for the lighting in each part of the
fashion shops was discussed based on the results of the subjec-
tive evaluation. Because the lighting was presented by displaying
simulation images on a computer monitor, the results of this
study are also applicable to on-line apparel shopping malls,
which must display their products realistically and vividly.
1.2 Previous research
A study was conducted to examine the correlation between
the lighting method in fashion shops and purchasing sentiment
(Kim 2001). The study found that some stores did not have
a sufficient understanding of lighting and that consumers
correlated a pleasantly lit environment with purchasing
demand. Durak et al. (2007) also found a statistically significant
difference in lighting arrangements regarding preference and
other specific impressions. They found that wall washing
and cove lighting were preferred lighting arrangements and
created different impressions. In addition, Summers and
Herbert (2001) conducted a consumer study to analyse the
effect of display lighting on the compositional elements in a
store space. Lighting was found to have positive effect on
product selection and consumption by consumers. Similarly,
Custers et al. (2010) surveyed the effect of mood recognition
Ko et al. / Building Simulation / Vol. 9, No. 6
lighting in the fashion retail environment and found that
lighting plays an important role in mood recognition.
Moreover, Barlı et al. (2012) studied the relationship between
lighting and interior colors in stores and purchases. They
found that the time spent in a store had a statistically
significant effect on the purchasing of products that had a
green color. Soft lighting yielded a positive response during
time spent in stores, and the color red had a negative tendency.
A similar study was conducted to show the effects of color
and light on indoor wayfinding and the subjective judgement
of the perceived environment (Hidayetoglu et al. 2012).
The results showed that attractiveness and memorability of
warm colors were higher, whereas cool colors and a high
brightness level could help people orient themselves in a
space. Furthermore, the role of lighting on a consumer’s
perception was investigated (Quartier et al. 2014). They
suggested that investing in lighting is a valuable strategy for
a successful retail environment despite the absence of a
statistically significant effect for an individual outcome
regarding relative lighting differences.
The quantitative aspect of the lighting in fashion shops
was examined. Schielke and Leudesdorff (2015) analyzed
the effect of brand personality in fashion shop lighting on
consumers, conducting a study on luminance and intensity
of light in fashion shops. A study by Mouhoubi (2014) more
specifically examined physical quantity of lighting in fashion
shops by analyzing the effect of lighting condition and shelf
height in fashion shops on emotional status of consumers.
The result showed a tendency that lighting affects information
of products and approach behaviour of consumers to the
retail environment, enhancing visual recognition of consumers
to guide their emotional status. Also, Dikel and Yener (2007)
developed a lighting coordinate database that is useful for
illuminating 3D art objects based on the artists’ opinion.
Previous studies of fashion shop lighting considered
consumer sentiment about the luminous environment, the
effect of the luminous environment on products, and lighting
methods. No lighting design studies have actively attempted
to maximise the visual effect of products.
2 Research background
2.1 Fashion shop lighting
Lighting conditions in fashion shops must attract consumers’
attention and allow them to accurately recognise products
(Rea 2000, p. 662). Both display lighting and general lighting
conditions are important. In addition, the lighting must be
designed to attract a consumer’s eye and allow for the
accurate recognition of a product’s characteristics.
Mannequins attract a consumer’s attention, providing a
highly effective fashion display. The lighting of a mannequin
Ko et al. / Building Simulation / Vol. 9, No. 6
must effectively convey the value and fashion of a product
to the consumer by communicating vividness and a three-
dimensional (3D) impression (Fig. 1).
Hangers lead the consumer to purchasing by conveying
information of products (Fig. 1). Because the same products
tend to be displayed together on hangers, the lighting provides
uniform brightness for all products and the vertical aspects
of the products displayed should be considered.
Large quantities and many types of products can be
displayed simultaneously on some tables, whereas others
contain an arrangement of smaller quantities of selected
products (Fig. 2). The purpose and lighting method differ
between the two types of table displays. For the lighting for
a table that displays a large quantity of products, high-CRI
lighting that is widely distributed must be used to shed
light on each of the various products. On the contrary, a
table that displays a small quantity of selected products must
convey the shape, texture and 3D form of the products with
proper use of lighting.
There are two types of showcases, as shown in Fig. 2:
the enclosed type and the shelf type. The lighting for a
showcase must be direct and high-CRI lighting that is widely
distributed must be used to shed light on each of the various
products displayed on the shelves.
Fig. 1 Fashion shop images of mannequin and hanger
Fig. 2 Fashion shop tables and showcases
643
2.2 Museum display lighting
The role of display lighting in museums is to attract the
attention of the audience in a pleasant and comfortable
environment, to show the displayed objects as they are, to
allow for appreciation, and to help preserve the displayed
objects (Kim 2004).
Objects such as oil paintings and documents are hung
on a wall, and the vertical aspect is important. The lighting
must have a minimum illuminance to maximum illuminance
ratio of 70% or higher for uniform illuminance to the object
illuminated, and the eye of the viewer must form a 60° angle
between the planar object and light source. Additionally,
the position of the light source with respect to the displayed
object is calculated according to Eq. (1) (Rea 2000, p. 603).
(Ceiling height – Human eye level) × 0.577 = Horizontal
distance from the displayed product to the luminaire (1)
The luminous environment for 3D objects, such as
sculptures and other large-sized works, must change
illuminance in different directions to emphasise shape and
texture of the displayed object, allowing a 3D impression
through 3D shading. This lighting method of 3D objects
uses four types of lights. First, the key light that does not
diffuse and sheds light from above at an angle of 45° to the
eyes of the viewer is used. Second, the fill light supplements
the key light on the opposite angle. The fill light is weaker
than the key light. Third, the back light drops down from
the background to reflect the object of display from behind.
Fourth, the background light floats in the background to
make the object stand out. Figure 3 shows three types of lights,
excluding background light (Rea 2000, p. 608). The key light
and fill light are the most commonly used, and back lights
can be added depending on the size of the object displayed.
Fig. 3 Sculpture lighting: Alan Houser’s Apache Warrior. Los
Angeles County Museum of Natural History, 1982 (Rea 2000, p. 608)
644
3 Subjective evaluation and simulation modeling
3.1 Subjective evaluation outline and methodology
A subjective evaluation was performed by simulating images
using museum display lighting to the luminous environment
in fashion shops. A subjective evaluation method must be
appropriate for the purpose and characteristics of the study
to which it is applied. Experimental subjective evaluation
methods for lighting include a side-by-side test, a photo-
image test and a field test, and comparison methods include
sequential comparison and simultaneous comparison (Fotios
and Cheal 2010). Side-by-side tests are used to investigate
simple brightness recognition and viewer preference for
spectral distribution and correlated color temperature. Photo-
image tests are mainly used as an experimental method to
survey preferences for different parameters, and field tests
are used to survey brightness recognition and preferences
for variable luminous environment. Sequential comparison
allows for independent and objective evaluations of the
effects of brightness while simultaneous comparisons can
highlight differences in the luminous environment by the
time it takes for a viewer to compare objects.
Schielke (2010) reported a subjective evaluation using
a photo-image test that determined the effect of different
luminous environments on the image of a commercial space
using a simultaneous comparison method. Park et al. (2010)
conducted a highly objective study, performing an indirect
comparison using a simultaneous comparison method via a
photo-image test and a direct comparison using a sequential
comparison method via a field test at the same time.
Through modelling the architectural spaces by RADIANCE
simulation and its rendering images were assessed by
subjective evaluations for a natural light impact on the space
according to the facade design variables (Aries et al. 2014),
and preferred simulation images were evaluated for daylight-
responsive lighting using the shading system (Mahdavi
2008). In addition, daylighting design options for museum
lighting were evaluated by RADIANCE simulation (Kim
and Seo 2012).
Our study used subjective evaluation based on simulated
Fig. 4 The subjective evaluation images
Ko et al. / Building Simulation / Vol. 9, No. 6
images with different characteristics. A field test is appropriate
for a survey of viewer preferences according to the actual
performance of work, and a side-by-side test is appropriate
for a survey of preference for the luminous environment
with simple characteristics. Based on the previously mentioned
studies, a photo-image test using the simultaneous com-
parison method, rather than a field test or a side-by-side
test, was determined to be appropriate for the visualisation
of lighting simulations to determine viewer preferences for
different lighting scenarios.
Lighting simulation images were created in this study
by using general exhibition lighting techniques as used in
museums. The use of such general techniques is a first step
for the improvement and specialised design of fashion shop
lighting. Simulation images can be evaluated using a monitor,
beam projector or photograph. A beam projector can allow
for the evaluation of images on a large screen, but the shape
and color of the projected image can be distorted by
the surrounding environment, and the resolution is also
problematic. A photograph can easily persuade a viewer
that it is based on reality, but the resolution and color of
photograph can cause negative emotions. A monitor was
chosen as appropriate for our subjective evaluation because
screen display properties could be adjusted to create a familiar
visual environment for subjects. But, colors shown on a
computer monitor vs. the actual items could not be exactly
same. To minimize the effect of this matter, less saturated
color fashion items were selected.
In the monitor experiment, the quality of the monitor
screen referred to as brightness at Recommendation ITU-R
BT 500-13 (ITU-R 2012), the chromaticity of background,
and the distance of the viewer from the monitor were tested.
In addition, the vertical illuminance was set to 200 lx on
the computer monitor based on Recommendation ITU-R
BT 500-13 where the illuminance and CCT values could be
changed using dimmable LED luminaires. The luminance
of the monitor was adjusted by measuring the white color
as 70 cd/m2, and a subjective evaluation was performed after
setting the background chromaticity to D65 and distance of
the viewer from the monitor to 900 mm. The resolution of
the monitor used was 1920 × 1080 (Fig. 4). The CCT from
Ko et al. / Building Simulation / Vol. 9, No. 6
the sample images and simulated rendering of images on
the monitor screen were evaluated and identified with a
Chroma meter (CL-200A).
The subjective evaluation was carried out on 20 subjects
including 10 ordinary persons without abnormal vision and
10 persons with expert knowledge in lighting (Table 1). We
had an intension to investigate how the results will be
different according to the knowledge in lighting.
Lightscape 3.2 was used for visualization of the lighting
simulation in this study (Autodesk 1999). Lightscape 3.2 is
a lighting software that expresses realistic lighting effects.
Space was formed and imported from 3D modelling software
such as 3D Max, Auto CAD and SketchUp, and 3D modelling
objects were also imported. A luminous intensity distribution
file was selected for the luminaire to perform lighting
calculation and create a rendering image that expresses the
lighting effect. The IES format files of luminous intensity
distribution data were used for the model of the light
sources and luminaires in simulation. The IES format file
also contains initial rated lumens and the dimensions of the
luminaires including the width, length and height of the
luminous opening. To simulate different CCT light sources,
the chromaticity coordinate values (XYZ) for 3000 K
and 4500 K light sources were selected from blackbody
chromaticity values and converted to RGB values using
color conversion formulas (XYZ —> RGB). Then, those RGB
values were used for input data in simulation. In this
Lightscape 3.2 simulation, the receiver mesh spacing setting
was min. 176 and max. 880. The tolerances length setting
was 0.5, and ray offset setting was 5. The partial materials
were applied to texture map (jpg format image) and rendering
format setting was jpg file format (image resolution setting-
1916 × 915). And, the ray tracing was set to ray bounces: 10.
Simultaneous comparison using a tournament technique
was the evaluation method. In the tournament technique,
Table 1 Test subject outline
Type Specification
Sex Male 7, female 13
Undergraduates and graduate students in the
Organization department of architectural engineering, lighting
professionals in Seoul
Age 20 – 30
Glasses Contact lens
3 2
Eyesight conditions
Color
Color blindness weakness
0 0
Total number of
people 20
645
the viewer continuously compares lighting images until
a final lighting image is selected from all of the images
provided. This method of selecting an image from a small
number of images was considered to be more objective
than reviewing a large number of images at once. However,
because the lighting images were randomly presented to
the subject, highly preferred images might be eliminated
when different images of similar preference were presented.
Therefore, this experiment used the tournament technique
shown in Fig. 5 based on an appropriate ordering of the
images. The tournament method gave a score of 3 points for
images ranked 1st, 2nd and 3rd, 2 points for images ranked
4th, 5th and 6th, and 1 point for images ranked 7th through
12th. The simulation image that obtained the highest overall
score was selected as the preferred image. The image set
consisted of 24 mannequin images, 22 table images and 12
hanger images. Six simulation images were simultaneously
shown to the viewer on the monitor during the subjective
evaluation. Table 2 shows the evaluation questionnaire for
mannequins, tables and hangers. Questionnaire items were
selected based on conventional previous studies.
Fig. 5 Selection process using tournament technique
Table 2 Questionnaire of subjective evaluation
No. Contents
1 Preference <mannequin, table and hanger>
2 Perceptual clarity <mannequin, table and hanger>
3 Visual attention <mannequin, table and hanger>
Nothing
15
3.2 Simulation rendering image
Normality
3.2.1 Mannequin lighting
20
The position of the luminaires for the mannequin was
configured by applying dimensional display lighting as
646
in museums. The lighting method using key light and
fill light was used, and the key light and fill lights were
positioned 1500 mm to the left and right sides of
mannequin. The vertical distance from the mannequin was
1000 mm (Fig. 6).
Parameters for the mannequin lighting included the
angle of key light beam, the illuminance ratio of the key
light and fill light, the illuminance ratio of the background,
and the color temperature. The mannequin lighting image
is as shown in Table 3. The angle of key light beam was set
at 10° and 20°, as generally used in display lighting, whereas
the angle of the fill light beam was set more widely at 30°
(Fig. 7). The illuminance ratio of the key light to the fill light
was set at 1:1, 3:1 and 6:1, and the values were determined
according to incidence of the light on the mannequin. The
illuminance ratio of the background refers to the ratio of
Fig. 6 Outline of the mannequin simulation (elevation drawing & floor plan)
Table 3 Simulation images for lighting variables of mannequin
(a) Background illuminance ratio 1:5
The ratio of lighting fixtures illuminance (key light : fill light)
Lighting fixture Color temperature 1:1
3000 K
Key light 10°
Fill light 30°
4500 K
Ko et al. / Building Simulation / Vol. 9, No. 6
the object displayed to the illuminance of surrounding
objects other than the displayed object, and this ratio was
set at 1:5 and 1:10 (background: key light). A value of 1:5 is
generally applied to display lighting in museums as the
illuminance ratio for the background (DiLaura et al. 2011),
but a larger value of 1:10 was applied in this study because
fashion shops require brighter lighting compared to
museums. A large difference in the background illuminance
ratio allows the displayed object to stand out, but a viewer’s
eyes can become fatigued. A small difference in the illuminance
ratio can result in poor display of products, which might
then not exhibit 3D effects properly.
The subjective impression for color temperature was set
to 3000 K as the low color temperature and 4500 K as the
high color temperature (Manav 2007). A low color tem-
perature is widely used in fashion shops for a luxurious
3:1 6:1
Ko et al. / Building Simulation / Vol. 9, No. 6 647

(Continued)

3000 K

Key light 20°

Fill light 30°

4,500 K

(b) Background illuminance ratio 1:10

The ratio of lighting fixtures illuminance (key light : fill light)
Lighting fixture Color temperature 1:1 3:1 6:1

3000 K

Key light 10 °
Fill light 30 °

4500 K

3000 K

Key light 20 °
Fill light 30 °

4500 K

Note: All mannequin images are resized by cutting the space between woman and man to show the image in the small table.
648 Ko et al. / Building Simulation / Vol. 9, No. 6

Fig. 7 Relative luminous intensity distribution curves for three luminaire beam angles

image because it can engender warm, comfortable and cosy the background illuminance (ambient lighting). The back-
feelings (Bullough 2005). In contrast, a high color temperature ground illuminance was created by uniform general lighting
can create a vivid atmosphere with cool and pleasant feelings over the space, and its value was set 15 lx, measured
and is mainly used in casual fashion shops to create a horizontally at the floor level.
cheerful mood. Table 4 shows the illuminance values used
3.2.2 Table lighting
for mannequin lighting, measured at the centre of the
mannequin’s chest (vertical illuminance). The vertical The position of the luminaires for the table was configured
illuminance range applied was from 90 to 450 lx, excluding by using museum dimensional display lighting, as shown in
Fig. 8. A back light was used in addition to the key light and
Table 4 Vertical illuminance values for mannequin (at the center fill lights.
of the chest) For table lighting, even a narrow beam angle can shed
(a) Background illuminance ratio 1:5 light on the entire product because small-sized products
The beam angles of lighting are placed at a low height. Therefore, the beam angle was
fixtures
fixed at 10° for the key light and 20° for the fill and back
Key light 10° Fill light 20° lights. The illuminance ratios of the key light, fill light and
The ratio of lighting fixtures 1:1 75 lx 75 lx back light, the background illuminance ratio of the display
illuminance 3:1 75 lx 25 lx illuminance to the illuminance of objects other than the
(key light : fill light) display, and the color temperature were selected as shown
6:1 75 lx 15 lx*
*
15 was used instead of 12.5 because the minimum value was set to 15 lx.
in Table 5.
The ratio of key light: fill light was set at 1:1, 3:1 and 6:1.
(b) Background illuminance ratio 1:10
When the back light was added, the ratio of key light: fill
The beam angles of lighting
fixtures light: back light was set at 1:1:1 and 3:1:1. These are values
Key light 10° Fill light 20°
used in typical display lighting. Background illuminance
ratio and color temperature were identical to the parameter
The ratio of lighting fixtures 1:1 150 lx 150 lx
settings for mannequin.
illuminance 3:1 150 lx 50 lx
Table 6 shows the illuminance values used for table
(key light : fill light)
6:1 150 lx 25 lx lighting, measured at the centre of products. The illuminance

Fig. 8 Outline of the table simulation (elevation drawing & floor plan)
Ko et al. / Building Simulation / Vol. 9, No. 6 649

Table 5 Simulation images for lighting variables of table

(a) Background illuminance ratio 1:5
The ratio of lighting fixtures illuminance Color temperature
(key light : fill light : back light) 3000 K 4500 K

1:1:0

3:1:0

6:1:0

1:1:1

3:1:1

(b) Background illuminance ratio 1:10

The ratio of lighting fixtures illuminance Color temperature
(key light : fill light : back light) 3000 K 4500 K

1:1:0

3:1:0

6:1:0

1:1:1

3:1:1
650 Ko et al. / Building Simulation / Vol. 9, No. 6

Table 6 Vertical illuminance values for table

(a) Background illuminance ratio 1:5
The beam angles of lighting fixtures
Key light 10° Fill light 20° Back light 20°
1 : 1: 0 75 lx 75 lx —
3:1:0 75 lx 25 lx —
The ratio of lighting fixtures illuminance
6:1:0 75 lx 15 lx* —
(Key light : Fill light : Back light)
1:1:1 75 lx 75 lx 75 lx**
3:1:1 75 lx 25 lx 25 lx**
*
: 15 was used instead of 12.5 because the minimum value was set to 15 lx.
**
: measured at the back center of the product

(b) Background illuminance ratio 1:10

The beam angles of lighting fixtures
Key light 10° Fill light 20° Back light 20°
1:1:0 150 lx 150 lx —
3:1:0 150 lx 50 lx —
The ratio of lighting fixtures illuminance
6:1:0 150 lx 25 lx —
(Key light : Fill light : Back light)
1:1:1 150 lx 150 lx 150 lx**
3:1:1 150 lx 50 lx 50 lx**
**: measured at the back center of the product

differed according to the beam angle of the key light and fill
light, as well as for the background illuminance ratio. The
range of the vertical illuminance and the range and method
of the background illuminance were the same as for the
mannequin. The luminous intensity distribution curve of
the luminaires used at an angle of 10° for the key light, 20°
for the fill light, and 20° for the back light is shown in Fig. 9.
Fig. 9 Relative luminous intensity distribution curves for two
luminaire beam angles
3.2.3 Hanger lighting
The position of the luminaires for the hanger was configured
as planar display museum lighting. One luminaire was used,
and the horizontal distance from the product to the luminaire
is as expressed by Eq. (1) (Section 2.2) (Rea 2000, p. 603).
The horizontal distance was set to 870 mm; this value was
computed by subtracting approximately 1500 mm as the
human eye level from the ceiling height and multiplying by
0.577 (Fig. 10).
The beam angle of the luminaire, the direct wall
illuminance, and the color temperature were used as
parameters and are shown in Table 7. These parameters
were selected based on previous studies and by examining
the mannequin and table cases. The beam angle of the
luminaire was set at 20°, 30°, and wall washer (Fig. 11). A
narrow beam angle of 20° sheds light on the object in a small

Fig. 10 Outline of the hanger simulation

Ko et al. / Building Simulation / Vol. 9, No. 6 651

Table 7 Simulation images for lighting variables of hanger

(a) Direct wall vertical illuminance 0 lx

Color temperature
The beam angles of lighting fixtures 3000 K 4500 K

Spot 20°

Spot 30°

Wall washer

(b) Direct wall vertical illuminance 60 lx

Color temperature
The beam angles of lighting fixtures 3000 K 4500 K

Spot 20°

Spot 30°

Wall washer

Fig. 11 Luminous intensity distribution curves of spot 20°, 30° and wall washer
652 Ko et al. / Building Simulation / Vol. 9, No. 6

ellipse without overlapping of the light, and a wide beam The chi-square test’s null hypothesis was “the ordinary
angle of 30° forms overlapping light in a cone shape. A wall group and the expert group’s the tendency of evaluation is
washer was used to shed uniform light on the entire wall so independence from evaluation factors”. All columns and
that the product and background wall were lighted to the rows show that p-values were more than 0.05, and chi-square
same brightness. values were less than degree of freedom values. Therefore,
Direct wall vertical illuminance refers to illuminance the null hypothesis was true, namely the tendency of
of the wall from the wall washer lighting without spot evaluation from the ordinary group and the expert group
lightings. This illuminance was set as 0 lx for no lighting was not significantly different.
and 60 lx as about 1/3 of product illuminance in order
to create a difference between wall lighting and product 4.1 Analysis of the results
lighting. Since products are directed differently for hanger
according to the difference in direct wall illuminance and 4.1.1 Preference of luminous environment
product illuminance, direct wall illuminance was selected
as a parameter. The direct wall vertical illuminance of 60 lx The simulation images ranked 1st through 3rd as a result of
was created using a self-emittance function with a luminance sum of scores in the tournament evaluation on the preference
value in the Lightscape 3.2. The vertical illuminance applied of the luminous environment for mannequin, table and
to this case was set to 150 lx excluding the direct wall vertical hanger are as shown in Table 10.
illuminance. The background illuminance was also created For the mannequins, the beam angle of the luminaires
by uniform general lighting over the space, and its values and color temperature did not show any tendencies in the
was set 15 lx as same in the cases of mannequin and differences in the results. In contrast, the illuminance ratio
table lightings. The same color temperatures were used for for the luminaires and background illuminance ratio showed
mannequin and table. Table 8 shows illuminance values distinct tendencies. Of illuminance ratios of 1:1, 3:1 and 6:1
used for hanger lighting was measured at the centre of the for the luminaires, 3:1 and 6:1 were preferred, which implies
cloth on the centre of the wall. that lighting that emphasises the 3D impression using shade
is preferred. Of background illuminance ratios of 1:5 and
Table 8 Vertical illuminance and luminous flux of luminaires 1:10, 1:10 was preferred. Therefore, subjects preferred the
Beam angles of luminaires Vertical illuminance Luminous flux
luminous environment that widely and intensely illuminated
mannequin, forming a 3D impression using shade and
Spot 20° 150 lx 240 lm
creating a vivid atmosphere.
Spot 30° 150 lx 500 lm
As for the evaluation of table cases, there was no
Wall washer 150 lx 110 lm significant difference in color temperature. On the contrary,
among illuminance ratios of 1:1:0, 3:1:0, 6:1:0, 1:1:1 and
4 Results of subjective evaluation 3:1:1 for the luminaires, 1:1:0 and 1:1:1 were highly preferred.
Among background illuminance ratios of 1:5 and 1:10, 1:10
The sum of scores was calculated for each simulation image was preferred. Therefore, subjects preferred the table of
to show the lighting design options of the image that received luminous environment that uniformly and intensely
the highest score, and the subjective evaluation for each illuminates the entire product without shade, creating large
parameter was analysed. The results from twenty subjects contrast with the background.
were analysed together because the results from ordinary As for the evaluation of hanger cases, among beam
people and people with expert lighting knowledge were not angles of 20°, 30° and wall washer, 20° and 30° showed high
significantly different. Table 9 shows chi-square test results. preference. Among color temperatures of 3000 K and 4500 K,
3000 K showed high preference. For direct wall illuminance,
Table 9 Chi-square test results (ordinary group and expert group) 0 lx obtained high preference between 0 lx and 60 lx.
Fashion item Therefore, subjects preferred the hanger of luminous
Evaluation
factor
environment that intensely illuminates the product and
Mannequin Table Hanger
2 2 2
forms a warm atmosphere.
Χ = 18.59, d.f.= 23, Χ = 6.53, d.f.= 21, Χ = 6.67, d.f.= 11,
Preference
p = 0.7246 p = 0.9989 p = 0.9996 4.1.2 Perceptual clarity of luminous environment
Visual Χ2 = 15.19, d.f.= 23, Χ2 = 11.96, d.f.= 21, Χ2 = 6.89, d.f.= 11,
attention p = 0.8878 p = 0.9406 p = 0.9995 The simulation images ranked 1st through 3rd as a result of
Perceptual 2
Χ = 9.04, d.f.= 23, 2 2
Χ = 8.29, d.f.= 21, Χ = 6.00, d.f.= 11, sum of scores in the tournament evaluation for perceptual
clarity p = 0.9958 p = 0.9938 p = 0.9999 clarity of the luminous environment for mannequins, tables
*
p<0.05, *Χ2>d.f., Bold (*p and *Χ2) and hangers are as shown in Table 11.
Ko et al. / Building Simulation / Vol. 9, No. 6 653

Table 10 Preference rank of luminous environment

Rank
Subject 1st 2nd 3rd
Mannequin

(background illuminance ratio– beam

angles– illuminance ratio– color
temperature)
(1:10–10/30–3:1–4500) (1:10–10/30–3:1–3000) (1:10–20/30–6:1–3000)
Table

(background illuminance ratio–

illuminance ratio– color temperature)
(1:10–1:1:0–3000) (1:10–1:1:1–3000) (1:10–1:1:1–4500)
Hanger

(direct wall illuminance– beam angle–

color temperature)
(0–30–3000) (60–20–3000) (0–20–3000)

Table 11 Perceptual clarity rank of luminous environment

Rank
Subject 1st 2nd 3rd
Mannequin

(background illuminance ratio– beam

angles– illuminance ratio– color
temperature)
(1:10–20/30–6:1–3000) (1:10–10/30–3:1–3000) (1:10–20/30–6:1–4500)
Table

(background illuminance ratio–

illuminance ratio– color temperature)
(1:10–1:1:0–3000) (1:10–3:1:1–4500) (1:10–1:1:1–3000)
Hanger

(direct wall illuminance– beam

angle– color temperature)
(0–30–3000) (0–30–4500) (0–20–4500)
654
For the mannequins, wide angles of 20° for key light and
30° for fill light showed high scores. For color temperature,
3000 K obtained high scores. Among illuminance ratios of
1:1, 3:1 and 6:1 for the luminaires, 6:1 showed high scores.
Among background illuminance ratios of 1:5 and 1:10, 1:10
showed a tendency for high scores. Therefore, subjects clearly
perceived mannequin in the luminous environment that
widely and intensely illuminates mannequin, forming 3D
impression with large shade and creating warm atmosphere.
For tables, the color temperature did not show any
significant tendencies. In contrast, of illuminance ratios
of 1:1:0, 3:1:0, 6:1:0, 1:1:1 and 3:1:1 for the luminaires, 1:1:0
and 1:1:1 had high scores. Of background illuminance ratios
of 1:5 and 1:10, 1:10 had high scores. Therefore, subjects
clearly perceived tables under luminous environment that
intensely and uniformly illuminated the product and created
a warm atmosphere.
For hangers, of beam angles of 20°, 30° and wall washer,
30° had high scores, but the color temperature did not show
a significant difference and direct wall illuminance of 0 lx
had high scores between 0 lx and 60 lx. Therefore, subjects
clearly perceived hangers under luminous environment that
intensely illuminated the product using a wide light angle.
4.1.3 Visual attention of luminous environment
The simulation images ranked 1st through 3rd as a result
Table 12 Visual attention rank of luminous environment
Subject 1st
Mannequin
(background illuminance
ratio– beam angles–
illuminance ratio– color
temperature) (1:10–10/30–3:1–4500)
Table
(background illuminance
ratio– illuminance ratio–
color temperature) (1:10–1:1:0–3000)
Hanger
(direct wall illuminance–
beam angle– color
temperature) (0–30–4500)
Ko et al. / Building Simulation / Vol. 9, No. 6
of sum of scores in the tournament evaluation for visual
attention of the luminous environment for mannequins,
tables and hangers are shown in Table 12.
For mannequins, wide beam angles of 20° for the key
light and 30° for the fill light had high scores. Although the
color temperature of 4500 K, which provided a cold and vivid
atmosphere, had a high score, the difference in the scores
between 3000 and 4500 K was insignificant. In contrast, of
illuminance ratios of 1:1, 3:1 and 6:1 for the luminaires, 6:1
and 3:1 had a tendency toward higher scores. Of background
illuminance ratios of 1:5 and 1:10, 1:10 had high scores.
Therefore, a wide and intense light that formed a 3D
impression of the mannequin using shade and created a
cool and clean atmosphere effectively drew the attention
of subjects.
For tables, although a color temperature of 3000 K,
which provided a warm atmosphere, generally had higher
scores than 4500 K, this was not a significant tendency. On
the contrary, of illuminance ratios of 1:1:0, 3:1:0, 6:1:0, 1:1:1
and 3:1:1 for the luminaires, 1:1:0 and 1:1:1 had high scores.
Of background illuminance ratios of 1:5 and 1:10, 1:10 showed
a tendency towards higher scores. Therefore, an intense
and uniform light that illuminated the product and created
a warm atmosphere effectively drew the attention of subjects.
This result is similar to that for the perceptual clarity of the
luminous environment.
Rank
2nd 3rd
(1:10–10/30–3:1–3000) (1:5–20/30–6:1–3000)
(1:10–1:1:1–3000) (1:10–1:1:0–4500)
(0–20–4500) (0–30–3000)
Ko et al. / Building Simulation / Vol. 9, No. 6 655

For hangers, of beam angles of 20°, 30° and wall washer,
30° and 20° showed a tendency toward higher scores.
Although 3000 K had high scores of color temperatures
of 3000 and 4500 K, the difference in the scores was not
significant. A direct wall illuminance of 0 lx had high
scores between 0 and 60 lx. Therefore, an intense light that
illuminated the product and created a contrast with the
wall effectively drew the attention of subjects.
4.1.4 Statistical analysis
The chi-square tests were implemented to analyse what
lighting factors influenced preference, visual attention and
perceptual clarity. Table 13 shows chi-square test results of
the mannequin case. Preference was influenced by the ratio
of lighting fixtures illuminance, and background illuminance
ratio. Visual attention was influenced by all lighting factors
except the beam angles of lighting fixtures. In addition,
perceptual clarity was influenced by the ratio of lighting
fixtures illuminance, and background illuminance ratio
similar to the preference case. The ratio of lighting fixtures
illuminance, and background illuminance ratio were more
important factors than color temperature, and the beam
angles of lighting fixtures did not affect all evaluation factors
in the mannequin case.
Table 14 shows chi-square test results of the table case.
Preference was influenced by color temperature and
background illuminance ratio. Visual attention was influenced
by all lighting factors while perceptual clarity was influenced
by the ratio of lighting fixtures illuminance, and background
illuminance ratio. The background illuminance ratio was
most important factor in the table case because it affected
all evaluation factors.
Table 15 shows chi-square test results of the hanger case.
The preference was influenced by color temperature and wall

Table 13 Chi-square test results (mannequin)

Evaluation factor
Lighting factor Preference Visual attention Perceptual clarity
* *
Χ2 = 1.11, d.f.= 1, Χ2 = 4.44, d.f.= 1, Χ2 = 0.71, d.f.= 1,
Color temperature *
p = 0.2918 p = 0.0350 p = 0.3991
* * *
Χ2 = 8.87, d.f.= 2, Χ2 = 7.40, d.f.= 2, Χ2 = 13.87, d.f.= 2,
Ratio of lighting fixtures illuminance * * *
p = 0.0119 p = 0.0247 p = 0.0010
* * *
Χ2 = 32.4, d.f.= 1, Χ2 = 16.0, d.f.= 1, Χ2 = 45.5, d.f.= 1,
Background illuminance ratio * * *
p = 1.25E−08 p = 6.19E−05 p = 1.52E−11
Χ2 = 0.04, d.f.= 1, Χ2 = 0.4, d.f.= 1, Χ2 = 0.04, d.f.= 1,
The beam angles of lighting fixtures
p = 0.8330 p = 0.5271 p = 0.8330
* * * *
p<0.05, Χ2>d.f., Bold ( p and Χ2)

Table 14 Chi-square test results (table)

Evaluation factor
Lighting factor Preference Visual attention Perceptual clarity
* 2 * 2 * 2
Χ = 6.60, d.f.= 1, Χ = 5.55, d.f.= 1, Χ = 3.71, d.f.= 1,
Color temperature * *
p = 0.0102 p = 0.0185 p = 0.0540
* *
Χ2 = 2.54, d.f.= 4, Χ2 = 15.58, d.f.= 4, Χ2 = 25.71, d.f.= 4,
The ratio of lighting fixtures illuminance * *
p = 0.6378 p = 0.0036 p = 3.61E−05
* * *
Χ2 = 25.62, d.f.= 1, Χ2 = 43.12, d.f.= 1, Χ2 = 65.15, d.f.= 1,
Background illuminance ratio * * *
p = 4.15E−07 p = 5.15E−11 p = 6.95E−16
*
p<0.05, *Χ2>d.f., Bold (*p and *Χ2)

Table 15 Chi-square test results (hanger)

Evaluation factor
Lighting factor Preference Visual attention Perceptual clarity
*
Χ2 = 12.80, d.f.= 1, Χ2 = 0.36, d.f.= 1, Χ2 = 0.09, d.f.= 1,
Color temperature *
p = 0.0003 p = 0.5510 p = 0.7656
* 2 * 2 *
Χ = 3.33, d.f.= 2, Χ = 2.53, d.f.= 2, Χ2 = 6.53, d.f.= 2,
The beam angles of luminaires *
p = 0.1889 p = 0.2818 p = 0.0381
* * *
Χ2 = 8.89, d.f.= 1, Χ2 = 17.42, d.f.= 1, Χ2 = 15.02, d.f.= 1,
Wall illuminance * * *
p = 0.0029 p = 2.99E−05 p = 0.0001
*
p<0.05, *Χ2>d.f., Bold (*p and *Χ2)
656 Ko et al. / Building Simulation / Vol. 9, No. 6

illuminance. Visual attention was influenced by only wall
illuminance. While perceptual clarity was influenced by the
beam angles of luminaires and wall illuminance. The wall
illuminance was most important factor in the hanger case.
Overall, preference and visual attention was influenced
by lighting factors related to color and contrast whereas
perceptual clarity was more influenced by contrast than
color. The difference between 10° to 30° of beam was not
an important factor to light fashion items.
4.2 Summary of the results
The overall assessment for mannequins, tables and hangers
based on the results of the subjective evaluation are
summarised in Table 16.
As a result of mannequin evaluation, the results for visual
attention and preference of the luminous environment
were similar. First, to embody a lighting environment for
fashion shops that attracts visual attention of consumers
and show their preference, it is effective to use background
illuminance ratio of 1:10, color temperature of 4500 K,
illuminance ratio of 3:1 for the luminaires, and beam angles
of 20° for key light and 30° for fill light. Using a luminaire
that widely and intensely illuminates mannequin, forms 3D
impression using shade, and creates a vivid and cool light
attracts visual attention of consumers and reflects their
preference. In addition, to embody a luminous environment
for perceptual clarity of sculptures such as mannequin, it is
effective to use background illuminance ratio of 1:10, color
temperature of 3000 K, illuminance ratio of 6:1 for the
luminaires, and beam angles of 20° for key light and 30°
for fill light. The lighting plan that widely and intensely
illuminates mannequin and is identical to the lighting plan
for visual attention and preference, but it is more effective
to use a light source with a warm color temperature to
increase perceptual clarity of the product.
The results for visual attention, preference, and perceptual
clarity of the luminous environment were similar in the results
of table evaluation. Such luminous environment appropriate
for table lighting has background illuminance ratio of 1:10
and color temperature of 3000 K. As shown in the results
above, subjective evaluation on preference of table lighting
showed that it is effective to use uniform illuminance ratio
for the luminaires. It is desirable for products on table to
direct a luminaire that widely and intensely illuminates the
product using low color temperature to create a warm and
mild atmosphere. Background illuminance ratio was selected
as 1:10 as in the results for mannequin. The luminous
environment that creates a contrast with the background is
effective for attracting visual attention and increasing
perceptual clarity of the product. Shading is not a luminous
environment for table to attract visual attention or increase
perceptual clarity of the product.
Lastly, in the results of hanger evaluation, the results
for visual attention, preference, and perceptual clarity of
the luminous environment showed similar results. When
such luminous environment is established for hanger, it is
effective to design the environment with beam angle of 20°,
color temperature of 3000 K, and direct wall illuminance of
0 lx. Also, visual attention and preference can be increased
by avoiding installation of separate lighting on the wall
other than the light that illuminates the product. On the
contrary, the luminous environment with color temperature
of 4500 K, direct wall illuminance of 0 lx, and wall washer
was inappropriate for setting hanger lighting. Careful
consideration is required for the lighting design since the
user of wall washer can create uniform light on the wall and
make consumers feel uncomfortable.

Table 16 Lighting design guideline

Guideline
Mannequin Preference Background illuminance ratio: 1:10
Visual attention Color temperature: 4500 K
Ratio of lighting fixtures illuminance: 3:1
Beam angles of lighting fixtures: key light 20°, fill light 30°
Perceptual clarity Color temperature: 3000 K
Ratio of lighting fixtures illuminance: 6:1
Beam angles of lighting fixtures: key light 20°, fill light 30°
Table Preference Background illuminance ratio: 1:10
Visual attention Color Temperature: 3000 K
Perceptual clarity Ratio of luminaire illuminance: 1:1:0, 1:1:1
Hanger Preference Beam angles of lighting fixtures: 20°
Visual attention Color temperature: 3000 K
Perceptual clarity Wall illumination: 0 lx
Ko et al. / Building Simulation / Vol. 9, No. 6
5 Conclusions
In this study, a subjective evaluation was performed using
simulation images to evaluate the application of museum
display lighting in a fashion shop. Display methods for
mannequins, tables and hangers were evaluated. Sculpture
display lighting as used in museums was used for mannequins
and tables, and flat display lighting as used in museums was
used for hangers.
The results of the subjective evaluation can be explained
in terms of common and contrasting results. The common
results indicated that lighting that provided a large contrast
with the background was preferred for mannequins, tables
and hangers. Although a background illuminance ratio
of 1:5 is generally used in museums, in the subjective
evaluation, subjects preferred a background illuminance
ratio of 1:10 in all evaluations. Fashion shops were found to
require a higher background illuminance ratio than museums.
Contrasting results were also found in the subjective
evaluation of mannequins, tables and hangers due to the
differences in the display method of the products to be
illuminated. Mannequins are mainly displayed at the entrance
of fashion shops to attract the visual attention of consumers
and are illuminated to emphasise the visual clarity. Therefore,
it is important to increase the visual clarity using shade by
increasing the illuminance ratio for the luminaires. In
contrast, a table is a display method for which consumers
are likely to change the position of products as they touch
and view them. Thus, a luminous environment that minimises
the difference in illuminance between the luminaires and
increases the background illuminance ratio providing increased
perceptual clarity for the product is required. In addition,
a light source with a warm and mild atmosphere helps
consumers to thoroughly examine a product displayed on a
table. Unlike mannequin and table displays, hangers display
products on a wall and show a greater effect from light
reflected by the wall. Therefore, careful consideration is
necessary when using a device that illuminates the entire
wall surface, such as a wall washer. It is also desirable to
avoid a light source with a high color temperature and to
create warm and mild luminous environment.
This paper presented a guideline on the application of
museum display lighting in fashion shops. Such guidelines can
be selectively applied according to the display environment
and conditions in a fashion shop, thus promoting efficient
product display and improvement of the accuracy of consumer
choice. The results of this study are also applicable to the
realistic and vivid display of products in apparel shopping
malls on-line.
To emphasise the effects of display beam lighting in this
study, the level of the ambient lighting was low and some
vertical illuminance levels were also low. Thus, the lighting
657
simulation images have excessive limitations compared to
actual lighting; thus, an additional experiment is required
to evaluate preferences under actual display conditions.
This study was also limited in that only particular colors
and seasonal products were selected and evaluated in the
simulated images and color appearance of simulated images
could be different compared to that of the actual materials.
In addition, a general lighting option and daylighting were
excluded to simplify design variables. Further study is
necessary to determine realistic costs and operational difficulties
caused by an increase in the number of lights, and should
perform subjective evaluation for all display methods
such as tables, hangers and mannequins at the same time
including a real surrounding environment situation.
Acknowledgements
This work was supported by the National Research Foundation
of Korea (NRF) grant funded by the Korean government
(MSIP) (No. 20150274).
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