# Exploring the Green Design of Hakka Cultural Creative Textiles for Sustainable Development
## 5 Discussion  
The Hakka culture, as reviewed in the Introduction using [PERSON]'s three-component unifying metatheory, green design concept, and cultural creative product design model, revealed a promising cultural creative textile that conform to the concept of sustainable development: natural indigo dyed and stonewashed Tung Blossom denim. That led to further investigation of subjects' preferences for the blue dye colour, flower pattern size and pattern type of the denim in this study. As for the colour preferences, it may change over time and/or differ between individuals [19]. Blue is the most preferred colour for both men and women and elicits a more pleasant reaction from consumers [20; 21; 22; 23], and this may be due to the fact that people's impression of blue ties closely with water--the most important source of nourishment and the most critical element for life [20]. Undoubtedly, blue is one of the main colours used for clothing; however, which blue colour is favoured by the public has rarely been addressed in the literature. This study demonstrates that the subjects exhibited the highest preference for Hanaasagi (2.71) and Ai-iro (2.70). Hanaasagi is one of Japan's traditional colours and is mainly blue but with some green (RGB percentage: 11.8, 53.3, 60.9), whereas Ai-iro (RGB percentage: 6.3, 34.1, 47.5) is the most classic colour used in indigo dyeing. Koiai (2.50) and Kon (2.48), two of the most unfavourable indigo colour shades, are both dark blue colours, the latter of which is close to black, suggesting that indigo colours in the medium blue range were more favoured among the subjects. For Application, since the \"hard-to-match/easy-to-match\", a key factor influencing consumer's buying behavior, was found to be closely related to the \"dislike/like\" preference [25], this study's results may be leveraged to increase consumers' willingness to buy. In addition, this study shows that the interaction of colours and patterns was significant, and when viewing a darker blue colour, the subjects' preference for the 2-D pattern was always stronger than that for the 1-D pattern; however, this preference difference decreased for lighter blue colours, which is consistent with the previous finding that the interaction of colours and patterns significantly influences preferences [39]. Regarding floral pattern size, the subjects expressed the strongest preference for the large size (2.81), with the preference decreasing with decreasing size (M, S, XS = 2.62, 2.55, 2.44). As no data from previous studies were available for comparison, we interviewed the subjects, who often told us that when the floral pattern size is the largest, the 'indistinctly showing' stonewashed effect of the Tung Blossom on the denim fabric is optimal; however, with decreasing floral pattern size, the number of floral patterns also increases, making the  
Figure 6: Interaction between floral pattern sizes and pattern types. denim fabric appear less stonewashed and with a more neatly arranged 'printed effect', which is stronger in the case of the 1-D pattern. Our study also demonstrated that the interaction of floral pattern size and pattern type was significant, and with decreasing floral pattern size, the subjects' preference for the 1-D pattern decreased (2.66, 2.32, 2.16, 1.92); this effect was not as strong in the case of the 2-D pattern. Therefore, in designing pattern types with natural indigo dye and stonewashed Tung Blossom denim, the 2-D pattern should be used more generously [51]. In the case of 'natural indigo dyed and stonewashed Tung Blossom denim fabric', this approach to design process can be described as follows: (1) In terms of technology, the Tung Blossom image was first 'whitened' using Photoshop, and then the background was set as blue. After applying the Gaussian blur tool, the image with the best visual effect of indistinctness (closest to the stonewashed effect) was chosen as the template.