• Journal of Digital Convergence
• /
• v.18 no.10
• /
• pp.459-467
• /
• 2020

The number of SNS false and exaggerative advertising has been consistently increasing nowadays. Among others, millennials who use SNS most frequently and enjoy e-commerce have become victims of false and exaggerative advertising. Thus, this study is designed to examine millennial consumers' attitude toward SNS false and exaggerative advertising through in-depth interview. Study findings suggest that millennials have very negative attitude toward SNS false and exaggerative advertising regardless of if they are victims or not. In particular, millennials who are victims of SNS false and exaggerative advertising have negative attitude toward SNS companies as well as advertised brands on SNS. Millennial consumers think that SNS companies need to come up with guidelines to regulate SNS false and exaggerative advertising, and government also needs to apply proper measures. Since SNS false and exaggerative advertising may have negative impacts on millennials' purchase intentions as well as brand loyalty, companies need to consider millennial consumers' characteristics when it comes to launching SNS advertising targeting millennials. This finding provides practical implications for marketers.

• The Research Journal of the Costume Culture
• /
• v.13 no.6 s.59
• /
• pp.883-895
• /
• 2005

Exaggeration is to express an object or a situation in an excessive way. As the desire for aesthetic expression grows greater today, we tended to focus on the exaggerative expression as a means to acquire other's attention and praise. Also people more actively express their own intention or opinion in an exaggerated manner. The purpose of this study is to identify the social and cultural functions of modern fashion via exaggerative expression, one of the formative characteristics, and its meaning. To do so, the exaggerative features of modern fashion have been analyzed, and the social and cultural meaning of those have been examined through the background of the times and aesthetic sense. The formative form in the exaggerative expression shown in the modern fashion was classified into a body priority type emphasizing woman's body contour, a body disregarded type shown oversized silhouette regardless of body contour and a body distorted type expressing free and diverse form in various shapes of asymmetry and imbalance. The symbolic meanings of those include the changing of the body consciousness and the notions of feminity, and the desire fur formative and playable expression. The exaggeration of the costume in history meant aesthetic value of the woman's body in the society led by men. However, the exaggerative expression shown in the modern fashion is a method to express more actively, as compared with the costume in the past.

• Journal of the Korean Society of Costume
• /
• v.65 no.5
• /
• pp.1-13
• /
• 2015

The purpose of this study is to make a contribution to men's fashion by analyzing changes related to excessive and decorative expressions of latest men's wear design in the viewpoint of Maximalism, and using the results to develop a new fashion style. Results of the study are as follows: The characteristics of Maximalism in men's wear collection in the last 5 years can be classified as 'Fusion Maximalism, 'Decorative Maximalism', 'Exaggerative Maximalism', 'Humorous Maximalism', and 'Duplicative Maximalism'. The characteristics of each type of Maximalism can be summarized as follows: First, Fusion Maximalism creates new men's fashion style by fusing designs from different cultures in clothing items as well as dismantling gender boundaries in clothing design, and by having designs which transcends time and space. Second, Decorative Maximalism expresses ambiguous decadence by implementing feminine decoration that applies handicraft technique, as well as exaggeratedly using details and trimmings of contrasting images, and applying women's clothing items. Third, Exaggerative Maximalism represents extreme avant-garde that changes the idea of fashion design by changing the styling or the exaggerated silhouette. Fourth, Humorous Maximalism expresses not only the creation of new men's fashion look, but also expresses humanism with exaggerative enjoyment and pleasant ideas. Fifth, Duplicative Maximalism expresses creative design by implementing vivid images of different period and culture, and reproducing successful images of the past into modern fashion.

• The Research Journal of the Costume Culture
• /
• v.25 no.5
• /
• pp.577-592
• /
• 2017

The purpose of this study was to propose various directions for effectively proposing window displays that satisfy changing consumer needs by investigating and analyzing the characteristics of unexpected expressions used in recent Christmas windows. Research was conducted by investigating unexpectedness in window displays through literature reviews and previous studies. To observe unexpectedness in Christmas windows, website-based case images of window displays from the six years between 2010 and 2015 were collected from the department stores of Bergdorf Goodman, Printemps, Selfridges, and Isetan. Unexpected expressions in department-store Christmas window displays could be categorized into four expressive methods of hybrid expressions, figurative expressions, amusing expressions, and exaggerative expressions. The results were as follows: First, hybrid expressions are interpreted by consumers as having new or diverse meanings that change the original external forms of subjects or objects. Second, Christmas colors are used in the window backgrounds' figurative expressions, but these windows do not use excessive expressions; furthermore, these windows personify people as animals and anthropomorphize animals as people, using subjects to depict other subjects to show unfamiliar images. Third, amusing expressions are used to decorate windows with unique and novel ideas that provide stimulation and amusement for customers and capture their attention through the composition of windows that entail childish props and elements that create funny. Fourth, exaggerative expressions deliberately stretch and expand subjects or objects in windows to elicit customers' curiosity and interest through emphasis.

• The Research Journal of the Costume Culture
• /
• v.13 no.2 s.55
• /
• pp.318-328
• /
• 2005

Our interest in human body is more and more increasing. Not only academic and art communities but also other social communities show a keen interest in the human body. Especially, the breast of women's body parts may be comparable to men's penis because it is protruded. The breast which sexually distinguishes women from men becomes an important topic in the fashion design community. Therefore, such designs which emphasize the breast are being introduced in a natural way. This paper aims at examining the reason and symbolism for the exposure of breast and analyzing the fashion design that breast is exposed. This study will help us grasp the meaning which the design has. The exposure's scope of breast in the design includes the partial exposure, total exposure and the concealment of breast. But these all have their effects in each scope. For this paper, some general things were investigated. They are as follows: the phases of breast exposure in the fashion design, the exposure of breast expressed in the works of fine art, and the alteration of breast-exposing phenomenon shown in apparels. Then, each type of breast-exposing design shown in the women's fashion was analyzed from the middle of 1980s' when the phenomenon of breast exposure occurred to the year 2004. These could be divided into 4 types. They include a suggestive type, an exaggerative type, an open type and a reproductive type. As the result of analysis of 4 types, such meanings of design as an emphasis of femininity, an expression of liberty, a symbol of maternity and a commercialization of sex could be analogized.

• The Journal of Natural Sciences
• /
• v.19 no.1
• /
• pp.113-139
• /
• 2008

This study for hair, traditional ornamentation and make up style of Korea, China, Japan. Their special aesthetic character of hair ornamentation and styles are similar difference of costume aesthetics. First we study about hair style of three countries We can find their different development characteristics of aesthetics and customes, cultural style of three countries. It is translated plain and simple for Korean, exaggerative and decorative for Chinese, romantic decoravive and decoration of Tang Dynasty influnced for Japanes. All styles are showed in modern oriental styles.

• Fashion & Textile Research Journal
• /
• v.15 no.4
• /
• pp.493-503
• /
• 2013

This study analyzes expression methodology and aesthetic meanings in modern hair ornaments that adopt maximalism. Maximalism has appeared in various hair ornaments throughout history. Hair dresses are used for many reasons related to class, social position, religious beliefs, and occupation throughout the Eastern and Western hemispheres. A higher class and social position was often denoted by a fancier and bigger hairdress. In modern society maximalism is expressed in literature, expressionism, maxi-marketing, exaggerative advertisements, and symbolic architecture. Formative expression methodologies in modern hair ornaments that adopt maximalism are transform, overlapping & exaggeration, and mixing & edition. The aesthetic meanings of maximalism in hair ornaments are the reinterpretation of retro ornaments, the exaggeration of internal self-expression, humorous symbolic objects, and the conveyance of a social critical message. The advantages of maximalism help people communicate and co-provide an abundant life. These are expected to create significant and numerous positive impacts in society. In addition, the continued efforts on the investment in hair ornaments that express Maximalism well as a fashion trend shows that further study on the persistence, practicality and recognized design inconvenience in the aesthetic value are needed.

• Journal of Fashion Business
• /
• v.17 no.3
• /
• pp.122-136
• /
• 2013

This study supplements clothes by studying pleasure shown in accessories of haute couture designers and finds out pleasant characteristics represented in items which play an important role in producing personalities through collections, so the study aims at prospecting design development directions accessories henceforth. For the study period and methods, 295 photo materials were analyzed being judged to show pleasure centered on Mode et Mode, representative fashion magazine, from 2005 S/S Paris haute couture collections to 2013 S/S Paris haute couture collections. At this time, the photos analyses were conducted and selected by two experts (Ph. D holders majored in fashion design) through two times. After analyzing pleasure features represented in fashion collection focused on haute couture accessories, I could know that surrealistic pleasure, anonymity-expressing pleasure, natural pleasure, and exaggerative pleasure were shown. The pleasure, as element that supplements and emphasizes clothes, has had an effect on bringing laughs characteristically.

• Journal of Fashion Business
• /
• v.11 no.2
• /
• pp.42-57
• /
• 2007

The purpose of study is to investigate costumes of the heroin in the opera which has performed by 4 different directors ; Metropolitan opera by Franco Zeffirelli, San francisco opera by David Hockney, Salzburg Festival by David Pountney and Korea Arena opera by Zhang Yi-mou. In these performances, Her costumes normally expressed the change of her characteristic from a haughty and cruel lady to a lady who realized a true love. The former is wearing exaggerative and splendid styles while the latter is wearing simple and ladylike styles. Costume styles of each performance are like this. In the Metropolitan's opera, costumes are very splendid using brilliant fabrics and accessories of Chinese peking opera. Their costume styles are influenced by Chinese 'Pao' which is similar to Ming Style. In the San Francisco's opera, costumes are very simple, specially pattern of dragons. This silhouette mixed Chinese style and western dress. In the Salzburg Festival's opera, costumes are based on simple western style but they expressed her mind effectively like a extremely long skirt which means her haughtiness. In the Seoul arena opera, costumes are based on Ming styles using silk which embroidered dragons, phoenixes and flowers.

• Journal of the Korean Society of Costume
• /
• v.50 no.3
• /
• pp.13-30
• /
• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.