• Journal of Fashion Business
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• v.22 no.4
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• pp.20-29
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• 2018

Today, visitors of art galleries like to share their life in their communities than interacting with artwork. Meantime, image sharing of an exhibition on social media has become more important than actual watching of the artwork. Accordingly, most of the galleries have started paying more attention in organizing an exhibition environment for proof-shots to attract more visitors. We initially conducted research about the internet environment from the late 1990s to the recent years and analyzed the changing watching patterns of the exhibition since the advent of social media. Secondly, for empirical case analysis, we selected 'Plastic Fantastic' held in D-Museum as the target of analysis. The analysis targeted 500 recent postings that were discovered on Instagram on March 4, 2018, as 'Plastic-Fantastic'(in Korean). The methods of analysis included classification types of image, hashtag, and text on Instagram and were arranged in an order of relation to the exhibits. Based on the image analysis, 44.2% of the images involved exhibition displays; the others included a person or other goods. Based on the results of the text and hashtag analysis, only 3.6% of posting included information about the exhibition and 56.4% had non-related inflow hashtags only with image. The behavior of these shares is likely to gradually lose the inherent meaning of the exhibition and to the value rather than imparting the artistic thrill that viewers derive from art. Exhibition should try to seek deep interaction between the display, audience, and social media users, rather than encouraging the visitors to take proof-shots.

• Journal of the Korean Society of Costume
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• v.65 no.1
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• pp.1-14
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• 2015

Magic realism, which originated in the culture of Central and South America, creates a fantastic fictional word by linking unrelated incidents using magical. The purpose of this study was to analyze Tarsem Singh's design characteristics that are based on magic realism in his movies, "The Cell" and "The Fall", and to highlight the artistic values appearing in the films. The research was conducted by observing the characteristics and concept of magic realism based on literature and preceding research, and discovering how Singh expressed these creatively and experimentally within the costumes in his films. The results of the study were as follows: Firstly, magical, legendary and symbolic characteristics appear within the fantasy of magical realism, and common techniques within film costuming include repetition of similar objects, solid silhouettes within scenes, and various decorative materials used for fantastic expression. Secondly, regarding ideality, the destruction of previous ideas and recreation of the present were found with materials and details used in film costuming to destroy previous ideas. Expressions of character through external decoration and depiction of living things as not living were also found. Thirdly, reiteration showed the coexistence of history and legend, reality and fantastic elements, and arrangement of opposing elements.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.111-123
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• 2003

The purpose of this study was to investigate girlish fashion as a contemporary as well as Romanticism of the 21st century. The background of girlish fashion is regarded as a hot blast of restoration and a appearance of kidults, such characteristics of these factors, that is, the moderns's longing for the memory of old days and kidult's concerns for the dream of their childhood, have a direct influence on the Romanticism. So the plasticity of girlish fashion was analyzed as a results: 1) This plasticity named Recurrent Romanticism as 21st New Look, especially the plasticity represented in a princess style fashion. The princess style fashion of girlish fashion means not only a expression of the moderns's self-confidence but also nostalgia toward old days. 2) Sweet Romanticism developed into angel style fashion, which the style expressed the moderate cuteness with clothing construction and detail etc and the innocence with white color. 3) The plasticity of girlish fashion called a feast of color named Fantastic Romanticism. Fantastic Romanticism of girlish fashion means not only a expression of a lovely girlie's image but also hope toward 21st century. Throughout the study, Romanticism as a cultural code of 21st century was considered to reflected in the whole livelihood as well as contemporary fashion, especially, girlish fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.5
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• pp.648-657
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• 2004

The purpose of this study was to identify the relationship between avatar image and self-concept of avatar users by utilizing focus group interviews and survey method. The subjects of the focus group interview were Freechal Avatar Club members, while those of the survey were 476 students, who attended middle schools, high schools and colleges at Seoul area. The data were analyzed by frequency, factor analysis, cluster analysis, chi-square test, one-way ANOVA and scheffe test. The main results were summarized as follows. First, the focus group interview revealed that avatar image types, which avatar users made use of, were ideal image, real image and fantastic image. Second, based on the avatar image types of focus group interviews, the researcher made out avatar image question items and conducted factor analysis of the question items: The avatar users pursued ideal image, real image and fantastic image. The avatar users groups were classified into ideal image group, real image group and fantastic image group by employing cluster analysis. Third, all of body-esteem and self-esteem were the highest at real image group, while all of that were the lowest at ideal image group.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• Korean Institute of Interior Design Journal
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• no.19
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• pp.11-19
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• 1999

This study is about the Characteristics of the Medievalism expressed in the German Architectural Expressionism. The concept of Medievalism is an attitude to revive the social and physical settings on Middle Ages. The social situation and architectural style in the Middle Ages were similar to the German Expressionism in the early 20th-century. The Medieval Characteristics of the German Architectural Expressionism were expressed in two ways -first, organic or sculptural style and second, fantastic or Crystal style. The architects such as Hermann Finsterlin, Henry van de Velde, Erich Mendelsohn, Rudolf Steiner, Hugo H ring, Hans Poelzig belonged to the first tendency, and such as Paul Scheerbart, Bruno Taut, Otto Bartning, Dominikus B hm belonged to the second tendency. The Medieval concept of the German architectural Expressionism was succeeded to Modern Architecture in 1950-1960s'. The architects in 1950-1960's such as Hans Scharoun, Gottfried B hm, Alvar Aalto, J rn Utzon intended to express organic and fantastic mass which was closely connected with the Medival concept of the German architectural Expressionism.

• The Research Journal of the Costume Culture
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• v.11 no.3
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• pp.387-403
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• 2003

This study aims to analyse a trend of exoticism which is often mentioned in the contemporary western fashion. I analyse the internal elements of the exoticism in the fashion. By applying these elements to the exoticism of modern fashion, I intended to make it a useful instrument fur interpreting modern fashion. The results of this study are as follows. The internal elements of exoticism are summarized as escapism, curiosity, fantasy, hybridism and pluralism. 1. From the 19th century to the 1960s . The exoticism shown in the western fashion are influenced by such elements as curiosity and escapism. And diverse and plural exotic elements added a fantastic element to the exoticism. 2. After 1960s : Escapism acted much more because people thought exoticism offer a refuge from overall social problems of modern consumer society. Late in the 20th century, fantastic and hybrid element became more prominent in exoticism. And I found pluralistic view point was the other element of exoticism.

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.495-501
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• 2016

The film has always reflected the culture of the era based on reality and imagination. The visual effect in the film has mainly played a role of expressing the reality more realistically or recognizing the virtual as reality. This study examines the meaning and the effect of fantasy realism through Oasis of Lee Chang-dong. Fantastic realism has separated the reality from the imaginary space by using a dual meaning tool that affects the time and space in the film and reflects the human desire and desire to see. It was also reproduced in the real world through the medium of pigeons. In addition, it separates visualized space from non-visualized space in film narrative structure, separation of real and unreal space, segregation of consciousness and unconscious space, and separation of reality and reality space into power structure. With the development of technology, the image of the yellow image comes closer to us like reality, which will express the space of unconsciousness that we could not think of.