현대패션에 나타난 그로테스크에 관한 연구

Abstract

This study aims to investigate the concept and characteristics of ‘grotesque,’ which is considered a valuable and interesting topic to discuss rather than negative and fragmentary, in each period of time, examine the aesthetic characteristics of grotesque reflected in arts and dress, and analyze its formative characteristics and aesthetic values in modern fashions. To this end, a documentary research was conducted centering on books, previous studies, online data in relation to aesthetics, dress, and grotesque in order to address the concept and characteristics as well as the aesthetic features of grotesque. The scope of the study is from the age of the Renaissance, when the term, ‘grotesque,’ emerged, to the 20thcentury. Then a case study followed based on GAP, a fashion magazine, and style.com, a fashion website, which represented grotesque dresses, in order to analyze the formative characteristics and aesthetic values of grotesque in modern fashions. The study covers London, Paris, Milan, and New York collections from 2000/01 F/W to 2013 S/S, and focuses on photos that state terms extracted from the documentary research such as grotesque, fear, outrageous, abnormal, unreality, ridiculous, and disgust in collecting related fashion items. The findings are as follows: First, ‘grotesque’ indicates a mysterious or fantastic representation in a confusing, distorted formation, demolition of the order of reality due to conflicts among inconsistent elements, and a familiar world turning to be unacquainted, which results in shock, perplexing, frightening, ridicule, and so forth. The major features of grotesque include terror, abnormality, unreality, amusement, and disgust. Second, the aesthetic characteristics of grotesque reflected in arts are as follows: Renaissance Art represented abnormality, unreality, amusement, and terror by tangled patterns of various images, caricature, holy pictures, and depiction of farmers’ life, and Mannerism by mysterious humans, distorted religious paints, and so forth. Romanticism represented such elements by fantasy, combination of paintings, impressive colors, etc, Symbolism by expression of internal factors, unrealistic, amusing motif, femme fatale image, etc, and Expressionism by such themes as expression of internal factors, addressing social issues, and so forth. Surrealism represented unreality, terror, abnormality, and disgust by combining living things and lifeless things and time and space. Third, aesthetic features of grotesque reflected in dress are as follows: Renaissance style represented abnormality and amusement by using exaggerated silhouette and details, and Baroque style by using exaggerated silhouette, accessories, trimming, and so forth. Rococo style represented abnormality and amusement by using extreme silhouette, excessive decoration, and accessories, and the dress in the Period of Napoleon 1 presented abnormality through incroyables and merveilleuse. The age of the Restoration represented abnormality and amusement by using X-form silhouette, exaggerated details, and so forth, and the Period of Napoléon Ⅲ presented abnormality through crinoline silhouette. In the late 19thcentury, bustle silhouette and atypical silhouette were used to represent abnormality, unreality, terror, and disgust. The dress in the 1930’s used the surrealist style, that in the 1960’s hippies, extraordinary materials, pop art, op art fashion, etc to represent unreality, abnormality, and amusement respectively. The dress in the 1970’s adopted the glam rock style, punk look, future-oriented fashion, and so forth to represent abnormality, unreality, disgust, and terror. The dress in the 1980’s adopted eclecticism, androgynous· kitch look, surrealists’ dress, and unique silhouette to represent amusement, abnormality, and unreality, while that in the 1990’s used grunge look, ethnic look, and cyber look fashion to represent abnormality, unreality, and terror. Fourth, as a result of analyzing the formative characteristics and aesthetic values of grotesque reflected in the collection from 2000/2001 F/W to 2013 S/S, it turned out that the nature of terror was implied in the lineal dresses of Alexander Mcqueen and Boudicca, pants suits of Christian Dior, punk look suits of Junya Watanabe, and exaggerated outers and dresses of Viktor & Rolf, which indicate pain, death, oppression, and alienation. Abnormality was shown in the exaggerated silhouette dress of Alexander McQueen, the atypical silhouette suit of John Galliano, Junya Watanabe’s dress decorated with the extreme ruff, Thom Browne’s suit of abnormal proportion, and the exaggerated silhouette dress of Victor & Rolf, which indicate unnaturalness, norm, desire for new things, derision, etc. Unreality was reflected in the unique silhouette dress of Alexander Mcqueen, the architectural silhouette dress of Gareth Pugh, Mermaid Silhouette dress of Giles, the surreal skirt suit of Jean-Charles de Castelbajac, and the unrealistic dress of Victor & Rolf, which indicate yearning and fear of an unknown world. Amusement was represented in the dramatic silhouette dress of Alexander Mcqueen, the amusing suit of Gareth Pugh, John Galliano’s dress of sexual perversion, infant-like pants suits of Meadham Kirchhoff, the hybrid image suit of Tom Brown, and exaggerated details of Victor & Rolf, which indicate non-purposefulness, freedom· incitement, and sarcasm. Disgust was reflected in the asymmetric dress of Comme des Garcos, the disordered cutting detail dress of Mario Schwab, the decadent dress of Thierry Mugler, Tom Brown’s cape dress, Undercove’s grunge suit, and the ensemble of shocking details, which indicate disgust, disease, violence, sexual indulgence, and so forth.