Browse > Article

The Comic Expression depicted on John Galliano's Works  

Jang, Ae-Ran (Dept. of Clothing & Textiles, Cheju National University)
Publication Information
Journal of the Korean Society of Costume / v.56, no.3, 2006 , pp. 129-142 More about this Journal
Abstract
The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.
Keywords
comic expression; historical image; exotic image; primitive image;
Citations & Related Records
연도 인용수 순위
  • Reference
1 Wolfgang Preisenedanz (1976). 'Kornische (das), Lachen (das)' In: llistorisches Worterbuch der Phisolophie. Bd. 4. Hrsg, von Joachim Ritter u. Karlfried Grunder, Basel/Stuttgart 1976. s. 889f
2 Helmuth Plessner (1941), Lachen und Weinen. Eine Untersuchung der Grenzen menschlichen Verhaltens
3 Steel. Valerie (1997), FIfty years of fashion - new look to now. New Haven & London : Yale Univ. Press, p. 154
4 Breward. Christopher (1995). The culture of fashion. New York : Menchester. p. 232
5 김민자 (2004). 복식미학 강의 1. 서울: 교문사. pp 215-216
6 류종영 (2005). 웃음의 미학, 서울. 유로서적. P. 16
7 류종영 (2005). 웃음의 미학, 서울. 유로서적, pp 13-23
8 Mendes. Valerie (1999). 20th century fashion. London: The Thames & Hudson. p, 225
9 Eastman. Max (1936). Enjoyment of Laughter. New York : Simon & Schuster. 3
10 Curator, The Costume Institute. The Metropolitan Museum of Art. In Adrew Tucker (1998), The london fashion book. Thames & Hudson. 43
11 베네데토 크로체저, 이해완 역 (1975). 크로체의 미학 표현학과 일반언어학으로서의 미학- 서울: 예전사. pp. 168-169
12 Steel. Valerie (1997), FIfty years of fashion - new look to now. New Haven & London : Yale Univ. Press. p. 143
13 Mendes. Valerie (1999). 20th century fashion. London: The Thames & Hudson. p. 254
14 라블레와 그의 세계(Rablais und sein Welt)(1987). p 58
15 Amy de la Have (1997), The cutting edge-50years of british fashion 1947-1997. The Overlook Pess. Pp. 192-200