服裝是人類走向文明發展變化的重要標誌。著裝目的不只可以遮羞禦寒、防禦保護、同時反映社會地位、經濟動態、及裝飾偽妝。它是無聲的語言，是榮耀、權力角色的象徵。就好比在卡漫動畫作品中每個角色穿戴的服裝都具有代表性的特徵。面具是臉部塑形的化妝工具，既能遮掩也能展現自我形象，服裝與面具兩者都涉及到展現的功能與偽裝，或是更深層的心理偽裝。本論文試圖從歷史的角度為出發點就17世紀、18世紀巴洛克宮廷舞會服飾風格，將服飾美學在當時社會心理的背景下，對其服裝的面具化功能進行探討。
華麗的偽裝作品在傳遞著人們一味的去追求外表的華麗裝扮，從而反觀現代社會過度的粉飾外表，就像帶著一副不真實的面具。虛華過後的空虛，偽裝的背後，在內心的情感與外表的矛盾衝突之下似乎隱含著欺瞞。透過偽裝華麗的裝置藝術表現，來探討作品反映的潛在意識。
Clothes are the important milestone in development and changes of civilization. The purpose of dressing is not only for covering and keep the body warm, providing protection but also representing social status, economic dynamics and disguise in dressing. It is a silent language and also the symbol of honor and power. Just like in every cartoon and animation, the costumes worn by each character has its own specific features. The mask is a makeup tool for face shaping, covering up and expressing oneself. Both dress and mask have their own expressing and disguising functions, or even deeper psychological disguise. This study tries to analyse the masking functions of dress from the historical point of view - 17th century and 18th century’s baroque ball dress style in palace, and from dressing aesthetics under the background of social psychology.
Gorgeous disguise artworks convey a message that people always blindly look for gorgeous appearance, and it reflects the culture of overdressing the appearance in the society of modern times – as if we are wearing an unreal mask. The inner emptiness after the flauntiness, the illusion of disguise, and the conflict between the inner emotions and appearance seem to imply the deception. Via the disguised gorgeousness of installation art, we are going to discover the subconsciousness of artworks.
