본 연구는 하우저의 예술사회학 이론을 토대로, 조선시대와 일제강점 기에 이르는 기생 예술을 사회적 수용자·시장구조·계급적 맥락 속에서 분석하였다. 그 결과, 기생 예술은 특정 계급의 권위를 재현하거나 대 중적 욕구를 반영하는 미적 형식으로 발전했을 뿐만 아니라, 여성 예술 가의 주체성과 사회적 권력관계를 동시에 드러내는 매개체로 기능했음 을 확인하였다. 특히, 기생 예술은 사회적 수용자의 변화와 시장구조 재편을 반영하여 성리학적 의례예술에서 근대 대중예술로 변모하였으 며, 여성 예술가로서 기생은 억압된 존재로 한정되지 않고, 창작·교육· 대중문화 활동을 통해 자아와 주체성을 구현하였고, 계급적 예술 양식 으로서 지배계급의 권위와 대중의 욕구를 매개하면서 사회적 긴장의 조정자로 작동하였다. 이는 곧 기생 예술을 단순한 향락적 산물이 아닌 사회 구조와 권력관계를 드러내는 이념적 예술형식으로 재평가해야 함 을 보여준다.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.