• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.1051-1060
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• 2015

The purpose of this study is to examine the different communication messages behind African women's hairstyles, and to compare young and old African women's hairstyles. The contents of this research are: the hairstyle as communication media, the types of African women's hairstyles, and the difference between young and old women's hairstyles. We used a review of literature and an empirical study as the research methods for this study. For the literature review, we used papers on African hairstyles, and we linked hairstyles to corresponding communication. For the empirical study, we took a database of 240 pictures (120 pictures of young women and 120 pictures of old women) from websites related to African hairstyles and we analyzed the pictures to differentiate between young and old African women's hairstyles. The results of this study reveal that African women's hairstyles express messages of power, ceremony, and status and identification communication. Within the 240 pictures, we found out which hairstyles are preferred by young and old women. Young African women prefer long, straight hairstyles and artificial hair (wigs), while old women keep short, natural hairstyles. The result of this research will be useful for understanding African women's hairstyles as well as contribute to the field of hair design.

• Journal of Fashion Business
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• v.13 no.5
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• pp.149-160
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• 2009

The purpose of this research is to analyze how contemporary hairstyles are expressed based on the recurrence and non-recurrence of simulation. The results of this study can be summarized as follows : 1) Recurrence appeared as imitation which re-expresses the image of past hairstyles, change which borrows unordinary objects from previous hairstyles, and expansion which extends the volume in hairstyles. 2) For nonrecurrence, there were an absence of hairstyles which rid reality, a sub-culture as a disband of fixed perceptions, a combination with other genres, an ambiguity of hairstyles appearing as a fusion effect and a Kitsch phenomenon, an ambiguity of hairstyles where a totally different third image appears through dichotomy concepts combined.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.80-80
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• 2003

The velocity of change of the world in its speed and scale are very rapid. The new terms like "nano" and "genom map" and etc are continuously generated. The current main themes are focused on the society in change, the information-oriented society. To do it, it is very interesting to consider to view the diverseness of cultures in the western society. Especially this study reconsindered the historical background of the hippy's hairstyles and their influence on the current hairstyles. current hairstyles.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.25-33
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• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.

• Journal of the Korean Society of Costume
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• v.3
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• pp.95-107
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• 1980

The hair and headdress, positioned on the top of the body, assume a special role of accomplishing the silhouette of the clothing. This thesis reviewed the change of the hair and headdresses of the ancient Western world and studied the relationship between the silhouettes of the dresses and the shapes of the hairstyles. It was concluded that the hairstyles of each region had been developed in accordance, with their dress silhouettes, either repeating the silhouettes in a smaller scale, or reflecting their aesthetic attitudes toward clothing in the hairstyles. Religious symbolism was displayed strongly. In the headdresses of the cultures where the religious influence was great.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.1-10
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• 2009

The purpose of this study was to investigate the effects of the types and the colors of men's casual wear, hairstyles, and the methods of stimulus manufacture on men's image perception. The subjects were 360 women from the metropolitan area of Seoul. The clothing types used for the study were a sweater and a jumper(casual jacket) with jean pants. The clothing colors were beige, indigo, and red. Two hairstyles, the short and the medium length hairs, were compared. Two types of stimuli, the photograph and the computer simulation picture, were used. The results of the factor analysis disclosed five dimensions on men's image: neatness, individuality, ability, activity, and sociability. In general, the photograph stimuli were evaluated more positively in activity, individuality, and sociability than the picture stimuli. The sweaters were perceived higher in ability, activity, and sociability than the jumpers. The Indigo color was evaluated as neat. The medium length hairstyles were perceived as neat and the short hairstyles were perceived as sociable. The jumpers were evaluated lower in individuality in the picture stimuli than in the photograph stimuli. The beige and indigo colors were evaluated to be neater in the picture stimuli than in the photograph. When using the picture stimuli, the men's image wearing the sweaters with the medium length hairstyles were evaluated lower in individuality. When using the photograph stimuli, the men's image wearing the sweater with the short hairstyles were evaluated higher in activity. Men's image wearing the indigo jumper and the beige sweater with medium length hairs were evaluated as high in neatness.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.3-9
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• 2008

This paper is related to hair-blending for 2D virtual color hairstyler based on the semi-automatic field morphing. The proposed 2D virtual color hair-styler is characterized as generating virtual hairstyles using the variable morphing mask instead of the fixed one for the semi-automatic morphing, and then hair-blending the generated virtual hairstyles using sigmoid function around the boundary region of the variable morphing mask. The proposed method is able to generate the virtual hairstyles with an easy-to-use interface based on semi-automatic field morphing. According to the proposed method, a user can shorten the working time and even an unskilled user can obtain natural hairstyles as he or she designates a small number of external user inputs.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.1-12
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• 2005

The purpose of this thesis is to study the formative characteristics and symbolism shown in Rock stars' hairstyles through rock music to have influenced youth culture. There were a D.A style and a mop top style which included the youth characteristic to seek a new desire and value as the hairstyles of Rock & Roll stars, along with the characteristics of Rock & Roll music to represent the feeling of teenagers in 1950's at that time unlike the previous music due to high beats mixed with Rhythm & Blues (R & B) and Country music, and use of electronic guitars. We can see the desire for challenge and freedom against the then present regime, shouting love and peace, and resistance in the Psychedelic Rock music stars' hairstyle, which are untrimmed and disheveled, that is, natural. We can find explosiveness in Mohican and Spike style of Punk Rock stars playing fierce and aggressive music, along with words including indignation and assertion against the society's regime. The Artistic characteristic is implied in the following hairstyles: Glam Rock stars' hairstyle, a man's long-haired but a little long crew-cut style to reduce the bulky feeling and to give a bisexual, visible shock with hair dyed in orange to emphasize magnificence, and Punk Rock stars' hairstyle showing beauty in their own way with expression of anti-beauty to intentionally look ugly. Like this, the 20th Century's Rock music and youth culture are closely associated each other, and showed a new style, and played a leading role in street fashion, which became a momentum to much influence high fashion as a look of the 20th century modern fashion.

• Journal of the Korea Computer Graphics Society
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• v.10 no.2
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• pp.10-16
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• 2004

This paper presents an interactive technique that produces static human hairstyles by generating individual hair strands of the desired shape and color, subject to the presence of gravity and collisions. A variety of human hairstyles can be generated by supplying a few parameters to the modeling core, which consists of the wisp generator and hair deformation solver. Wisps are generated employing statistical approaches. As for hair deformation, a method that is not physically-based is proposed to efficiently account for the effects of gravity and collisions. The technique produces various hairstyles much faster than previously proposed methods, and the styles generated by this technique are remarkably realistic.