• 복식문화연구
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• 제19권2호
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• pp.402-415
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• 2011

The purpose of this study is to research the ideologies of African-American hair-styles according to cultural phenomena. This is a qualitative research using the books and theses about society, culture, hair and beauty, and materials of internet. The results are; Firstly, African-Americans are citizens or residents of the United States who have origins in any of the black populations of Africa. About 75 percent of the dark-skinned people on this continent have hair labeled "kinky". Secondly, African hair-styles expressed Supernaturalism and Traditionalism in the formative period of African culture. African-American hair-styles reflected Colonialism in the period of slaves. African-American citizen's hair-styles showed Nationalism after 1960s' Black Pride Movement in the period of settlement in America, and expressed De-territorialism since the boom of 1970s' Reggae. Today, the wearing of dreadlocks, cornrows, and afros has transcended racial and religious barriers. No longer necessarily reflections of ancient traditions and cultural identification, they are just as often fashion items.

• 대한화장품학회:학술대회논문집
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• 대한화장품학회 2003년도 IFSCC Conference Proceeding Book I
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• pp.413-416
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• 2003

Hair fragility is a major concern to most people of African decent due to frequent chemical treatments, thermal appliance use and environmental exposure. It is extremely important to both cosmetic scientists and African-American consumers to understand the internal and external hair damage caused by these factors.(omitted)

• Applied Microscopy
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• 제38권3호
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• pp.265-273
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• 2008

본 연구는 국내에 거주하는 흑인종, 백인종, 황인종 여성의 모발을 채취하여 전자현미경으로 모발의 미세구조적 차이를 규명하였다. 흑인종 모발의 횡단면은 납작한 타원형의 형태를 하고 있었으며 황인종과 백인종 모발은 각각 원형과 타원형의 형태를 하고 있었다. 흑인종 모발은 두께가 $90{\sim}115{\mu}m$로 굵기가 일정하지 않았다. 황인종모발은 두께가 $100{\mu}m$이었으며 백인종 모발은 두께가 $80{\mu}m$로 측정되었다. 모발의 두께는 황인종 모발이 백인종 모발보다 크게 나타났다. 흑인종 모발은 황인종과 백인종 모발 보다 큐티클층이 많이 손상되어 있었다. 특히 큐티클세포의 내큐티클에는 많은 구멍들이 형성되어 있어서 쉽게 부서지는 특성이 나타났다. 백인종 모발의 피질에 있는 페오멜라닌은 내부에 동심원상의 나선구조를 하고 있었다.

• 패션비즈니스
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• 제10권5호
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• pp.45-57
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• 2006

In the previous study, african marigold petals extract was valued as an excellent natural yellow dye because of its distinguished reactivity with various mordants and color fastness. In this study, we were studied on effect of absorbed metal ion by after-treatment of mordants on the color and fastness in human hair and wool fiber dyed with african marigold petals extract because the proteinic and cellulosic fiber were very well dyed. The dyed human hair showed better dyeing ability in the color fastness than wool fiber on tests of light, wash and perspiration. The absorbed metal ion concentration of mordanted human hairs were 1 or 5 times higher than wool fibers. However, excess of absorbed metal ion haven't consistent effect on K/S and surface color. Human hairs dyed using african marigold extract and mordanted with Al, Sn, Cu and Fe were showed various reddish yellow color groups and good dyeing ability on african marigold extract.

• 복식문화연구
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• 제23권6호
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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.

• 패션비즈니스
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• 제2권1호
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.

• 패션비즈니스
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• 제11권5호
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• pp.79-89
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• 2007

The effect of chitosan treatment on the dyeing and dye fastness, and mechanical properties of hair was investigated in this study when the carotinoid dyestuffs extracted from African Marigold(Tagetes erecta L.) were applied to the hair. The sequences of the chitosan treatment were changed in dyeing and mordanting procedures, i.e., pre-treatment, mid-treatment, and post-treatment. While the effect of chitosan application on the color shade change was not significant, the pre-treatment of the chitosan increased the dye uptake. Discoloration and fading was observed in the lightfastness test when chitosan was mid-treated. Alkali perspiration and acid perspiration fastness test results showed that chitosan post-treatment gave lower tendency. Washing fastness results showed that chitosan post-treatment and mid-treatment gave lower values, which indicates that chitosan deters the direct formation of insoluble complex among fiber-dyestuff-mordant. In the mechanical characteristics results, however, initial modulus and breaking strength increased significantly in the post-treatment and pre-treatment of chitosan.

• 복식
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• 제22권
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.

• 패션비즈니스
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• 제16권4호
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• pp.88-99
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• 2012

Recently the hair style of Michelle Obama, the world's most recognized First Lady of the United States has been loved by the public with her optimistic confidence and as a fashion leader. For Michelle Obama's hair styles by length, a medium-short cut style was expressed in various ways to show her strong will by exposing the forehead, an elegant image by asymmetry hair, or a progressive image by a short volume hair cut. A medium cut style expressed an elegant and intelligent image in shoulder-length and a trendy image using a side parting. A updo hair style produced young, womanly, and casual images using twisting, binding, typing up, and rolling technique according to situations. For hair styles associated with her roles, when participating as a diplomatic delegate, she expressed the President's helpful partner by a soft and womanly image using bobbed hair and half updo technique. For the participation in state occasions, her hair styles were examined in three situations. First of all, she mainly had a neat style, exposing her forehead in official schedules as a political partner to create an intelligent and high-class image. Second, she expressed a strong will with a medium-short style during an election campaign. Finally, she showed an elegant and refined hair style in consideration of T.P.O. during social activity. Michelle Obama overcame her hair's handicap, grasped her images associated with hair length, and expressed hair strategically according to her roles as the first African-American First Lady of the United States.

• 미술이론과 현장
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• 제15호
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.