• Environmental Analysis Health and Toxicology
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• v.19 no.1
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• pp.101-107
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• 2004

To ascertain the effects of hair dyeing application on the DNA damage in human lymphocytes, a mixture of permanent black colored hair dye with the same amount of oxidant containing 6% hydrogen peroxide was used. A hair dyeing with contacting the scalp (conventional dyeing) and a hair dyeing with 3 to 4mm away from the scalp (alternative dyeing) were applied to each If young healthy women. Blood was taken from the brachial vein at two sampling times, just before and 6 hours after the hair dyeing, and tail extent moment(TEM) and tail length (TL) were measured by using a comet assay. After dyeing, TL was significantly increased in both conventional dyeing group and alternative dyeing group compared with before dyeing as an average of 47% and 28%, respectively, and TL for conventional dyeing group was higher than alternative dyeing group as an average of 1.2 fold. After dyeing, TEM was significantly increased in both conventional dyeing group and alternative dyeing group compared with before dyeing as an average of 192% and 76%, respectively, and TEM for conventional dyeing group was significantly higher than alternative dyeing group as an average of 1.7 fold. Therefore, alternative dyeing application was induced to lower lymphocyte DNA damage than conventional dyeing application, and TEM was appeared to be a more sensitive tool for the measurement of lymphocyte DNA damage than TL in this study.

• Korean Journal of Human Ecology
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• v.18 no.1
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• pp.189-200
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• 2009

In the Edo period speaking of hair culture, common women wore decorative pigtail ribbons on the right, and twisted from side to side their tressed hair in such a manner as ungeunmeori and traemeori. Instead of gachae, common women used gogae made of their own hair, ungeunmeori on forehead, or jjokjinmeori at the back of head. During the Edo period, people women naturally exposed their necklines as a way of exposing their faces in the aesthetically ceremonial act of wearing make-up. As for lipsticks, they rouged extracts from red petals of safflowers mainly on their lips, and sometimes on their cheeks by blending this with white powder. Samurai families disliked women who wore thick lip makeup. In the latter period, women painted their necklines or foreheads black, applied a small amount of rouge on their cheeks thinly or thickly, and colored a reddish color into their fingernails by using petals and leaves of balsam flowers. Despite the chronological and spatial proximity of the King Jeongjo period and the Edo period, it was found that there were no similarities between two countries' cosmetic cultures. Moreover, it was discovered that current TV dramas were being produced, even not based on historical evidence in the Jeongjo period.

• Journal of Korean Academy of Oral and Maxillofacial Radiology
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• v.19 no.1
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• pp.31-37
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• 1989

The author observed a rare case of radicular dentin dysplasia associated with enamel hypoplasia in a 11-year-old boy with a complaint of gum boil formation. 1. Clinically. yellowish-brown colored teeth with severe attrition and several gum boils were observed. 2. Radiographically, obliteration of pulp chamber and root canal, multiple periapical radiolucencies without obvious cause and blunt roots were observed. 3. Systemically, scalp hair and eyebrows were loose and short. And saddle nose could be also seen.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.99-106
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• 2024

This study classifies images according to changes in wedding hair and equipment and approaches and presents creative designs using pearls and crystals to preserve the subtle and soft gloss of pearls. In addition, in modern times, it is intended to help women as a new part of hair art design art expression by expanding their choices with unique designs and decorative means that give women a special sense of humor by expressing them in various materials and forms in creating complementary and individualistic hairstyles. A total of three works were produced and analyzed to shape images according to changes in wedding hair jewelry, which can create designs by harmonizing the subtle and soft gloss of pearls with the splendor of crystals, so that they could be provided as new motifs for real-life marketability in creative and original hair art. The work was produced by the design intention and method, design development, production intention, production process, and work completion. It was possible to derive a unique up-style decoration that reveals one's personality while having both practicality and decoration. It is expected that the research on colored hair art design will continue as a motif for the development of hair art works and the commercialization of real life.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.104-118
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• 2011

Since Sirimavo Bandarinaike became the first female prime minister in 1960, women all over the world has been trying to break the highest glass ceiling. In a place where men had been dominating throughout history, women political leaders had to find a way to look the part by wearing power suits. Feminity was out of the question until the digital era of 21st century started. The world has evolved into a place where feminity could be strength instead of weakness. Now women political leaders are showing body curves, cleavage, using vivid and pastel colors, soft fabrics, elaborate details, accessories, long and curly hair. The padded shoulders of dark coloured power suits were replaced by soft colorful flowing feminine suits. Yulia Tymoshenko of Ukraine is the best example of 21st century woman political leader using feminity in her fashion style while enacting her role. When she first started politics in 1990's, she wore dark colored power suits like all other women political leaders did with short dark hair. As time passed her suits became more feminine with light colors and elaborate details. She has changed her hair into a neat braid, based on a traditional Ukrainian hair style. She used orange color for the Orange Revolution and white for pure image. Yulia Tymoshenko's fashion style as a way of role enactment showed professionalism, feminity, integrity, and ethnicity.

• Korean Journal of Head & Neck Oncology
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• v.37 no.2
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• pp.97-100
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• 2021

Pilomatricoma(or calcifying epithelioma) is a not common benign solitary tumor originated from outer root sheath cell of hair follicle or hair follicle of sebaceous glands. The tumor usually presents as an asymptomatic, hard, superficial located, and skin colored to reddish blue cutaneous mass. Most of the tumors are less than 10mm in diameter and adherent to the skin. Recently, 48-year-old man presented with cheek mass. The tumor was 2.6cm sized and located at the subcutaneous layer of cheek on CT scan. The tumor was clearly removed via transoral approach with buccal incision leaving no wound on face. The mass was confirmed as pilomatricoma on pathologic examination. Herein, we report our experience with literature review.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• Journal of Fashion Business
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• v.2 no.1
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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.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.210-214
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• 2009

Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.