신해체주의 특성을 적용한 디스커넥션 헤어커트 디자인 작품 연구

국문 초록 (Abstract)

신해체주의 특성을 적용한 디스커넥션 헤어커트 디자인 작품 연구 Jo Yun Hee Advisor :Prof. Kim so hyeon, Ph.D. Department of Beauty Science, Graduate School of Gwangju University The modern society, which is formed around digital networks, flexibly expands the boundaries of time and space and brings about rapid changes in individual daily life and culture. In particular, the image-centered communication environment based on the Internet and smartphones has a profound influence not only on methods of information delivery but also on aesthetic perceptions and modes of expression. Individuals construct their own tastes and emotions through the process of consuming and producing various visual images in real time, and through this process, they actively express their identities in relationships with others. In this environment, the aesthetics of self-expression has emerged as a core cultural code of modern society, and the beauty industry is also continuously changing and expanding in close connection with these social and cultural transformations. Modern beauty is no longer limited to functional actions that merely tidy up appearances or reproduce trends. Hair design is recognized as an expressive medium that visually reveals an individual’s inner values, emotions, and cultural attitudes, and it is expanding into the realm of formative art. In particular, haircut design is a process of formatively organizing lines, planes, volume, texture, and color based on the three-dimensional structure of the head and the human body, and it has the potential to structurally apply artistic concepts and theories. From this perspective, studies that interpret and apply modern art trends as the structural language of hair design hold significant meaning in reinforcing the academic depth and formative expandability of beauty studies. Based on this awareness of the problem, this study focuses on Deconstructivism, an art trend that explores new interpretive possibilities by dismantling and reconstructing existing formative orders and semantic systems. Deconstructivism is a movement that has influenced architecture, art, and philosophy since the latter half of the twentieth century, rejecting fixed centers and hierarchical structures while emphasizing the creation of multilayered meanings through formative principles such as fragmentation, overlapping, disconnection, and uncertainty. In particular, Deconstructivism is characterized by encouraging viewers to participate in interpretation through unstable and open structures, departing from traditional formative concepts that presuppose completeness and unity. However, studies related to Deconstructivism in the beauty field have tended to remain focused on borrowing external images or proposing styles centered on visual effects, and work-oriented studies that systematically analyze and apply the formative principles of Deconstructivism in relation to structural haircut techniques remain relatively insufficient. In particular, despite the fact that disconnection haircuts structurally correspond to Deconstructivist concepts—such as the disjunction of continuity, segmentation of levels, and inconsistency of layers—there has been a lack of accumulated in-depth theoretical analyses within an established framework. Therefore, the purpose of this study is to establish the art trend of Neo-deconstructivism as a theoretical background and to implement the formative principles of Deconstructivism through haircut design works centered on disconnection techniques. Through this process, the formative concepts of Deconstructivism are reinterpreted within the structural language of hair design, thereby expanding the formative and expressive possibilities of beauty design. The formative motif of this study is derived from the architectural environment of Gyeongju, where traditional and modern formative orders overlap. Gyeongju served as the capital of Silla for a millennium and functioned as a center of politics, religion, and culture, and it remains a city in which architectural heritages from various periods coexist. The architecture of Gyeongju is not merely a fixed form preserved as a legacy of the past, but rather an imperfect structure in which meaning is continuously accumulated and renewed through repeated processes of restoration, representation, and modern interpretation. These characteristics correspond to the fragmentation, overlapping, decentralization, and uncertainty pursued by Neo-deconstructivism, forming a complex formative language in which the past and present coexist. By using the architectural environment of Gyeongju as the subject of analysis, this study seeks to derive structural characteristics and spatial concepts evident in architectural forms and to translate them into formative elements of haircut design. To this end, literature research was conducted to review the concepts and formative principles of Deconstructivism and Neo-deconstructivism, and the shapes, spatial compositions, and structural characteristics of Gyeongju’s architecture were analyzed to extract key formative elements, including fragmented structures, layering and overlapping, disconnected compositions, and open forms. The production of the works was carried out by applying fashion haircut techniques following the development of conceptual illustrations based on the derived formative elements. The research comprises four haircut designs inspired by Woljeonggyo Bridge, Gyeongju Expo Park Tower, Donggung and Wolji, and the Gyeongju Arts Center. Each work analyzes the structural characteristics and spatial qualities of different architectural types—such as bridges, towers, palaces, and performance spaces—and designs the cut structures centered on original length, layering, and disconnection techniques. In addition, abstract architectural concepts were translated into hair silhouettes and texture expressions through the use of color overlap and contrast. The dual split cut inspired by Woljeonggyo Bridge emphasizes structural stability and continuity by formatively interpreting the stability of the bridge’s foundation, the horizontal rhythm of the upper structure, and the curved beauty of the division line. Based on a one-length cut, excessive volume was suppressed, and a stable silhouette was achieved by connecting the flow of graduation and combining slicing techniques with soft graduation tinting. A middle-toned light green served as the base color, while dark green and yellowish-brown were applied as accent points to symbolically express the structural relationship and flow between the bridge and the river. The vertical void cut, inspired by the Gyeongju Expo Park Tower, is a modern reinterpretation of the symbolism of the nine-story stone pagoda at Hwangryongsa Temple, transforming the concepts of vertical elevation and a central axis into a haircut structure. Stable centrality was achieved through a symmetrical double-division structure using original length and low graduation, while a sense of materiality and structural emptiness was expressed through the arrangement of light gray, black accent points, and sky-blue colors. Through this approach, a vertical rhythm and a sense of visual extension— elements that are relatively difficult to express in conventional haircut designs— were realized. The pavilion silhouette cut inspired by Donggung Palace and Wolji visualizes the asymmetric circular structure of the palace space and the flow of light in its nighttime scenery through the overlapping and contrasting of colors. The image of light reflected on the water’s surface was formatively reproduced by arranging toned-down black in the nape area and layering orange, dark pink, and purple hues in the upper and white areas. Layer cuts and blunt cuts were applied simultaneously to achieve light textures and purified shapes, while dynamic formative effects were emphasized through an asymmetric structure. The curve structure cut inspired by the Gyeongju Arts Center transforms the splendor, stability, and spatial openness of the performance space into a hair silhouette. Bright yellow accent points were placed around a purple base to symbolically express tension and anticipation, while natural volume and curvature were created through the application of both graphic and layering tinting techniques. At the rear, the interaction and spatial atmosphere of the performance space were visually realized by reflecting arched and linear structures, along with formative principles of symmetry and asymmetry. As a result of this study, it was confirmed that formative concepts such as lines, surfaces, layers, segmentation, and overlapping derived from architectural forms can correspond organically to line composition, volume control, texture processing, and color arrangement in haircut design. In particular, the disconnection technique functioned as an effective means of structurally implementing Deconstructivist formative principles, contributing to the creation of new silhouettes and spatial sensibilities through the contrast between connection and disconnection. Although certain formative elements faced limitations in being implemented in the same manner as architecture due to the characteristics of the human body as a medium, these limitations can be interpreted as rational transformations that emerged in the process of translating formative concepts into the language of hair design. This study is significant in that it presents a work-oriented approach that connects the formative principles of Deconstructivism, derived from architectural analysis, to haircut design. It holds academic value in extending hair design beyond the domain of sensory styling toward a concept- and structure-centered formative language, and it suggests the potential for interdisciplinary research between cosmetology, art, and architectural theory. Furthermore, it is anticipated that the aesthetic expandability of Deconstructivist hair design can be further deepened through future experimental studies based on practical human application and comparative analyses of architectural forms across diverse cultural contexts. Keywords: Neo-Deconstructivism, Haircut Design, Disconnection, Artwork Study

목차 (Table of Contents)

• 제1장 서론 1
• 제1절 연구의 필요성 및 목적 1
• 1. 연구의 필요성 1
• 2. 연구의 목적 3
• 제2장 이론적 배경 5
• 제1절 현대 헤어 디자인의 변화와 헤어 커트의 조형적 확장 5
• 1. 디지털 환경과 개인 중심 미학의 확산 5
• 제2절 신해체주의의 개념적 고찰 11
• 제3절 디스커넥션 헤어 커트의 개념과 조형 원리 15
• 제4절 건축 조형의 해체적 특성과 헤어디자인으로의 전이 19
• 1. 해체주의 건축에서 나타나는 조형적 특성 19
• 2. 건축 조형과 헤어디자인의 조형적 공통 언어 21
• 2. 경주 건축물의 조형적 특성과 모티브 선정 근거 23
• 제5절 선행연구 25
• 1. 예술·체육·인문학 분야 신해체주의 관련 선행연구 25
• 2. 미용 분야 해체주의 관련 선행연구 27
• 2. 헤어커트 디자인 관련 선행연구 29
• 제3장 연구 방법 31
• 제1절 연구 설계 및 절차 31
• 1. 연구 모형 32
• 2. 연구 절차 33
• 제4장 연구 결과 34
• 제1절 디스커넥션 헤어 커트 작품 제작 과정 34
• 1. 신해체주의 6요소를 적용한 작품 제작 준비 과정 34
• 제2절 작품 제작 38
• 1. 작품Ⅰ 듀얼 스프릿 커트(Dual-Split Cut) 41
• 2. 작품Ⅱ 버티컬 보이드 커트(Vertical Void Cut) 47
• 3. 작품Ⅲ 파빌리온 실루엣 커트(Pavilion Silhouette Cut) 53
• 4. 작품Ⅳ 커브 스트럭처 커트(Curve Structure Cut) 59
• 제5장 결론 및 고찰 65
• 참고문헌 68