현대 유희적 헤어스타일의 미적 특성에 대한 연구 (1995년-2001년까지의 여성컬렉션을 중심으로)

정임전 대한피부미용학회 2006 대한피부미용학회지 Vol.4 No.1

The aesthetic properties of play-type hair style are as follows. First, aesthetic notion for play means a joy liberated from all complaints, seen as a creative re-composition with fantastic imaginative results providing pleasure in a pattern of a visionary experience. Second, vogue in hair style at the 1990s were various play-type hair styles such as Raggae, Mixture Imitation, Cross over, Ecology, Grungy, retro, Disconnection producing the hair style of desired length and color and using unbound freedom and provocative and creative materials. Third, play-type hair style contemplates deviation from the reality and satisfaction with it by relax through virtuality. The hair appearing at sexual play produces eroticism putting emphasis on womanlike mystery and sexuality. The play-type hair style expresses substitution in a distinct from original function satisfaction expresses substitute through an expression indulged in despair, or imitated or forged emotional expression, by which it gets deviation from the reality and satisfaction with the reality and adds easily boring sweetness, bombastic pleasure, life vitality, and joyfulness.

Nouveau Art양식을 통해 본 패션과 헤어스타일에 관한 조형 연구

정임전 한국메이크업디자인학회 2006 한국메이크업디자인학회지 Vol.2 No.2

This study exploring the formativeness of fashion and hair style considered through Nouveau Art Style, where Art Nouveau emerging at the end of the 19th century had an huge effect formative art field such as architecture, sculpture, painting, artcraft, drake etc. Symbolism forming the spiritual framework of Art Nouveau focused on suggestive expression, not factual expression working emotion and reason to an object, repelled the then realism, positivism, and naturalism, refused the existing system of politics, society, culture and art, pursued absolute freedom, stressed internal expression, and the world of new form. The symbolism forming the spiritual frame of Art Nouveau. First, dress and its ornaments were divided to two of hourglass style swelling the sleeves in disguise and tightening up the waist, and S-curve style stressing the chest and the hip, easing the curve, and showing feminine grace, and hair style as long hair style, whose front was a bit raised, and end was run down in ring and net bundles, thick wave was give to highlight the head shape. Also it swelled the both sides of the head, showing cute womanlike silhouettes, creating a iron curl as one roll style, covering up the forehead for a bang, and rolling the rest of it back to all back style, and Pompadour style, did not part its hair, combing the hair up the back of the head to create an attractive hair style under both ears, which was expressed as a streamline shape. Second, the pastel color of Art Nouveau was reflected, in which dress and its ornaments showed bright tone brown and diverse pastel colors. Third, textiles and patterns were indicated as flowers, plants and organic lines as the major motif of Art Nouveau, and in hair style, feather, imitation flowers, lace, embroider, ribbon, and ribbon and other womanish materials appeared in a great many.

낭만주의와 사실주의 예술양식을 통해 본 복식문화와 헤어스타일에 관한 연구

정임전 대한피부미용학회 2006 대한피부미용학회지 Vol.4 No.2

This study on dress and its ornaments culture and hair style considered through realistic and Romantic art style, where realistic and Romantic art trend means that having an effect on natural scientific progress, philosophical and rational spirit, and moving from fantastic beauty to practical pursuit. Dress and its ornaments had demanded graceful and brilliant things, and fundamentally followed remarkable development of civilization, and the inconvenient beauty of noble style have transferred to pragmatic trend since the end of the 1860s. In other words, Clinolin of romantic mood had notably reduced, and ornaments relatively got simplified. Hwoever, the noble style sustained for a long time could not be done away with in a moment, and the side swollen ornament was leant back, which was proceeded to Polonaise Style and Bustle Style. The change means the transformation from fantastic beauty to pragmatic pursuit. This is found that the influence of the prevalent realistic movement in the late 19th century was manifested as external expression, and it will serve much to the design idea of future fashion.

Jacques Derrida의 해체와 인체에 표현된 해체 양식에 관한 조형 연구 - 2000~2002년까지 여성 컬렉션을 중심으로

정임전(Joung Eim-Jen),김희숙(Kim Hee-Sook) 한국인체미용예술학회 2002 한국인체미용예술학회지 Vol.3 No.3

  This study is on the form of Jacques Derrida"s dismantling and dismantling style expressed in the human body. French philosopher, Jacques Derrida said that the central thought of modernistic logos, that is, metaphysical philosophical tradition is the product of false ideology trying to make the social system of a certain age absolute, and deconstruction is the only way to re-interpret, filter out a variety of inheritage of enlightenment and newly construct culture.<BR>  As conceptual features to explain his philosophy, we can illustrate "difference", "supplementation", "decomposition", "trace", "essence and absence", "mutual textualism" and whatever, whose concepts are not independently used, but closely linked with one another. These are revealed in all fields such as architecture, art, and fashion, and as a result of classifying deconstruction style as difference, sublimity, uncertainty, mutual textualism, discrimination of classes, taste and post-centralism, the deconstruction style revealed in the human body brought up with free and new types of formative beauty.

1990년대 이후 향수적 헤어스타일과 오브제 장식의 조형 연구

정임전(Joung Eim-jen) 한국인체미용예술학회 2002 한국인체미용예술학회지 Vol.3 No.2

  Erich From, a renowned social psychologist, contented that human had emerged with new attributes, which differentiated themselves from animal. The attributes are perception of oneself as a separate entity, recollection of the past, foresight of the future, ability to express object and action into various symbols, etc.<BR>  This study, as a result of analyzing plastic beauty appeared in nostalgic hairstyle and object decoration since 1990s, can be summarized as follows.<BR>  In every corner of art, the concept of retro can be seen as the process of making a creation. The creation where the old modes, popularized and familiarized by people in the past, are re-created into todays fashion and styles with new expressivity by the process of parody: the old-fashioned styles are being not only copied, but also changed in inner and outer format. The post-1990s culture can be characterized by one word, diversity, and nostalgia for the past history goes beyond generation and nostalgic productions such as revival, memoir, ethnic and girlish style clearly appears ubiquitous in culture, society, art, etc. Especially, the nostalgic trend in object artworks gives new motive to hair design by instilling inspiration and emotion.<BR>  Nostalgic hairstyle, by adopting both use of classic object decoration and traditional methods, makes romantic expressions by various methods and new styles, leaves message of new meaning, and stimulates sensibility.

에로티시즘에 나타난 인체에 표현된 키치특성에 관한 연구

정임전(Lim-jen Jung) 한국인체예술학회 2002 한국인체미용예술학회지 Vol.3 No.1

Eros is developed to physical desire and mental desire longing for more perfect one, whose desires are expressed to such duplicity as satisfaction and dissatisfaction, inclination and frustration, attachment to life and admiration to death in one aspect and that as active effort and passive effort, sublimed expression behavior and chaotic order destruction behavior. At the turn of the 20th century, even in Kitsch fashion, pleasure is mainly revealed in a sensual form. The sensual expression of sexual beauty appears in the form of exposure of underwear and body as free expression of sexual instinct, conversion of underwears" intention, emphasis of physical body, stimulating materials and sensational decoration and sexual chaos, emphasis of eroticism as the expression of sexual dual values found out in post-modern culture. The motive of wearing clothes is based on the theory of eroticism as the revelation process maintained by Freud, where human behavior sublimes self and tries to stabilize it, in other words, it can be concluded eroticism is one of basic principles constituting the style of a dress, and it is expressed as erotic Kitsch diversity.

20세기 후반 패션에 나타난 헤어스타일의 포스트 모더니즘에 관한 연구

정임전(Joung Eim-Jen) 한국인체미용예술학회 2006 한국인체미용예술학회지 Vol.7 No.2

  The post-modern hair style appearing in the late 20th century reflects the features of the times and aesthetic marks as follows:<BR>  First. it is expressed as avant garde style of shocking apparence for the social weak, and minority like distinct hippie, moz, funk style from existing forms, but suggests the message of alternate factors to realistic adaptive process.<BR>  Second, it is expressed as a complicated hair style demanding diverse interpretation of strong personality, ethnic, restorative, humorous, and playful hair concept due to the vogue of popular and universal street hair fashion, not a high class society<BR>  Third, it produces a unique and creative hair style as a creation of alien materials and mixing, peculiar texture using exaggerated expression and objev.<BR>  Fourth, it produces complex, diverse, mixed, and imitative hair style such as a vague uni-sex mode trespassing the times, space at a personality producing era rather than harmonizing beauty.<BR>  Fifth, breaking away from a systematic, simple and structural style, it produces a sublime hair style including diverse message distinct from existing images.<BR>  The post-modern trends continue to find out the interconnect in many fields like other systems or movements, so this study strives to grasp the characters of post-modern hair style expressed in social issues and cultural phases through the then background, and present new paradigms of hair beauty in the modern society via various approaches to post-modern fashion, beauty culture, social, economic trends. The conditions of beauty has diversified by social influences with close connection with living, so needs to weigh and explore the directions of present and future hair style. This is thought to present new, various message, diverse, and tolerant directions to our life.

연령별 미용실 이용 실태 조사에 관한 연구

정임전(Eim-Jen Joung),이주영(Ju-Young Lee) 한국인체미용예술학회 2013 한국인체미용예술학회지 Vol.14 No.4

This study tried to provide basic data for improving sales power by choice and concentration in service items of general beauty salon through survey about status of using beauty salon. 1. In general characteristics of questionnaire survey, women mostly used beauty salon as women accounted for 92.5% (172), women in 20s visited most frequently as 48.4%(90). Especially, frequency using beauty salon was not related to monthly income. 2. For status of using beauty salon each service item, 'haircut' was 88(47.3%) which is in most high portion; 'dyeingㆍbleaching' 64(34.4%), 'permanent' 28(15.1%), 'scalp clinic' 6(3.2%). Accordingly, it is recommended that general beauty salon specialize in haircut, dyeingㆍbleaching, and permanent to increase competitiveness. As home styling products, most frequently product was Essence (74.2 %), spray (17.2 %), wax (6.5%). The reason why Essence was most frequently used is that this prevents damage of hair and maintains beautiful hair. On the other hand, spray as a hair setting product was used secondly. It is thought that this should be controlled in use because this is non-environmental material to destruct ozone layer.

백제 금동용봉봉래산향로의 오주악상 헤어스타일 연구

정임전 ( Eim Jen Jung ),김혜경 ( Hye Kyung Kim ) 대한미용학회 2012 대한미용학회지 Vol.8 No.4

The following is an important, historical reference for the Pongnaesan incense burner, which was superb not only for its overall shape, but also in its intricacy. This study aims to reproduce the display of individuality in the free expressions of Baekjae citizens while reviving a part of the Baekjae hairstyle, which met its limits in studies of the Three Kingdoms period, by studying a statue of five people performing atop an incense burner that seems to demonstrate a common form at first glance, but a closer look reveals the individuality through differences in tying methods. The overall form of the hairstyle of 5-Juaksang is style where the hair is tied to the right of the musician, where the length of knot is longer than the face length except for komungo statue. The form of the knot is evenly and linearly attached to the face for baeso statue and komungo statue, diagonal for jangso statue and wanham statue, and linear with tail changing diagonally for drum statue. The tying method involves one thick braid folded in zigzags or wound in 9-shape, or two or more thinner braids each wound up on its own for X-shape.

포스트모던 페미니즘에 표현된 헤어디자인 염색 연구

권미윤,정임전 한국뷰티경영학회 2023 한국뷰티경영학회지 Vol.11 No.1

This study examines the theory of feminism and postmodern feminism, and analyzes how postmodern feminism is expressed in modern hairstyles. The results are as follows. First, in feminism, the factors that change hairstyles in the current era are in various social phenomena, and the biggest factor that can change women's clothes or hairstyles is the change in women's consciousness. It can be understood that feminism, which demands women's freedom and rights as human beings, originally started from the gender equality movement and aims to counter stereotypes about women that have been formed by male-dominated societies and to establish women's subjectivity. Second, postmodernism visually shares with feminism in that it turns its attention to the suppressed culture that does not become mainstream culture, such as third country's cultural style, resistance culture, and others, and is reborn as a new idea called postmodern feminism. The characteristics of postmodern feminism hair design can be seen as a social and cultural formation, not the essence of femininity, and the cultural value norms can be understood. Third, postmodern feminism hair style is not a dichotomous style of men and women, but humane and free from stereotypes. It is expressed in retro style, grunge look, cross over look, duo color, and contrast coloring, and various dyeing and lightening were used. Fourth, looking at the postmodern feminism expressed in the hair design, it is expressed in a neutral style excluding the characteristics of dark or dark hair, straight hair, voluminous hair, and formalized short hair. Soft C-curls, short, dark colors, and bright colors are mixed, and the difference in hair length and changes in hair color using atypical asymmetry were intended to express an integrated image of women and men.