Saturday, 27 June 2015
Thursday, 25 June 2015
Why Hair fall
More than
95% of hair loss in men is male pattern baldness (MPB). MPB is characterized by
hair receding from the lateral sides of the forehead (known as a "receding
hairline") and/or a thinning crown (balding to the area known as the
‘vertex’).Both become more pronounced until they eventually meet, leaving a
horseshoe-shaped ring of hair around the back of the head.
The
incidence of pattern baldness varies from population to population and is based
on genetic background. Environmental factors do not seem to affect this type of
baldness greatly. One large scale study in Maryborough, Victoria, Australia
showed the prevalence of mid-frontal baldness increases with age and affects
73.5 percent of men and 57 percent of women aged 80 and over. A rough rule of
thumb is that the incidence of baldness in males corresponds roughly to
chronological age. For example, according to Medem Medical Library's website,
MPB affects roughly 40 million men in the United States. Approximately one in
four men will have noticeable hair loss by age 30, and this figure increases to
two in three men by age 60. In rare cases, MPB can begin as early as age 12.
The
genetics of MPB are not yet fully understood. Most likely there are multiple
genes that contribute towards MPB, the most important of which appears to be
the Androgen Receptor gene, located on the X chromosome (inherited from the mother).
It was previously believed that baldness was inherited from the maternal
grandfather. While there is some basis for this belief, it is now known that
both parents contribute to their offspring's likelihood of hair loss. Most
likely, inheritance involves many genes with variable penetrance.[medical
citation needed]
The
trigger for this type of baldness is dihydrotestosterone, a more potent form of
testosterone often referred to by its acronym DHT. DHT is an androgenic
hormone, body- and facial-hair growth promoter that can adversely affect the
prostate as well as the hair located on the head.The mechanism by which DHT
accomplishes this is not yet fully understood. In genetically prone scalps
(i.e., those experiencing male or female pattern baldness), DHT initiates a
process of follicular miniaturization, in which the hair follicle begins to
deteriorate. As a consequence, the hair’s growth phase (anagen) is shortened,
and young, unpigmented vellus hair is prevented from growing and maturing into
the deeply rooted and pigmented terminal hair that makes up 90 percent of the
hair on the head. In time, hair becomes thinner, and its overall volume is
reduced so that it resembles fragile vellus hair or "peach fuzz"
until, finally, the follicle goes dormant and ceases producing hair completely.
Hair Care
Hair cleaning
One way to distribute the hair's natural oils through the hair is by brushing with a natural bristle brush. The natural bristles effectively move the oil from the scalp through to the hair's mid-lengths and ends, nourishing these parts of the hair. Brushing the scalp also stimulates the sebaceous gland, which in turn produces more sebum. When sebum and sweat combine on the scalp surface, they help to create the acid mantle, which is the skin's own protective layer.
Washing hair removes excess sweat and oil, as well as unwanted products from the hair and scalp. Often hair is washed as part of a shower or bathing with shampoo, a specialized surfactant. Shampoos work by applying water and shampoo to the hair. The shampoo breaks the surface tension of the water, allowing the hair to become soaked. This is known as the wetting action. The wetting action is caused by the head of the shampoo molecule attracting the water to the hair shaft. Conversely, the tail of the shampoo molecule is attracted to the grease, dirt and oil on the hair shaft. The physical action of shampooing makes the grease and dirt become an emulsion that is then rinsed away with the water. This is known as the emulsifying action. Sulfate free shampoos are less harming on color treated hair than normal shampoos that contain sulfates. Sulfates strip away natural oils as well as hair dye. Sulfates are also responsible for the foaming effect of shampoos.
Shampoos have a pH of between 4 and 6 and do not contain soap. Soapless shampoos are acidic and therefore closer to the natural pH of hair. Acidic shampoos are the most common type used and maintain or improve the condition of the hair as they don't swell the hairshaft and don't strip the natural oils. Conditioners are often used after shampooing to smooth down the cuticle layer of the hair, which can become roughened during the physical process of shampooing. There are three main types of conditioners: anti-oxidant conditioners, which are mainly used in salons after chemical services and prevent creeping oxidation; internal conditioners, which enter into the cortex of the hair and help improve the hair's internal condition (also known as treatments); and external conditioners, or everyday conditioners, which smooth down the cuticle layer, making the hair shiny, combable and smooth. Conditioners can also provide a physical layer of protection for the hair against physical and environmental damage.
One way to distribute the hair's natural oils through the hair is by brushing with a natural bristle brush. The natural bristles effectively move the oil from the scalp through to the hair's mid-lengths and ends, nourishing these parts of the hair. Brushing the scalp also stimulates the sebaceous gland, which in turn produces more sebum. When sebum and sweat combine on the scalp surface, they help to create the acid mantle, which is the skin's own protective layer.
Washing hair removes excess sweat and oil, as well as unwanted products from the hair and scalp. Often hair is washed as part of a shower or bathing with shampoo, a specialized surfactant. Shampoos work by applying water and shampoo to the hair. The shampoo breaks the surface tension of the water, allowing the hair to become soaked. This is known as the wetting action. The wetting action is caused by the head of the shampoo molecule attracting the water to the hair shaft. Conversely, the tail of the shampoo molecule is attracted to the grease, dirt and oil on the hair shaft. The physical action of shampooing makes the grease and dirt become an emulsion that is then rinsed away with the water. This is known as the emulsifying action. Sulfate free shampoos are less harming on color treated hair than normal shampoos that contain sulfates. Sulfates strip away natural oils as well as hair dye. Sulfates are also responsible for the foaming effect of shampoos.
Shampoos have a pH of between 4 and 6 and do not contain soap. Soapless shampoos are acidic and therefore closer to the natural pH of hair. Acidic shampoos are the most common type used and maintain or improve the condition of the hair as they don't swell the hairshaft and don't strip the natural oils. Conditioners are often used after shampooing to smooth down the cuticle layer of the hair, which can become roughened during the physical process of shampooing. There are three main types of conditioners: anti-oxidant conditioners, which are mainly used in salons after chemical services and prevent creeping oxidation; internal conditioners, which enter into the cortex of the hair and help improve the hair's internal condition (also known as treatments); and external conditioners, or everyday conditioners, which smooth down the cuticle layer, making the hair shiny, combable and smooth. Conditioners can also provide a physical layer of protection for the hair against physical and environmental damage.
Historical Bai Mei
Historical Bai Mei
It is easy to see how a past work of fiction, originally written as a piece of propaganda, became interwoven in the fullness of time into the collective mind as historical fact. The Bai Mei caricature, a mysterious monk originating from the Shaolin Temple with white eyebrows and awesome power, was in all probability employed to create a lineage with the said Temple, giving the style a veritable heritage as well as alluding to wisdom and venerability. The oral tradition is that Chan master Bai Mei had a disciple, Guanghui, to whom he passed on the arts.
Guanghui means Vast Benevolence and is a typical Buddhist nomination for either a monk or a temple; indeed there are several temples throughout China that bear this name. Yet on searching through the surviving gazetteers for Mount Emei there is no mention of a monk named Guanghui. There is no material evidence to suggest that Guanghui came from Emei Shan; all we have is the oral tradition from Zhang Liquan (Cheung Lai Chuen) that his Shifu, Zhu Fayun, came from a temple in Sichuan Province.
Zhu Fayun. Fa, in the context of a monk's name, means Buddhist Teachings and Yun means Cloud. The Chinese character Zhu formed part of the ancient word Tianzhu, meaning India. Zhu Fayun is said to have been a Buddhist monk from Emei Shan in Sichuan Province on a pilgrimage to the Guangxiao (Bright Filial Monastery), in Guangzhou. This is entirely plausible as the Guangxiao monastery is one of the oldest temples in south China as well as being one of the most influential Buddhist shrines. During his stay in Guangxiao, Zhu Fayun committed to teach Zhang Liquan (Cheung Lai Chuen) the Baimei arts.
Zhang Liquan (1882-1964). It would seem that Zhang Liquan was essentially an honest man with respect to his martial arts. He learnt three different styles from three different masters prior to having met Zhu Fayun. He formally acknowledges each of his former Shifu by name and honors them by keeping at least one of their forms in the Pak Mei syllabus. At a later stage in his career, Zhang Liquan formulated several of his own forms, including Tuotiao Quan (Cantonese: Tit Til Kuen) and Simen Bagua (Cantonese: Say Mun Ba Gua) which he openly professed were his own works. It would appear contradictory to suggest that such a man, who has been totally honest about the origins of all that he has learnt, would deny the existence of one teacher, or indeed invent a fictional character to disguise his own works when he has already affirmed creating several of his own.
All the supplementary forms in the Pak Mei syllabus, whatever the original style, fall under the collective classification of Nan Quan (Southern Fist) or more precisely DongJiang Quan (East River Fist). A common denominator to all these forms is that they are divided into two parts; the second being a repetition of the first, performed in the opposite direction. They also have numerous stances and techniques in common and share similar terminology and methodology. Accordinly there have been attempts to suggest that Baimei quan forms part of these southern or Hakka styles or indeed is a concoction of these various styles. Yet none of the four Baimei original forms are performed in two halves, nor do they share any stances or techniques with the supplementary forms. Similary the Baimei opening salutation, Wuhu Sihai (Cantonese: Ng Wu Say Hoi) is not found in any other style apart from Baimei derivatives.[1]
It is easy to see how a past work of fiction, originally written as a piece of propaganda, became interwoven in the fullness of time into the collective mind as historical fact. The Bai Mei caricature, a mysterious monk originating from the Shaolin Temple with white eyebrows and awesome power, was in all probability employed to create a lineage with the said Temple, giving the style a veritable heritage as well as alluding to wisdom and venerability. The oral tradition is that Chan master Bai Mei had a disciple, Guanghui, to whom he passed on the arts.
Guanghui means Vast Benevolence and is a typical Buddhist nomination for either a monk or a temple; indeed there are several temples throughout China that bear this name. Yet on searching through the surviving gazetteers for Mount Emei there is no mention of a monk named Guanghui. There is no material evidence to suggest that Guanghui came from Emei Shan; all we have is the oral tradition from Zhang Liquan (Cheung Lai Chuen) that his Shifu, Zhu Fayun, came from a temple in Sichuan Province.
Zhu Fayun. Fa, in the context of a monk's name, means Buddhist Teachings and Yun means Cloud. The Chinese character Zhu formed part of the ancient word Tianzhu, meaning India. Zhu Fayun is said to have been a Buddhist monk from Emei Shan in Sichuan Province on a pilgrimage to the Guangxiao (Bright Filial Monastery), in Guangzhou. This is entirely plausible as the Guangxiao monastery is one of the oldest temples in south China as well as being one of the most influential Buddhist shrines. During his stay in Guangxiao, Zhu Fayun committed to teach Zhang Liquan (Cheung Lai Chuen) the Baimei arts.
Zhang Liquan (1882-1964). It would seem that Zhang Liquan was essentially an honest man with respect to his martial arts. He learnt three different styles from three different masters prior to having met Zhu Fayun. He formally acknowledges each of his former Shifu by name and honors them by keeping at least one of their forms in the Pak Mei syllabus. At a later stage in his career, Zhang Liquan formulated several of his own forms, including Tuotiao Quan (Cantonese: Tit Til Kuen) and Simen Bagua (Cantonese: Say Mun Ba Gua) which he openly professed were his own works. It would appear contradictory to suggest that such a man, who has been totally honest about the origins of all that he has learnt, would deny the existence of one teacher, or indeed invent a fictional character to disguise his own works when he has already affirmed creating several of his own.
All the supplementary forms in the Pak Mei syllabus, whatever the original style, fall under the collective classification of Nan Quan (Southern Fist) or more precisely DongJiang Quan (East River Fist). A common denominator to all these forms is that they are divided into two parts; the second being a repetition of the first, performed in the opposite direction. They also have numerous stances and techniques in common and share similar terminology and methodology. Accordinly there have been attempts to suggest that Baimei quan forms part of these southern or Hakka styles or indeed is a concoction of these various styles. Yet none of the four Baimei original forms are performed in two halves, nor do they share any stances or techniques with the supplementary forms. Similary the Baimei opening salutation, Wuhu Sihai (Cantonese: Ng Wu Say Hoi) is not found in any other style apart from Baimei derivatives.[1]
Trichotillomania
Classification
Trichotillomania is defined as a self-induced and recurrent loss of hair. It includes the criterion of an increasing sense of tension before pulling the hair and gratification or relief when pulling the hair. However, some people with trichotillomania do not endorse the inclusion of "rising tension and subsequent pleasure, gratification, or relief" as part of the criteria; because many individuals with trichotillomania may not realize they are pulling their hair, patients presenting for diagnosis may deny the criteria for tension prior to hair pulling or a sense of gratification after hair is pulled.
Because trichotillomania can be present in multiple age groups, it is helpful in terms of prognosis and treatment to approach three distinct subgroups by age: preschool age children, preadolescents to young adults, and adults.
Trichotillomania is often not a focused act, but rather hair pulling occurs in a "trance-like" state; hence, trichotillomania is subdivided into "automatic" versus "focused" hair pulling. Children are more often in the automatic, or unconscious, subtype and may not consciously remember pulling their hair. Other individuals may have focused, or conscious, rituals associated with hair pulling, including seeking specific types of hairs to pull, pulling until the hair feels "just right", or pulling in response to a specific sensation. Knowledge of the subtype is helpful in determining treatment strategies.
Signs and symptoms
Trichotillomania is usually confined to one or two sites, but can involve multiple sites. The scalp is the most common pulling site, followed by the eyebrows, eyelashes, face, arms, and legs. Some less common areas include the pubic area, underarms, beard, and chest. The classic presentation is the "Friar Tuck" form of vertex and crown alopecia. Children are less likely to pull from areas other than the scalp.
People who suffer from trichotillomania often pull only one hair at a time and these hair-pulling episodes can last for hours at a time. Trichotillomania can go into remission-like states where the individual may not experience the urge to "pull" for days, weeks, months, and even years.
Individuals with trichotillomania exhibit hair of differing lengths; some are broken hairs with blunt ends, some new growth with tapered ends, some broken mid-shaft, or some uneven stubble. Scaling on the scalp is not present, overall hair density is normal, and a hair pull test is negative (the hair does not pull out easily). Hair is often pulled out leaving an unusual shape. Individuals with trichotillomania may be secretive or shameful of the hair pulling behavior.
An additional psychological effect can be low self-esteem, often associated with being shunned by peers and the fear of socializing due to appearance and negative attention they may receive. Some people with trichotillomania wear hats, wigs, false eyelashes, eyebrow pencil, or style their hair in an effort to avoid such attention. There seems to be a strong stress-related component. In low-stress environments, some exhibit no symptoms (known as "pulling") whatsoever.
Trichotillomania is defined as a self-induced and recurrent loss of hair. It includes the criterion of an increasing sense of tension before pulling the hair and gratification or relief when pulling the hair. However, some people with trichotillomania do not endorse the inclusion of "rising tension and subsequent pleasure, gratification, or relief" as part of the criteria; because many individuals with trichotillomania may not realize they are pulling their hair, patients presenting for diagnosis may deny the criteria for tension prior to hair pulling or a sense of gratification after hair is pulled.
Because trichotillomania can be present in multiple age groups, it is helpful in terms of prognosis and treatment to approach three distinct subgroups by age: preschool age children, preadolescents to young adults, and adults.
Trichotillomania is often not a focused act, but rather hair pulling occurs in a "trance-like" state; hence, trichotillomania is subdivided into "automatic" versus "focused" hair pulling. Children are more often in the automatic, or unconscious, subtype and may not consciously remember pulling their hair. Other individuals may have focused, or conscious, rituals associated with hair pulling, including seeking specific types of hairs to pull, pulling until the hair feels "just right", or pulling in response to a specific sensation. Knowledge of the subtype is helpful in determining treatment strategies.
Signs and symptoms
Trichotillomania is usually confined to one or two sites, but can involve multiple sites. The scalp is the most common pulling site, followed by the eyebrows, eyelashes, face, arms, and legs. Some less common areas include the pubic area, underarms, beard, and chest. The classic presentation is the "Friar Tuck" form of vertex and crown alopecia. Children are less likely to pull from areas other than the scalp.
People who suffer from trichotillomania often pull only one hair at a time and these hair-pulling episodes can last for hours at a time. Trichotillomania can go into remission-like states where the individual may not experience the urge to "pull" for days, weeks, months, and even years.
Individuals with trichotillomania exhibit hair of differing lengths; some are broken hairs with blunt ends, some new growth with tapered ends, some broken mid-shaft, or some uneven stubble. Scaling on the scalp is not present, overall hair density is normal, and a hair pull test is negative (the hair does not pull out easily). Hair is often pulled out leaving an unusual shape. Individuals with trichotillomania may be secretive or shameful of the hair pulling behavior.
An additional psychological effect can be low self-esteem, often associated with being shunned by peers and the fear of socializing due to appearance and negative attention they may receive. Some people with trichotillomania wear hats, wigs, false eyelashes, eyebrow pencil, or style their hair in an effort to avoid such attention. There seems to be a strong stress-related component. In low-stress environments, some exhibit no symptoms (known as "pulling") whatsoever.
Hikimayu
Hikimayu first appeared in the eighth century, when the Japanese court adopted Chinese customs and styles. Japanese noblewomen started painting their faces with a white powder called oshiroi. One putative reason for hikimayu is that removing the natural eyebrows made it easier to put on the oshiroi. At this time the eyebrows were painted in arc shapes, as in China. Women also started painting their teeth black, which is known as ohaguro.
Japanese culture began to flourish in its own right during the Heian period, from AD 794. At the imperial court the arts reached a pinnacle of refinement. Women started wearing extremely elaborate costumes, painting their faces more thickly, and painting eyebrows as ovals or smudges on their foreheads. One possibility is that when they started letting their hair hang down on each side, it was felt that the forehead became too prominent; painting the eyebrows as ovals halfway up the forehead was supposed to redress the balance of the face.
The Heian period ended in 1185. In its later years, even men painted their faces white, blackened their teeth, and did hikimayu. As a fashion for women, hikimayu lasted for many centuries. In the noh drama, which started in the 14th century, the masks for the roles of young women usually have eyebrows in this style.
In the Edo period, from the 17th century, hikimayu and ohaguro were only done by married women. In the latter half of the 19th century, the Japanese government ended its policy of isolationism and started to adopt Western culture. Eyebrows painted on the forehead and black teeth were no longer appropriate for modern society, and in 1870 hikimayu and ohaguro were banned. Nowadays they are only used in historical drama such as noh, and occasionally in local festivals.
In cinema
Hikimayu can be seen in Rashomon, Ugetsu, and Ran. In the first two films the actress is Machiko Kyo. In Rashomon, which is set in the Heian period, she plays a samurai's wife who arouses the desire of a bandit. Ugetsu, also known as Ugetsu Monogatari, is set in the Sengoku (civil war) period of 1493–1573. In this she plays an enchantress or ghost who seduces the main character. In Ran, which is based on King Lear, hikimayu can be seen on Mieko Harada as Lady Kaede, who attempts to destroy the Ichimonji clan by manipulating the patriarch Hidetora and his three sons to kill each other.
Japanese culture began to flourish in its own right during the Heian period, from AD 794. At the imperial court the arts reached a pinnacle of refinement. Women started wearing extremely elaborate costumes, painting their faces more thickly, and painting eyebrows as ovals or smudges on their foreheads. One possibility is that when they started letting their hair hang down on each side, it was felt that the forehead became too prominent; painting the eyebrows as ovals halfway up the forehead was supposed to redress the balance of the face.
The Heian period ended in 1185. In its later years, even men painted their faces white, blackened their teeth, and did hikimayu. As a fashion for women, hikimayu lasted for many centuries. In the noh drama, which started in the 14th century, the masks for the roles of young women usually have eyebrows in this style.
In the Edo period, from the 17th century, hikimayu and ohaguro were only done by married women. In the latter half of the 19th century, the Japanese government ended its policy of isolationism and started to adopt Western culture. Eyebrows painted on the forehead and black teeth were no longer appropriate for modern society, and in 1870 hikimayu and ohaguro were banned. Nowadays they are only used in historical drama such as noh, and occasionally in local festivals.
In cinema
Hikimayu can be seen in Rashomon, Ugetsu, and Ran. In the first two films the actress is Machiko Kyo. In Rashomon, which is set in the Heian period, she plays a samurai's wife who arouses the desire of a bandit. Ugetsu, also known as Ugetsu Monogatari, is set in the Sengoku (civil war) period of 1493–1573. In this she plays an enchantress or ghost who seduces the main character. In Ran, which is based on King Lear, hikimayu can be seen on Mieko Harada as Lady Kaede, who attempts to destroy the Ichimonji clan by manipulating the patriarch Hidetora and his three sons to kill each other.
Eyebrow
Eyebrows are a major facial feature. Cosmetic methods have been developed to alter the look of one's eyebrows, whether the goal is to add or remove hair, change the color, or change the position of the eyebrow.
Several options exist for removing hair to achieve a thinner or smaller eyebrow, or to "correct" a unibrow, including manual and electronic tweezing, waxing, and threading. The most common method is to use tweezers to thin out and shape the eyebrow. Waxing is becoming more popular.[5] Lastly, there is threading eyebrows, where a cotton thread is rolled over hair to pull it out. Small scissors are sometimes used to trim the eyebrows, either with another method of hair removal or alone. All of these methods can be painful for some seconds or minutes due to the sensitivity of the area around the eye but, often, this pain decreases over time as the individual becomes used to it. In time, hair that has been plucked will stop growing back. Some people wax or shave off their eyebrows and leave them bare, stencil or draw them in with eye liner, or tattoo them on. In Western societies, it has become more common for men to pluck part of their eyebrows.
To create a fuller look, eyebrows can be cloned in an eyebrow transplant: Individual strands of the eyebrow are mimicked to create a natural-looking eyebrow of the desired shape. Eyebrow brushes and shaders are used to further define the eyebrow. A fairly recent trend in eyebrow modification is in eyebrow tinting: Permanent dye, similar to hair color, is used on the eyebrow, often to darken them.
An eyebrow lift, a cosmetic surgery to raise the eyebrow, usually to create a more feminine or youthful appearance, is a new phenomenon. They can be affected during a face lift or an eye lift. More recently, doctors inject patients' eyebrows with botox or similar toxins to temporarily raise the eyebrow.
From the 8th century, many Japanese noblewomen practiced hikimayu, shaving or plucking the eyebrow hair and painting smudge-like ones higher on the forehead. Shaving lines in eyebrows is another cosmetic alteration, more common among younger people in the 1990s and 2000s.
Identification
In a study published by MIT, where subjects were asked to identify celebrities with either their eyes or their eyebrows digitally edited out, the subjects were able to recognize the celebrity 46% of the time with their eyebrows edited out, compared to 60% of the time with their eyes edited out. The findings indicate the importance of eyebrows in providing clues to an individual's identity.
Several options exist for removing hair to achieve a thinner or smaller eyebrow, or to "correct" a unibrow, including manual and electronic tweezing, waxing, and threading. The most common method is to use tweezers to thin out and shape the eyebrow. Waxing is becoming more popular.[5] Lastly, there is threading eyebrows, where a cotton thread is rolled over hair to pull it out. Small scissors are sometimes used to trim the eyebrows, either with another method of hair removal or alone. All of these methods can be painful for some seconds or minutes due to the sensitivity of the area around the eye but, often, this pain decreases over time as the individual becomes used to it. In time, hair that has been plucked will stop growing back. Some people wax or shave off their eyebrows and leave them bare, stencil or draw them in with eye liner, or tattoo them on. In Western societies, it has become more common for men to pluck part of their eyebrows.
To create a fuller look, eyebrows can be cloned in an eyebrow transplant: Individual strands of the eyebrow are mimicked to create a natural-looking eyebrow of the desired shape. Eyebrow brushes and shaders are used to further define the eyebrow. A fairly recent trend in eyebrow modification is in eyebrow tinting: Permanent dye, similar to hair color, is used on the eyebrow, often to darken them.
An eyebrow lift, a cosmetic surgery to raise the eyebrow, usually to create a more feminine or youthful appearance, is a new phenomenon. They can be affected during a face lift or an eye lift. More recently, doctors inject patients' eyebrows with botox or similar toxins to temporarily raise the eyebrow.
From the 8th century, many Japanese noblewomen practiced hikimayu, shaving or plucking the eyebrow hair and painting smudge-like ones higher on the forehead. Shaving lines in eyebrows is another cosmetic alteration, more common among younger people in the 1990s and 2000s.
Identification
In a study published by MIT, where subjects were asked to identify celebrities with either their eyes or their eyebrows digitally edited out, the subjects were able to recognize the celebrity 46% of the time with their eyebrows edited out, compared to 60% of the time with their eyes edited out. The findings indicate the importance of eyebrows in providing clues to an individual's identity.
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