In her "Hair Lab Research" project, Bizet delved into the diverse properties of various hair types by collecting and experimenting with hair samples. She aimed to create a comprehensive library showcasing the endless possibilities of human hair as a material. This exploration facilitated new discussions and potential collaborations across disciplines, involving professionals ranging from hairdressers to scientists.

Beyond her research, Bizet has actively engaged in educational initiatives, collaborating with numerous UK schools, universities, and museums. She has developed and delivered programs that introduce students to material research and design practices. These programs encourage participants to engage with topics such as identity, societal norms, sustainability, and the decolonization of curricula, all through the lens of human hair as a material. ​

Taiba Akhuetie, known professionally as Taiba Taiba, is a London-based artist of Nigerian heritage who has garnered significant attention for her innovative use of hair as a primary artistic medium. Her work transcends traditional hairstyling, transforming hair into a versatile material for creating art, fashion, and functional objects.

Solid Knitting Technique: The authors define the fundamental components of solid knitting, employing a course-wale-layer structure. In this configuration, each loop in the knitted object interlaces with loops from both the preceding layer and course, ensuring structural integrity and complexity.

Machine Prototype: They developed a prototype solid knitting machine resembling a conventional V-bed knitting machine but enhanced with dual rotating hook arrays. These arrays serve as storage for all loops in a given layer, facilitating the autonomous production of solid-knit prisms of varying lengths. While the machine automates most of the knitting process, manual intervention is required to initiate the first layer and finalize the last row.

Why did America go blond?" Gladwell links hair colour, identity, and commodification of happiness in post-WWII American
society. From the untamed hippy look of the musical "Hair" to punk
spikes and anime-influenced blatantly artificial dyes, hair treatments
symbolise identification with youthful rebellion or other group affinities.

He notes that hair raises social issues, provides a symbolic discourse for inscribing meanings on the body, and links nature and nurture. Hair can be provocative, sexual, and culturally destabilising.

It has different meanings in different contexts, but always supplies a rich
language of self-expression and cultural identification. Looking at hair,
we look at the other and ourselves. Obeyesekere presents this book as
flrst steps in a search for a grammar or semiotics of hair that will be loose
enough to account for the great diversity of Asian experiences.

Chapter Hair Troupes: emphasises the power of hair to mark boundaries between men and women, public and private, powerful and subjugated, ordinary and
extraordinary. Hiltebeitel uses the example of the Indian Buddhist theoretician Buddhaghosa's meditation on our repulsive and innumerable hairs to show both the ubiquity and shock power of hair as image.

"Hair and Society: Social Significance of Hair in South Asian Traditions,"
the most theoretical paper here. Olivelle situates hair in the current
discourse on the body, contrasts the social readings of groomed and loose
hair, and notes the liminal meanings of hair. He relates the treatment of
hair to sexuality, ritual pollution, separation, and social control in Indian society. Hair provides a condensed symbol that can express compliance to or liberation from institutional controls. Olivelle cautions against one-dimensional understandings of hair treatment. His ideas show great
promise for generalisation to other times and places.