Ladies the weather is getting warmer and we love wearing our cute dresses and skirts, don’t we? But with the rise of temperatures comes perspiration, sometimes in not the most comfortable places like the thighs! I know I’m not the only lady who has felt super uncomfortable on a hot day, even though I’m a summer lover. And because I work in NYC I’m on speed walk mood most of the time. This means my thighs are rubbing against each other quickly. Trust me this has lead to painful cuts and even bleeding. There have been a few hacks I’ve used to combat this problem like shorts under skirts which can be uncomfortable. I’ve also tried deodorant and baby powder to help with this dilemma. Some of these have worked, but some also wear off after a few hours. Finally a pair of smart women have come up with a great solution. Bandelettes!
Creators Rena Abramoff and Julia Abasova creators of Bandelettes came up the idea for Bandelettes when they realized that many woman suffered from chafing like they did. The products on the market that women were using to help with chafing were not made for this issue. Those products were also not the prettiest. Rena and Julia were ready to be their own bosses, and like many immigrants they made their dreams reality. Bandelettes combines function with fashion. Unlike traditional thigh bands, Bandelettes actually stay up. Thanks to the patented stay up silicone rows inside the Bandelettes, these thigh bands won’t budge. They won’t roll or slip down your legs as you go on with your day.
Bandelettes has been featured in runways such as the Chromat Fall/Winter ’17 runway show for New York Fashion Week. Bandelettes accessorized the swimsuits and sportswear collection. The runway show was full of diverse and full figured models wearing Bandelettes. Diversity and body positivity are part of the Bandelettes brand identity. This was in full effect with plus sized and models of color at the press event I attended. The brands body positive message and the fact that they fit any body type are some of the reasons host of the night and Project Runway winner Ashley Tipton loves Bandelettes. Bandelettes have also been featured in magazines like Cosmopolitan, Seventeen and featured and raved about on shows like NBC Today and more.
I’ve worn the Bandelettes already with different outfits, and these discrete beauties are thigh savers. The first time I wore them was under a skirt that had a slit, where the lace of the Bandelettes could be visible depending on my movement. Although I didn’t mind much as the lace adds an extra detail to the outfit. I’ve also worn them under a dress and was worried there would be visible lines through the dress. This was not the case, you can’t even tell I’m wearing them!
I found that the higher I put them on my thighs the more comfortable I felt. In this case no skin is rubbing against each other which could cause uncomfortable friction. They stayed put with a snug fit throughout the day and did not roll down. I will say at first the feeling of something wrapped around my thighs felt weird. But I quickly got used to them and forgot they were on. When putting on the Bandelettes, I suggest gently lifting the adhesive strips away from your skin and placing them where you want them. Simply dragging them up the leg can be a bit uncomfortable because of the silicones ability to stick.
Bandelettes can be found on their website, Layne Bryant stores, Amazon, Sears, and subscription box service Gwynniebee. Bandelettes cost $15.99 on their website, with the lace versions in colors red, black, chocolate, white, caramel and beige. Unisex Bandelettes are also available in solid colors. These versions are useful for sports like running and tennis where athletes suffer from chafing. Bandelettes run from size A which is equivalent to a pant size 2-4 through F the equivalent of a 3XL pant size.
Bandelettes becomes a part of your everyday wardrobe. As a fashionable solution to an every person and everyday problem, how could they not? Have you tried these thigh savers, or are you ordering some right now? Let me know, in the comments and on social media.
Last month at the Museum at FIT along with the two other exhibitions I covered, Adrian : Hollywood and Beyond was on display. Known originally for his costume creations at Metro-Goldwyn-Mayer, Gilbert Adrian went on to create his own fashion line. During his career as a costume designer he created costumes for over 250 films, dressing stars like Katharine Hepburn and Joan Crawford. Many of the films were blockbusters whose costumes inspired ready to wear designs. Stores like Macy’s opened “cinema shops” that showcased outfits inspired by these costumes. Throughout the exhibition you see the respect Adrian had for the art of fashion, fabric and all the details needed to create memorable pieces. The relationships he had with textile manufacturers allowed him to create some of his most “awed at” pieces. A glossary guide provided by the museum helped all who saw the exhibition understand the intricate techniques Adrian used in his costumes and fashion line. If you are an retro movie lover like I am, you will recognize some of the costumes and movies as well.
When Adrian opened his first fashion boutique in 1942 in Beverley Hills his clients were not movie stars, but the everyday American woman. Adrian’s time as a costume designer led him to understand prints and how to cut and sew them to their full potential. For the movie the Wizard of OZ his understanding of patterns and how they stood out on a black and white film led him to make memorable costumes. Dorothy was purposefully outfitted in the blue and white gingham (check) dress that popped in the black and white film and in Technicolor.
Applique’: A new design created when a small piece of fabric or contrasting material is applied to the original fabric. Cuts are attached through stitching the edges to the original fabric.
Bias: When fabric is cut on a bias or at a 45 degree angle instead of the straight (Parallel)or cross-grain (perpendicular) the fabric has more elasticity. This elasticity allows the fabric to drape easier.
Design Repeat: An aspect of all patterned fabrics. Design repeat refers to the distance between where the pattern starts, repeats and begin again. Sometimes hard to distinguish in certain patterns.
Draping: A form of constructing garments. Fabric is placed directly on the form or model, the designer then begins folding and pinning parts of the fabric to create the desired form. The fabric can be removed to create a pattern of the draped fabric or left draped as the final result.
Inset: A design similar to applique’. A small shape is cut out of a larger piece of fabric, where another textile is cut and sewn into the cutout, filling that space. The purpose of the inset can be functional or decorative. The inset can help with fit or create an interesting pattern. The inset can be the same pattern as the base fabric or entirely different.
Mitering: When two pieces are gathered diagonally, preferably at a corner. This manipulation of the fabric allows crisp corners in garments. Mitering is also used to create dramatic prints.
Piecing: Much like solving a puzzle, in piecing different shaped pieces of fabric are sewn together forming one fabric. It involves measuring and cutting each piece of fabric so they fit perfectly into each other.
Screenprinting: A technique that creates prints on fabric. This multistep process includes covering and protecting the parts of fabric not meant to receive the print. Then a mesh screen is placed on top of the fabric and the first color is applied. The colored ink is pushed through the screen onto the fabric. The fabric is dried and the process is repeated until the final print desired is created.
Screenprint can also be seen in the evening dress above under the term applique’. The screenprint was designed by Salvador Dali for the Wesley Simpson, Inc.
Tailoring: A form of construction used to make suits and garments with structure. This technique is used to design suits and jackets. The designer uses a mannequin to pin, stitch , mark and trim fabric creating a template. The template is traced on paper creating the pattern needed to create a garment.
Textile Converter: Textile conversion companies create masters of textiles. The masters are suitable for weaving and printing at textile mills. The design masters are original creations or replicas of artists like Dali that are printed on plain unfinished fabric known as “griege”. The fabric can then be manipulated or altered in any form a designer wishes.
Textile Design: The image, color, texture or design that is on a textile. Textile designs are created through printing or weaving. Stripes, plaid and ikat are all forms of textile design. Textile design fabric can then be finished with dyeing, printing, embroidery, beading and applique’.
Textile Regulation: During WWII materials like fabric were needed for military supplies. In 1942 the War Production Board imposed Regulation L-85. This imposed restrictions on the use of cotton, silk, nylon, wool, leather and rubber for anything other than parachutes, uniforms and other supplies. Designers also had restrictions on the amount of material they could use. To keep up with the newest trends, designers became resourceful through shortening lengths and narrowing cuts.
Adrian’s costume’s in the movies 1938 “Sweethearts” , 1939 “The Women”, and 1952 “Lovely to Look At”.
As I walked through this exhibition I felt like I was back in my textile class in college. One of my favorite classes, as the creating of fabric and what you can make with one length of it is endless. As Adrian showed in his costumes and collections, with respect and knowledge for fabric and its creators there are endless creative possibilities in fashion.
Paris the birth place of Haute Couture has given the fashion industry an endless amount of designers and fashion staples. During the 50’s and 60’s London was seen as the epicenter of all fashion innovation. However Paris Refashioned showcases how Paris was also a leader in trend making during this era. Like London the young people of Paris were infusing their music, art and outlook on life into fashion. Many of these innovations and new styles changed the course of fashion and are still worn today.
In the late 1950’s Parisian couturiers like Pierre Cardin, Hubert de Givenchy and Yves Saint Laurent started to receive recognition for the radical and progressive designs they made under respected fashion houses. Yves Saint Laurent introduced the trapeze dress or the “A Line dress” under the House of Dior. A style that became so successful it cemented his place in the fashion industry. Not only was the dress a success for the House of Dior, it influenced the relaxed and younger trends that came after.
During the 1960’s Cristobal Balenciaga’s understudy André Courre’ges made drastic changes to what Couture could look like. He also changed the manner in which fashion shows were conducted. His 1964 ” Space Age” collection introduced futuristic day-wear in place of the traditional eveningwear couture collection. During the fashion show models quickly strut down the runway to upbeat music. A surprise for the audience who were used to a relaxed runway show where models strolled and stopped in intervals for viewing.
The rise of ready-to-wear in the 50’s and 60’s by Parisian designers created an economic influx in the fashion industry. Their modern designs also attracted a larger clientele who wanted more options than what couture designers were providing. These designers became known as “stylistes” and introduced “ready-to wear” to French fashion and society. These designers also changed how ready-to-wear fashion was perceived. Off the rack fashion or “confections” were originally known for being poor in quality and design. The quality in which designers like Karl Lagerfeld and Sonia Rykiel produced their pret-a-porter lines rooted ready-to-wear into a respected category in Parisian fashion.
While some Couturiers embraced pret-a-porter others found if difficult to include a ready- to -wear line into their collections. Designers like Balenciaga, Madame Gres and Chanel did not switch to ready-to-wear but infused the new trends into their collections by hiring younger designers. While some couturier survived the shift in Parisian fashion some designers like Balenciaga were forced to shut their doors and reopen later on. The survival of Couture depended on the flexibility of the Couturiers.
Paris Refashioned 1957-1968 will be open until April 15, 2017 at the Museum at FIT. Let me know if you visit this exhibition and what your thoughts are.