Wig O Mania Wig Catalogue 12 Jan 2012

BRITISH women do not need to have silicone breast implants at the centre of a cancer scare removed, a watchdog insisted today.

While French authorities are expected to invite 30,000 women who received the implants to have them taken out, the UK’s Medicines and Healthcare products Regulatory Agency (MHRA) stated there was no need.

It is thought 50,000 British women received the implants, which were linked to the death of a French woman from a rare form of cancer called anaplastic large cell lymphoma (ALCL).

More than 2,000 women have filed complaints against the implants’ makers Poly Implant Prosthesis (PIP), based in southern France.

The MHRA said it was aware of the death in France but its own testing last year revealed no evidence of a link with cancer.

It said it had received no reports of ALCL linked with breast implants in the UK, adding: “Discussions with the relevant UK professional bodies have not identified any cases.”

The MHRA said its own testing “confirmed there was no evidence” of a cancer link with the implants – or to support women having the implants removed.

In a statement, it said: “The MHRA continues to monitor for any associations of all types of breast implants, including PIP, with cancers and considers new evidence which comes to light.

“The MHRA’s current advice to women with any type of breast implant continues to be that women who are concerned about their breasts or think that their implants may have ruptured, should seek clinical advice from their implanting surgeon.

“There is no evidence to support routine explantation of PIP or any other type silicone gel breast implants.”

Last night, France’s director general for health, Jean-Yves Grall, was reported as saying eight cases of cancer had so far been reported in patients with the implants.

In June, the US Food and Drug Administration (FDA) said women with breast implants may have a very small but increased risk of developing the condition, which is a rare type of non-Hodgkin’s lymphoma.

It said a literature review identified 34 cases in women with breast implants worldwide.

In total, the agency said it was aware of around 60 cases but this was a “a very small fraction of the five to 10 million women who have received breast implants worldwide”.

A statement from the British Association for Plastic, Reconstructive and Aesthetic Surgeons said: “BAPRAS has not yet seen the evidence demonstrating that health problems may have been caused by PIP breast implants and will fully assess any that becomes available.

“We currently believe that the expected announcement from French medical authorities will be a precautionary measure.

“PIP implants are a small proportion of all breast implants used in the UK and the French company manufacturing them was shut down last year.

“Surgeons will be in contact with any patient who has received this type of implant if any action is required.

“If women are worried or believe that their implants may have ruptured they should contact their implanting surgeon.”

In ancient Egypt, both males and females wore wigs made either from human hair, sheep’s wool or vegetable fibers, depending upon their social status. There were a number of benefits for Egyptians from shaving their heads. First it was more comfortable in the hot Egyptian climate not to have hair. Secondly, a baldhead helped avoid the danger of an infestation of lice, which was a problem at that time. However, it appears that Egyptians preferred having “hair” which resulted in the creation of wigs that gave the appearance of hair. The new wigs also protected the Egyptians’ baldheads from the brutal sun. Wigs became part of daily wear for the Egyptian people indicating a person’s status as well as their role in a society or politics. Women’s wigs were adorned with braids and gold, hair-rings and ivory ornaments making them more stylish than men’s wigs. Ultimately, the more elaborate and involved the wig was, the higher the social rank.

Other ancient civilizations whose citizens wore wigs were the Greeks, Romans, Assyrians, and the Phoenicians. For the Romans, in particular, wigs were often made with hair from slaves. During the Roman Empire wealthy Roman women often wore elaborate hairpieces to greatly increase the volume and effect of the hairstyle.

In contrast, the people of the ancient civilizations in the Far East, including China and Japan, rarely wore wigs except by actors performing in the traditional theaters of China and Japan (Noh or Kabuki) and by certain types of female entertainers such as the Japanese geisha or the Korean Kisaeng.

With the emergence of Christian influences during the medieval era became plainer. By the Middle Ages (1200-1400 A.D.) wigs lost their relevance because of difficult times. Women were usually required to have their head covered, fashion was off everyone’s radar, and beauty was austere. Then, in the beginning of Renaissance (1400-1600) the female hairstyle regained importance and women began showing their hair again. Instead of covering their heads, they adorned their coiffures with lustrous veils and sparkling jewels. Once again women’s wigs emerged as fashion and beauty became important considerations in society.

The history of wigs in France stretches back to the reign of Louis Xlll who went prematurely bald. To disguise his baldness he began wearing elaborate wigs. Historical records indicate that the first independent wigmakers’ guild was created in 1673. The wig now enjoyed the most noble of pedigrees from the seventeenth-century French courts of Louis XIII and Louis XIV and it became a fashion icon that was integral to the aristocratic world of power and display. The mistress of King Louis XIV wore her hair in a signature hairstyle called the la Fontange. It was a fashion look that was copied and with the help of hairpieces and false locks worn by numerous high upper class “wantabees”. By the end of the Sun King’s reign, wigs had spread well beyond the nobility of France. Kings at royal courts across Europe wore wigs, now a most essential feature of the European noble costume.

The 18th century saw elaborate wigs with mile-high coiffures and highly decorated curls. White powdered wigs with long ringlets became the order of the day. In fact, some imaginative ladies had wigs with small birdcages complete with bird, on top of their heads. For wigs, big hair was definitely the in-thing.

Another memorable royal who was known for her elaborate wigs was Queen Elizabeth I of England. Wigs were so widespread that virtually all the elite wore wigs or elaborate hairstyles during this time. It is not surprising that by the end of the 18th century the number of French master wigmakers had skyrocketed from the fashion center of Paris to other European capitols and finally to provincial cities as well. In addition to the guild master wigmakers were thousands of journeymen wig makers and artisans traveling the European countryside producing wigs clandestinely. Eventually, wigs were no longer an exclusive luxury item, an exclusive marker of high birth or a status symbol worn by the privileged few. A shorter, less elaborate wig, called the bob wig, was very popular in Colonial America at the beginning of the 18th century.

The word “wigs”, itself, is taken from “periwigs” which was the name of the particular long, curly wigs that became popular after Charles II was returned to the throne in 1660. Some historian attribute popular fashion status of the periwig to Louis XIII. The periwig simulated real hair and was primarily used for adornment or to cover the loss of real hair. Periwigs became extremely sought after it achieved status symbol. Having become a tradition of the English Court, the periwig is still seen today in modern British courts.

By the end of the 18th century, young men began wearing their hair in a more natural state. Although the powered look and the use of wigs continued, it was not longer a fashion look worn everyday but reserved for older, more conservative men and ladies who were being presented at court. With the civil unrest in France against the excesses of the nobility and the association between fashion, wigs and the aristocracy, the importance of wigs in France also began to slowly fade away during the time of the French Revolution.

The start of the 20th century saw the use of more hairpieces being used to enhance hairstyles. However, wigs have never regained the immense popularity that they once enjoyed.

Everything associated with fashion: hairstyles, wigs, clothing, shoes, handbags evolve. Modern technology has made stylish, chic synthetic wigs within the reach of everyone. Wig manufacturers are constantly developing better wig cap construction, fit, and styling. Human hair wigs allow the maximum in versatility and styling possibilities, while synthetic wigs look like natural, healthy human hair, yet are easier to maintain and are less expensive. In western countries the #1 reason wigs are worn is for convenience.
Yet wigs are still worn today to create aesthetic attention. Many celebrities have based their stage image on the use of wigs; just look at Cher or Dolly Parton.

Fortunately, there are comfortable, lightweight medical wigs available to people suffering hair loss due to medical conditions or treatments such as radiation and chemotherapy. And there are fun, costume wigs for Halloween, parties and events.

High Heat Lace Front Wig

One basic principle of wig care applies to both human and synthetic wigs.

Resist the urge to shampoo!

Depending on certain conditions, a wig needs shampooing only after 14 days of use if you work or live in an environment that has a lot of pollutants in the air, or if you work in a factory or kitchen.

If you work in an office, it is possible to go 1-2 months before your wig needs to be shampooed.

Most people wash their hair 2-4 times a week, if not daily, and think that their wig needs the same shampooing schedule.

Many nice wigs have been ruined by over shampooing.

By keeping your scalp clean, removing your wig when you sleep and storing it on a wire stand to allow air to circulate thru it, you will reduce the need to shampoo your wig.

Synthetic Wigs and Human Hair Wigs

A synthetic wig requires special care.

Shampoos, conditioners, hair sprays and other styling accessories designed specifically for synthetic wigs are available and should be used to take care of a synthetic wig.

Synthetic wigs are fibers and can not absorb conditioning agents, as does human hair, even though your wig may be a human hair/synthetic blend.

The important fact to remember when caring for a human hair/synthetic blend wig is that the wig is predominately synthetic fiber and the care given should be directed towards care of the synthetic fiber.

All products used on synthetic wigs should have a water-soluble base.

The following guidelines regarding care and maintenance apply:

1. Using a large pitcher or jug, mix shampoo with COOL/COLD WATER as instructed by the manufacturer.

2. Using a wide tooth comb or pick, gently remove all tangles.

3. If you have a monofilament top, hand tied, or combination cap wig, turn the wig inside out before pouring the shampoo water thru the wig. This step will protect the knots from coming undone as quickly versus “soaking” your wig in a basin with shampoo and water. Shampoo, or soap, acts as a lubricant and can cause the knots used to tie the hair into the wig base to loosen, and therefore shed.

4. Gently pour some of the shampoo water thru the underside of the wig, then turn the wig right side out, pour the rest of the shampoo water onto the hair and through the wig taking care not to “rub” the cap if you have a monofilament, hand tied or combination cap wig. If you have make-up around the edges of your wig, gently clean these areas with a more concentrated shampoo solution.

5. Gently rinse the wig using the same technique as noted above, using cool water and rinse wig well.

6. Lay wig on a soft absorbent towel and blot dry.

7. Place wig on wire wig stand. Starting at the ends of the fibers or hair, using a wide tooth comb or pick, GENTLY rearrange hair into desired style. Remember that a synthetic wig is pre-styled and you should not have to use much effort to rearrange the hair back into the original style.

8. Let dry overnight. If you are in a hurry, a blow dryer with a COLD SETTING may be used to quicken the drying process; however, be aware that any heat applied close to the synthetic fiber will put you at risk of melting the fiber which will make it look “frizzy”.

9. After repeated washings, your synthetic wig will loose its’ original curl and style. An important fact to remember when wearing a normal synthetic wig is that heat will damage the fiber. However,  if you are using a High Heat Fibre Wig, you can re-style your wig yourself but ensure that heat only up to a maximum of 180 degrees is applied on the fibre otherwise it will burn the fibre.

Caution : Exposure to sources of high heat will cause the wig fibers to melt and frizz should be taken when opening oven doors and cooking on the stovetop, smoking, sitting by the fireplace, grilling outdoors, etc.

Extracts of above taken from http://belkwigs.com/

October 20, 2011, saw the start of the fourth instalment of the Pakistan Fashion Design Council (PFDC) Sunsilk Fashion Week in Pakistan. Indeed this time, the PFDC and Sunsilk took their week of fashion further to a bigger business platform teaming up with Expo Pakistan, in collaboration with the TDAP whereby PFDC Sunsilk Fashion week is being held in parallel to the trade event.

Day 1 of PFDC Sunsilk Fashion Week was structured into 2 acts, which featured 3 ramp shows each with 5 distinct designers and a show by the students of the PIFD.

Act 1

It was attended by leading media and fashion personalities, journalists and buyers who had flown in to attend Expo Pakistan.

Act 1 of PFDC Sunsilk Fashion Week 2010 was opened by Maria B and her womenswear prêt-à-porter collection for PFDC Sunsilk Fashion Week entitled “Neo Natives”. The designer drew her inspiration from ancient world cultures from Aztec to Persia to fuse a global identity for the women of today. Through this collection the designer looked to project a world that is full of love, acceptance and respect for each other’s cultures and identities. Indeed “Neo Natives” speak for the urban women of today, world travellers confident in their identities and capabilities. Talking about her brand and collection, the designer said, “It is Internationally relevant and affordable fashion for the modern Pakistani woman”. Renowned television host Shaista Wahidi and designers Yousaf Bashir Qureshi and Rizwanullah walked the ramp for the designer.

Act 1’s second show belonged to the debut collection of young designer Zonia. Her menswear and womenswear collection was titled “Aurora Luminescence – The Glowing Murk” which was inspired by an amalgamation of two tremendous natural wonders to achieve a manmade termination in the form of experimental garments, which are a concoction of colour inspiration from Aurora waves and the silhouettes are attained by focusing on bioluminescent mushrooms which are ruffled, frill yet composed. The attributes of all garments differ in light and dark.

The collection utilised unique and unusual fabrics combined with a white luminous fabric which glowed in blue or green focusing mainly on the lustre and drape of the fabric. Garments were without any embroidery but includes soft ruffles, J shaped cut lines, layering and white piping while white trims and white glow in the dark thread. On her debut and design aesthetic the designer said ““I believe in following my own pace, my own instincts and trust that no matter what I will get it right!…my designs are for people who love details, are confident, smart and desirable”

Next on the runway was Karachi-based designer Zaheer Abbas with his womenswear collection for the PFDC Sunsilk Fashion Week entitled “Myth”. For this collection Abbas had drawn inspiration from elements of art and architecture along with Roman sculptures influenced by ‘wet drapery’, a term used by art historians to describe cloth that appears to cling to the body in animated folds while it reveals the contours of the form beneath. Based in pure chiffon, the collection carried motifs such as pillars, vases and acanthus leaf embroidered in antique gold and copper, creating a true synthesis of inventiveness and practicality.

Zaheer Abbas’ inspirations were driven from East to West and from history to the future. For his second showing at the PFDC Sunsilk Fashion Week, Abbas went back in time; from classical statuary to modern dresses for his Spring/Summer collection. About his collection the designer said “Through the centuries, art and fashion have achieved their own transformations, Roman sculptures and their drapery is one example that creates a spectacular synthesis for which not many words are needed, the beauty speaks for itself”

Act 2

Opening for Day 1’s Act 2 was the Karachi based designer Nida Azwer with her womenswear collection for PFDC Sunsilk Fashion Week entitled “Foliaceous” which drew inspiration from the textures and hues that surround her. Based in a flowy silhouette using fabrics such as cottons, linens, silks and organza, the collection marked the designers’ foray into textures where she explored the textures of fresh leaves using traditional techniques such as cutwork accentuated with lace in the earthy tones of green and blue. Speaking about her participation at the week the designer said “Fashion weeks in Pakistan gives everyone the opportunity to collectively showcase their work on a national level. I’m very happy to support it and be a part of it.”

Next on the Karachi runway was the Pakistan Institute of Fashion Design [PIFD] where six students, Farwa Zaheer, Ridah Syed, Rubab Haider, Maryam Jaleel, Asma Iqbal, Komal Afridi, Safa Tariq and Saba Ijaz showcased their indiviual pieces and capsule collections.

The first day’s finale was by designer Akif showcasing his womenswear prêt-à-porter collection for PFDC Sunsilk Fashion Week, “Mast Patang”, inspired by the Pakistani kite flying festival of Basant. His collection looked to capture the joyous nature and festivity of the occasion. In this collection he harked back to his childhood memory of congested old Lahore buildings where thousands of colourful kites were being flown from every rooftop.

“Mast Patang” was worked in a variety of fabrics such as velvet, linen, chiffon, viscose and cotton and engaged a vibrant colour palette including yellows, reds and oranges symbolising the rich colours of the kites themselves, along with the colour deep blue, indeed symbolic of the colour of the night in which these kites are flown. The designer presented French styled velvet jackets, jumpsuits inspired from the Far East and striking waistcoats all fused together with traditional Pakistani embroidery to create a collection representing Pakistan and its beautiful culture as manifest within the festival of Basant, to the rest of the world.

A lump on her underarm had been bothering interior designer Sonia Singh (47) for months, and though painless, it was growing in size. Finally, she decided to visit Dr Pankaj Garg at Fortis Hospital , Chandigarh. A clinical examination, imaging and needle test confirmed that she was suffering from advanced breast cancer. “I asked her why she came to us so late when the lump has been around for months?” Garg asked. To which she had replied, “It was painless, so I didn’t think it was harmful.”

Garg who conducted a study of over 1,000 women in Chandigarh to understand their perception of breast cancer found that over 82% didn’t know that early breast cancer was painless. “Most think that a painless lump in the breast is harmless. Women should report all types of lumps to their doctors; this will help in early diagnosis and possibly even a cure,” he said. Garg’s study found that over 80% patients didn’t think that a lump in the armpit was a sign of early cancer. Over one-third thought that breast pain was an important symptom. The misconception is prevalent in India, and is evident in the fact that 70% of breast cancer cases are detected late as compared to developed nations, where late detection is 20%. Dr Siddharth Sahni, HoD of breast cancer surgery at BLK Super Speciality Hospital says breast cancer, if detected in Stage 1, has a nearly 98% cure rate. “A lot depends on the type of tumour. The average size of a breast cancer tumour in London is 1.1cm, but in New Delhi it is 3.9cm. Here we deal with tumours in Stage 2 or 3,” he said.

Screening mammography to check for cancer in a woman who is asymptomatic is recommended every one-two years for women once they reach 40 years, and every year once they turn 50. In India especially in rural areas, regular clinical examination and mammography is not feasible due to shortage of skilled clinicians, lack of X-ray machines and prohibitory costs. According to the WHO’s latest World Health Statistics (WHS), less than 5% Indian women, aged 50-69 , underwent screening by mammography between 2000 and 2003. WHO says there is significant evidence to show that mammography screening among women in this age group reduces mortality by 15% to 25%. Garg’s study also showed that 71% women had no clue about mammography.

Dr Geeta Pandya of Jaslok Hospital, Mumbai said that often, women feel awkward about approaching doctors for breast examinations. “Another factor is the inherent fear that she may have cancer, and so she avoids going for a check-up .”

Sabeena Long Wig

Ruchita Long Wig

Lace Front Wig for Cancer Patients - available in India

Lace Front Wig for Cancer Patients - available in India

Lace Front Wig for Cancer Patients - available in India

Outside and inside of the Lace Front Wig

Medical Wigs for Cancer Patients - now available in India

Medical Wigs for Cancer Patients - Page 2

Medical Wigs for Cancer Patients - Page 3