Seriously, nothing is worse than walking around with this 8-month pregnancy look. I’ve actually come up with a number I’m going to tell people when they ask “So how far along are you?” *points at my tummy*
The bloating is a combination of introducing my body to purely raw foods, and well, bulimia bloat. My body was STARVING and I was injuring myself immensely. So all the toxins, all the abuse, has taken its hold and I’ve got one heck of a melon belly.
I’ve become so addicted to fruits and veggies, when I hear french fries my brain does this weird, “Whaaat? You mean carrot sticks, right?”
Because I’ve been so adamant about healing, I have noticed that over time, the bloating has gone down immensely after eating. And I’m so thrilled and excited to begin this 100% raw food lifestyle (nope, not calling it a diet). I am currently drinking probiotics to help with my bulimia recovery, but after I’m past that point, I will finally experience 100% raw food. *does a little dance*
The photo on top is of me during my thinnest weight. I’m not exactly proud because this was also the day I chopped off 15 inches of thinning hair. Plus, my cheeks were actually sinking in :/
The photo below is of me standing with Merle and Daryl ;) Taken 1 week ago.
I’m proud of my growth and can’t wait to continue learning and expanding my knowledge on a raw food lifestyle.
Restored dress as worn by Ellen Terry in her 1888 portayal of Lady Macbeth.
“When Ellen starred alongside Henry Irving in Macbeth in 1888, there was not a wide choice of fabrics available in England, and Alice could not find the colours she wanted to achieve her effects. She wanted one dress to ‘look as much like soft chain armour as I could, and yet have something that would give the appearance of the scales of a serpent.’ (Mrs. J. Comyns Carr’s ‘Reminiscences’. London: Hutchinson, 1926) Mrs. Nettlship found a twist of soft green silk and blue tinsel in Bohemia and this was crocheted to achieve the chain mail effect.
The dress hung beautifully but: ‘we did not think that it was brilliant enough, so it was sewn all over with real green beetle wings, and a narrow border in Celtic designs, worked out in rubies and diamonds, hemmed all the edges. To this was added a cloak of shot velvet in heather tones, upon which great griffens were embroidered in flame-coloured tinsel. The wimple, or veil, was held in place by a circlet of rubies, and two long plaits twisted with gold hung to her knees.’