Of all the homemade solutions and remedies that I have made over the years using essential oils, my very favorite has to be my anti-aging facial serum. I love that instead of blowing my money on expensive night creams full of chemicals, fragrance, and things I can't even pronounce, I can make my own serum customized for my own skin type. Why a serum? Why not a cream or lotion? The beauty of a serum is that most of the fluid is eliminated so what you're left with is a high concentration of ingredients that penetrate your skin faster and more effectively. That makes serums ideal for troubleshooting specific problems such as age spots, sun damage and fine lines. (They're also great because a little bit goes a long way! This usually makes them more economical in the long run than creams and lotions.)
While commercial serums can be effective, I prefer the simplicity of pure, therapeutic essential oils. So I came up with an all-natural anti-aging serum with the power of pure essential oils! Here's a few details about each of the oils in this serum: [list] [*]Lavender is used to treat various skin disorders such as acne, wrinkles, psoriasis, and other inflammatory conditions, and is commonly used to speed up the healing process of wounds, cuts, burns, and sunburns. It also helps regenerate skin cells and lighten the appearance of age spots and scars. [*]Geraniumhelps regulate oil production, reducing acne breakouts. Improves skin elasticity and tightens skin, reducing the appearance of wrinkles. Promotes blood circulation, helping to heal bruises, broken capillaries, and other skin conditions. [*]Cypress helps kill bacteria on the skin, and is used to treat sores, pimples, pustules and skin eruptions. [*]Rosemary contains antioxidants that slow down the effect of aging on the skin. Also helps to tighten sagging and loose skin, making it firmer and more elastic. [/list] Now that you know a bit more about what goes into my anti-aging serum, it's time to learn how to make it! :-)
1 drop rosemary essential oil Note: I chose to use rosehip seed oil because I've read that it's one of the best carrier oils for anti-aging purposes. However, you can use any carrier oil that's recommended for use in skincare, like jojoba oil, argan oil, or sweet almond oil. Directions:
Add the rosehip seed oil and essential oils to a small dropper bottle or roller bottle, and shake gently before each use. How To Use Your Anti-Aging Facial Serum Wash your face and use a toner before applying the serum. Add a drop or two of the serum to your fingertip and dab gently on fine lines, age spots and uneven skin tone areas. (Remember, a little goes a long way!) Then use your moisturizer afterwards, if you use one.
Since I started using this serum about a year ago, my skin and skintone have improved dramatically! I have less redness and more even skintone and those pesky age spots are distinctly lighter! I can tell my skin loves me for using it. :-) So give it a try and let me know what you think.
These body scrub recipes are all easy to follow and perfect for your skin. These scrubs are full of nutrients whilst the scrub part sheds the dry and dead skin from your body. These scrubs leave your skin refreshed and ... Read More...
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A mother has slammed other parents who seem to not mind how their kids interact with others such as in a play centre. Mummy bloggerLaura Mazza, theone behind theMum on the RunFacebook page, took to Facebook to hit out at parents after she grew tired of children acting out in public areas. She started off by describing how kids are. Kids will be kids.Kids are snotty, they're possessive, they're demanding, they're cute mostly, but they can be little aggressive ninjas sometimes.There's no other place to discover this then when you put a whole bunch of kids together at a play centre, she wrote. She admits that when in play centres, she's a helicopter-ish mum and makes sure her kids are safe and that they don't hit other children, too. Not full helicopter, but one eye is on my mum friend and my latte and the other is on my child. I like to make sure they're safe, that they play niceI let them go and learn, and I'm not a parent who will not let any other kid go in the vicinity of mine. I want them to socialise and have a good time and all play nice. I am responsible for my own child when it comes to this, she wrote.
Laura adds that in a public property, everything is shared. If we are on public property, nothing is my child's. It's everyone's so just because my son wants a go and drive in a little toy car that little Tommy is in, it's a case of too bad Son, you are not entitled, you wait your turn. When little Tommy gets off, then you can play. This is the concept of share. It is amazing how many adults are yet to grasp this. However, if it's my sons car, it's his, and if my son wants Tommy to play, then Tommy can play, she wrote. Shethen shared her experience with other kids in the play centre, confessing that she never told a kid off ever in her life.I've never told another child off in my life. I don't like it. It's not my responsibility. My responsibility, like I said, is to my child. If my son snatches, I correct him, if my daughter smacks, I correct her, if my kids are assholes, I step in. This behaviour is not okay at any age. However, today I found myself saying the words 'hey, that's not nice please stop' to two little kids. Kids that weren't mine, she wrote.
She noticed that two kids have been repeatedly driving their mini-cars into her daughter, knocking her over. She said she felt she needed to stop it because no one else was stepping in. A few moments later, while she was helping her son into a ball pit, a boy climbed a jungle gym and was about to fall down, and she was just in time to catch him. She said that the boy's mother, who had no idea about what happened to her son, came over as she was carrying the boy, and even gave her a dirty look as she snatched her son off her. Another experience she shared was when two other kids started pushing and hitting her son while he tried to go on a slide. I actually found myself saying that's not nice, stop!I've never liked to tell a strangers kid off, but if you're gonna pretend you can't see it because you wanna sit and chat, then I'm gonna tell your child off, she wrote. Laura then reiterated she's not a perfect mother but she believes that mothers should always be responsible for their own kids.I'm not perfect, not even in the slightest. But I'm polite and I'm not in the business of raising assholes.I've been up all night too, I am desperate for social time too, I'm lonely, I'm tired, my neck hurts and everything elsebut I also don't believe that my kid is entitled to pull your kids hair because I want a hot coffee.And if you see my kid be a jerk, you tell him off too, or tell me and I'll correct him asap.This is the sense of a community, she wrote. She then sent out a message to all mothers to support each other. Mothers if we don't have each others backs like this, then how can it be a smooth experience for all? This is a village and it only works if we all do our part, that way we can all have a good time. Watch ya damn kid, she wrote. Her post has earned over 4,000 reactions and more than 400 shares. Source:Au.be.yahoo.com
Legendary Editor's Note: This post was originally published in October 2014 and has been updated with the most recent information. Most people attribute Germany's Bauhaus school with the following: being on the vanguard of minimalist design, the paring down of architecture to its most essential and non-ornamental elements, and the radical idea that useful objects could also be beautiful. What may be overlooked is the fact that the rigorous design school, founded by modernism's grandsire Walter Gropius, also put on marvelous costume parties back in the 1920s. If you thought Bauhaus folk were good at designing coffee tables, just have a look at their costumes-as bewitching and sculptural as any other student project, but with an amazing flamboyance not oft ascribed to the movement. These Bauhaus shindigs were nothing like typical Halloween parties, where everyone expects to find a few topical doppelgngers. Back in Weimar, competition among the creatives was fierce: Students and teachers like artists Wassily Kandinsky, Paul Klee, Piet Mondian, Lszl Moholy-Nagy, architect Mies van der Rohe, and furniture designer Marcel Breuer all tried to out-do one another by designing uniquely fantastical creations. According to Farkas Molnr, the late Hungarian architect who was a Bauhaus student in the early '20s, the school's renowned typography studios and cabinet-making workshops were taken very seriously, but "the greatest expenditures of energy, however, go into the costume parties."
"The essential difference between the fancy-dress balls organized by the artists of Paris, Berlin, Moscow, and the ones here at the Bauhaus is that our costumes are truly original," Molnr wrote in a 1925 essay entitled "Life at the Bauhaus." "Everyone prepares his or her own. Never a one that has been seen before. Inhuman, or humanoid, but always new. You may see monstrously tall shapes stumbling about, colorful mechanical figures that yield not the slightest clue as to where the head is. Sweet girls inside a red cube. Here comes a witch and they are hoisted high up into the air; lights flash and scents are sprayed," he continued. The parties began as improvisational events, but later grew into large-scale productions with costumes and sets made by the school's stage workshop. There was often a theme to the evenings. One party was called "Beard, Nose, and Heart," and attendees were instructed to show up in clothing that was two-thirds white, and one-third spotted, checked or striped. However, it's generally agreed that the apotheosis of the Bauhaus' costumed revelry was the Metal Party of 1929, where guests donned costumes made from tin foil, frying pans, and spoons. Attendees entered that party by sliding down a chute into one of several rooms filled with silver balls.
The theater workshop responsible for many of these resplendent events was led by Oskar Schlemmer, a charismatic painter and choreographer best known for his Triadic Ballet, an avant-garde dance production that premiered in 1922. The three-part play with different colors and moods for each act was widely performed throughout the 1920s, and became something of a poster child for the Bauhaus movement.
The Triadic Ballet's 18 costumes were designed by matching geometric forms with analogous parts of the human body: a cylinder for the neck, a circle for the heads. Schlemmer made no secret of the fact that he considered the stylized, artificial movements of marionettes to be aesthetically superior to the naturalistic movements of real humans. These elaborate costumes, which were generally too large for their wearers to sit down in, totally upped the ante at the Bauhaus school's regular costume balls.
Although there aren't many photos of Bauhaus luminaries wearing the costumes they labored over in the name of socializing, thankfully Farkas Molnr has chronicled some of their style proclivities: "Kandinsky prefers to appear decked out as an antenna, Itten as an amorphous monster, Feininger as two right triangles, Moholy-Nagy as a segment transpierced by a cross, Gropius as Le Corbusier, Muche as an apostle of Mazdaznan, Klee as the song of the blue tree," Molnr wrote in 1925. "A rather grotesque menagerie"