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alangdorf · 8 months

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I got married this summer!! And I spent the year leading up to it designing & patterning & making my dresses! So here they are; unfortunately my photo selection is pretty limited cause our photographer got almost no fullbody pictures of me alone from the front, but w/e

My wedding dress/outfit/what have you consisted of an Edwardian-ish blouse and a skirt which I drafted off of an actual Victorian walking skirt pattern except since I didn’t wanna obtain/wear a corset & bustle I took out the hip shaping so it just turned out to be a partial circle skirt that’s a little longer and fuller in back. Oh, and the front panel was actually two overlapping panels which could be folded back and attached to the inside of the skirt. I wore it closed at the actual marriage part which I didn’t get good pics of, and open at the ring ceremony, which is where all the above pics were taken. The pants were resale, but I did make my veil and bouquet!

The second dress was very inspired by this set of classic lolita OP’s (particularly the one in the first two pics) which I first saw back in 2021 and I’d been itching to make something similar ever since, so I picked up the fabric for it when it was on sale back at my old job and then pencilled it in as my reception dress so I would actually get around to making it. (Although fun fact both of these outfits STILL need more sewing done before they’re completely ready for regular wear lol. Someday) I got the cameo for the brooch off Etsy (it has a butterfly on it) and my grandma bought me the shoes for Christmas last year, though I added the bows to them (they’re removable and I also made a pink set) and also made the earrings and hair bow.

Anyway we recently got done moving and stuff so hopefully I will be able to do more art soon! (Also they/them preferred as usual 💜)

#sewing #victorian #edwardian #lolita #wedding #ok search tags are done I can relax #Yes my wedding dress was very hot to wear outdoors but I didn’t wanna make it for just one event so it’s also my temple dress #which had certain requirements including long-ish sleeves #I call the reception dress my snail dress because the fabric is patterned with ferns and mushrooms and one little snail per repeat #continuing the animal trend of my peacock skirt & bee shirt & butterfly dirndl #also not very visible in the photos but covering up the ruffle seams are length of lace which I snipped slits in to run tiny ribbon through #and then I had to sew it on BY HAND and oh man that yoke seam got sooooooooooo thick with the ruffled net lace and tulle #(which were nylon cause that’s all I could get cheap in person at joannes & such) and also several layers of quilting cotton #I never would’ve finished both dresses (the exterior at least) if I hadn’t tried taking aripiprazole for a month #cause I got the whole skirt for the snes (snail dress) finished in like A WEEK #sadly it gave me weird physical side effects so I had to stop taking it. sadge #oh yeah also I finally drafted my own bodice block for the snes cause I couldn’t find any princess seamed high neck bodice patterns #and for the white blouse I made changes to the shoulder seams and collar of my bee shirt pattern buuuut I probably shouldn’t have #ended up a bit wonky #anyway future planned projects include… watercolor painting for the apartment (feat. kirby)#Elfilin/Elfilis gijinkas which are. being somewhat difficult #Magolor gijinka minecraft skin LOL (I have the account migration cape and it goes perfectly with his EX colorway)#not sure if I’ll ever get around to finishing that pmv. we’ll see

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discountalien-pancake · 2 years

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Hey folks I am making stays with a front-opening busk for user-friendliness and it’ll contribute to my fairytale reinterpretations! I initially thought I might do the Yellow Belle Ballgown but as a casual ensemble, but my busk is Very Teal. Should I invest in a different busk and do Belle or should I maybe go for one of Ariel’s dresses?

#after some discussion with the harem of friendship we’re looking at an Ariel Dreamboat + Aurora mashup #myth and pancake make underpinnings #i may make a separate aurora bodice i may not #but i’ll be borrowing her skirt design for Ariel’s dreamboat ensemble #the pointed yoke + pleats is a really nice look #but oh god maths

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thecozycuttlefish · 2 days

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I'm back on my sewing nonsense. This time we are finally going to make an 1850s dress (no, I haven't decided on the final fabric yet).

I got a mockup made for a yoked bodice and I think I got pretty darn close to the final design with only some minor adjustments.

And yes, I know my gathers are a mess. This was a mockup. I will be a lot more precise with the final dress.

#sewing #historical sewing #historical fashion #19th century #mid-19th century dress #1850s dress #yoked bodice dress #victorian fashion #sewing project #sewing mockup #sewing chaos #I don't know what I'm doing but somehow it keeps working out #the cozy cuttlefish

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fashionsfromhistory · 9 months

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Dress

1893

Conventional in style for its time, with a close fitting boned bodice, defined yoke, tight sleeves with epaulettes and full puffed top sections, this two piece dress nevertheless shows the influence of artistic dress on the materials from which it has been made. Originating from the attempts to reform ugly aspects of women’s clothing, artistic dress favoured muted colours and softly textured fabrics, and by the 1890s some of these preferences had found their way into more mainstream fashion worn by middle class women with cultural interests. The fine silk twill of the dress’s body, the velvet and soft wool of its sleeves, collar and hem, and the ‘antique’ lace of its yoke were all favoured components of artistic dress, as were its simple grey shell buttons that celebrated the unpretentious beauty of natural materials. Sludgy shades of green such as olive and sage were a reaction against the brashness of synthetic dyes, and both greens have been used in the silk’s printed design of ‘faded’ pink and yellow honeysuckle with light sage foliage on a dark olive ground. This design, albeit on a different scale, evokes some of the textiles and wallpapers produced by the firm of Morris & Co, set up by William Morris to provide items of interior design that accorded with his artistic and socialist principles. One such example is the block printed cotton ‘Honeysuckle’ of 1876, depicting pale flowers and foliage on a dark ground.

John Bright Collection

#dress #fashion history #historical fashion #1890s #19th century #turn of the century #1893 #victorian fashion #victorian #silk #wool #velvet #green #brown #john bright collection

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chic-a-gigot · 1 month

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La Mode nationale, no. 12, 27 mars 1897, Paris. Deux patrons découpés (Grandeur naturelle). Collet de demi-saison. Corsage de jeune fille. Bibliothèque nationale de France

Explications des patrons découpés:

Collet de demi-saison. (Mid-season collar.)

Ce charmant modèle se compose de 3 morceaux, l'empiècement tient d'une seule pièce avec le col: (This charming model is made up of 3 pieces, the yoke is in one piece with the collar:)

No. 1. — Dos de l'empiècement. (Back of the yoke.)

No. 2. — Côté de l'empiècement, se raccorde au dos par 2 crans. (Side of the yoke, connects to the back with 2 notches.)

No. 3. — Devant se raccorde au côté par 1 cran. (Front connects to the side by 1 notch.)

Le volant est en tissu indéplissable; il doit avoir 2m,10 de moitié à plat. (The ruffle is made of non-wrinkle fabric; it must be 2.10m half flat.)

Métrage: 3 mètres soie en 50, 4m,20 mousseline de soie sur 0m,18.

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Corsage de jeune fille. (Young girl's bodice.)

Ce gracieux corsage se compose de 8 morceaux. (This graceful bodice consists of 8 pieces.)

No. 1. — Dos. (Back.)

No. 2. — Côté du dos se raccorde au dos par 3 crans. (Side of the back connects to the back by 3 notches.)

No. 3. — Côté de devant se raccorde au côté du dos par 2 crans. (Front side connects to the back side by 2 notches.)

No. 4. — Devant se raccorde au côté de devant par 1 cran. (Front connects to the front side by 1 notch.)

No. 5. — Col droit se taille double sans couture, se raccorde au devant par 1 cran. (Straight collar is double cut without seam, connected to the front by 1 notch.)

No. 6. — Dessous de manche. (Under the sleeve.)

No. 7. — Dessus de manche. (Top of sleeve.)

No. 8. — Jockey se raccorde au dessous de manche par 1 cran. (Jockey connects to the underside of the sleeve by 1 notch.)

Métrage: 2 mètres en 1m,20.

#La Mode nationale #19th century #1890s #1897 #on this day #periodical #fashion #fashion plate #découpé #pattern #description #bibliothèque nationale de france #dress #collar #corsage

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maryellencarter · 10 months

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ACNH creator showcase #8, Mia from Reverie! Creator code is MA-0190-3505-4239. Mia has a solidly incredible eye for fashion and design. The Moon Magic series up there clearly has every single piece designed separately, none of the copypasting to different shapes without adjusting waistlines that you see from some prolific designers. Fortunes Foretold is one of the most accurate Victorian pieces of its type I've ever seen -- I can practically hear the fringe of jet beads jingling when it moves, and feel the texture of the sheer lace apron on Sunset Maiden. The hints of pintucked yoke texture on the bodice of Garden Walk... seriously, I can't. The kind of precision it takes to do this sort of art with joycons.

Do you see the hem stripes on Autumn Cheer? The way they follow the wiggles of the skirt edge? That doesn't happen. The game cuts a curve into the lowest pixel line of your skirt on that design. Mia had to draw those stripes *curved*, following the lines of the curve the game was going to cut, in order to make them look like they were appliqued parallel to the hem. I don't think I can possibly express how much I haven't seen that done anywhere else.

October Dreams is on a kimono pattern, but when you walk, the way the skirt moves around your legs gives the illusion that it's a jumpsuit, with the costume bones placed exactly where your legs are under the fabric. Custom jumpsuits don't exist in this game. Mia faked a jumpsuit with the power of design.

People who know Breath of the Wild have probably already gotten the utter genius that's the Revali's Gale design, but for the rest of y'all -- Revali is an anthropomorphic bird. Mia's using the flappy sleeves of the kimono design to create his wings, and the same visual trick as on October Dreams for his fluffy gray-feathered legs. The colors and textures are a perfect match. Just, the sheer artistry on display here!

(Seriously. Using the kimono sleeves for his wings. I'm not gonna be over that one for A While. It's one of those strokes of genius that seems like it should have been perfectly obvious, and yet there it is and you didn't think of it first. They're the right shape and everything!)

#acnh #acnh patterns #acnh clothing #acnh codes #acnh fashion #acnh community #revali #breath of the wild #botw

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jewellery-box · 1 year

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Striped Cotton Dress, circa 1850s.

"Dress of printed cotton with repeating design of solid yellow vertical stripe and white stripe with purple and red flowers. Off the shoulder neckline, yoke bodice, short sleeves trimmed with two rows of pleats, front of dress gathered at angles from a wide corded waist band, plain back fastened with hooks and eyes, full skirt (bell shaped) gathered at waist and has two hems."

Litchfield Historical Society

#victorian #victorian era #victorian fashion #19th century #fashion history #historical fashion #dress #crinoline

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doll-princesse · 2 months

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The Sewing for BaB saga begins!!

Yesterday I did a fit test with a CPK dress I had, but it did not fit to my liking. The neckline was too narrow, and the sleeves were too tight. The back would not shut at the top, and it was too tight on the body too. Evidently, Build a Bears are chonky. However, it will make a good base.

I already altered the yoke dress pattern into sloper bodice last summer. This version was fitted to another type of doll, so I started with that version (since it was at the top of the stack)

I put the paper on the frog and draped and creased where i wanted to alter the pattern to fit. I went in multiple passes, first matching the center fronts, then the neckline, then the shoulder seam, then the side seam, and the waistline.

I did the same for the back, mirroring the front piece and altering the neckline, back seam, and both shoulder seams. Then i draped the collar, and mirrored it in the same way. This collar will hit just at the point of the shoulder/ sleeve seam.

Then i added seam allowances.

All that’s left is the sleeve. I’m making a flat sleeve header, so I won’t delve into it now. That’s definitely tomorrow work.

I will be releasing this pattern for free once i test it and know it works.

#build a bear #sewer mimi #sewing for BaB #sewing for stuffies

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the1920sinpictures · 6 months

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1926 c. French silk velvet evening dress. Beaded fan motifs in mother-of-pearl and antique gold bugle beads spaced throughout bodice and hem. Drop waist with gathered hip yokes. Edged inside with gold lame tape. (The dress would have been worn with an underslip because of the low armholes.) From 1st Dibs.

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chicinsilk · 7 months

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N° 96 "La Cigale"

Suzy Parker wears "La Cigale", A masterpiece of construction and execution, the new Dior full and shaped skirt, falling from a stiff yoke and superbly molded bodice. an end-of-day dress in pearl gray moire ottoman.

Suzy Parker porte " La Cigale", Un chef-d'œuvre de construction et d'exécution, la nouvelle jupe Dior ample et formée, tombant d'un empiècement rigide et d'un corsage superbement moulé. une robe de fin de journée en ottoman moiré gris perle.

Photo Richard Avedon

#collection haute couture #french designer #french style #christian dior #fashion 50s #1952-53 #automne/hiver #fall/winter #suzy parker #richard avedon #day dress #robe d'après-midi #La cigale

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gogmstuff · 1 year

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1910s Glamour -

Top left 1910 Callot Soeurs evening dress (Metropolitan). From tumblr.com/omgthatdress/701288285767696384/evening-dress-callot-soeurs-1910-the-metropolitan 1280X1809 @72 406kj.

Top right 1912 Wedding gown by “Maison Corsten, Rotterdam”. From tumblr.com/historical-fashion-devotee 2048X3059 @72 718kj.

Second row ca. 1910 Lady Edith Villiers (1878–1935), Wearing a Blue Satin Gown by Samuel Henry William Llewellyn (Mount Edgcumbe House - Cremyll, Torpoint, Cornwall UK). From Wikimedia 1000X1298 @3000 370kj.

Third row left 1913 Dress by Swedish designer Augusta Lundin (Göteborgs Stadsmuseum - Göteborg, Västra Götalands län, Sweden). From tumblr.com/threadtalk 1000X1211 @72 150kj.

Third row left 1913 (August) Les Modes Racing ensembles by Drecoll. From les-modes.tumblr.com/image/146257484044 1269X1920 @72 1.5Mj.

Fourth row 1913 Lady with a book by Jean Alexandre Coraboeuf (Musée des Beaux-Arts de Nantes - Nantes, Loire-Atlantique, Pays de la Loire, France). From tumblr.com/history-of-fashion 729X1000 @72 363kj.

Fifth row 1913 Gwendoline, 14th Countess of Lauderdale by Samuel Henry William Llewellyn (Thirlestane Castle - Lauder, Scottish Borders, UK). From artuk.org; enlarged to screen 802X1400 @72 206kj.

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trishmishtree · 4 months

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A list of things I sewed in 2023, mostly in order

I guess this is going to be a yearly thing now?

I started the year off by finishing the regency gown, for which I'd made the bodice in December 2022. It's made from an ivory cotton gauze with a pre-embroidered edge, but I took the time to hand-embroider the dots and vines. I wish I'd gotten an extra yard of the fabric though, because the skirt hem is only 2 yards in circumference and could have used a little more width. I also regret using such an open-weave fabric for the dress, even though it seemed to match the fabric of the extant dress, because it was awful to embroider on. (The original dress is decorated with thousands of tiny metal staples, not embroidered.) In total, not counting the time taken for patterning, the bodice took about 30 hours to construct, and the embroidery and skirt construction took another 72 hours, which was spread out over the span of about 2-3 months.

After that, I revisited the floral Vicwardian historybounding skirt I'd made the previous summer. I still had a small amount of fabric scraps left from that project, so I used it to make a set of removable suspenders that could be used to convert the skirt into a jumper dress.

After that, I made an actual pinafore out of some cotton flannel. I don't love the fit on this thing because the back tends to gape (I didn't pattern the darts correctly), so I'm thinking about taking it apart and adjusting it in the future.

After that, I made a shorter, historybounding version of a dress that has been on my to-make list forever. It's based on the green round gown that Lizzy Bennet wears to the Meryton assembly in Pride and Prejudice (2005). The movie was edited so that the dress appears to be an emerald green, but photos of the actual costume show that it's a light sage green, so that was what I went with. I like the subtle "secret daily cosplay" vibes it gives with the shortened hem and the pink sash (I haven't had a chance to source some dark green silk taffeta to make a more accurate sash yet). My only regret is that the fabric I used is a slightly heavier weight than I would have liked, so this is more of a spring dress than a summer one. Overall very happy with this one and am looking forward to tweaking the pattern just slightly and making a floor length darker green version.

Then I got really into embroidery, and I made this detachable Peter Pan collar to go with one of my not-made-by-me dresses.

It was fun and easy, so I added embroidery and a ruffle to the Peter Pan collar blouse I made last year, and now I love it way more. I also re-did the collar on the lace-insertion shirtwaist from last summer and liked it way less, so I reworked it again and never took a picture.

In April, I made a baby dress for a coworker using this free pattern.

I also took some time to finish the set of Edwardian underpinnings I'd started last year, by making a hip pad (not pictured) and a ruffly c0rset cover. I liked the c0rset cover, but I didn't like how it looked with the c0rset and bust padding (it was just too much), so it became more of an alternative to wearing my Edwardian c0rset than an addition to it. I don't mind though. The Edwardian period is one of those eras where you can get away with not wearing a c0rset, since the bodices are not skin-tight, and I'm very very short-waisted and not-squishy, so I'm actually larger in the waist in a c0rset than out of one. I think I'm going to use the c0rset for evening gowns but only go with the c0rset cover (with no c0rset underneath) if I'm going for a daytime costume.

Then I did some more historybounding and made a back-closing blouse with a V-shaped yoke. It's made from my blouse block pattern, which I got from tracing a modern button-down I already own. I like the resulting shirtwaist (not pictured), but I think going forward I'm going to try to make a new block pattern because I never liked how the original shirt fit around my shoulders, and all the blouses I've made so far from this pattern also fit me weirdly in the shoulders.

Then in May, I made a wrap skirt that I patterned myself, inspired by Wildflower's Coquelicot Skirt. I regretted using such a limp, slippery fabric, and I don't love the skirt I got as a result (not pictured). I may attempt it another time out of a fabric with more body to it, but I have no plans to do that in the next year.

Also in May, I made a Victorian/Edwardian petticoat. It's floor-length and delightfully swooshy, and I love it, but I didn't get a picture of it because I don't own a floor-length mirror.

In June, another coworker had a baby, so I made another baby dress.

Then I finished residency and had more free time, so I bought 3 yards of strawberry-printed quilting cotton from Joann and made a modernized version of an 18th century dress inspired by the ones I've seen made by Bernadette Banner, Mariah Pattie, Sewstine, and Lina Piprek. I call this my 18th century strawberry dress, and it is one of my absolute favorite things I've ever made, even if it's not very practical or wearable for everyday situations.

In July, I got back into historical costuming and made another Edwardian bustle pad to add a little extra kick to the back pleats of my skirts. No pictures were taken, but I used BlackSnails' free pattern.

Then I made an empire-waist top out of 1 yard of rayon challis that I've had in my stash forever. I don't love the result, and I didn't get pictures.

In August, I was still slowly working on my Edwardian lace-insertion dress, so I took a little detour and made a dip-waist belt (photo unavailable) using Ora Lin's pattern and the last remaining scraps of the dark blue silk satin from making this dress.

I also finally finished the Edwardian lace-insertion dress in August but didn't get any photos of it for the same reason I didn't get a photo of the petticoat. Maybe next year? Here's a photo of what it looked like before I ripped out and re-sewed the ruffle of the blouse to be positioned lower.

Also in August, I made another project that's been on my to-make list since 2020: a ruffly vintage-inspired apron. I hated the fabric because it was so hard to sew through, but at least the print (by debtrevitt) is cute.

In September, I used the pattern I made for the 18th century strawberry dress to make a slightly more HA-looking version out of a red and white floral quilting cotton from Joann. The plan was to sew skirt hikes to the inside so that the skirt could be polonaised, but I never got around to that. I also never got around to making the contrasting petticoat to go with it, so that's a project for next year.

Also in September, I found myself wanting to try my hand at broderie anglaise. As mentioned above, I liked my ruffly Edwardian c0rset cover, but I didn't like that I couldn't wear it over my blue silk c0rset without looking too top-heavy. I still needed something to hide the blue of the c0rset, so I patterned out an Edwardian princess slip and started hand-embroidering the lace in the neckline...before I had to pack all my belongings and prepare to move back in temporarily with my parents, so everything had to be put on hold.

I was able to squeeze in one more project before the move, though, and made a regency chemisette out of cotton batiste scraps. No photos were taken because my regency dress and underpinnings are still packed away.

Then I spent October and November not doing much sewing because I had a bunch of paperwork to do in preparation for my new job. I did, however, repair a bunch of moth-eaten sweaters that my mom didn't know how to fix. And I did make a witch hat and a pair of witch legs I made out of recycled umbrella fabric and a pair of PVC pipes, since my parents had zero (0) Halloween decorations out.

In December, I dug out the princess slip project I'd started in September and properly assembled the slip. It still needs to be hemmed, but I can't do that until I move again and am able to dig out all of the rest of my Edwardian underpinnings, so it's still not finished.

What I did manage to finish was an 18th century hand-embroidered fichu to go with the slightly more HA-looking red and white floral gown, even though I still need to make the split rump and petticoat and cap...

While I didn't make as many things as I had last year, owing to a 2-3 month hiatus necessitated by the move, and I'm not as happy with some of the projects I completed this year, I'm still proud of myself for pushing myself out of my comfort zone and attempting some more ambitious projects.

With the combined efforts of 2022 and 2023, I now have a full set of Regency underpinnings and Edwardian underpinnings, except for the princess slip which is still in-progress.

In the coming year, I'd like to make a Regency bonnet, reticule, and spencer to go with the 1810s gown. I already have the fabric and pattern for the bonnet, but I'm waiting to make it until after I move somewhere more permanent, to avoid damaging it in the move (I guess I should add a hatbox to the list of things I'll need to make). I also have the reticule pattern ready to go, but I'm planning to hand-embroider it and don't have access to the thread colors I need yet. And the spencer is still up in the air because I don't have the fabric for it yet.

I'd also like to make a proper pair of 18th century stays (both 18th century gowns I've made this year have a structured lining layer that acts like built-in stays, so I already have a working pattern), an 18th century split rump, an embroidered pocket, and a linen cap to complete the set.

#historical costuming #sewing #hand sewing #embroidery #tricia sews (kind of)#long post #year in review

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historicalgarments1 · 2 years

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1890s dress made of black silk brocade, green stripe and rose vine motif. Boned bodice of green satin yoke and back insert covered in black lace and beading. Trimmed with ostrich feathers. Part of the Goldstein Museum of Design, catalog number 2013.004.012

#HistoricalGarments #1890s #VictorianStyle #Victorian #FashionHistory #VintageTextiles #19thCenturyFashion #Naaien #Couture #Costura #Cucire #TextileArt #ISew #HistoriaDeLaModa #HistoireDeLaMode #Historia #HistoricalCostuming #VintageBeads #ClosetGoals #VictorianGoth #FloralPattern

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world-of-wales · 1 year

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Catherine’s Royal Closet (53/∞) ♚

↬ 'Flippy Wiggle' Dress

First Worn by Catherine to Wimbledon in 2019, this dress by Suzannah is inspired a late 1940’s Wiggle Dress, and is made from Italian silk crepe and lined in lightweight silk habotai.

Suzzanah have re-cut the original 1940's dress to give a skimming fit over the bodice and fluid soft movement throughout the skirt.

The silhouette is contoured around the waist with delicate pin-tucks and a matching belt. Pin-tucks are also placed at the front yoke detail. The tea-length dress is fashioned with contrasting silk covered buttons, and half sleeves with buttoned cuffs.

Since 2019, Catherine has worn this dress on a number of occasions - to visit Baby Basics in 2020, for the Grenfell Tower Memorial Service in 2022 and underneath a red coat for a pre-coronation visit to Soho in May 2023.

Catherine opted not to wear the belt which comes with the dress for Wimbledon in 2019 and instead wore a contrasting bow belt by Alexander McQueen. But she chose to wear the white matching belt on the other occasions.

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desertdollranch · 2 years

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There was still plenty of work to do to get the office ready. Papa used live worms called leeches in some of his medical treatments, and the leeches needed fresh water every few days. Marie-Grace didn’t like looking at the squiggly worms, so she cleaned their jars as quickly as she could. She was carefully putting a jar on a shelf when the bell over the front door clanged loudly.

As part of an ongoing project, I’m attempting to fill out Marie-Grace’s collection a bit by making dresses that appear in her books but never appeared in her collection. Like Cécile and Caroline, Marie-Grace was given only a few outfits in the brief three years she was available. She has many more dresses shown in her books than she ever had in her collection.

This navy blue floral dress is probably my second favorite.

The dress appears in Cécile’s Gift as well as her paper doll set. It has a yoked bodice with a gathered overlay, high-neck collar trimmed in lace, oversleeves with two rows of white soutache braid, and a full skirt. I used the French Quarter Day Dress pattern by Kindred Threads.Matching the color and print on the illustrated dress was really challenging. This navy and white fabric was the closest match I was able to find. I even tried coloring in some of the white parts with gray and light blue fabric pen, but with the larger size of the print it made it look a bit too clunky, so I left it as is.

Her jar of leeches is a baby food jar that I painted on the inside. In 1853, using leeches to remove blood from swollen body parts was a common medical practice. The belief that excess blood can cause illness comes from the ancient Greek practice, which taught that the “four humors” of the body--blood, phlegm, yellow bile, and black bile--must be in equal proportions in order for the body to remain healthy. But by the end of the 19th century, using leeches to bleed patients was quickly being replaced by the knowledge of bacteria and viruses as the causes of disease.

But the yellow fever epidemic that swept through New Orleans in 1853 was made worse by the fact that they didn’t know yet about viruses. Nobody knew at all what caused yellow fever, or why surviving it granted lifelong immunity. They did know that burning barrels of tar seemed to help, as well as other strong smells like garlic. What they didn’t know was that yellow fever is a virus spread by mosquito bites, and that mosquitoes don’t like strong smells like burning tar and garlic.

Changing the water on the jar of leeches is her least favorite chore, but her favorite is refilling the candy jar!

Visiting the doctor can be scary for little children, so Dr. Gardner always rewards his youngest patients for their bravery with sweets from the jar.

#marie-grace gardner #meet marie-grace #cecile's gift #handmade doll clothes

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