Vogue Studio Photography in the Late 1940s and Early ’50s

Vogue studio photography in the late 1940s and early ’50s marked a refined and elegant chapter in fashion imagery.

Working within the controlled environment of the studio, photographers created polished images that emphasized silhouette, dramatic lighting, and the luxurious details of haute couture. As the postwar period ushered in Christian Dior’s “New Look,” studio compositions became more expansive and feminine while retaining a sense of precision and sophistication.

Clean backdrops, careful posing, and masterful lighting defined the era’s aesthetic, producing some of the most enduring fashion photographs of the mid-century. These images remain a testament to the artistry and controlled glamour of Vogue’s studio tradition.

Model in beautiful dance dress of frosty chiffon and Enka rayon shimmering with sequins by Ben Gam, photo by Baker-Vogue Studio, Vogue, December 15, 1946

Bettina Graziani wearing a full-length mink coat with large cuffs from Fourrures Chombert, photo by Vogue Studio, Vogue, Paris, October 1948

Carole Jacquet in beautiful evening gown by Pierre Balmain, photo by Vogue Studio, Vogue, Paris, October 1948

Model wearing a one-shoulder, green jersey dress embroidered with feathers and sequins by Jeanne Lafaurie, photo by Vogue Studio, Vogue, Paris, October 1948

Model wearing a silver gray evening dress by Marcelle Dormoy, photo by Vogue Studio, Vogue, Paris, October 1948

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Britt Ekland Photographed by Patrick Lichfield for Vogue UK, 1970

In May 1970, Patrick Lichfield photographed the celebrated Swedish actress and style icon Britt Ekland for Vogue UK. This iconic fashion shoot took place on the sprawling grounds of Lichfield’s ancestral home, Shugborough Hall in Staffordshire, England. The editorial perfectly captured the defining transition into 1970s bohemian luxury and romantic, outdoor-focused fashion imagery.

Around 1970, Ekland starred alongside Michael Caine in the British crime film Get Carter (1971) and later as Bond girl Mary Goodnight in The Man with the Golden Gun (1974). Lichfield’s portraits of Ekland, both for editorial assignments and personal portraits, captured her signature blonde bombshell aesthetic paired with 1970s fashion staples like tailored leather, knee-high boots, and velvet ensembles.

35 Fascinating Photos of Family Life Near Buffalo, New York in 1887

These fascinating photos offer an intimate glimpse into family life near Buffalo, New York, in 1887. Rather than focusing on the bustling city center, the images capture quiet domestic scenes, small-town streets, and everyday moments shared by families in the surrounding area.

From posed group portraits and children at play to simple outdoor settings, the photos reflect the slower pace and close-knit atmosphere of late 19th-century life. They preserve a rare and charming visual record of ordinary people and their world nearly 140 years ago.

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40 Photos Amazing of Karen Allen as Marion Ravenwood on the Set of “Raiders of the Lost Ark” (1981)

On the set of Raiders of the Lost Ark (1981), 28-year-old actress Karen Allen brought fierce independence and a sharp collaborative spirit to the production, actively crafting Marion Ravenwood to break the traditional “damsel in distress” mold. Filming alongside Harrison Ford under director Steven Spielberg, Allen’s experiences on set were a mix of rapid-fire chemistry, physical endurance, and creative assertiveness.

Allen was recommended by directors John Landis and Rob Cohen. She won the role of Marion after a brief 15-minute meeting and a screen test in Los Angeles, remarkably, before Harrison Ford was even finalized as Indiana Jones. Allen was heavily invested in making sure Marion was an equal partner rather than eye candy. During production, she actively collaborated with Spielberg and successfully altered scenes to keep Marion’s steely, self-reliant edge intact. Spielberg loved her instincts, noting she played Marion like someone who had survived a hundred bar fights.

Filming at Elstree Studios in England, Allen instantly defined her character in her very first scene by hitting Ford square in the jaw. She deeply resonated with Marion's tough introduction, which included out-drinking a giant Sherpa in a freezing, smoky bar set. The production spanned four continents. Allen pushed through blistering 110-degree heat in Tunisia, navigated genuine sandstorms, and spent weeks filming alongside thousands of live snakes in the claustrophobic “Well of Souls” set.

She worked closely with costume designer Deborah Nadoolman Landis to ensure her wardrobe told a realistic survival story. Her signature cream blouse and trousers were intentionally torn, dirtied, and singed as she fought through gasoline fires and explosions.

Her powerful performance on set ultimately won her the Saturn Award for Best Actress and cemented Marion Ravenwood as an iconic heroine of adventure cinema. Raiders of the Lost Ark is considered by critics to be one of the greatest films ever made and has had a lasting influence on popular culture, spawning a host of imitators across several media and inspiring other filmmakers. The United States Library of Congress selected it for preservation in the National Film Registry in 1999.

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Carte-de-Visite Portrait of Mademoiselle Zana, the Only Bearded Russian Lady, ca. 1880s

Mademoiselle Zana was a 19th-century sideshow performer promoted as “The Only Bearded Russian Lady.” She gained notable publicity while touring in the late 1800s, appearing in dime museums, circuses, and novelty exhibitions across Europe and the United States.

As was common in 19th-century sideshows, managers exaggerated or fabricated performers' backgrounds to create an exotic narrative. Presenting her as “Russian” added a sense of foreign intrigue to Western audiences.

Her image survives largely through cabinet cards and carte-de-visite (CdV) studio portraits, such as those produced by notable photographers like Charles Eisenmann of New York, who specialized in sideshow portraits during the late 1800s.

In modern medical terms, her condition would likely be recognized as severe hirsutism or hypertrichosis, which causes excessive hair growth in patterns typically associated with males. During the Victorian era, individuals with such conditions often found employment and independence in dime museums and traveling exhibition networks.

George Armfield: Master Painter of Victorian Dogs

George Armfield (c. 1808–1893) was a British animal painter best known for his lively and detailed depictions of dogs. Born George Armfield Smith, he was the son of portrait painter William Armfield Hobday and began exhibiting at the Royal Academy at a young age.

Specializing in genre scenes featuring terriers, hounds, and other domestic dogs, Armfield captured their energy, character, and everyday antics with broad, expressive brushwork. His paintings of dogs hunting, playing, or resting in barns and rural settings were highly popular with Victorian audiences and remain among the most recognizable examples of 19th-century British animal art.

These charming works showcase the skill and affection for animals that defined George Armfield, one of the most popular dog painters of the Victorian era.

Dogs

Dog with Puppies

Gun Dogs in the Long Grass

Gun Dogs

Spaniel Flushing Pheasant

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20 Photographs of a Young Glynis Johns as a Mermaid in “Miranda” (1948)

In the 1948 British fantasy comedy Miranda, Glynis Johns brought the playful, flirtatious mermaid Miranda Trewella to life. Her portrayal relied heavily on specialized practical effects, unique wardrobe designs, and her iconic personal charm to pull off the illusion of a creature from the deep.

One of the most notable aspects of her transformation was the construction of her mermaid tail. In a rare cinematic collaboration, The Dunlop Rubber Company was commissioned to design and manufacture the prosthetic tail, earning them a unique “Tail by Dunlop” credit in the opening titles.

Dunlop created two separate rubber tails for the production. One was specifically engineered for optimal movement and buoyancy during her swimming scenes in the water, while the other was designed for her “dry” scenes out of water. Because the rubber tail was incredibly heavy and completely immobilized her legs, Johns had to be physically carried around the studio lot by crew members and co-stars. Her co-star David Tomlinson frequently recalled how taxing it was to transport her from scene to scene.

Unlike modern mermaid movies where characters magically sprout legs when dry, Miranda keeps her tail for the entire film. To sneak her into a London household, the characters disguise her as a wheelchair-bound invalid named Miss Treeweller. The production hid her massive rubber tail by dressing her in beautiful, custom-made day and evening gowns that were intentionally tailored one foot longer than standard dresses. This completely obscured her tail while she was pushed around in her wheelchair.

Beyond the practical effects, Johns' performance sold the character’s enchanting nature. Critics and audiences raved over her striking look—featuring long platinum hair and a melodic, purring, breathy voice. She balanced the absurdity of the plot by acting like an endearing, slightly mischievous “fish out of water” who demanded a strict diet of raw fish and loved to lounge in water-filled bathtubs.

The film was a major box-office hit in the UK, making Glynis Johns an iconic face in fantasy cinema and prompting her to reprise the mermaid role years later in the 1954 sequel, Mad About Men.

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