Vintage Personal Care Product Ads From the 1920s

These vintage advertisements for personal care products capture the evolving ideals of beauty, hygiene, and modern living in the 1920s.

From soaps, creams, and powders to hair tonics and dental products, the ads reflect the growing consumer culture of the Jazz Age, often featuring elegant illustrations, stylish models, and persuasive claims about freshness, sophistication, and self-improvement.

With their distinctive typography and artistic design, these promotional images offer a fascinating glimpse into the everyday aspirations and commercial aesthetics of the Roaring Twenties.

Fior d’Alba, Dentifricio Scientifico, 1920

Frivole, Perfume, Toilet Water, 1920

Glycodont, Roi des dentifrices, 1920

L'Ondulation Permanente - Eugène (de Londres) permet toutes les coiffures," Gazette du Bon Ton, June 1920

Les Parfums Blamys, 1920

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36 Amazing Photos of a Young Richard Gere in the 1980s

In the 1980s, Richard Gere (born August 31, 1949) became one of Hollywood’s definitive leading men, a global sex symbol, and an influential style icon. His career during this decade was defined by massive, culture-shaping highs alongside a deliberate pivot toward more modest, independent films.

Gere kicked off the decade by solidifying his status as a charismatic, brooding, and romantic screen presence through two monumental box office hits. Playing high-end Los Angeles escort Julian Kaye in American Gigolo (1980), he launched into superstardom. The film revolutionized menswear on screen: tailored Giorgio Armani suits, unbuttoned shirts, and effortlessly cool vanity made Gere an instant international sex symbol and fashion icon.

An Officer and a Gentleman (1982) was his biggest commercial hit of the decade. As Navy aviation candidate Zack Mayo opposite Debra Winger, he became a romantic leading man. The film was a major box-office success (one of 1982’s top earners) and earned multiple Oscar nominations. It shifted his image from seductive to more heroic and mainstream.

Uncomfortable with being pigeonholed merely as a Hollywood heartthrob, Gere consciously stepped away from traditional blockbuster trajectories in the mid-to-late 1980s. He chose smaller, more experimental, or character-driven narratives. He starred in diverse projects like the stylized crime remake Breathless (1983), the political drama Power (1986), and the neo-noir thriller No Mercy (1986). While these films were modest at the box office and met with mixed critical success, they allowed him to escape the rigid studio system and showcase his artistic range.

The 1980s also marked the beginning of Gere’s lifelong devotion to global activism. Distancing himself from the Hollywood bubble, he traveled to war-torn regions in Honduras, Nicaragua, and El Salvador to visit refugee camps alongside medical professionals. During this decade, he also deeply committed to Tibetan Buddhism and began using his growing platform to advocate passionately for human rights. This foundational decade beautifully set up his massive 1990 career resurgence, which launched with back-to-back hits in Internal Affairs and Pretty Woman.

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Debbie Gibson’s Classic 1980s Denim Look

In the late 1980s, teen pop prodigy Debbie Gibson became a massive style icon, defining the “girl next door” aesthetic for a generation. At the absolute center of her signature look was the oversized denim jacket, which she transformed into a canvas of self-expression.

Gibson popularized slouchy, oversized, and dropped-shoulder denim jackets. Instead of tailored fits, the jackets were boxy, mimicking a borrowed-from-the-boys style. While standard blue denim was common, she heavily leaned into acid-washed and light-bleached denim treatment, which was a hallmark texture of 1980s youth culture.

What truly defined her style was personalization. Her jackets were frequently heavily accessorized with pins, buttons, badges, and enamel patches featuring slogans, pop art, and smileys. She rarely wore her jacket sleeves straight down; they were almost always rolled or tightly cuffed up to her elbows to show off stacking bracelets or multiple Swatch watches.

Gibson blended tomboy street elements with ultra-feminine pop star pieces. One of her most famous performance silhouettes paired a rugged, pinned-up denim jacket over a fluffy, tulle ballerina skirt or bright pink crinoline.

She frequently rocked the “Canadian Tuxedo,” styling her jacket with tight, high-waisted matching jeans that were tightly rolled up at the ankles (known as “peg-rolling”). No Debbie Gibson denim outfit was complete without her trademark black bowler or fedora hat, oversized hoop earrings, and slouch socks paired with white Keds or combat boots.

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Toni Hollingsworth: Elegant Face of 1940s Fashion

Toni Hollingsworth was an American fashion model active in the 1940s, known for her refined features and sophisticated presence in high-fashion photography.

Hollingsworth appeared in editorial work for leading magazines of the era and was photographed by notable photographers such as Louise Dahl-Wolfe. Her elegant style reflected the polished glamour and structured silhouettes of wartime and postwar fashion.

Though less widely documented than some of her contemporaries, Hollingsworth remains a graceful example of the refined beauty that defined 1940s American fashion imagery. These vintage photos capture the refined elegance and classic style of Toni Hollingsworth, a sophisticated model of the 1940s.

Toni Hollingsworth wearing fur coat by Traina-Norell, photo by Louise Dahl-Wolfe for Harper's Bazaar, October 1943

Toni Hollingsworth in a silk dress lozenged with pink, red and white with black filigree and a straight coat in hand-loomed wool the color of crushed raspberries at Marshall Field & Co., photo by George Platt Lynes, Harper's Bazaar, February 1943

Toni Hollingsworth wearing a flawlessly tailored suit in sand-beige wool called "Pockets to Spare" and hat both by Adrian at Marshall Field & Co., photo by George Platt Lynes, Vogue, March 1, 1943

Toni Hollingsworth in two-piece evening dress of pink crêpe, the skirt wraps and holds with heavy tucks at the hem, the blouse is split in front, by Clare Potter, photo by Louise Dahl-Wolfe, Harper's Bazaar, November 1944

Toni Hollingsworth wearing a beautiful dress and coat in Lac-Ara, a rayon-Aralac fabric from Duplex designed by Louise Barnes Gallagher, Vogue, October 15, 1944

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In January 1976, Elvis Presley Attended Denver Police Detective’s Funeral, Wearing a Specially Tailored Denver Police Captain’s Uniform

On January 28, 1976, Elvis Presley canceled a scheduled recording session at Graceland to attend the funeral of his friend, Denver Police Detective Eugene Kennedy, in Denver, Colorado. Kennedy, the brother of Elvis’s close friend Captain Jerry Kennedy, had tragically taken his own life.

To show his respect and ensure he did not draw media attention away from the grieving family, Elvis went above and beyond during the services. He dressed in a specially tailored Denver Police captain’s dress uniform, gifted to him by Police Chief Art Dill, allowing him to blend in quietly with the fellow officers in attendance.

Elvis arranged for his backup gospel group, J.D. Sumner and The Stamps Quartet, to travel to Denver and perform at the funeral service. He generously paid for the entire funeral expenses out of his own pocket.

Elvis held an official rank as an Honorary Captain with the Denver Police Department. He formed a lifelong bond with the department after they handled his concert security in 1970. He frequently supported the force, even donating funds to build a gymnasium at the old District 2 police station. Today, several of his personal police badges, uniforms, and equipment are preserved on display at Graceland.

1965 Citroën DS 21 Concorde Coupe: Rare French Elegance by Chapron

The 1965 Citroën DS 21 Concorde Coupe is a rare and sophisticated coachbuilt interpretation of Citroën’s iconic DS, created by the renowned French coachbuilder Henri Chapron.

Based on the advanced DS 21 chassis with its hydropneumatic suspension and smooth 2.2-liter engine, the Concorde featured elegant two-door coupe bodywork with clean, flowing lines. Only about 35 examples were produced, making it one of the most exclusive DS variants of the era.

Combining Citroën’s futuristic engineering with Chapron’s refined styling, the Concorde Coupe remains a striking symbol of mid-1960s French automotive luxury and craftsmanship. These elegant photos capture the rare beauty and sophisticated design of the 1965 Citroën DS 21 Concorde Coupe, a true French classic by Henri Chapron.

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The Best Portraits of a Young and Beautiful Joan Blondell

Joan Blondell was one of Hollywood’s most resilient, hard-working, and charismatic stars during the 1930s and 1940s. Her transition across these two decades reflects a shift from fast-talking, Pre-Code working-class heroines to seasoned, dramatic character roles.

Blondell was discovered on Broadway alongside James Cagney and subsequently signed by Warner Bros. in 1930. The studio put her on a relentless schedule; in just her first four years, she appeared in an astonishing 35 feature films. She specialized in playing streetwise, blue-collar women, such as showgirls, nurses, and secretaries, who were often the smartest people in the room.

She starred in seminal gangster films like The Public Enemy (1931), pre-Code dramas like Night Nurse (1931) and Three on a Match (1932), and legendary backstage Busby Berkeley musicals, including Gold Diggers of 1933 and Footlight Parade (1933). She formed an iconic on-screen duo with Glenda Farrell (co-starring in nine films as wisecracking sidekicks) and made six movies with James Cagney.

By the late 1930s, Blondell grew tired of the repetitive formulas at Warner Bros. and left the studio in 1938 to freelance. As she entered her 30s and 40s, she successfully reinvented her career, stepping away from the glamorous “gold digger” archetype to play complex supporting roles. She delivered some of the finest dramatic performances of her career during this decade. She played the vibrant, fiercely independent Aunt Sissy in Elia Kazan’s A Tree Grows in Brooklyn (1945) and the cynical, tragic mentalist Zeena Krumbein in the film noir classic Nightmare Alley (1947).

During this era, her highly publicized marriage to actor and frequent co-star Dick Powell came to an end in 1944, and she was briefly married to producer Mike Todd later in the decade. Her profound adaptability during the 1940s laid the groundwork for her long-lasting legacy as a dominant character actress on television and the stage in the decades that followed.

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