Twiggy During the Launch of Her Own Clothing Collection in London, 1967

On February 16, 1967, British cultural icon and supermodel Twiggy (Lesley Hornby) officially launched “The Twiggy Look Collection” in London. At the time, Twiggy was 17 and at the height of “Twiggymania.”

The collection was born out of a collaboration between Twiggy and two fresh graduates from the Royal College of Art, Paul Babb (or Babbs) and Pamela Proctor. Funded and manufactured by dress makers Leonard Bloomberg and Sidney Ellis, the line aimed to capture the rebellious, youthful energy of London’s “Youthquake” and make high fashion highly accessible to the average teenager. At launch, garments were famously priced between £3 and £6, allowing everyday young women to easily recreate Twiggy’s style.

The line perfectly encapsulated late-1960s Mod fashion, mirroring Twiggy’s own distinct personal aesthetic. Bold, structural, and short hemlines that dominated the London street-style scene. Tailored pinstripe suits paired with neck scarves and loafers, emphasizing the model’s signature boyish charm. Vibrant colors, ribbed knits, and experimental styles, such as her famous newspaper print dress, often accessorized with oversized plastic jewelry, kipper ties, and thick striped tights.

The launch event was heavily documented at a massive press photo-call in London’s West End, featuring Twiggy standing proudly alongside clothing rails filled with her eponymous labels. The collection solidified her status not just as a face for other brands, but as an independent, global fashion force.

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30 Amazing Portraits of Lita Ford in the 1980s

As a solo artist in the 1980s, Lita Ford, dubbed the “Queen of Metal,” became a definitive fashion icon of the glam metal and hair metal era. Transitioning from the raw punk-rock energy of The Runaways to a polished, radio-friendly pop-metal sound, her image seamlessly blended hyper-feminine glamor with aggressive, badass rocker edge.

Ford’s look was anchored by the quintessential ‘80s “big hair.” She wore her bleached-blonde locks highly teased, backcombed, and heavily sprayed to achieve maximum volume, often paired with feathered layers and choppy bangs. Her makeup matched the theatricality of the Sunset Strip: bold smoky eyeshadow, heavy eyeliner, and striking red or pink lipstick that stood out under intense stage lighting.

Her wardrobe was a masterclass in heavy metal style. She regularly performed in skin-tight black leather pants, studded bodysuits, and fishnet stockings, accessorized with fingerless leather gloves, spiked wristbands, and wide statement belts. For a softer, radio-ready visual identity around her 1988 breakthrough album Lita, she incorporated cropped lacy tops, bustiers, and fringe.

When not clad in leather, Ford embraced the classic rocker denim aesthetic. This included heavily distressed, acid-washed, or shredded jeans and cropped denim jackets covered in patches or metallic studs, bridging the gap between heavy metal and casual street style.

No Lita Ford look was complete without her instrument. She made the aggressive, angular shapes of B.C. Rich guitars a central part of her visual brand. Whether shredding on a hot-pink “Bich” double-neck or a blood-red “Warlock,” these fiercely designed instruments contrasted with her blonde glam look to solidify her status as a powerful, unapologetic guitar hero.

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30 Vintage Photos Showing What Life Looked Like in the Early 1900s

These vintage photos offer a fascinating glimpse into everyday life in the early 1900s. From busy city streets and rural scenes to family gatherings, workers, and ordinary moments at home, the images capture a world on the brink of modern change.

Clothing styles, transportation, architecture, and daily routines all reflect the social and technological conditions of the time. These photos preserve a vivid visual record of how people lived more than a century ago.

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Burke-Amey: Bold American Fashion of the 1960s

Burke-Amey was a New York fashion house founded in 1959 by designer Ronald Amey and his business partner Joseph Burke. Known for inventive use of fabrics, bold prints, and sophisticated ready-to-wear and couture designs, the label reflected the vibrant style of 1960s American fashion. Amey’s creations often featured striking color combinations, graphic patterns, and refined silhouettes that appealed to stylish clients.

In 1970, Amey bought out his partner and continued under his own name, though the original Burke-Amey label remains remembered for its distinctive contribution to mid-century American design. These elegant designs showcase the bold style and refined craftsmanship of Burke-Amey, a distinctive voice in 1960s American fashion.

Dorothea McGowan in biased black silk crêpe dress by Burke-Amey, photo by Irving Penn, Vogue, July 1, 1960

Dorothea McGowan in sleeveless dress and jacket of wild grape-pink grained silk, jacket tied with brown satin sash and point d'esprit scarf by Burke-Amey, grape straw hat by Emme, photo by Irving Penn, Vogue, March 1, 1961

Simone d'Aillencourt in plaid wool dress by Burke-Amey and bulbous turban-hat by Lilly Daché, photo by Horst P. Horst, Vogue, 1962

Wilhelmina in long and heavy white crêpe dress masked by a flouncy lace caraco embroidered with black straw flowers by Burke-Amey, kidskin gloves by Viola Weinberger, photo by Irving Penn, Vogue, March 1, 1963

Brigitte Bauer in bold black and white wool houndstooth suit over a black and white silk paisley blouse stock-tied, by Burke-Amey, belt by Chanel, bag by Coblentz, photo by Horst P. Horst, Vogue, February 1, 1964

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Graceful and Elegant Photos of Greta Garbo Taken by Cecil Beaton in New York in April 1946

Cecil Beaton was one of the most important photographers of the last century. The Royal Family, famous celebrities, writers, singers, painters and statesmen were shot by Beaton. He also was a good writer and wrote about all the places he visited and the people he had known. Beaton also was a designer and a perfect English gentleman of cultivated tastes.

Some say that Beaton was obsessed with Greta Garbo. In the 1930s he went to Hollywood with the secret desire to shot Garbo. But Garbo, elusive as ever, did not want to meet him. He caught a glimpse of her just for a few hours casually in the mansion of the director Edmond Goulding where Garbo unexpected was invited and he was absolutely bewitched by “the Swedish goddess.”

The second time Garbo and Beaton met was in New York in 1946. Garbo was not working in that period and was often seen walking in Manhattan or attending cocktail parties. In 1946, they met casually and even made a series of photographs. They started a deep friendship and it is rumored that they had a love affair. Beaton later said that he even proposed marriage.

In April 1946 in New York’s Hotel Plaza, Garbo and Beaton made their first photo session together.

Cecil Beaton writes in his diary:

“Garbo arrived wearing a biscuit-colored suit and polo-collared sweater, her hair’s a lion’s mane. At first she stood stiffly to attention, facing my Rolleiflex full face as if it were a firing squad. But, by degrees, she started to assume all sorts of poses and many changes of mood. The artist in her suddenly came into flower. She was enjoying the return to an aspect of the métier that had been her life’s work. Could I believe my luck? By degrees I was emboldened enough to ask if she would take off her habitual sweater.

“Then I brought out some ‘prop’ clothes – a pierrot’s ruff and white pointed cap – that I had secreted just in case... Greta became Debureau. A man’s top hat was discarded on sight, though a Holbein tam-o’-shanter was approved once it was bashed into a Chinese mandarin’s hat.

“Every now and again Greta was saying: ‘That’s enough now – got to go.’ But by the time I took her word as gospel a vast number of pictures had been made. The result formed a prized collection.”

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Marisa Solinas: The Golden Face of 1960s Italian Cinema and Song

Marisa Solinas (1939–2019) was an Italian actress and singer who became one of the bright faces of 1960s Italian entertainment.

Born in Genoa, Solinas rose to prominence after being cast by Mario Monicelli in the Renzo e Luciana episode of Boccaccio ’70, and the same year appeared in Bernardo Bertolucci’s debut film La commare secca. Over the decade, she starred in numerous films, including comedies and Spaghetti Westerns, while also pursuing a career as a singer.

With her striking looks and lively presence, Solinas embodied the vibrant spirit of Italian popular culture during the 1960s. These vintage photographs capture the beauty, charm, and golden-era presence of Marisa Solinas, a memorable face of 1960s Italian cinema and song.

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30 Vintage Portraits of Carole Lombard and Fred MacMurray From “True Confession” (1937)

These vintage portraits capture Carole Lombard and Fred MacMurray during the making of the 1937 screwball comedy True Confession.

Shot on set and in promotional sessions, the photographs highlight Lombard’s sparkling charm and MacMurray’s easygoing presence as the pair worked together in one of the era’s lighthearted romantic comedies.

With their natural chemistry and classic 1930s style, the images offer a lively glimpse into the filming of a film that showcased two of Hollywood’s most appealing stars at the height of the screwball tradition.

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