Tower of Toghrul, Rey, Iran, ca. 1860s

The Tower of Toghrul, also transliterated as Tughrul or Tuğrul Tower, is a 12th-century monument, located in the city of Rey, Tehran province, Iran. Toghrul Tower is near Rashkan Castle. This photo was taken by Italian colonel and photographer Luigi Pesce from the 1860s.

The tower is widely believed to be the tomb of Tughril I (Tuğrul Beg), the founder and first Sultan of the Great Seljuk Empire, who died in Rey in 1063. However, there are alternative theories, with some historians suggesting it is the burial place of Khalil Sultan, the son of Timur Lang, in the 15th century.

The 20-meter-tall (66 ft) brick tower is an excellent example of Seljuk-era tomb architecture. Its original design included a conical dome (gonbad), which has since collapsed, likely due to an earthquake.

The thickness of the walls varies from 1.75 to 2.75 m (5.7 to 9.0 ft). The inner and outer diameters are 11 and 16 m (36 and 52 ft), respectively. The exterior shape is that of a polygon with 24 angles in its design, which is thought to contribute to the structure’s stability against tremors. At the top of the tower, Kufic inscriptions were originally observable.

The exterior of the tower is a striking polygonal shape with 24 vertical angles (or corners), giving it a ribbed or pleated appearance. This design was not just aesthetic; it was an ingenious architectural feature intended to provide structural stability and resistance against earthquakes.

The 24 angles of the exterior act as a clever, hidden sundial. As the sun moves, the shadow cast by the angles and the play of light and shadow on the exterior allows for accurate time-telling. The interior of the cylindrical structure possesses unique acoustic properties, amplifying sounds made inside.

Due to Rey’s location on the historic Silk Road, it is said that a fire was lit atop the tower to serve as a guiding beacon or landmark for travelers approaching the city from Khorasan, especially on foggy nights.

Over the centuries, the tower suffered damage, with the original conical dome collapsing, probably from an earthquake.

The tower underwent its first major recorded restoration in the late 19th century (around 1884/1885) by the order of Nasser al-Din Shah Qajar. While this saved the monument from complete ruin, some of the original intricate decorative work and Kufic inscriptions were lost or damaged during the process.

After a period of neglect following the Islamic Revolution, a comprehensive modern renovation project was initiated in the late 1990s and completed around the year 2000.

Today, the Tower of Toghrul stands as an important, well-preserved national monument, reflecting the architectural prowess, scientific knowledge, and rich cultural legacy of the Seljuk Empire in Iran.

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Catherine Spaak: The Spirit of 1960s Italian Cinema

Catherine Spaak (1945–2022) was a French-Italian actress, singer, and style icon who became one of the defining faces of 1960s Italian cinema. With her effortless charm, modern sensibility, and quiet sophistication, she captured the changing spirit of postwar Italy — youthful, independent, and irresistibly chic.

Appearing in films such as Il Sorpasso (1962) and La Noia (1963), Spaak embodied a new kind of heroine: intelligent, self-assured, and subtly rebellious. Beyond the screen, her fashion and poise made her a symbol of contemporary elegance.

With her grace and modern allure, Catherine Spaak remains a timeless emblem of Italian cinema’s golden age — where beauty met confidence, and youth met freedom.

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Six-Year-Old Boy Collecting Ancient Wood Bricks From Shirland Road, West London, to Sell for Firewood, 1954

Back in the day, little six-year-old Benny Merrell was hustling in the cold streets of West London, selling firewood to make a bit of pocket money. But he didn’t get it from the forest—he scavenged wooden paving blocks right off Shirland Road. These blocks were leftovers from a time when wood was used to surface roads to soften the sound of horse-drawn carriages.

Soaked in tar, the blocks were super flammable—perfect for fireplaces in post-war Britain, when fuel was still scarce and homes relied on open fires to stay warm.

What’s wild is those same wooden roads had a dark history. During WWII, in cities like Hamburg and Dresden, the tarred wood actually ignited during bombings, turning streets into blazing rivers of fire.

By 1954, those roads were almost gone, replaced by modern pavement. But for young Benny, they were a chance to earn, stay warm, and connect with a fading piece of the past.

A little piece of history, hidden beneath our feet.

1955 Ghia Streamline X ‘Gilda’: The Jet Age Masterpiece

The 1955 Ghia Streamline X ‘Gilda’ Concept is a singular, iconic representation of the 1950s Jet Age in automotive design, created by Ghia’s chief stylist and aerodynamicist, Giovanni Savonuzzi. Commissioned in part by Chrysler’s Virgil Exner, the coupé was nicknamed after the sleek and dangerous allure of Rita Hayworth’s character in the 1946 film Gilda.

Debuting at the Turin Motor Show, the car featured a radical wedge shape and distinctive, soaring tail fins that were scientifically designed in a wind tunnel to maximize aerodynamic stability—a stark departure from mere decoration. Though initially a non-functional mock-up, the Gilda was designed to house a pioneering gas-turbine engine, which has since been installed.

The concept’s dramatic silhouette and forward-thinking design proved highly influential, directly inspiring Chrysler’s famed “Forward Look” styling theme for its 1957 production models. Here below is a set of amazing photos of the 1955 Ghia Streamline X ‘Gilda’.

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28 Fascinating Photos of Dawn Wells as Mary Ann Summers on “Gilligan’s Island” (1964–1967)

Dawn Wells (October 18, 1938 – December 30, 2020) was an American actress. She is best known for her role as Mary Ann Summers on the television sitcom Gilligan’s Island, which aired from 1964 to 1967.

As Mary Ann, Wells portrayed the sweet, wholesome farm girl from Winfield, Kansas — the “girl next door” among the castaways stranded on a deserted island. Her character contrasted perfectly with Tina Louise’s glamorous movie star, Ginger Grant, creating one of TV’s most beloved dynamics.

Mary Ann was known for her optimism, kindness, and practicality — she often helped with cooking, sewing, and maintaining order among the castaways. Her signature look featured gingham dresses, pigtails, and a warm smile, which made her an enduring fan favorite.

Though Gilligan’s Island lasted only three seasons, its reruns made it a pop culture staple, and Dawn Wells became a beloved figure at fan conventions and nostalgic TV events for decades. She often expressed gratitude for the role, saying Mary Ann represented “the values America still holds dear — honesty, goodness, and sincerity.”

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Rico Puhlmann: The Photographer of Post-War Chic

Rico Puhlmann (1934–1996) was a highly influential German fashion photographer and illustrator who shaped the aesthetic of the industry from the post-war era to the 1990s.

Initially training as a graphic designer in Berlin, Puhlmann brought an astute understanding of composition and color to his photography, helping to define the early look of “Berliner Chic.” After moving to New York in the 1970s, he rose to international prominence, serving as the chief photographer for Harper’s Bazaar for over two decades and regularly contributing to magazines like Vogue and GQ.

His signature style was a blend of intimate glamour and lyrical realism, where he preferred to photograph high fashion and celebrity portraits—such as those of Cindy Crawford and Isabella Rossellini—in natural, relatable settings rather than dramatic studios, making elegance look effortless.

Puhlmann’s prolific and celebrated career was tragically cut short in the TWA Flight 800 crash in 1996, but his legacy endures as a master who successfully transitioned fashion photography into the modern era. These glamorous photos are part of the work where Rico Puhlmann captured fashion portraits of iconic models across the 1960s.

Denise Sarrault is wearing evening gown by Schwichtenberg, Berlin, photo by Rico Puhlmann, published in Stern, October 1960

Fashion photo by Rico Puhlmann, Berlin, 1960

Ina Balke in coat by Gehringer & Glupp in front of Brandenburg Gate, Berlin, photographed by Rico Puhlmann for Beyer Moden, Spring/Summer 1960

Lissy Scharper wearing a cocktail dress by Staebe-Seger, New York, photographed by Rico Puhlmann for Stern, July 1960

Lissy Scharper, photo by Rico Puhlmann, New York, 1960

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Jewish Immigrant Nessim Menashe Standing in Front of His New and Secondhand Shoe Store in Portland, Oregon, 1916

Nessim Menashe, a Jewish immigrant, opened his secondhand and new shoe store in Portland, Oregon, around 1916, contributing to the vibrant immigrant community that helped shape the city’s early 20th-century economy.

Menashe, part of one of the first Sephardic Jewish families to settle in Portland, was among a wave of immigrants who arrived from Turkey and the Isle of Rhodes. These Sephardic Jews brought with them a rich cultural heritage, establishing small businesses that served the growing needs of their community. Portland’s early Sephardic immigrants, including the Menashes, played an essential role in the city's commercial landscape, especially in the retail and food sectors, as they found opportunities to build new lives far from their homelands.

The Menashe family’s involvement in Portland’s business scene was not limited to just this shoe store. As early pioneers of the Sephardic Jewish community, they ran various small shops throughout the area, becoming fixtures in the city’s multicultural fabric. Their contributions, along with those of other Jewish immigrants, helped lay the groundwork for Portland’s expansion and diversity. The city’s Jewish population, especially the Sephardic Jews, had a significant impact on the development of retail businesses, which served both their community and the broader Portland area. Their businesses, including Menashe’s shoe store, not only provided essential goods and services but also fostered a sense of community among Jewish immigrants who had left their homelands in search of new opportunities in America.

Menashe’s shoe store operated for several years, providing affordable footwear to the people of Portland until it closed in 1921. The legacy of Menashe’s entrepreneurial spirit lives on in the broader context of immigrant-driven businesses that contributed to Portland’s cultural and economic development. The store itself stands as a symbol of the many small businesses that defined the immigrant experience in early 20th-century America.