Yasmeen Ghauri Photographed by Albert Watson for Vogue Italia, 1992

In August 1992, Yasmeen Ghauri graced the pages of Vogue Italia with an editorial titled “Cartoon,” shot by renowned photographer Albert Watson. This shoot, which also featured supermodels like Rebecca Romijn, Nadja Auermann, Helena Christensen, Linda Evangelista, Stephanie Roberts, and Elaine Irwin, became one of the most iconic fashion spreads of the 1990s. The models were styled in bold, graphic clothing, with exaggerated proportions that called to mind the playful and whimsical aesthetic of cartoons. Watson’s sharp lens captured not only the striking beauty of these models but also the edgy, avant-garde spirit of fashion in the early 1990s.

The early 1990s marked a defining moment in fashion history, as the supermodel era reached its peak. Models like Ghauri, Evangelista, and Christensen became household names, commanding unprecedented attention in both high fashion and mainstream culture. This period saw a blending of high couture with streetwear influences, creating a more relaxed yet still luxurious look. The editorial in Vogue Italia was emblematic of this fusion, as the models' fierce expressions and commanding poses contrasted with the fun, irreverent styling choices, such as oversized jackets, bold prints, and geometric patterns.

Yasmeen Ghauri, who was of Pakistani and Canadian descent, was a trailblazer for diversity in the fashion industry during the early 1990s. Her appearance in such a high-profile editorial marked her ascent as one of the top models of the decade. As a muse for both designers and photographers, Ghauri’s work in iconic editorials like this one remains a testament to the power and influence of the 1990s fashion scene, which continues to inspire today’s designers and photographers. The “Cartoon” spread is an example of how fashion can merge art, culture, and humor to create timeless visual statements.

30 Beautiful Portrait Photos of Edwardian Beauties Taken by Lallie Charles

Lallie Charles (1869–1919) was an Irish photographer. Along with her sister Rita Martin, she was one of the most commercially successful women portraitists of the early 20th century.

Charles was a society photographer. In 1896, she opened her first studio, The Nook, at 1 Titchfield Road, Regent’s Park, London. In 1897, Rita Martin, her sister, went to work with her. In 1906, Martin opened her own studio at 27 Baker Street and the two sisters became competitors. The following year, Charles moved to 39A Curzon Street, where she became the “foremost female portrait photographer of her day”.

Charles died in Mayfair, London, in 1919. Take a look at these vintage photos to see portraits of Edwardian beauties taken by Lallie Charles in the 1900s and 1910s.

Lydia Kyasht, circa 1900s

Anita Stewart, Princess of Braganza, circa 1900s

Dagmar Wiehe, circa 1900s

Ellis Jeffreys, circa 1900

Eva Moore, circa 1900s

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Stunning Portraits of Marianne Faithfull Taken by David Redfern in 1975

Marianne Faithfull, a British singer-songwriter and 1960s pop star who reinvented herself as a new-wave artist and smoky-voiced chanteuse, channeling her struggles with drug abuse and personal loss into songs of torment, anger, sorrow and resilience, died Jan. 30 in London. She was 78.

“It is with deep sadness that we announce the death of the singer, songwriter and actress Marianne Faithfull. Marianne passed away peacefully in London today, in the company of her loving family. She will be dearly missed,” the statement said.

Faithfull was known for her 1960’s hits including “As Tears Go By” which was written by The Rolling Stones’ Keith Richards and Mick Jagger, whom she also famously dated. She was discovered at a party in London by The Rolling Stones’ manager Andrew Loog Oldham in 1964 and was just 16 years old when “As Tears Go By” was released.

“I am so saddened to hear of the death of Marianne Faithfull,” said Mick jagger. “She was so much part of my life for so long. She was a wonderful friend, a beautiful singer and a great actress. She will always be remembered.”

Marianne Faithfull has been making music for over 50 years, and was also an actress in the film Girl on a Motorcycle which came out in 1968 as well as Hamlet in 1969 and others. But at the end of the 1960s she had fallen into a deep battle with drug addiction which would endure for years before mounting a series of creative comebacks in the following decades.

Faithfull ended her relationship with Jagger in May 1970 after she started an affair with Anglo-Irish nobleman “Paddy” Rossmore. She also lost custody of her son in that same year, which led to her attempting suicide. Faithfull’s personal life went into decline, and her career went into a tailspin. She made only a few appearances, including an October 1973 performance with David Bowie, singing Sonny & Cher’s “I Got You Babe.”

She cemented her comeback with one of her most acclaimed albums, 1979’s Grammy-nominated Broken English, embracing synthpop and postpunk with an affectingly raw, deepened voice. She quit drugs for good in 1985, and regularly released music throughout the rest of her career. Her collaborators over the years included Nick Cave, Damon Albarn, Emmylou Harris, Beck and Metallica. She released 21 studio albums.

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35 Elegant Photos That Defined Women’s Fashion From the 1950s

1950s women’s fashion was characterized by elegance and femininity, with an emphasis on the hourglass silhouette. Dresses often featured full skirts, sometimes with petticoats for added volume, and cinched-in waistlines that created a defined shape. Tailored suits, with nipped-in waists and calf-length skirts, were popular for both day and evening wear.

Accessories like gloves, pearls, and hats completed the polished look. Fabrics were rich, with patterns like floral prints, polka dots, and pastels commonly seen. Designers like Christian Dior and Coco Chanel set the trends, making the 1950s a defining era for fashion.

Take a look at these elegant photos to see what women looked like in the 1950s.

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Removal of Original Torch of the Statue of Liberty in 1985

A construction worker making preparations for the removal of the original Statue of Liberty torch in 1985. The old torch went on a tour of the US before it was moved to the Statue of Liberty Museum.

In 1985, a significant event occurred involving one of America’s most iconic symbols: the Statue of Liberty. The original torch, which had stood atop Lady Liberty since the statue's dedication in 1886, was removed for restoration. Over the years, the copper and glass torch had become worn and damaged due to exposure to the elements, so it was carefully replaced with a replica to ensure the statue’s preservation for future generations. This monumental task was part of a larger restoration project in preparation for the Statue of Liberty’s centennial celebration in 1986.

After the torch was removed, it embarked on a nationwide tour, allowing Americans from coast to coast to see this historic artifact up close. The tour was not only a symbol of national pride but also a reminder of the enduring importance of the Statue of Liberty as a beacon of freedom and democracy. The original torch was eventually relocated to the newly established Statue of Liberty Museum on Liberty Island in 2019, where it continues to serve as a symbol of the nation’s ideals. Its journey from its removal in 1985 to its permanent display highlights the significance of preserving history while making it accessible to the public.

Carole Lombard: “Every Actor Should Take at Least One Week’s Whirl at Publicity”

One of Carole Lombard’s gifts was an instinct on how to effectively promote herself, as she proved in July 1938 when she spent a week handling publicity for Selznick International Studios in Culver City, California. Not only was it a good experience seeing “how the other half lives,” but handling publicity was, for her, good publicity – setting her apart from her Hollywood contemporaries.

“Stars sit in on story conferences, wardrobe conferences, directorial conferences and others, but never on publicity and exploitation, which are equally important,” said Lombard.

Here is Miss Lombard at her desk on her first day’s work. She was handling the advance material for her own picture, Made for Each Other, co-starring James Stewart, and also publicity on The Young in Heart, starring Janet Gaynor, Douglas Fairbanks Jr. and Paulette Goddard. So much interest was aroused by the fact that Miss Lombard is the first star in history to turn press agent, that she was busy all day being interviewed by reporters.

Since the cinematic star system (and Hollywood itself) began 110 years ago, actors have recognized what publicity can achieve. One of them was an actress who now may be as remembered for her self-promotional efforts, along with an awe-inspiring figure, as for her acting.

35 Beautiful Photos of Tina Louise in the 1950s and 1960s

Born 1934 as Tatiana Josivovna Chernova Blacker in New York City, American atress Tina Louise began her career on stage in the mid-1950s before landing her breakthrough role in 1958 drama film God’s Little Acre for which she received the Golden Globe Award for New Star of the Year.

Louise is widely known for her role as movie star Ginger Grant in the television situation comedy Gilligan’s Island. She had starring roles in The Trap, The Hangman, Day of the Outlaw, and For Those Who Think Young. Her other films include The Wrecking Crew, The Happy Ending, The Stepford Wives, and Johnny Suede. She also had a recurring role on the primetime soap opera Dallas.

Take a look at these beautiful photos to see the beauty of young Tina Louise in the 1950s and 1960s.

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‘The Wrecking Crew’: Sharon Tate’s Last Film Released Before Her Death

The Wrecking Crew is a 1968 American spy comedy film directed by Phil Karlson and starring Dean Martin as Matt Helm, along with Elke Sommer, Sharon Tate, Nancy Kwan, Nigel Green, and Tina Louise. It is the fourth and final film in the Matt Helm series, and is loosely based on the 1960 novel of the same name by Donald Hamilton. The film opened in Canada in December 1968 before premiering in the United States in February 1969.

It was Tate’s last film released before her death in 1969. It was also the Hollywood film debut for two future action movie stars: Bruce Lee, who worked behind the scenes as an action choreographer, and Chuck Norris, who made his film debut in a small role.

Take a look at these vintage photos to see portraits of Sharon Tate during the filming of The Wrecking Crew in 1968.

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The Amazing Story Behind the Photoshoot of David Bowie and Twiggy for the Cover of “Pin Ups” Album in 1973

Pin Ups is the seventh studio album David Bowie, released on October 19, 1973. The album cover, featuring Bowie and supermodel Twiggy, was taken in Paris, where Bowie was working on his new album, and originally intended for Vogue magazine.

Twiggy poses with David Bowie in Paris for the cover of his Pin Ups album.

The front cover art for the album Pinups.

The cover photo for Pin Ups reflected the theme of swinging London by featuring 1960s supermodel Twiggy, who had previously been name-checked on Aladdin Sane’s “Drive-In Saturday” as “Twig the Wonder Kid.”

The photo was taken midway through the sessions at a Paris studio by her then-manager and partner Justin de Villeneuve. Twiggy recalled in her autobiography In Black and White that she was “really quite nervous” meeting Bowie, but “he immediately put me at ease. He was everything I could have hoped for and more.”

De Villeneuve first tried posing Twiggy and Bowie together in a shoulder shot. However, he soon realized that this would not appear balanced as Twiggy was very tanned from a recent holiday in the Bahamas while Bowie’s skin was “snow white.” The problem was solved by returning Aladdin Sane make-up designer Pierre Laroche, who used make-up masks to balance the tones out. Twiggy’s face mask was made white to complement Bowie’s skin and Bowie’s face mask was made brown to complement Twiggy’s tan. Twiggy found the final result “enigmatic and strange,” later calling it one of her favorite images and “possibly the most widely distributed photograph ever taken of me.”

Justin de Villeneuve first shot a test Polaroid, which he showed Bowie, and then shot the rest of the session with Rolleiflex Kodak 6x6cm color transparency film. The final product is remarkable (Twiggy looks straight at the camera while Bowie looks straight through it) and is often cited as one of the best rock album covers of all time. Twiggy found the final result “enigmatic and strange,” later calling it one of her favorite images and “possibly the most widely distributed photograph ever taken of me.”

This series of photos was initially intended for the British magazine Vogue but ultimately, de Villeneuve decided to give the photos to David Bowie for the cover of his new album Pin Ups at the cost of his relationship with the fashion magazine, who never wanted worked with him again.

Justin de Villeneuve recalled:

“Twiggy and I were staying in the Bel Air Hotel in LA when Peter Frampton visited us and had bought along a copy of Aladdin Sane by this wonderful new artist David Bowie. One of Bowie’s lyrics included ‘Twig the Wonder Kid.’ Apparently, he was a fan. When we arrived back in London, we met up with David and he mentioned he’d love to be on the cover of Vogue! I then spent a few weeks persuading Bea Miller (editor) that it would be great to have David and Twiggy on a Vogue cover. Eventually she agreed! Twiggy and I flew to Paris where David was recording his new album Pin Ups and I booked a studio to take the portrait.

“When Twiggy and Bowie sat in front of me I realized we had a problem. Twiggy and myself had just returned from the Bahamas and she had a dark tan. David was as white as a ghost. They looked weird. The problem was resolved when the make-up artist Pierre LaRoche and myself decided to draw masks on their faces of the same colors. When I looked through the lens viewfinder I only then noticed that Bowie had different color eyes! All the times I’d met him before I had never noticed. When I showed David the Polaroid of the portrait he loved it and asked if he could have it as the cover of his new album. I replied ‘but this is a special commission for Vogue.’ I then asked him how many albums he thought he would sell, ‘a million’ he replied. I realized Vogue would sell about 80,000 copies which would soon be forgotten. I agreed David could use it as his next album cover. Vogue never spoke to me again!

“Several weeks later, Twigs and I were driving along Sunset Boulevard and we passed a 60ft billboard of the picture. I knew I had made the right decision.”

Pin Ups billboard on Sunset Strip in 1973.

The original LP’s rear sleeve featured two photos by photographer Mick Rock, one of a concert shot from the Ziggy tour and another of Bowie wearing a double-breasted suit cradling a saxophone. Bowie wrote in the book Moonage Daydream: “I chose the performance photos for the back cover as they were favorite Rock shots of mine. I also did the back cover layout with the color combination of red writing on blue as it again hinted at Sixties psychedelia.”

The back cover art for the album Pinups.

Diana Dors: Classic Blonde Bombshell of the 1950s

Diana Dors was a British actress and sex symbol, often referred to as the “British Marilyn Monroe”. Born in 1931, she became famous in the 1950s for her glamorous image and roles in films like Worm’s Eye View (1951), As Long as They’re Happy (1955) and Yield to the Night (1956).

Known for her blonde bombshell looks and curvy figure, Dors had a reputation for being a bold and confident starlet, often embracing roles that played on her sensuality. Despite her early fame, her career had ups and downs, and she later transitioned into TV and stage work.

Dors was also known for her colorful personal life and her marriages, and she remained a prominent figure in British pop culture until her death in 1984. Take a look at these stunning photos to see the beauty of a young Diana Dors in the 1950s.

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