Gérard Albouy: The Artist Behind the Avant-Garde Hat Designs

Gérard Albouy (1912–1985) was a prominent French artist and milliner who left an indelible mark on the world of mid-century fashion and visual arts.

Best known as one-half of the celebrated millinery duo “Gaby et Gérard,” Albouy transformed hat-making into a form of high art. His creations were far from traditional, they were sculptural, avant-garde masterpieces that graced the heads of style icons and appeared frequently in the pages of Vogue and Harper’s Bazaar.

Beyond fashion, Albouy was a deeply talented painter, known for his ethereal and melancholic portraits that often blended classical techniques with a dreamlike, surrealist quality. His work frequently depicted elegant, elongated figures, reflecting his obsession with grace and the human form.

Whether through the curve of a felt brim or the stroke of a paintbrush, Albouy’s legacy remains one of refined eccentricity and poetic sophistication.

Sophie Malgat in hat by Gérard Albouy, photo by Clifford Coffin, Paris, February 1948

Barbara Goalen wearing en elegant afternoon dress in black wool with small cape effect and a wide patent leather belt that holds the lapels in place by Mad Carpentier, hat by Gerard Albouy, photo by Clifford Coffin, Vogue, October 1948

Barbara Tullgren in cool shirtwaist dress in natural silk pongee by Larry Aldrich, straw tricorne, a copy of Gérard Albouy, made to order at bergdorf Goodman, photo by Horst P. Horst, Vogue, April 15, 1948

Bettina Graziani in hat by Gérard Albouy, photo by Philippe Pottier, 1948

Betty Bridgers is wearing a round visored buttoned little schoolboy cap by Gerard Albouy made to order at Bergdorf Goodman, cover photo by richard avedon, Harper's Bazaae, February 1948

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A City of 2026 Imagined in the Sci-Fi Classic “Metropolis” (1927), Directed by Fritz Lang

In Fritz Lang’s 1927 masterpiece Metropolis, the year 2026 was not just a random date, but a symbolic “one hundred years in the future.” Lang’s vision of the 2026 skyline was a radical fusion of industrial power, social hierarchy, and Art Deco grandeur that continues to influence how we imagine cities today.

In Lang’s Metropolis, architecture is the physical manifestation of class. The height of a building directly corresponds to the social status of its inhabitants. A shimmering playground of white stone and light. Skyscrapers here house “Pleasure Gardens,” stadiums, and lecture halls for the elite. Below the skyscrapers lie the machine halls, and even further down is the “Worker’s City.” The skyscrapers literally sit on the backs of the laboring class. To Lang, verticality wasn’t an urban solution, it was a form of control. The “Head” (the elite) lives at the top, while the “Hands” (the workers) toil at the bottom.

It is a colossal, tiered, zig-zagging structure that dwarfs every other building. The design was heavily influenced by Lang’s 1924 trip to New York City, where he was mesmerized by the “vertical sails” of the skyline at night. It serves as the “brain” of the city, where every flow of data and energy is monitored.

Lang’s 2026 skyscrapers weren’t isolated towers; they were part of a massive, interconnected machine. Multi-level skyways and bridges crisscross between buildings, carrying a constant stream of black motorcars. Biplanes and small aircraft buzz between the towers, suggesting a future where the sky is as congested as the ground. The buildings are designed to be “bathed in an ecstasy of brightness,” using neon signs and floodlights to turn the city into a sparkling, hypnotic landscape after dark.

The look of the 2026 skyline is a blend of several movements:

• Art Deco: Clean lines, geometric shapes, and a sense of “monumental modernism.”
• Italian Futurism: Inspired by Antonio Sant’Elia’s “La Città Nuova,” the buildings emphasize speed, mechanical energy, and industrial scale.
• Gothic Elements: Despite the futurism, the city contains a “haunted” quality, with sharp, expressionistic shadows and even a medieval cathedral tucked between the high-rises.

Metropolis is now widely regarded as one of the greatest and most influential films ever made, ranking 67th in Sight and Sound’s 2022 critics’ poll, and receiving general critical acclaim. In 2001, the film was inscribed on UNESCO’s Memory of the World International Register, the first film thus distinguished.

Federico Seneca: The Visionary of Italian Poster Art

Federico Seneca (1891–1976) was a towering figure in early 20th-century graphic design, celebrated for his ability to blend artistic avant-garde with commercial appeal.

As the art director for Perugina and later Buitoni, Seneca revolutionized Italian advertising by moving away from literal depictions toward bold, stylized metaphors. He is perhaps most famous for creating the iconic visual identity of the “Baci” chocolate, inspired by Francesco Hayez’s famous painting The Kiss, which featured two star-crossed lovers silhouetted against a midnight blue background. His style was deeply influenced by Futurism and Cubism, characterized by clean geometric shapes, dramatic lighting, and a sense of dynamic movement.

Seneca’s work did more than just sell products, it transformed the Italian landscape into an open-air gallery, making sophisticated modern art accessible to the general public and defining the visual language of an era.

Perugina Cioccolato & Confetture, 1922

La Perugina, 1922

Cioccolato Perugina, 1923

Fano, Stazione Balneare, 1923

Buitoni, Pastina glutinata, 1928

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Glamorous Photos of Tippi Hedren Taken by Genevieve Naylor in 1954

Before she became the famous “Hitchcock Blonde,” Tippi Hedren had a highly successful career as a fashion model in New York City throughout the 1950s. Her collaboration with the pioneering female photojournalist and fashion photographer Genevieve Naylor in 1954 captured some of the most elegant images of her pre-Hollywood era.

One of the most famous images from this shoot features Hedren at Pennsylvania Station in New York City. She is often seen wearing a classic 1950s suit, embodying the “sophisticated city traveler” aesthetic. A charming candid-style shot shows Hedren feeding a parrot. This image highlights the natural, high-fashion grace she possessed long before she worked with actual birds on Alfred Hitchcock’s set.

Naylor also captured “behind-the-scenes” moments, including a well-known photograph of Hedren applying makeup in his New York studio. This image provides a rare glimpse into the professional routine of a top 1950s model. The series includes several shots of Tippi modeling elegant day dresses and evening wear, which were frequently published in magazines like Glamour and McCall’s.

Genevieve Naylor was a trailblazer who had been a war-time photographer in Brazil and later became a prolific freelancer for Vogue and Harper’s Bazaar. By 1954, she was also serving as Eleanor Roosevelt’s personal photographer.

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Amazing Photographs of Janis Joplin Performing at the 1968 Newport Folk Festival

Janis Joplin’s performance at the 1968 Newport Folk Festival (July 27, 1968) was a pivotal moment in the festival’s history. Appearing with Big Brother and the Holding Company, Joplin arrived just as the band was on the verge of superstardom – their iconic album Cheap Thrills was released only a month later.

Despite the “folk” branding of the festival, Joplin and Big Brother brought a loud, electric, and raw blues-rock energy that polarized the traditional folk audience but captivated the younger crowd. The performance was high-intensity, featuring several of their most famous tracks: “Piece of My Heart,” “Summertime,” “Coo Coo,” “Combination of the Two,” “Ball and Chain” and “Down on Me.”

Closing out the Saturday evening program, the band was credited with “saving” the festival from financial ruin that year due to their massive drawing power. As the group left the stage to a mix of thunderous applause and boos (due to the strict curfew ending the show), Janis famously shouted to the crowd, “You’re so groovy, man! Thank you!”

At the time, Newport was still reeling from Bob Dylan “going electric” in 1965. Joplin’s 1968 set pushed those boundaries even further. It was one of the last major festival appearances for the original Big Brother lineup before Janis left to pursue her solo career with the Kozmic Blues Band later that year.

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A Summer to Remember: Relaxing on the Banks of the Seine in 1967

During the 1960s, the banks of the Seine served as the ultimate sanctuary for Parisians seeking a slow-paced escape from the city’s post-war modernization. This era captured a unique “joie de vivre,” where the riverbanks were not yet dominated by heavy traffic or massive tourism.

On sunny afternoons, the stone quays were dotted with students from the Sorbonne, young lovers, and solitary readers, all basking in the gentle reflection of the water. Men in slim-fit trousers and women in chic shift dresses or simple capri pants would sit with their legs dangling over the edge, often accompanied by a transistor radio, a sketchbook, or a simple picnic of baguette and wine.

The atmosphere was one of effortless cool and bohemian freedom, a timeless scene where the rhythmic flow of the river matched the unhurried spirit of a generation defining its own sense of leisure. These vintage photos capture people relaxing on the banks of the Seine in 1967.

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Dolly Parton Photographed by Mario Casilli, 1987

In 1987, the renowned celebrity photographer Mario Casilli captured an iconic series of portraits of Dolly Parton. These photographs were primarily used as publicity shots for her ABC prime-time variety series, simply titled Dolly!, which debuted in September 1987.

One of the most recognized images from this session features Parton in a custom pink gown created by the Western Costume Co., with her hair styled by David Blair. Casilli’s work during this period is celebrated for its high-glamour aesthetic, characterized by soft lighting and vibrant colors that epitomized the 1980s celebrity style.

Mario Casilli was famous for his ability to make stars look their most glamorous, and his 1987 collaboration with Parton remains a definitive visual representation of her “80s era” persona.

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