Erwin Blumenfeld: The Surrealist Visionary of Fashion Photography

Erwin Blumenfeld (1897–1969) was a German-American photographer who fundamentally redefined the aesthetics of fashion and beauty during the mid-20th century.

Deeply rooted in the Dada and Surrealist movements, Blumenfeld treated the camera not merely as a recording device, but as a laboratory for avant-garde experimentation. During his legendary tenure at Vogue and Harper’s Bazaar, he introduced groundbreaking techniques such as solarization, multiple exposures, color filtration, and extreme cropping to create images that were both eerie and ethereal. His most famous work, the 1950 “Doe Eye” cover for Vogue, remains a masterpiece of minimalism, reducing the human face to its most essential, graphic elements.

Beyond the glamour of high fashion, Blumenfeld’s work was characterized by a lifelong obsession with the female form and a complex psychological depth born from his experiences surviving two World Wars. Today, he is remembered as a pioneer who bridged the gap between commercial photography and fine art, proving that a fashion image could be as intellectually challenging as a painting.

Mrs. Schuyler Watts in pink silk chiffon dress and make-up by Germaine Monteil, photo by Erwin Blumenfeld, Harper's Bazaar, January 1942

Woman with camellias, photo by Erwin Blumenfeld, 1943

"Le Poudrier", a study for an advertisement, photo by Erwin Blumenfeld, 1944

Goddess of New York, photo by by Erwin Blumenfeld, 1944

Model in raincoat, photo by Erwin Blumenfeld, 1944

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Double Trouble: The Strange Mugshots of Harris Lyons, 1893

The photos of Harris Lyons were taken by the police in Newark, New Jersey. They are carte de visite, also known as CDVs, meaning they are small photos mounted on card stock about the size of playing cards. CDVs were popular for non-criminal portrait photos too! In the case of mugshots, they usually had pre-printed labels on the back side with spaces for the police to write in details about the subject’s appearance and arrest.

What initially intrigued about the CDV mugshots of Harris is that he was photographed twice. He has a scruffy beard in one photo, and in the other, he’s clean-shaven. His beard was minimal. It doesn’t hide his mouth, chin or jaw line to any extent. Both photos were taken of him in exactly the same position. So why take two photos?

To answer that question we need to delve a bit deeper into the story. Harris and a criminal pal named James Goughty were arrested in New York City on December 8, 1893 for a “sneak thief” robbery in Newark, New Jersey, according to an article that appeared on December 9th in The Evening World (New York, NY). The article stated that Emma Zillaux, the storekeeper of the business that was robbed, identified the men after she saw their photos in the New York City Rogues’ Gallery. As you can see by reading the back of his cards, Harris was not photographed in Newark until two weeks after his arrest in New York. This detail explains why two photos were taken of him.

In between the New York arrest on the 8th and the taking his photo in New Jersey on the 22nd, he’d likely been held in jail and been unable to shave. Assuming he was normally clean-shaven, the police wanted his mugshot to show him like that. But it’s interesting that they also photographed him with the stubble. Maybe they took that photo first, then realized their mistake, shaved him and took another photo. It’s interesting that they kept both photos.

Since the New York City police also had his mugshot, it will come as no surprise that Harris Lyons had a long and interesting criminal career; one that even included stealing silver from a descendant of Alexander Hamilton. Cath Giesbrecht, his great grandniece, has researched Harris and written a fascinating story about him. Here’s a link to her Substack article about her Uncle Harris.

(via Captured and Exposed)

Josep Renau: The Architect of Visual Resistance

Josep Renau (1907–1982) was a visionary Spanish artist, theorist, and political activist who revolutionized the use of graphic design as a tool for social change.

As a master of photomontage, Renau drew heavy influence from the Berlin Dadaists, using cut-out imagery to create sharp, satirical critiques of capitalism, fascism, and war. During the Spanish Civil War, he served as the Director General of Fine Arts for the Republic, famously commissioning Pablo Picasso to paint Guernica for the 1937 Paris World’s Fair and orchestrating the daring rescue of the Prado Museum's masterpieces from nationalist bombings. His most iconic personal project, the series The American Way of Life, produced during his exile in Mexico, remains a powerful indictment of Cold War consumerism.

Renau’s work is characterized by its vibrant colors, bold structural layouts, and an unwavering belief that art should not merely reflect the world, but actively work to transform it.

Harina Malteada SOS, circa 1929

Baleares, La isla de las maravillas, 1929

Buster Keaton (Pamplinas), circa 1930

Gran Feria de Valencia, 1931

Las Arenas Balneario, Valencia, 1932

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30 Photos of Rod Stewart in the 1980s

Sir Roderick David Stewart (born January 10, 1945) is a British singer and songwriter. Known for his distinctive raspy singing voice, Stewart is among the best-selling music artists of all time, having sold more than 120 million records worldwide.

In the 1980s, Stewart was a fascinating study in survival. While many of his 1970s rock peers struggled to stay relevant, he leaned into the era’s glossy production, synthesizers, and music videos. He transitioned from a gritty “blues-rocker” to a full-blown “pop superstar,” though this came at the cost of significant critical backlash.

Stewart started the 1980s moving away from the disco controversy of 1978’s “Da Ya Think I’m Sexy?” by embracing New Wave and Synth-Pop. He found huge success with Tonight I’m Yours (1981). The hit single “Young Turks” is arguably his most iconic 80s track, perfectly blending his signature raspy vocals with a driving synth beat. This was his most “pop” period.

He leaned heavily on outside songwriters and high-gloss production. Albums like Body Wishes (1983) and Camouflage (1984) produced hits like “Baby Jane” and “Some Guys Have All the Luck,” but critics often panned them for being “disposable.” He staged a major artistic comeback with the album Out of Order (1988). He moved back toward a more soulful, rootsy sound with hits like “Forever Young” and his famous Tom Waits cover, “Downtown Train” (1989).

Rod Stewart’s look in the 1980s was the epitome of the decade's excess. He was a constant fixture in tabloids and on MTV. His famous spiky blonde mullet became even more exaggerated, often defying gravity. He was known for flamboyant stage outfits, including leopard-print spandex, brightly colored suits with rolled-up sleeves, and silk scarves.

He maintained a high-profile “playboy” image, famously dating models (like Kelly Emberg) and living a lavish lifestyle in Los Angeles, which fueled the perception of him as a jet-set celebrity rather than a serious musician.

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Fashion Styles of 1990s Couples: A Blend of Rebellion and Minimalism

Fashion for couples in the 1990s was a vibrant reflection of a decade that swung between raw individualism and polished simplicity. Many pairs embraced the “Matching Aesthetic,” often seen in the iconic “denim-on-denim” look or oversized flannel shirts inspired by the Grunge movement.

For everyday wear, it was common to see couples in high-waisted “mom” jeans, chunky white sneakers, and windbreakers with bold neon accents. On the other hand, the late ’90s introduced a more sophisticated minimalism, where couples opted for sleek, monochromatic outfits, think black turtlenecks, slip dresses over T-shirts, and leather blazers that echoed the cool, effortless style of celebrity power couples like Johnny Depp and Kate Moss.

Whether it was the baggy silhouettes of streetwear or the “heroin chic” of high fashion, ’90s couple style was defined by a sense of shared identity and a relaxed, “too cool to care” attitude that continues to influence modern vintage trends.

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London Underground Train Guards at Night in the 1960s

In the 1960s, a late-night journey on London’s Central Line carried with it a sense of quiet reassurance, thanks to the uniformed guard stationed in the last carriage. His presence was steady but unobtrusive, a silent guardian watching over the scattered passengers who rode the Underground after hours. For weary workers finishing long shifts, young revelers heading home from the city, or solitary travelers passing through the dim tunnels, that watchful figure offered a comfort that words rarely expressed. In the stillness between stations, his presence reminded people that they were not entirely alone.

Over time, these guards became woven into the familiar fabric of daily travel. Regular commuters knew the sight of the cap, the uniform, the steady stance—figures as much a part of the experience as the screech of brakes or the sway of the carriages. They were not there to intrude but to embody a sense of order, safety, and humanity within a transport system that could often feel cold and mechanical. In the stretches of darkness beneath the city, their simple duty carried great weight: they were the human element in an otherwise impersonal journey, offering protection through presence alone.

By the 1990s, however, the era of the guards came to an end. Cost-cutting measures, new technology, and shifting priorities led to their removal, leaving automated announcements and CCTV to fill the void. The change was practical, even inevitable in the march of modernization, but it also marked the quiet loss of something intangible. The Underground still ran, the trains still carried Londoners through the night, yet the human reassurance was gone, the figure who stood in the shadows, ensuring safe passage, had vanished into memory, leaving behind only echoes of a time when safety had a face.

(Photos via SQUAREWHEELS.org.uk)

18 Rare and Adorable Photos of Joan Baez When She Was a Child in the 1940s and 1950s

Joan Baez is an American singer, songwriter, musician, and activist. Her contemporary folk music often includes songs of protest and social justice. Baez has performed publicly for over 60 years, releasing more than 30 albums. Born on January 9, 1941, in Staten Island, New York, she grew up as the middle of three daughters in a household that blended Mexican, Scottish, and English heritage.

Her father, Albert Baez, was a Mexican-born physicist who co-invented the X-ray microscope. Her mother, Joan Bridge Baez, was the daughter of an English Anglican priest. Though her grandfathers were ministers, her parents converted to Quakerism during her early childhood. This faith deeply influenced her lifelong commitment to pacifism and social justice. Due to her father’s work with UNESCO and academia, the family moved frequently, living in various parts of the U.S. and abroad in countries like England, France, Switzerland, and Iraq. 

Baez’s youth was marked by experiences that fueled her later activism. Because of her Mexican heritage and dark complexion, she was often subjected to racial slurs and discrimination from peers. She felt like an outsider, marginalized by both white and Mexican students.

At age 10, she spent a year in Baghdad, Iraq, where witnessing extreme poverty profoundly affected her social conscience. In high school in Palo Alto, she committed her first act of civil disobedience by refusing to participate in an air raid drill, which she believed was a pointless exercise. 

While she was born with a “gifted” soprano voice, her formal musical journey began with simple instruments. A friend of her father gave her a ukulele, which became her first instrument and a way to connect with others at school.

At age 13, attending a Pete Seeger concert was a turning point. She was so moved by his music that she began practicing his repertoire and performing publicly. By the time she graduated from Palo Alto High School in 1958, she was already excelling in music and had transitioned to the acoustic guitar. 

In recent years, Baez has shared more vulnerable aspects of her childhood. Throughout her youth, she suffered from severe anxiety attacks, phobias, and insomnia. In her later life and the 2023 documentary I Am a Noise, she revealed that she and her sister Mimi struggled with repressed memories of sexual abuse by their father, though he denied the allegations until his death.

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