45 Beautiful Photos Show What a Wedding Looked Like in the 1950s

A wedding in the 1950s was the ultimate celebration of tradition, etiquette, and post-war glamour. Unlike the bohemian or modern styles of later decades, a 1950s ceremony was defined by a very specific. Brides typically favored “New Look” silhouettes, featuring cinched waistlines and voluminous tea-length or floor-length skirts made of heavy satin or delicate Chantilly lace. The iconic birdcage veil or a lace-edged cathedral veil was the accessory of choice, often paired with a modest high-neck bodice.

Beyond the fashion, the atmosphere was one of sophisticated simplicity. Receptions were often held in church halls or family gardens, where guests toasted with champagne punch and enjoyed multi-tiered fruitcakes adorned with buttercream flowers.

These beautiful photos from Jay Phillips show exactly what a wedding looked like in the 1950s, serving as a nostalgic reminder of mid-century romance.

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Photographs of Norma Jeane (Later Known as Marilyn Monroe) Playing at the Beach With Her Dog Ruffles, 1947

In 1947, photographer Joseph Jasgur captured a series of iconic photographs of Marilyn Monroe (then still establishing her career) playing at the beach with her dog, a Cocker Spaniel named Ruffles.

Monroe had a lifelong love for animals, often finding comfort in her pets during the pressures of her career. Ruffles was one of her earliest companions, frequently appearing in candid early-career photo sessions. Jasgur was a significant figure in Monroe’s early career, taking some of the first professional “test shots” of her when she was still Norma Jeane Dougherty in 1946 before continuing to document her rise in 1947.

These photos are celebrated for showing a more private, grounded side of Monroe before she became a global phenomenon. While often identified as Zuma Beach in Malibu, some historians and archives suggest the 1947 session may have taken place along old Malibu Road with the Malibu Colony visible in the background.

For decades, Jasgur was involved in legal battles to regain the rights to these early negatives. Following his death in 2009, a bankruptcy court finally ordered the auction of his vast collection, including the Ruffles beach series, in 2011 to settle his estate.

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Klaus Kinski Clutching at the Throat of Director Werner Herzog During the Filming of “Cobra Verde” (1987)

The relationship between director Werner Herzog and actor Klaus Kinski reached a volatile peak during the filming of Cobra Verde (1987), which marked their fifth and final collaboration.

Tensions frequently escalated into physical or psychological threats. In one well-documented moment, Kinski held a machete to Herzog’s throat to supposedly heighten a scene’s realism. On other occasions, Kinski reportedly attempted to attack Herzog with a rock and was photographed attempting to throttle him in front of extras.

Kinski’s “perpetual torrent of verbal abuse” led the film’s original cinematographer, Thomas Mauch, to walk out on the project. Herzog was forced to replace him with Viktor Růžička. The pair often spoke of wanting to kill one another. Herzog later claimed that during a particularly bad argument where Kinski threatened to quit, Herzog threatened to kill Kinski and then himself.

Disputes began as early as pre-production, with Kinski disagreeing with Herzog over filming locations. Herzog often used a “gray rock” method, remaining calm and unresponsive, to prevent Kinski’s explosive rages from completely derailing the production.

This would be Kinski’s last collaboration with Herzog – he’d die four years after its release, having made only two films, both nearly unwatchable (Nosferatu in Venice and Paganini). It seems to have gone about as well as the preceding four, going by Klaus’s comments.

Kinski’s later writings about the film were filled with vitriol, even comparing Herzog’s methods to those of “Adolf Hitler” due to how Herzog managed the large crowds of extras. He said: “I wish Herzog would catch the plague, more than ever. He was even more helpless, more stupid and at the same time more persistent against me, than he was in the last four films, I shot with him. Although he urgently needed my help, and pretended, he would kiss my ass for that, he did the opposite behind my back. The people from Ghana are friendly and peaceful. Herzog knew, how to use them for his purpose. I knew his criminal and enslaving methods since Peru, where he always went for the most helpless and where I eventually called him Adolf Hitler. In Ghana he excelled himself.”

Herzog’s opinions of Kinski are deeply explored in his 1999 documentary retrospective, My Best Fiend (Mein liebster Feind), in which he examines their unique friendship, the associated hatred, and the legacy that both qualities were responsible for. The filming of Cobra Verde and the relationship of Herzog and Kinski was also the subject of a 1987 Swiss documentary film titled Location Africa.

Jester Naefe: The Golden Girl of Post-War German Cinema

Jester Naefe was a talented Austrian actress who became a shining star of German-language cinema during the 1950s. Born in Vienna in 1924, she brought a unique blend of elegance and vivacity to the screen, which quickly made her a favorite among post-war audiences.

Often compared to Hollywood icons due to her stunning looks and charisma, Naefe starred in several high-profile productions that defined the era’s glamor. While her career was centered in Munich and Berlin, she always maintained her Austrian roots. Tragically, her journey in the spotlight was cut short by a debilitating illness, leading to her early withdrawal from public life.

Naefe is remembered as one of the most beautiful and gifted Austrian performers of her generation. Take a look at these vintage photos to see the beauty of a young Jester Naefe in the 1950s.

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Before “Joe le taxi”: Adorable Photos of Vanessa Paradis as a Kid in the 1970s and Early 1980s

Born on December 22, 1972, in the Paris suburb of Saint-Maur-des-Fossés, Vanessa Chantal Paradis was the daughter of André and Corinne Paradis, who were both interior designers. She grew up in a creative and supportive household alongside her younger sister, Alysson (who later became an actress herself). As a child, Paradis was far from an extrovert. She spent much of her time taking dance and piano lessons. She was deeply inspired by classic MGM musicals like Singin’ in the Rain.

Her uncle, Didier Pain, was a French actor and record producer who often took her backstage to theaters and film sets, exposing her to the industry early on. Encouraged by her uncle, she appeared on the popular talent show L’École des fans in 1980, where she sang a song from the musical Emilie Jolie.

Paradis recorded her first single, “La Magie des surprises-parties,” in 1983. While not a massive hit, it gave her the experience needed for what was to come. In 1987, she released “Joe le taxi.” The song was a sensation, spending 11 weeks at #1 in France and even reaching #3 in the UK—an incredible feat for a song sung entirely in French.

Despite the glitz, her childhood was also marked by the “brutal” reality of being a teenage idol. Because of her “Lolita-esque” image and sudden success, she faced significant hostility from some sections of the French public and press. She described feeling like a “caged animal in a zoo” due to the constant stares and comments.

The pressure of her skyrocketing career became so intense that she dropped out of high school at age 16 in 1989 to focus entirely on her music and acting. At 17, she made her film debut in Noce Blanche (1989). Her performance was critically acclaimed and earned her a César Award for Most Promising Actress, proving she was more than just a pop sensation.

By the time she was 18, Paradis was already one of the most famous women in France, having successfully navigated a childhood that transitioned rapidly from the quiet suburbs of Paris to the global stage.

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1959 Cadillac Broadmoor Skyview: The Pinnacle of Automotive Grandeur

The 1959 Cadillac Broadmoor Skyview stands as one of the most extravagant and rare creations of the American “Space Age” in automotive design. Custom-built by the Superior Coach Corporation specifically for the world-renowned Broadmoor Hotel in Colorado Springs, this specialized sightseeing limousine was designed to offer guests an unparalleled view of the Rocky Mountains.

Based on the 1959 Cadillac commercial chassis, the vehicle's most striking feature is its six transparent Plexiglass roof panels, which provided a panoramic “Skyview” experience for passengers. Beyond its unique glass roof, the car boasts the iconic styling of the 1959 Cadillac, most notably the towering tail fins and dual bullet taillights that defined the era's obsession with luxury and aerospace aesthetics.

With only six units ever produced, the Broadmoor Skyview remains a highly coveted masterpiece among collectors, representing a perfect fusion of mid-century hospitality, technical innovation, and pure automotive drama.

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20 Publicity Photos of Tom Hanks and Daryl Hannah on the Set of “Splash” (1984)

In the 1984 film Splash, Tom Hanks and Daryl Hannah deliver breakout performances that redefined the romantic comedy genre. Directed by Ron Howard, the movie was the first released under Disney’s Touchstone Pictures banner, which was created to produce more mature content for adult audiences.

At the time, Hanks was best known for TV comedy (Bosom Buddies), but Splash became his first major film hit as a leading man. Allen Bauer, a lonely New York businessman who falls in love with a mysterious woman he once met as a child. He blends boyish charm, vulnerability, and physical comedy, especially in fish-out-of-water scenes. The film proved Hanks could carry a movie, launching him toward roles like Big (1988) and eventually his dramatic career in the 1990s. His natural sincerity made the fantasy believable and emotionally grounded.

Hannah became an instant icon with her role as Madison. A mermaid who comes to land in human form after rescuing Allen years earlier. She spent hours underwater, often holding her breath for long takes, wearing a custom mermaid tail that limited movement. She brought an ethereal, innocent quality—curious about the human world yet emotionally expressive. Madison became one of the most memorable fantasy heroines of the decade, blending fairy-tale romance with modern comedy.

The film ends with Allen choosing to leave his life on land to live in the ocean with Madison, a rare “happily ever after” where the human hero adapts to the magical world rather than the other way around.

Splash was critically and commercially successful, earning over $69 million on an $11 million budget, making it the tenth-highest-grossing film of 1984, and received praise for the acting, humor, and chemistry between Hanks and Hannah.

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