30 Amazing Photos of Burt Reynolds in the 1970s

Burton Leon Reynolds Jr. (February 11, 1936 – September 6, 2018) was an American actor most famous during the 1970s and 1980s. He became well known in television series such as Gunsmoke (1962–1965), Hawk (1966) and Dan August (1970–1971). He had leading roles in films such as Navajo Joe (1966), and 100 Rifles (1969), and his breakthrough role was as Lewis Medlock in Deliverance (1972).

In the 1970s, Reynolds was the undisputed king of Hollywood, blending rugged masculinity with a self-deprecating wit that made him a global icon. He dominated the box office for a record five consecutive years (1978–1982), a feat matched only by Bing Crosby. While he spent the 1960s in TV Westerns, his role as Lewis Medlock in the 1972 survival thriller Deliverance established him as a serious actor capable of intense, physical performances.

In 1972, Reynolds famously posed nearly naked on a bearskin rug for Cosmopolitan magazine, a move that solidified his status as a cultural heartthrob and “ultimate stud.” He became the face of Southern-fried action-comedies. His portrayal of Bo “Bandit” Darville in Smokey and the Bandit (1977) made him a folk hero and turned the Pontiac Trans Am into an overnight sensation. Drawing on his background as a college halfback, he starred in iconic sports films like The Longest Yard (1974) and Semi-Tough (1977).

Unlike other stoic leading men, Reynolds was a frequent guest on The Tonight Show Starring Johnny Carson, where his sharp humor and willingness to mock his own films endeared him to audiences. Along with the mustache, his 1970s look—aviator sunglasses, unbuttoned shirts, and cowboy boots—became the decade’s blueprint for rugged cool.

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Freedom on Wheels: 1920s Women and the Automobile

The 1920s marked a radical shift in social norms, and nothing captured this newfound independence better than the image of the “New Woman” posing with an automobile. During this era, the car was far more than a luxury, it was a powerful symbol of mobility and liberation. No longer confined to the domestic sphere or reliant on male drivers, women, often sporting bobbed hair and flapper fashion, took to the driver’s seat with confidence.

Photographs from this decade frequently show women leaning against sleek Model Ts or elegant roadsters, their poses radiating a sense of adventure and defiance. These images reflected a world where women were navigating their own paths, both on the road and in society. Whether dressed in practical driving coats or glamorous evening wear, the women of the Jazz Age used the automobile to signal their entry into the modern world, turning the act of posing with a car into a bold statement of autonomy and style.

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Photoshoot of Jennifer Aniston for Tatler Magazine in 1997

Jennifer Aniston’s appearance in Tatler Magazine occurred for the August 1997 issue of the British edition. This was a significant year for her, as she was also promoting her film Picture Perfect and appeared on several other major covers (including Cosmopolitan that same month).

The photographs for the Tatler story were taken by the renowned celebrity photographer Matthew Rolston. Known for his glamorous, highly polished lighting style, Rolston captured Aniston in Los Angeles during the height of “Rachel-mania.” In contrast to her girl-next-door Friends persona, the Tatler shoot leaned into a more sophisticated, “Old Hollywood” high-fashion aesthetic. The feature focused on her transition from television star to a leading lady in film.

By 1997, Aniston was also beginning to navigate the pressures of intense media attention. Her personal life, particularly her high-profile relationship with Brad Pitt, which would soon begin, was becoming tabloid material. Yet shoots like Tatler presented her in a more refined, editorial light, positioning her not just as a TV star, but as a serious Hollywood actress with longevity.

30 Fascinating Photos of Eva Gabor in the 1950s

Eva Gabor (February 11, 1919 – July 4, 1995) was a Hungarian-American actress and socialite. She gained fame for her role on the 1965–1971 television sitcom Green Acres as Lisa Douglas, the wife of Eddie Albert’s character Oliver Wendell Douglas.

In the 1950s, Gabor was a rising star in Hollywood and on Broadway, widely recognized as the most talented and grounded of the three famous Hungarian-born Gabor sisters. While her sisters Zsa Zsa and Magda were often in the headlines for their social lives, Eva focused on building a diverse acting career across film, stage, and the emerging medium of television.

In 1950, she earned critical acclaim for her performance in The Happy Time. This role established her as a capable performer and led to a Life Magazine cover in February 1950. She became one of the first women to host her own talk show, The Eva Gabor Show, which aired from 1953 to 1954.

She appeared in several major films during this decade, often in glamorous “bit parts” or supporting roles such as: The Last Time I Saw Paris (1954), Artists and Models (1955), My Man Godfrey (1957), Gigi (1958), and It Started with a Kiss (1959).

Eva was known for a warmer, softer personality compared to the more caustic Zsa Zsa. She maintained her trademark Hungarian accent and a high-fashion, socialite aesthetic that she would later parody in her most famous role as Lisa Douglas on Green Acres.

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Ann-Margret: The Sizzling Star of the Sixties

Ann-Margret burst onto the silver screen in the 1960s like a bolt of electricity, quickly becoming the era’s ultimate symbol of talent and charisma. With her fiery red hair and a voice that blended soulful depth with playful grit, she earned the title “the female Elvis Presley”, a moniker she lived up to in the legendary 1964 hit Viva Las Vegas. Her breakthrough in Bye Bye Birdie (1963) showcased a performer who could out-sing, out-dance, and out-shine anyone in Hollywood, capturing the vibrant, youthful spirit of the decade.

Yet, beneath the “sizzling” exterior lay a powerhouse of dramatic depth. Ann-Margret transitioned seamlessly from the high-energy musicals of the sixties to acclaimed, gritty roles in the seventies, earning two Academy Award nominations for Carnal Knowledge and Tommy.

Throughout her six-decade career, Ann-Margret has remained an enduring icon, a rare talent who combined the glamour of a pin-up with the raw, unstoppable force of a true artist.

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Michael Sherard: The Architect of Post-War Elegance

Michael Sherard (1910–1998) was a prominent British couturier and a leading figure in the London fashion scene during the mid-20th century. As a member of the elite Incorporated Society of London Fashion Designers (IncSoc), he stood alongside legends like Norman Hartnell and Hardy Amies, helping to restore London’s reputation as a global fashion capital after World War II. Sherard was celebrated for his refined craftsmanship and “romantic-classical” aesthetic, specializing in exquisitely tailored evening gowns and formal wear that catered to the British aristocracy and high society.

Beyond the runway, Sherard made a significant impact on the performing arts, designing costumes for approximately 30 West End productions, most notably the original 1952 production of Agatha Christie’s The Mousetrap. His designs were often characterized by luxurious fabrics and intricate detailing, such as his signature “leafy-tiered” skirts.

After closing his fashion house in 1964, Sherard transitioned into a distinguished academic career, sharing his expertise with future generations of designers. These glamorous photos capture portraits of model wearing fashion designs by Michael Sherard from the mid-20th century.

Barbara Goalen in evening dress with a graceful swirl of pleats and jewel-embroidered top, wrapped with swaths of marron tulle by Michael Sherard, photo by Richard Dormer, Harper's Bazaar UK, March 1949

Barbara Goalen in romantic white organdie dress hand-painted with London sparrows, the waist threaded with brown ribbon by Michael Sherard, photo by Richard Dormer, Harper' Bazaar UK, April 1949

Princess Helen Wolkonsky wearing a pleated evening dress of shaded yellow chiffon with a flying stole by Michael Sherard, photo by Jay at the Coloseum in Rome, Harper's Bazaar UK, May 1949

Shelagh Wilson in wonderful ball dress of tiny spiraling accordion pleats in three tiers in muted green silk taffeta with a spray of roses at the waist by Michael Sherard, photo by Henry Clarke, Harper's Bazaar UK, November 1949

Della Oake in a suit by Michael Sherard, photo by Lee Miller for the Picture Post, " London Says Dress To Suit Yourself", 1950

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“Heart-and-Dagger” Sweaters Fashion From the 1940s

The “bleeding heart” or “heart-and-dagger” sweaters were an iconic novelty fashion of the 1940s. The style is attributed to Los Angeles designer Suse (Susan) Dannenberg, who in the mid-1940s began applying elaborate felt appliqués to hand-knit sweaters to “distract from her portly figure.”

Her novelty sweaters became an immediate sensation, worn by numerous Hollywood starlets, including Barbara Stanwyck and Esther Williams, and were featured in LIFE magazine. The most famous design was the “Jezebel” sweater, which featured a bejeweled felt heart-and-dagger design, often shown as a bleeding or stabbed heart. Other variations included hearts with arrows (reminiscent of a design worn by Ginger Rogers in a 1938 film).

The sweaters were typically hand-knit with a high, rounded crew neck, wide shoulders, and a fitted, slightly cropped waist. The novelty designs were created using felt appliqués, embroidery, and sometimes beads or sequins.

This style was a key part of the 1940s novelty knitwear trend, which embraced playful motifs like animals, flowers, and seasonal icons, offering a touch of whimsy amidst the era's more practical, military-influenced fashion.

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