David Bowie and Kate Moss Photographed by Ellen von Unwerth for Q Magazine, 2003

These photos are part of an iconic series the famous contemporary photographer Ellen von Unwerth created in 2003 for Q Magazine. The photographs were commissioned for the October 2003 cover and inside pages of the British music magazine. The shoot combines two legends, Kate Moss and David Bowie, who shaped the Western pop culture of the late 20th century. It was notable as the pair had not met before. The session occurred in New York City in a setting featuring midcentury modern furniture, including a couch and a fluffy carpet.

Von Unwerth based the photoshoot on the 1960s film Blow-Up, with Bowie playing a character similar to the photographer in the movie and Moss acting as the model character. The two legends had never met before, and von Unwerth noted that Bowie was immediately protective and warm toward Moss during the spontaneous session.

The resulting images, including the black and white prints, are known for their blend of coolness, elegance, and intimate energy. The images from this series have become iconic and are often featured in exhibitions of Ellen von Unwerth’s work.

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That Time Leonard Nimoy Met Jimi Hendrix in Cleveland, Ohio, 1968

The iconic meeting between Leonard Nimoy and Jimi Hendrix occurred on March 25, 1968, in Cleveland, Ohio, at a nightclub called Otto’s Grotto in the Statler-Hilton Hotel. The encounter was photographed by Jim Marshall and happened by chance, as both men were staying at the same hotel for separate professional engagements.

Leonard Nimoy, famous for his role as Mr. Spock on Star Trek, was in Cleveland to promote his second album, Two Sides of Leonard Nimoy, which featured covers of folk-rock and country songs. He was attending a dinner in honor of the album's release.

Jimi Hendrix and his band, The Experience, were in town to perform a concert the following day, March 26, as part of their 1968 tour. Earlier that evening, Hendrix had been jamming with a local band called Good Earth at the same hotel.

During Nimoy’s dinner, someone informed him that Jimi Hendrix was in the next room and wished to meet him. Nimoy, a fan of Hendrix’s work, agreed immediately. He later recalled the moment: “I thought about it for a nanosecond, and I said ‘bring him in.’”

The two cultural icons hit it off, chatting for hours. Hendrix was a devoted science fiction enthusiast and a fan of Star Trek, while Nimoy was a great admirer of Hendrix’s musical talent. Nimoy described Hendrix as“"charming,” “very nice,” and a “great, great artist.”

According to Noel Redding, The Experience’s bassist who was also present, Nimoy later joined the band in their hotel room to “smoke a joint and commiserate over the utter boredom generated by press affairs.” The conversation reportedly continued until the early hours of the morning.

Hollywood Pin-Up Queen: Stunning Color Photos of 1940s Icon Betty Grable

Betty Grable (1916–1973) was an American actress, dancer, and singer whose exceptional popularity made her one of the highest-paid stars in Hollywood during the 1940s. Known for her infectious blonde glamour and radiant screen presence, she became the number-one box-office attraction for several years, primarily starring in lavish 20th Century Fox musical comedies.

Grable’s most enduring legacy, however, is her status as the quintessential World War II pin-up girl; her famous back-facing photo in a white swimsuit was the most reproduced image of its kind and became a powerful morale booster for millions of Allied servicemen. She was famously insured for a million dollars by the studio for her legs alone.

Grable symbolized the cheerful optimism and glamour of wartime America, cementing her place as a true Hollywood icon. Take a look at these stunning color photos to see the beauty of young Betty Grable in the 1940s.

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33 Amazing Photos From the Set of “Subway” (1985)

The 1985 French film Subway, directed by Luc Besson, gained its behind the scenes notoriety from being shot almost entirely in real locations across the Paris Métro system, often in a run-and-go fashion, using the actual stations and tunnels as the backdrop for its surreal, character-driven story.

The production filmed in active parts of the Paris subway, which was a challenging logistical feat at the time. The low-budget, independent nature of the production meant the crew frequently moved gear in and out of stations and had to work around the operational schedule of the metro. This contributed to a very demanding physical shoot for cast and crew alike.

Director Luc Besson and his team aimed to capture the authentic, raw atmosphere of the real metro, from the noise of the trains to the lighting of the platforms, rather than building studio sets. This approach leant a genuine feel to the film's “slice-of-life” portrayal of the underground community.

Subway is considered a key film in the French “cinéma du look” movement, which prioritized strong, stylized visuals and a focus on characters and style over deep, conventional plot.

A memorable scene features the character “Le Roller,” played by Jean-Hugues Anglade, roller-skating at high speed through the tunnels and down escalators. The stunts for this were performed by the French roller-skating champion of the time.

Despite its unconventional style and challenging filming environment, Subway was a huge box-office success in France and garnered critical acclaim, winning three César Awards. The film’s unique setting, character portrayals by now-famous actors like Christopher Lambert, Isabelle Adjani, and Jean Reno, and its distinct 1980s aesthetic solidified its status as a cult classic.

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Esther M. Larson: A Master of Mid-Century Fashion Illustration

Esther M. Larson (1904–1998) was a prominent American fashion illustrator whose career spanned over five decades. She was widely recognized for her elegant and expressive illustrations created for high-fashion magazines and department store campaigns.

Larson contributed to major publications such as Vogue and illustrated catalog ads for prestigious retailers like Bergdorf Goodman. Her style exemplified mid-20th-century fashion illustration: refined, glamorous, and with a strong sense of line and form.

Beyond her illustration work, Larson had a diverse set of interests: she restored old New England houses, collected American antiques, and bred Airedale terriers. She passed away at the age of 96, leaving behind a legacy as one of the most respected fashion artists of her era.

Elegant theater suit in garnet silk and rayon velvet, whisper-striped in black, the velvet dress has flower clusters in garnet at the neck, at Bergdorf Goodman, illustrated by Esther M. Larson, Harper's Bazaar, September 1950

A fashionable close-fitting suit of navy wool worsted, the collar of cardinal-red tie silk outlined with navy passementerie at Bergdorf Goodman, illustrated by Esther M. Larson, Vogue, March 1, 1951

Suit by Bellciano illustrated by Esther M. Larson, Harper's Bazaar, January 1951

A navy town dress in imported French tissue accented with white piqué by Nicol of Sweden for Bergdorf Goodman, illustrated by Esther M. Larson, Vogue, February 1, 1952

Spring suit in menswear fabric in haze blue or gray exclusively at Bergdrof Goodman, illustrated by Esther M. Larson, Harper's Bazaar U.S., February 1952

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Jamie Lee Curtis Photographed by Douglas Kirkland, 1983

Jamie Lee Curtis participated in a well-known photoshoot with photographer Douglas Kirkland in July 1983. The photoshoot produced several iconic images, including the famous photograph of her posing next to a “Danger Curves Ahead” traffic sign.

According to Jamie Lee Curtis, the photo shoot was her idea, stemming from her “marketing girl” instincts. She wanted photos that showcased her figure and fitness, a theme prominent in her life and career at that point. She asked her fiancé at the time, J. Michael Riva (a production designer), to have his art department painter create the famous, custom-made “Danger Curves Ahead” road sign. This sign was a clear double-entendre, referencing the curvy Mulholland Drive road in Los Angeles where they shot, but also playfully drawing attention to her figure.

The photos were taken outdoors and some at her home in Santa Monica, capturing a contrast to typical Hollywood glamour. The images were intended to portray Curtis as down-to-earth and accessible, balancing her rising film career with a sense of normalcy.

The resulting photographs are celebrated as some of the most memorable portraits of Curtis from the 1980s, effectively conveying her vibrant personality and the era's fitness trends. Douglas Kirkland, known for his intimate and elegant portraits of cinema stars, successfully captured the essence of Curtis at a pivotal moment in her career.

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Nan Grey: A Graceful Star of 1930s Hollywood

Born Esmée Nanette Grey in Houston, Texas, American actress Nan Grey (1918–1993) rose to prominence during Hollywood’s Golden Age in the 1930s.

Often cast in supporting roles as a sympathetic young woman, Grey gained recognition for her work in horror and comedy films. She is perhaps best known for her roles in the Universal Pictures classics Dracula’s Daughter (1936) and the musical comedy Three Smart Girls (1936), the latter of which starred Deanna Durbin and led to a successful sequel.

After a brief but active career, Grey retired from acting in the early 1940s following her marriage to singer Frankie Laine, choosing to focus on her family. Though her filmography is relatively short, Nan Grey remains a memorable figure of pre-war cinema.

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