22 Photographs of Vera Miles as Lila Crane on the Set of Alfred Hitchcock’s “Psycho” (1960)

In Alfred Hitchcock’s 1960 psychological masterpiece Psycho, Vera Miles plays Lila Crane, the headstrong and determined sister of the ill-fated Marion Crane. Following Marion’s abrupt disappearance, Lila pairs up with Marion’s boyfriend, Sam Loomis, to hunt for clues. Her investigation ultimately leads her straight to the eerie Bates Motel and into a terrifying face-to-face confrontation with the reality of Norman Bates and his “mother.”

While Janet Leigh’s Marion Crane draws the audience in, her shocking mid-movie death completely shifts the narrative focus. Lila Crane steps forward as the film’s true grounded investigator. Bringing sharp intelligence and cautious poise to the screen, she acts as the practical anchor that drives the mystery forward during the tense second half of the movie.

Lila is the central figure in one of the most famous climax sequences in cinematic history. While sneaking through the Bates home, she discovers a figure seated in the basement fruit cellar. Turning the chair around, she reveals the mummified skeletal corpse of Mrs. Bates. This discovery triggers her iconic horror scream just moments before Norman Bates attacks her while dressed in his mother’s clothes.

Vera Miles’ relationship with director Alfred Hitchcock was historic; she was originally intended to star in Vertigo (1958) before a pregnancy shifted those plans. Decades after the original masterpiece, Miles cemented her legacy as the ultimate survivor by returning to reprise her role as Lila Crane (now Lila Loomis) in the 1983 horror sequel Psycho II.

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30 Snapshots of River Phoenix Posing With His Fans in the Late 1980s and Early 1990s

River Phoenix (August 23, 1970 – October 31, 1993) was an American actor and musician. The older brother of actor Joaquin Phoenix, he was known as a teen actor before taking on leading roles in critically acclaimed films, becoming one of the preeminent acting talents of his generation.

During his rise to stardom in the late 1980s and early 1990s, Phoenix was widely celebrated for his grounded, generous, and incredibly warm interactions with fans. Unlike many insulated Hollywood teen idols of the era, he frequently bypassed security barriers to talk, sign autographs, and take casual photographs with the people who supported his films and his band, Aleka’s Attic.

Following the massive success of Stand by Me (1986) and his Oscar-nominated role in Running on Empty (1988), Phoenix became an instant heartthrob featured heavily in magazines like Bop and Seventeen. Fans frequently sought him out at red carpets, press tours, and film sets.

Outside of film sets, Phoenix was often approached by fans while performing or touring with his band, Aleka’s Attic. Fans often recalled him hanging out around venue entrances or outside independent record shops in Gainesville, Florida, stopping to chat about music and animal rights rather than movie fame.

Contemporaries, co-stars, and fans frequently noted that Phoenix was quiet and soft-spoken in personal encounters. Rather than rushing past crowds, he often signed autographs, posed for polaroids, and engaged in genuine conversations, particularly if fans brought up causes he cared about, such as veganism, PETA, or environmentalism.

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Cynthia Korman: Elegant Face of Late-1960s Fashion

Cynthia Korman was an American fashion model active in the late 1960s and early 1970s, known for her refined features and sophisticated presence in high-fashion editorials.

Korman appeared in major magazines such as Vogue and Harper’s Bazaar, where she was photographed by leading photographers of the era, including Gianni Penati, John Cowan, and William Silano. Her work captured the elegant, modern style of the period, from refined designer looks by Galanos and Anne Klein to striking location shoots.

With her poised beauty and clean aesthetic, Korman remains a memorable face of late-1960s fashion photography. These vintage photos beautifully capture the refined elegance and timeless style of Cynthia Korman, a sophisticated model of the late 1960s.

Cynthia Korman in white silk crêpe dress, pleats dipped in silver bugle beads, the bare back and deeply V-d front is underlined by beaded belt by Eric for Bergdorf Goodman, , photo by Louis Faurer, Harper's Bazaar, October 1967

Cynthia Korman in Balmain's wool crépe dress trimmed with ostrich feathers, photo by Jeanloup Sieff, Vogue, 1968

Cynthia Korman in coral maillot caught at the shoulders and in the back by rings of crystal and plastic in Lycra and nylon by Elizabeth Stewart, photo by Bill Silano, Harper's Bazaar, May 1968

Cynthia Korman in little slip of a green dress banded in white, belted in white with silver buckle, loose sleeves, in Trevira knit by Teal Traina, Sant Angelo earrings, photo by Bill Silano, Harper's Bazaar, January 1968

Cynthia Korman in little smocked dress of navy blue voile sprigged with tiny white flowers, the smocked waist is raised high by Ulla at Paraphernalia, photo by Guy Bourdin, Harper's Bazaar, April 1968

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Keith Moon of The Who Dressed as Court Jester to Amuse the Children of the Barnardo Day Centre, 1977

Keith Moon, drummer of The Who rock group, pictured in the Daily Mirror studios, dressed in court jester costume and make up to entertain the children of the Barnardo Day Centre at Forest Gate, East London in December 1977.

Known for his chaotic antics, hotel room destruction, and explosive drum solos, Moon also had a soft, playful heart, especially when it came to charity and theatrical dress-up. Organized as a Christmas goodwill visit for Barnardo’s, a prominent UK charity supporting vulnerable children and families. Moon went all-out, donning complete white greasepaint, a pointed cap with jester bells, and a yellow-and-red padded suit.

This event occurred less than a year before Moon’s tragic death in September 1978, making it one of the most memorable candid photos from his final months.

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30 Vintage Snaps of People with Light Planes in the Mid-Century

These vintage photos capture the charm and optimism of mid-century aviation through everyday people and their light planes.

From small private aircraft parked on grass runways to proud owners posing beside their machines, the images reflect a time when personal flying was becoming more accessible and full of adventure.

With their casual style and nostalgic atmosphere, these snaps preserve the spirit of postwar enthusiasm for flight, offering a warm and personal glimpse into the golden age of light aircraft.

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Portraits of a Young Edith Head in the 1930s and 1940s

Edith Claire Head (1897–1981) was an American film costume designer. She received a record 35 nominations for the Academy Award for Best Costume Design and won a record eight times, making her both the most honored and most nominated woman in the Academy’s history. She also holds the Guinness World Record for most-credited costume designer in film history, with a total of 432 credits.

Head joined Paramount (then Famous Players–Lasky) in 1923 as a sketch artist after using classmates’ drawings in her portfolio. She learned under Howard Greer and Travis Banton, starting with supporting roles, extras, and less glamorous assignments while gradually taking on more design work. By the early 1930s she had transitioned into full costume design.

She gained her first major on-screen credit and worked with Mae West on She Done Him Wrong (1933), creating the actress’s signature voluptuous, hat-heavy looks that pushed censorship boundaries. Her breakthrough came with Dorothy Lamour’s figure-hugging sarong in The Jungle Princess (1936) and related films such as The Hurricane (1937). The design became a national fashion craze and raised Head’s public profile.

Other early work included films with Shirley Temple, Clara Bow (earlier), and various Paramount productions. She was known for practical, character-driven designs rather than pure glamour, and she developed a talent for flattering different body types and transforming actresses.

In 1938, after Banton left (amid personal issues), Head was named chief costume designer. She oversaw a large department and preferred the 1930s as her favorite decade, when stars “wore real fur, real jewels” and designers were as important as the stars themselves.

Her first marriage (to Charles Head) ended in divorce around 1938; she kept the surname professionally. Head married art director Wiard (“Bill”) Ihnen in 1940; the marriage lasted until his death in 1979.

She designed for dozens of films a year (sometimes 40–50). Key collaborations included Barbara Stanwyck (The Lady Eve, 1941; Ball of Fire, 1941; Double Indemnity, 1944), Veronica Lake, Ginger Rogers (Lady in the Dark, 1944, featuring a much-discussed mink-lined gown during wartime austerity), Ingrid Bergman (Notorious, 1946), and the Hope-Crosby-Lamour “Road” comedies (exotic, resourceful designs using substitutes for restricted materials).

Wartime constraints led to creative solutions (e.g., painted fabrics instead of scarce printed ones, sheer cotton for silk). Her work emphasized character transformation, camouflage of perceived flaws, and story support over pure fashion statements.

The Academy Award for Best Costume Design was introduced in 1948–49. Head received her first nomination for The Emperor Waltz (1948) and won her first Oscar for The Heiress (1949, Olivia de Havilland). She also won that year for Samson and Delilah. These marked the start of her record-setting run (eventually 8 wins and 35 nominations).

Head’s style in this era was versatile, ranging from elegant simplicity and period accuracy to glamorous or exotic looks, while remaining collaborative and discreet with stars. She became known for making actresses feel beautiful and for designs that influenced off-screen fashion. By the end of the 1940s she was firmly established as one of Hollywood’s most important and prolific costume designers, a position she held at Paramount into the 1960s.

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Vikki Dougan: The Iconic “Back” of 1950s Glamour

Vikki Dougan (born Edith Tooker in 1929) was an American model and actress who became one of the most memorable fashion figures of the 1950s.

Known for her striking beauty and daring backless dresses, Dougan earned the nickname “The Back” for her bold, figure-hugging gowns that left little to the imagination. She appeared on the covers of major magazines, worked with top photographers, and posed for high-profile advertising campaigns. Her distinctive look and confident style later inspired the design of Jessica Rabbit.

With her combination of glamour and playful sensuality, Dougan remains an unforgettable icon of mid-century Hollywood and fashion. These vintage photos capture the bold glamour and unforgettable style of Vikki Dougan, the legendary “Back” of 1950s fashion.

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