30 Black and White Portraits of Angie Dickinson in the 1960s

Angeline Dickinson (née Brown; September 30, 1931) is an American retired actress. She began her career on television, appearing in many anthology series during the 1950s, before gaining her breakthrough role in Gun the Man Down (1956) with James Arness and the Western film Rio Bravo (1959) with John Wayne and Dean Martin, for which she received the Golden Globe Award for New Star of the Year.

During the 1960s, Dickinson cemented her status as a major Hollywood star, embodying a unique combination of glamour, sophistication, and grit. Following her definitive breakthrough as Feathers in Rio Bravo (1959), the 1960s saw her balance high-profile cinematic roles, a highly publicized association with the Rat Pack, and a changing personal life.

Dickinson was highly prolific throughout the decade. She appeared in Westerns and crime dramas, notable titles include The Killers (1964, with Lee Marvin and Ronald Reagan in his last film role), The Chase (1966, with Marlon Brando), and Point Blank (1967, opposite Lee Marvin again). These roles often cast her as strong, alluring women in tense or violent stories.

She co-starred in Ocean’s 11 (1960) with the Rat Pack (Frank Sinatra, Dean Martin, etc.), playing a key supporting role that boosted her visibility. She also appeared in Rome Adventure (1962) and other romantic or lighter films. While her biggest TV success (Police Woman) came in the 1970s, she did guest spots and TV movies in the 1960s that kept her in the public eye.

Dickinson was frequently described as one of the decade’s sex symbols with a distinctive husky voice and confident screen energy. She worked with major directors and co-stars, moving between Hollywood studio pictures and more stylish, edgier projects as the decade progressed.

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Seymour Jacobson: Elegant American Dress Designer of Mid-Century Fashion

Seymour Jacobson (1909–2010) was an American dress designer and manufacturer known for his elegant cocktail and party dresses.

Beginning his career on New York’s Seventh Avenue in the mid-1930s, Jacobson produced refined ready-to-wear under labels including Seymour Jacobson, Ltd., Donna Paula, and Luciana Moda. His designs were worn by notable women of the era, among them Grace Kelly, Rita Hayworth, and Eleanor Roosevelt.

Jacobson specialized in sophisticated silhouettes and quality fabrics that reflected the polished style of mid-century American fashion. Later in his career, he expanded into Italian knits and operated a shop in Rome, continuing to create tailored, wearable elegance for an international clientele.

These stylish designs showcase the refined craftsmanship and timeless elegance of Seymour Jacobson, a distinctive voice in mid-century American fashion.

Alice Bruno in two-toned pure silk taffeta dress for evening, comes with its own tri-angular cut jacket with contrasting lining by Seymour Jacobson, Harper's Bazaar, November 1951

Dovima in black Chantilly lace and pure silk taffeta dress by Seymour Jacobson, Vogue, November 1, 1952

Dovima in black silk taffeta dress criss-crossed with velvet ribbon by Seymour Jacobson, 1952

Dovima in coat-dress of pure silk peau-de-soie with detachable linen over-collar piqué accented by Seymour Jacobson, Vogue, February 1, 1952

Dovima in dress of Chantilly lace over pleated nylon tulle skirt and nude taffeta sheath by Seymour Jacobson, Harper's Bazaar, December 1952

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40 Beautiful On-Set Portraits of Sophia Loren From “Boccaccio ’70” (1962)

These beautiful on-set portraits capture Sophia Loren during the filming of the 1962 anthology film Boccaccio ’70. In the episode directed by Vittorio De Sica, she delivered one of her most iconic performances, combining glamour, humor, and screen presence.

The photos highlight her striking beauty, expressive features, and the elegant yet playful style that defined her work in this celebrated Italian production. They offer a vivid glimpse of Loren at the height of her international fame in the early 1960s.

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Anna Magnani’s Love for Rome’s Stray Cats

Anna Magnani, one of Italy’s most iconic and emotionally raw actresses, was celebrated not only for her unforgettable roles in films like Rome, Open City but also for her profound love of animals, especially Rome’s stray cats. Magnani was one of Rome’s most famous original gattare (cat ladies), women who dedicated themselves to feeding and protecting the city’s vulnerable feline population. Her quiet acts of devotion have become an enduring part of Roman lore.

Often seen wandering the cobbled streets in modest clothes with a scarf tied around her head, she carried a basket of food for the cats who lived among ancient ruins and back alleys. Director Franco Zeffirelli once told of a passerby who scoffed at the plainly dressed woman feeding cats, only for her to wordlessly pull off her scarf and reveal she was none other than the luminous Magnani. The man stood speechless.

Magnani lived near Largo di Torre Argentina, the sunken square containing four Republican Roman temples and the remains of Pompey’s Theatre. Following excavations in the late 1920s, hundreds of abandoned and stray cats took shelter among the below-ground ruins.

In the evenings, often after performing at the nearby Teatro Argentina or finishing a film shoot, Magnani would tie a scarf around her head as a quick disguise, grab a wicker basket filled with food, and slip out into the night. She didn’t just feed the felines; she paid out of pocket for medical care, tending to sick or injured strays long before organized animal shelters existed in the city.

Magnani often spoke of her affinity for animals over people, finding solace in creatures that demanded nothing from her fame or fiery public persona. “People and I understand each other very little,” she once said. “But two cats playing on the rug are enough to fill my evening.”

Following her death in 1973, fellow actors and animal lovers stepped in to maintain the colony she had protected for decades. This volunteer effort eventually formalized in 1993 into the world-famous Torre Argentina Cat Sanctuary, which today cares for around 150 resident cats.

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Sue Ane Langdon: Vivacious Star of 1960s Film and Television

Born 1936, American actress Sue Ane Langdon is known for her lively performances in film and television during the 1960s and early ’70s.

Langdon appeared in two Elvis Presley movies, Roustabout (1964) and Frankie and Johnny (1966), and worked with directors such as Gene Kelly in A Guide for the Married Man (1967) and The Cheyenne Social Club (1970). She also starred opposite Henry Fonda and Glenn Ford in The Rounders (1965).

In addition to her film work, Langdon won a Golden Globe Award for her role in the television series Arnie. With her bright energy and comedic timing, she became a familiar face of mid-century American entertainment. These vintage photos capture the charm, energy, and classic Hollywood presence of Sue Ane Langdon, a lively star of 1960s film and television.

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Candid Photographs of a Teenage Joan Jett Taken by Neil Zlozower in 1976

In 1976, acclaimed rock photographer Neil Zlozower captured a series of candid portraits of a 17-year-old Joan Jett on Hollywood Boulevard in Los Angeles. Taken during the early days of her pioneering all-female punk/hard rock band, The Runaways. The session famously captured a raw, rebellious teenage Joan Jett giving the camera the middle finger while posing in front of Grauman’s Chinese Theater. The photographs prominently feature her iconic razor-blade necklace and signature shag haircut.

Formed in late 1975 by rhythm guitarist Joan Jett and drummer Sandy West (alongside producer Kim Fowley), The Runaways released their self-titled debut album in March 1976. Zlozower was among the key Los Angeles photographers capturing the Sunset Strip rock scene as the band gained momentum. Renowned for his candid, raw, and visceral music photography (later photographing major rock acts like Van Halen, Motley Crue, and Guns N’ Roses), Zlozower captured Jett’s intense, rebellious demeanor before her solo success with the Blackhearts.

These early 1976 sessions feature Jett with her distinctive shag haircut, embodying the raw proto-punk and hard rock energy that defined the mid-1970s L.A. music scene.

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35 Stunning Fashion Portraits of Astrid Schiller in the 1960s

These stunning fashion portraits capture Astrid Schiller at the height of her modeling career in the 1960s. Photographed by leading names of the era such as Helmut Newton, Richard Avedon, and F.C. Gundlach, the images showcase her elegant presence and refined style.

Whether in high-fashion evening wear, chic ready-to-wear, or dramatic editorial looks, Schiller embodies the sophisticated glamour of mid-1960s fashion. These portraits offer a striking visual record of one of the decade’s distinctive modeling faces.

Astrid Schiller is wearing a plumed scarf by Halston, earrings by Joseph Warner, make-up by Charles of the Ritz, photo by Irving Penn, Vogue, September 1, 1965

Astrid Schiller in cerise brocade dress, patterned in shimmery flower-sprays on black silk by Sophie of Saks Fifth Avenue, earrings by Cis, photo by Helmut Newton, Vogue, October 1, 1965

Astrid Schiller in black moiré coupe de velours theater suit with white satin lining and bow by Pattullo-Jo Copeland, photo by Jerome Ducrot, Vogue, September 1, 1965

Astrid Schiller in black-and-white grand-scale Glen plaid suit over a clear yellow blouse by Adele Simpson, hat by Mr. John, photo by Richard Avedon, Vogue, December 1, 1965

Astrid Schiller in design by Geoffrey Beene, photo by Richard Avedon, Vogue, September 1, 1965

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24 Vintage Photos of 1960s Beauty Shops

These vintage photos capture the atmosphere of beauty shops during the 1960s. Inside the salons, women sit under large hairdryers, get their hair styled into the decade’s popular looks, or wait their turn amid mirrored walls, Formica counters, and bright lighting.

The images reveal the social side of the beauty parlor as a place of conversation, transformation, and everyday glamour. They offer a nostalgic look at a familiar space that played a central role in women’s lives and the style of the era.

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Twiggy During the Launch of Her Own Clothing Collection in London, 1967

On February 16, 1967, British cultural icon and supermodel Twiggy (Lesley Hornby) officially launched “The Twiggy Look Collection” in London. At the time, Twiggy was 17 and at the height of “Twiggymania.”

The collection was born out of a collaboration between Twiggy and two fresh graduates from the Royal College of Art, Paul Babb (or Babbs) and Pamela Proctor. Funded and manufactured by dress makers Leonard Bloomberg and Sidney Ellis, the line aimed to capture the rebellious, youthful energy of London’s “Youthquake” and make high fashion highly accessible to the average teenager. At launch, garments were famously priced between £3 and £6, allowing everyday young women to easily recreate Twiggy’s style.

The line perfectly encapsulated late-1960s Mod fashion, mirroring Twiggy’s own distinct personal aesthetic. Bold, structural, and short hemlines that dominated the London street-style scene. Tailored pinstripe suits paired with neck scarves and loafers, emphasizing the model’s signature boyish charm. Vibrant colors, ribbed knits, and experimental styles, such as her famous newspaper print dress, often accessorized with oversized plastic jewelry, kipper ties, and thick striped tights.

The launch event was heavily documented at a massive press photo-call in London’s West End, featuring Twiggy standing proudly alongside clothing rails filled with her eponymous labels. The collection solidified her status not just as a face for other brands, but as an independent, global fashion force.

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Burke-Amey: Bold American Fashion of the 1960s

Burke-Amey was a New York fashion house founded in 1959 by designer Ronald Amey and his business partner Joseph Burke. Known for inventive use of fabrics, bold prints, and sophisticated ready-to-wear and couture designs, the label reflected the vibrant style of 1960s American fashion. Amey’s creations often featured striking color combinations, graphic patterns, and refined silhouettes that appealed to stylish clients.

In 1970, Amey bought out his partner and continued under his own name, though the original Burke-Amey label remains remembered for its distinctive contribution to mid-century American design. These elegant designs showcase the bold style and refined craftsmanship of Burke-Amey, a distinctive voice in 1960s American fashion.

Dorothea McGowan in biased black silk crêpe dress by Burke-Amey, photo by Irving Penn, Vogue, July 1, 1960

Dorothea McGowan in sleeveless dress and jacket of wild grape-pink grained silk, jacket tied with brown satin sash and point d'esprit scarf by Burke-Amey, grape straw hat by Emme, photo by Irving Penn, Vogue, March 1, 1961

Simone d'Aillencourt in plaid wool dress by Burke-Amey and bulbous turban-hat by Lilly Daché, photo by Horst P. Horst, Vogue, 1962

Wilhelmina in long and heavy white crêpe dress masked by a flouncy lace caraco embroidered with black straw flowers by Burke-Amey, kidskin gloves by Viola Weinberger, photo by Irving Penn, Vogue, March 1, 1963

Brigitte Bauer in bold black and white wool houndstooth suit over a black and white silk paisley blouse stock-tied, by Burke-Amey, belt by Chanel, bag by Coblentz, photo by Horst P. Horst, Vogue, February 1, 1964

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