The Making of Princess Soraya’s Wedding Dress for Her 1951 Marriage to Shah Mohammad Reza Pahlavi of Iran

The wedding dress worn by Princess Soraya (Soraya Esfandiary-Bakhtiari) for her 1951 marriage to Shah Mohammad Reza Pahlavi of Iran is widely considered one of the most opulent and heavy haute couture creations in history. Designed by Christian Dior himself (with some accounts attributing the actual drafting to a young Yves Saint Laurent, who was then working at the house), the gown was a feat of both engineering and artistry.

Christian Dior was commissioned to create a masterpiece that would reflect the immense wealth and prestige of the Iranian monarchy. The final design was an architectural marvel of the “New Look” era.

It was crafted from approximately 37 yards (34 meters) of silver lamé, creating a shimmering, metallic effect. The gown was lavishly hand-embroidered with 6,000 diamond pieces, thousands of pearls, and intricate gold thread work. A staggering 20,000 marabou stork feathers were used to trim the dress, adding a soft, ethereal volume to the skirt and train. 

The sheer volume of materials made the gown incredibly heavy. It reportedly weighed between 20 and 30 kilograms (44–66 pounds). It required the work of roughly 20 tailors and seamstresses at the House of Dior to complete the intricate hand-detailing in time. On the wedding day, Soraya was still weak from a bout of typhoid fever. The weight of the 20-meter train was so immense that she struggled to stand or walk.

The dress was so heavy that a last-minute adjustment was necessary just before the ceremony began. To relieve Soraya of the crushing weight, the Shah and his aides reportedly used scissors to cut 8 meters (about 26 feet) off the train so she could walk down the aisle. Because the palace was freezing in the February cold, Soraya wore a woolen vest and socks hidden beneath the magnificent silver lamé. 

Decades after her 1958 divorce and subsequent life in exile, the dress reappeared in the public eye. After her death in 2001, her belongings were auctioned in Paris, where the iconic Dior gown was sold for $1.2 million. It remains a symbol of both the pinnacle of 1950s fashion and the “sad-eyed” princess’s tragic royal tenure.

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28 Amazing Photos of Iran Air Flight Attendants Before the 1979 Revolution

Before the 1979 Revolution, Iran Air (known as the “Homa”) was one of the fastest-growing and most prestigious airlines in the world. Its flight attendants were the “face” of a modernizing, cosmopolitan Iran, and the role was considered a highly coveted, elite career for young Iranian women.

During the 1960s and 70s, Iran Air stewardesses were international fashion icons. Their look reflected the “Jet Age” glamour seen in Western carriers like Pan Am or Air France. Uniforms typically featured knee-length skirts, tailored blazers, and pillbox hats. Many uniforms were designed by high-end fashion houses to ensure a chic, professional appearance. There were strict standards for hair (often styled in bouffants or sleek bobs), makeup, and poise. Before 1979, there was no requirement for the hijab; stewardesses wore their hair uncovered.

Becoming a flight attendant for Iran Air was extremely competitive, often requiring a high level of education and fluency in multiple languages. Many attendants were educated in Europe or the U.S. and spoke English, French, and Persian fluently. They were trained to provide world-class “Persian hospitality.” During this era, Iran Air was famous for its luxury, particularly on its non-stop flights between Tehran and New York. Stewardesses were viewed as ambassadors of Iranian culture and modernization. They traveled the world, which was a rare privilege and a sign of significant social mobility.

The airline used the Homa (a mythical Persian griffin) as its symbol, and the flight attendants were central to this branding. On long-haul flights (using the then-cutting-edge Boeing 747SPs), attendants served gourmet meals and fine wines, mirroring the lifestyle of the Iranian upper class of the time.

After the 1979 Revolution, the role changed overnight. Uniforms were replaced with modest tunics and headscarves (hijabs), and the cosmopolitan, “Westernized” image of the Homa stewardess was officially dismantled to align with the new Islamic Republic’s values.

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Tower of Toghrul, Rey, Iran, ca. 1860s

The Tower of Toghrul, also transliterated as Tughrul or Tuğrul Tower, is a 12th-century monument, located in the city of Rey, Tehran province, Iran. Toghrul Tower is near Rashkan Castle. This photo was taken by Italian colonel and photographer Luigi Pesce from the 1860s.

The tower is widely believed to be the tomb of Tughril I (Tuğrul Beg), the founder and first Sultan of the Great Seljuk Empire, who died in Rey in 1063. However, there are alternative theories, with some historians suggesting it is the burial place of Khalil Sultan, the son of Timur Lang, in the 15th century.

The 20-meter-tall (66 ft) brick tower is an excellent example of Seljuk-era tomb architecture. Its original design included a conical dome (gonbad), which has since collapsed, likely due to an earthquake.

The thickness of the walls varies from 1.75 to 2.75 m (5.7 to 9.0 ft). The inner and outer diameters are 11 and 16 m (36 and 52 ft), respectively. The exterior shape is that of a polygon with 24 angles in its design, which is thought to contribute to the structure’s stability against tremors. At the top of the tower, Kufic inscriptions were originally observable.

The exterior of the tower is a striking polygonal shape with 24 vertical angles (or corners), giving it a ribbed or pleated appearance. This design was not just aesthetic; it was an ingenious architectural feature intended to provide structural stability and resistance against earthquakes.

The 24 angles of the exterior act as a clever, hidden sundial. As the sun moves, the shadow cast by the angles and the play of light and shadow on the exterior allows for accurate time-telling. The interior of the cylindrical structure possesses unique acoustic properties, amplifying sounds made inside.

Due to Rey’s location on the historic Silk Road, it is said that a fire was lit atop the tower to serve as a guiding beacon or landmark for travelers approaching the city from Khorasan, especially on foggy nights.

Over the centuries, the tower suffered damage, with the original conical dome collapsing, probably from an earthquake.

The tower underwent its first major recorded restoration in the late 19th century (around 1884/1885) by the order of Nasser al-Din Shah Qajar. While this saved the monument from complete ruin, some of the original intricate decorative work and Kufic inscriptions were lost or damaged during the process.

After a period of neglect following the Islamic Revolution, a comprehensive modern renovation project was initiated in the late 1990s and completed around the year 2000.

Today, the Tower of Toghrul stands as an important, well-preserved national monument, reflecting the architectural prowess, scientific knowledge, and rich cultural legacy of the Seljuk Empire in Iran.

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22 Wonderful Photos of 700-Years Cave Houses in Iran’s Kandovan Village

The Kandovan cave houses in northwestern Iran are a striking example of human adaptation to a volcanic landscape and a living tradition that stretches back many centuries. Located about 60 km southwest of Tabriz in East Azerbaijan Province, the village is famous for its troglodytic (rock-carved) homes, which are still inhabited today—making it one of the few continuously lived-in cave settlements in the world, alongside places like Cappadocia in Turkey and Matera in Italy.

Kandovan is nestled on the slopes of Mount Sahand, an extinct stratovolcano. Thousands of years ago, volcanic eruptions blanketed the region with thick layers of tuff (compressed volcanic ash). Over time, erosion by wind, rain, and rivers sculpted the tuff into tall, cone-shaped pinnacles and honeycombed rock faces. The natural softness of the tuff made it easy to carve, allowing early settlers to excavate rooms directly into the formations.

Archaeologists believe that Kandovan’s earliest habitation dates back at least 700–800 years, with some suggesting that the first caves were dug as early as the 13th century. Local oral history links Kandovan’s origins to people fleeing the Mongol invasions of Persia in the 13th century (Ilkhanate period). The natural rock cones offered excellent camouflage and protection, allowing families to live securely and discreetly in a hostile era. The name “Kandovan” likely derives from the Persian word kand (to dig) and the suffix -van (place of), roughly meaning “the place that has been dug.”

Each dwelling is carved into a vertical cone of volcanic rock. Homes typically have 2–4 stories, with lower levels used for livestock or storage, and upper levels for living quarters. The volcanic tuff provides remarkable thermal regulation—warm in winter and cool in summer—making the houses extremely energy-efficient. Interiors often include built-in shelves, alcoves, and stairways carved directly into the rock. Some homes are connected by tunnels or hidden passageways.

Kandovan is unique because it is still a functioning village, not a museum site. Unlike Cappadocia, where most cave dwellings are now used for tourism, Kandovan’s residents maintain traditional lifestyles, blending modern amenities (electricity, plumbing) with ancient architecture.

Today, Kandovan has about 110 families and remains a living heritage site. Many residents have converted parts of their homes into guesthouses and teahouses, welcoming visitors while preserving their traditional way of life. The village is protected as part of Iran’s cultural heritage, though preservation efforts are challenging due to natural erosion and the needs of a growing population.

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Carpet Weaving in Kashan, Iran, 1989

Kashan, a city in central Iran, is famous for its Persian carpet weaving. They make some of the best handmade carpets in the world. Kashan’s artisans have been making these carpets for generations, using traditional techniques.

It was often done by hand with intricate designs inspired by Persian motifs, floral patterns, and fancy medallions. These carpets were usually made with high-quality wool, silk, or a mix of both. They’re known for their dense knots, rich colors, and durability.

Weaving a single carpet can take months or even years, depending on how big and complicated the design is.

The Selfie King: 10 of the Best Self-Portraits Taken by Nassereddin Shah From the 19th Century

In Iran, selfie photos date back to the Qajar era, when the famed Qajar king Nasseredin Shah (1821–1896), with the best cameras of the time brought from Europe, took photos from almost anything and anyone. The king had a knack for taking photographs, and he enjoyed photographing himself the most. As part of his obsession with picturing himself, something these days called a “selfie,” he took many pictures of himself, noting where and how he took each photo with pithy comments and in cursive handwriting, under each of them.

Nassereddin Shah (or Nasser al-Din Shah), the fourth king of the Qajar dynasty, ruled Iran for almost all of the second half of the 19th century (1848-1896). Both his life, and his death as the result of an assassination, were dramatic episodes in Iranian history. Nasser al-Din Shah had sovereign power for close to 51 years.

He was the first modern Persian monarch who formally visited Europe and wrote of his travels in his memoirs. A modernist, he allowed the establishment of newspapers in the country and made use of modern forms of technology such as telegraphs, photography and also planned concessions for railways and irrigation works. Despite his modernizing reforms on education, his tax reforms were abused by people in power, and the government was viewed as corrupt and unable to protect commoners from abuse by the upper class which led to increasing antigovernmental sentiments. He ended up being assassinated when visiting a shrine.

An important aspect of the Shah’s personal contributions to this visual culture was his personal love of the arts, particularly photography. Born in a world were people were still painted, Nassereddin Shah was himself in love with visuals.

In fact, his obsession with picturing himself, something that one can call “selfie” these days. Much has already been written on his discovery of the daguerreotype and later, photo cameras. The king was a good photographer, and in each of his European visits, he bought the latest cameras, and appointed at least two official court photographers. This was a very new and exciting art. He photographed everything and anyone, including the servants, and carefully recorded information about each photo on the prints.

But his favorite subject seems to have been himself. He took many “selfies,” writing down information about where it was taken and how, with pithy comments and in a very cursive hand, under each print. These are very slow selfies, with the king setting up the frame and deciding on a particular pose, then moving in front of the camera and waiting for it to go off. These were not quick “look at me” snapshots. These show planning and a certain fascination with the medium.

“Month of dhil-hajja, (12)83, Tushqan Eil, I took it myself” (April-May 1867; Tushqan Eil is the Sino-Turkic name of the year)

“In Niyavaran (palace), I took it myself”

“I took this myself in the Andarun (the Harem)” The calligraphy on the top is from a the person organizing the album, saying “(this is) the lord, the sacred Shahnshah, may our souls be sacrificed to him” (Persian taarof, nobody means it!)

“The first ten days of Ramadan of 84, Tushghan Eil, in Tehran, I took it myself” (December 1867/January 1868)

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“Qajar” Series by Shadi Ghadirian

These photographs are from Qajar (1998), the series of studio portraits by Shadi Ghadirian, a contemporary artist who was inspired by the studio portraiture first introduced to Iran in the late 19th century under the Qajar dynasty (1794–1925).

In order to re-create the earlier setting, Ghadirian employs painted backdrops and dresses her models, mainly her friends and family, in vintage clothes to emulate the fashion of the day: headscarves and short skirts worn over baggy trousers, as well as thick, black eyebrows. She adds modern elements to these traditional scenes, such as a Pepsi can, a boom box, a bicycle and an avant-garde Tehran newspaper.

Portraits taken in the Qajar period were traditionally captured in a formal setting, and the subject often posed with prized possessions and objects that pointed to elite status. This juxtaposition of the traditional and the contemporaneous served as a starting off point for later series that further developed around the theme of contradiction in everyday life in contemporary Iran.

Shadi Ghadirian has said of her work, “My pictures became a mirror reflecting how I felt: we are stuck between tradition and modernity.”

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Rare and Amazing Photographs of Iranian Female Athletes From the 1970s

No Iranian woman ever medaled in the Olympics before the Revolution. Women participated for the first time at the 1958 Tokyo Asian games in athletics. The women’s volleyball team won the first bronze medal at the 1966 Asian games in Bangkok. Iran’s best performance at the international level was at the 1974 Asian Games in Tehran. The fencing foil team won a gold medal and an individual silver and a bronze medal.

The sports programming for girls and women were minimal at best during the Pahlavi Era. The main objective of the women’s sports program was to convey an image of modernity. Schoolgirls wearing sexy miniskirts and shorts marched in official celebrations and government parades. They were also used to greet foreign dignitaries. The public relations arm of the government focused on showing the world the sexy silky smooth legs of Iranian women. Perhaps this wasn’t such a bad idea, in retrospect, because Iran is now perceived by the rest of the world as the most violent people on the planet.

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The First ‘Selfie’ in History of Iran Was Taken by Nasseredin Shah With His Concubines

This historic image is widely considered to be one of the very first selfie photos ever taken in Iran. It features Nasseredin Shah (or Nasser al-Din Shah), the fourth king of the Qajar dynasty, and his wives captured in a mirror of Andaruni (harem).

Born 1831, died 1896. Nasseredin looks at least twenty at the posted picture, so that would put the photo at least around between the 1850s and1860s.

The king had an immense love for photography and was a skilled photographer himself. During his numerous trips to Europe, he acquired the latest cameras and even appointed at least two official court photographers.

Iranian history has been closely intertwined with photography, with the first photographic images appearing in the country in the mid-19th century. 

The first daguerreotype cameras were brought into Iran by request of Mohammad Shah Qajar from Russia and England. Russian cameras, which were a gift from the emperor, arrived first and were brought to Tehran by young Russian diplomat, Nikolay Pavlov, who had previously learned photography for this purpose.

According to the notes of Jules Richard, the first photography in Iran was carried out by mid-December 1842. Iranian Prince Malek Qassem Mirza and Frenchman Jules Richard are among the pioneers who also did photography in Iran via daguerreotype.

Apart from one photo, none of the Iranian daguerreotypes have survived, but some of them, including portraits of Mohammad Shah and Crown Prince Naser al-Din Shah, have been handed over to Kamal-al-Molk, who used them to create painted portraits.

In the early 20th century, with the arrival of modern technology and access to cameras, Iranian photographers began documenting the daily lives of their compatriots in greater detail. Photography, which was before in the serve of the kings and elites, became an essential tool for documenting glimpses of history and culture.

An Iranian Woman Wearing Short Dress While Cutting Birthday Cake in Tehran, 1971

A photo from the early 1970s shows a woman in Iran wearing short dress while cutting birthday cake. Sima, the woman in the picture, had recently been hired as a flight attendant for Iran Air.

The original source for this photo is a Pinterest board titled “My Mother in Iran” and it has a few other photos of this woman from the 1970s.

Sogol Hariri, the daughter of the woman in the picture, revealed that the photograph was captured in 1971, and that it showed her mother, Sima, who was 18 years old at the time, just after she was hired to be a flight attendant for Iran Air. Sima was cutting the cake in the picture for a colleague’s birthday.

The original photograph print of Sima cutting her colleague’s cake in Tehran, 1971.

By email via Snopes, Hariri said her mother remembers the moment in the photograph “very vividly”:

“Let me start by clarifying that the photo was taken in 1971 in Tehran, Iran and she is in fact Iranian! My mother was born in 1953 in Tehran and this photo was taken when she was exactly 18 years old. Her name is Sima and she lived and worked in Tehran and ultimately got married and had all three of her children there. We all currently reside in Canada.

“She remembers the context of the photo very vividly as she had recently been hired as a flight attendant for Iran Air and has just started her training. One of her new colleagues at the airline invited her to a party celebrating his birthday and she took the honor of cutting his cake for all the guests. It was during her career at Iran Air that one of her colleagues encouraged her to model and she thus began a modeling career in Tehran, where she walked many fashion runways. I have attached a photo of her before one of her flights and a few of her modeling photos wearing different looks. She describes this period of her life as very exciting and glamourous! I have always loved looking at her photos from that time, which led me to casually post them on Pinterest. I had originally commented on Pinterest that her photos were taken in the 1960s but there is only one family photo that was taken then, and all the others were taken in the 1970s.”

Below are some other pictures of her mother Sima during her modeling career in Tehran from the 1970s: