The Art of Elegance: Lucile Manguin’s Designs in the Early 1950s

Born 1899, Lucile Manguin was a distinguished French couturière and gallerist who left a significant mark on the Parisian fashion and art scenes during the mid-20th century.

Between 1928 and 1960, Manguin operated her own high-fashion house, gaining acclaim for her elegant evening gowns and her innovative presentation of collections by candlelight. Beyond her career in design, she was the daughter and frequent muse of the famous Fauve painter Henri Manguin, appearing in many of his celebrated portraits.

After retiring from fashion, Manguin continued her creative legacy by opening an art gallery, bridging the worlds of textile design and fine art. Below is a collection of glamorous photos showcasing the timeless elegance of Lucile Manguin’s fashion designs from the early 1950s.

Gigi Terwalgne in beautiful dark red ottoman gown, cleverly draped and wrapped by Manguin,the shoes are multi-colored silk, photo by Philippe Pottier, 1950

Jeanne Klein wearing an evening dress in silk-crêpe called "Scarabée" the bodice is draped and the skirt is tiered and pleated by Manguin, photo by J. L. Moussempes, Vogue, Paris, April 1950

Marie-Josée in black and white striped silk chiffon evening gown by Manguin, photo by Georges Saad, 1950

Model in evening ensemble of short moiré jacket with very full puffed sleeves worn with long silk pleated skirt by Manguin, photo by Seeberger, 1950

Model in exquisite evening gown of white lamé with square rolled décolletage and finely pleated skirt by Manguin, photo by Philippe Pottier, 1950

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30 Amazing Photos From the Set of “Red Sun” (1971)

Red Sun (1971), also known as Soleil rouge, is a cult classic Spaghetti Western directed by Terence Young. It is famous for being the first “East-meets-West” Western, uniquely blending the American cowboy genre with Japanese samurai traditions.

Set in Arizona around 1870, the story begins with a train robbery led by outlaws Link Stuart (Charles Bronson) and Gauche (Alain Delon). The train is carrying the Japanese ambassador, who is on his way to Washington to present a priceless ceremonial sword to the U.S. President as a gift from the Emperor. 

Gauche steals the golden sword and double-crosses Link, leaving him for dead after attempting to blow him up. The Japanese ambassador orders his surviving bodyguard, Kuroda Jubei (Toshirō Mifune), to recover the sword. Link, seeking revenge and his share of the loot, is forced into a reluctant partnership with Kuroda. Kuroda has exactly seven days to retrieve the sword; if he fails, both he and the ambassador must commit seppuku (ritual suicide) to restore their honor.

The film is noted for its cultural juxtaposition, featuring intense gunfights alongside expert sword duels. Though set in the American West, it was a Franco-Italian-Spanish co-production filmed in Spain. While it received mixed reviews in the U.S, it was a major box-office hit in Japan and Europe. It is often cited as an influence on modern “mashup” cinema like Quentin Tarantino’a Kill Bill.

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Betty Hutton Modeling for a Bonwit Teller Ice Skating Costume on LOOK Magazine on Dec. 3, 1940

In 1940, Betty Hutton wasn’t yet the Paramount Pictures powerhouse we remember from Annie Get Your Gun. She was a 19-year-old musical comedy sensation lighting up Broadway in Ethel Merman’s Panama Hattie.

Bonwit Teller, the legendary luxury department store on Fifth Avenue, was known for high-fashion elegance. Casting Betty Hutton, known for her manic energy, “vitamin-enriched” personality, and tendency to swing from chandeliers, was a brilliant bit of counter-programming.

The ice skating ensemble featured a heavily structured, military-inspired jacket with intricate braiding and a flared “skater” skirt. It reflected the pre-war obsession with structured silhouettes mixed with functional sportswear.

Unlike the stiff, mannequin-like poses typical of 1940s fashion spreads, Hutton brought her signature kinetic energy to the ice (or the studio floor standing in for it). The photos captured a blend of high-society glamour and youthful rebellion.

This was the “Golden Age” of figure skating fashion, largely spurred by the massive popularity of Sonja Henie. Every major department store was racing to produce “skating sets” that women could wear both on the ice at Rockefeller Center and as stylish winter street clothes.

This shoot is often cited by fashion historians because it bridged two worlds. Proving that Bonwit Teller could be “fun” and accessible to the younger, vibrant generation. It helped transition her image from a loud band singer (with the Vincent Lopez Orchestra) to a versatile fashion plate capable of carrying a Hollywood film.

Shortly after these types of high-profile modeling and stage stints, Hollywood came calling, and by 1942, she was a household name.

Keith Richards Wearing a “Who the F*ck is Mick Jagger?” Tshirt During the Rolling Stones’ 1975 Tour of the Americas

In 1975, Keith Richards famously wore the “Who the F*ck is Mick Jagger?” t-shirt as a tongue-in-cheek joke during the Rolling Stones’ Tour of the Americas. The shirt was a playful jab at the intense media focus on Mick Jagger’s persona and ego at the time. Richards donned the shirt both backstage at Madison Square Garden and during various stops on the tour.

Despite popular belief, Richards didn’t make the shirt himself to take a jab at Jagger. The shirt was actually a gift from Atlantic Records (or specifically, a PR stunt/gift related to the label).

At the time, Mick Jagger was increasingly seen as the jet-setting, high-society “businessman” of the band, while Keith remained the gritty, quintessential rock rebel. Keith wore the shirt during rehearsals and backstage as a tongue-in-cheek comment on Jagger’s massive ego and his burgeoning status as a global celebrity.

The 1975 tour was a chaotic, high-energy period for the Stones. Richards was at his “peak” pirate aesthetic—shaggy hair, kohl-rimmed eyes, and scarves. The white t-shirt with bold black lettering stood out against his usual dark, layered stage gear.

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35 Fascinating Photos Capture Everyday Life in Kyoto During the Early 20th Century

In the early 20th century, everyday life in Kyoto was a beautiful tapestry of ancient customs and subtle modern shifts. While the rest of the world rushed toward industrialization, the residents of Japan’s old capital maintained a rhythmic, intentional pace of life.

Daily life centered around the machiya (traditional wooden townhouses), where families balanced domestic duties with small-scale craftsmanship. It was a common sight to see Geiko and Maiko gracefully navigating the narrow alleys of Gion, or monks in saffron robes passing through temple gates.

Yet, modernization began to peek through in the form of early electric streetcars and Western-style school uniforms, creating a unique era where a kimono-clad society began to interact with the new world. Below is a vintage photo collection showcasing the simple yet profound beauty of everyday life in Kyoto during the early 20th century.

A lonely walk, Kyoto, 1905

A cold day, somewhere in the vicinity of Kyoto, 1905

A narrow path, Kyoto, circa 1905

Conversation, Kyoto, 1905

Group of Japanese women, possibly chambermaids of a hotel, Kyoto, 1905

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Captivating Portraits of Jane Birkin on the Set of ‘La Piscine’ (1969)

On the sun-drenched set of the 1969 psychological thriller La Piscine, Jane Birkin embodied the effortless, bohemian allure that would define her as a global style icon.

Portraying the youthful and provocative Penelope, Birkin brought a quiet, magnetic energy to the screen alongside cinema giants Alain Delon and Romy Schneider. Captured in the hazy light of St. Tropez, these behind-the-scenes moments showcase her signature Sixties aesthetic: the gamine bob, wide-eyed gaze, and a wardrobe of minimalist knitwear and crochet that felt both avant-garde and timeless.

Beyond the fashion, Birkin’s presence on set radiated a raw, unstudied grace, a “je ne sais quoi” that made her the ultimate muse of French New Wave cinema and a symbol of liberated femininity in the late 1960s. Below is a captivating photo collection showcasing Jane Birkin during the filming of La Piscine in 1969, capturing the very essence of French Riviera chic.

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22 Fascinating Photos of Ali MacGraw in the 1980s

Elizabeth Alice MacGraw (born April 1, 1939) is an American actress. For her role in Goodbye, Columbus (1969) she won a Golden Globe Award for Most Promising Newcomer. She then starred in Love Story (1970), for which she was nominated for an Academy Award for Best Actress and won a Golden Globe Award for Best Actress in a Motion Picture – Drama. In 1972, MacGraw was voted the top female film star in the world and was honored with a hands and footprints ceremony at Grauman’s Chinese Theatre after having made just three films.

In the 1980s, MacGraw transitioned from being the quintessential 1970s “It Girl” into a sophisticated elder statesman of Hollywood style, though her career moved away from the blockbuster heights of Love Story and The Getaway. The most significant professional moment for MacGraw in the 1980s was her stint on the massive prime-time soap opera Dynasty. In 1985, she joined the cast as Lady Ashley Mitchell, a world-renowned photojournalist.

While her character was eventually killed off in the infamous “Moldavian Massacre” cliffhanger, her presence on the show cemented her status as a global style icon for the middle-aged set. She traded her 1970s bohemian aesthetic for the high-octane glamour of the 80s—think shoulder pads, sequins, and bold gold jewelry, though she always maintained a natural, sun-kissed elegance that set her apart from the more "campy" characters.

Outside of Dynasty, MacGraw was more selective and focused on television and personal advocacy. She starred in this massive, highly-rated WWII miniseries The Winds of War (1983) as Natalie Jastrow. While the series was a huge commercial success, MacGraw faced some critical pushback for her performance, which she later admitted contributed to her stepping back from major acting roles.

MacGraw remained a major influence in fashion throughout the decade, bridging the gap between "preppy" and “bohemian.” While others were experimenting with heavy neon and perms, Ali stuck to her signature look: sleek dark hair, minimal makeup, and a focus on wellness.

In the late 1980s, MacGraw began the transition into the lifestyle and yoga space that would define her later years. She was one of the first major celebrities to publicly discuss aging naturally and finding peace outside of the Hollywood machine.

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