Michael Sherard: The Architect of Post-War Elegance

Michael Sherard (1910–1998) was a prominent British couturier and a leading figure in the London fashion scene during the mid-20th century. As a member of the elite Incorporated Society of London Fashion Designers (IncSoc), he stood alongside legends like Norman Hartnell and Hardy Amies, helping to restore London’s reputation as a global fashion capital after World War II. Sherard was celebrated for his refined craftsmanship and “romantic-classical” aesthetic, specializing in exquisitely tailored evening gowns and formal wear that catered to the British aristocracy and high society.

Beyond the runway, Sherard made a significant impact on the performing arts, designing costumes for approximately 30 West End productions, most notably the original 1952 production of Agatha Christie’s The Mousetrap. His designs were often characterized by luxurious fabrics and intricate detailing, such as his signature “leafy-tiered” skirts.

After closing his fashion house in 1964, Sherard transitioned into a distinguished academic career, sharing his expertise with future generations of designers. These glamorous photos capture portraits of model wearing fashion designs by Michael Sherard from the mid-20th century.

Barbara Goalen in evening dress with a graceful swirl of pleats and jewel-embroidered top, wrapped with swaths of marron tulle by Michael Sherard, photo by Richard Dormer, Harper's Bazaar UK, March 1949

Barbara Goalen in romantic white organdie dress hand-painted with London sparrows, the waist threaded with brown ribbon by Michael Sherard, photo by Richard Dormer, Harper' Bazaar UK, April 1949

Princess Helen Wolkonsky wearing a pleated evening dress of shaded yellow chiffon with a flying stole by Michael Sherard, photo by Jay at the Coloseum in Rome, Harper's Bazaar UK, May 1949

Shelagh Wilson in wonderful ball dress of tiny spiraling accordion pleats in three tiers in muted green silk taffeta with a spray of roses at the waist by Michael Sherard, photo by Henry Clarke, Harper's Bazaar UK, November 1949

Della Oake in a suit by Michael Sherard, photo by Lee Miller for the Picture Post, " London Says Dress To Suit Yourself", 1950

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“Heart-and-Dagger” Sweaters Fashion From the 1940s

The “bleeding heart” or “heart-and-dagger” sweaters were an iconic novelty fashion of the 1940s. The style is attributed to Los Angeles designer Suse (Susan) Dannenberg, who in the mid-1940s began applying elaborate felt appliqués to hand-knit sweaters to “distract from her portly figure.”

Her novelty sweaters became an immediate sensation, worn by numerous Hollywood starlets, including Barbara Stanwyck and Esther Williams, and were featured in LIFE magazine. The most famous design was the “Jezebel” sweater, which featured a bejeweled felt heart-and-dagger design, often shown as a bleeding or stabbed heart. Other variations included hearts with arrows (reminiscent of a design worn by Ginger Rogers in a 1938 film).

The sweaters were typically hand-knit with a high, rounded crew neck, wide shoulders, and a fitted, slightly cropped waist. The novelty designs were created using felt appliqués, embroidery, and sometimes beads or sequins.

This style was a key part of the 1940s novelty knitwear trend, which embraced playful motifs like animals, flowers, and seasonal icons, offering a touch of whimsy amidst the era's more practical, military-influenced fashion.

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Heath Ledger Without Makeup While Shooting the First Scene of “The Dark Knight” (2008)

Heath Ledger’s performance in the opening bank heist of The Dark Knight (2008) set a new standard for the genre, combining meticulous preparation with a “proof of concept” for large-scale filmmaking. Director Christopher Nolan chose the bank heist as the first sequence to be filmed to let Ledger ease into the role. Since the Joker is masked for most of the scene, it allowed Ledger to find the character’s physical presence before delivering the final, unmasked reveal.

This was the first time a major Hollywood feature used IMAX 70mm cameras for a narrative dramatic sequence. The cameras were so loud and bulky that they limited mobility, requiring every shot to be precisely pre-visualized. In the famous close-up where the Joker removes his mask and says, “I believe whatever doesn’t kill you simply makes you stranger,” the shot is actually slightly out of focus. Due to the experimental nature of IMAX at the time, there were technical issues, but Nolan kept the take because Ledger’s performance was so compelling.

The exterior “Gotham National Bank” was a fake extension built on a vacant lot in Chicago, while the interior was filmed in the lobby of the Old Chicago Main Post Office. The “death slide” zip-line from the 14th-floor window and the school bus crashing through the bank wall were both performed as real, physical stunts without CGI. 

Ledger’s iconic habit of licking his lips started as a practical solution to keep his silicone scars from peeling off during takes. Nolan noticed it added a “reptile-like” quality and encouraged him to keep it as part of the character. Impressed by Ledger’s vision, Nolan allowed him to direct the homemade hostage videos himself. For the second video featuring a kidnapped reporter, Nolan was so confident in Ledger that he didn’t even attend the shoot.

To stay in character, Ledger kept a “Joker Diary” on set filled with disturbing images and writings. On the final page of the diary, he wrote “BYE BYE” after filming concluded. 

Peveril of the Peak, a Historic Pub in Manchester, Has Welcomed Patrons Since 1820

Affectionately known to locals as “The Pev,” Peveril of the Peak is one of Manchester’s most iconic and visually striking landmarks. Located on a “triangular island” on Great Bridgewater Street, it is a rare surviving example of a detached Victorian-era pub.

The pub dates back to approximately 1820, though its most famous features were added much later. There are two primary theories regarding its name. It is widely believed to be named after Sir Walter Scott’s longest novel, Peveril of the Peak (published in 1823), which references Peveril Castle in Derbyshire. Others suggest it was named after the Manchester-to-London stagecoach that shared the name and famously made the journey in just two days.

The pub is a Grade II listed building, primarily famous for its exquisite wraparound green and yellow tile work. Originally a simple brick building, the pub underwent an extensive remodeling around 1900. This added the vibrant ceramic tiling (faience) and the stained-glass windows that remain today.

While it was once part of a dense network of terraced houses and factories (including the Atlas Locomotive Works), urban development in the 20th century cleared the surrounding buildings. The Pev survived, leaving it isolated on its own small plot of land surrounded by modern office blocks.

The pub has accumulated a variety of colorful stories over its two-century history. The pub has been run by the same family since 1971. The landlady, Nancy Swanick, is a legendary figure in the Manchester pub scene, having lived above the bar for over 50 years. Local legend claims the pub was used as a brothel by G.I.s stationed in Manchester during World War II. Staff and regulars have reported various hauntings, including glasses “levitating” or moving toward the glass wash on their own, a spirit often described as “helpful.”

It has been a favorite haunt for various celebrities, most notably Manchester United legend Eric Cantona. It was also used as a filming location for the 1990s crime drama Cracker, starring Robbie Coltrane.

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Irene Vanbrugh: The Grand Dame of the British Stage

Dame Irene Vanbrugh (1872–1949) was a towering figure in British theatre, celebrated for her remarkable versatility and sophisticated stage presence.

Over a career spanning more than half a century, Vanbrugh became the “muse” for some of the greatest playwrights of her time. She is perhaps best remembered for creating the role of Gwendolen Fairfax in the original 1895 production of Oscar Wilde’s The Importance of Being Earnest, as well as her acclaimed performances in the works of Arthur Wing Pinero and J.M. Barrie. Her acting style was defined by its polished wit and emotional depth, allowing her to transition seamlessly from high-society comedies to intense dramas.

In recognition of her immense contribution to the arts and her tireless work for theatrical charities, Vanbrugh was created a Dame Commander of the Order of the British Empire (DBE) in 1941. Her legacy lives on not only through her iconic roles but also through the Vanbrugh Theatre at the Royal Academy of Dramatic Art (RADA), which was named in honor of her and her sister, Violet.

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Georges Meunier: The Architect of Belle Époque Vivacity

Georges Meunier (1869–1942) was a prominent French poster artist and illustrator who captured the effervescent spirit of Paris during the late 19th century.

A contemporary of Jules Chéret, Meunier was celebrated for his ability to infuse commercial art with a sense of joy and movement. His style is characterized by soft, pastel palettes and a whimsical approach to everyday subjects, often featuring elegant Parisian figures in moments of leisure or delight.

Whether he was designing advertisements for railway companies or popular liqueurs, Meunier’s work stood out for its lightness and charm, moving away from the rigid lines of traditional academic art toward a more fluid, impressionistic aesthetic. Today, his lithographs are regarded as essential artifacts of the Belle Époque, symbolizing a time of peace, prosperity, and artistic innovation.

Amara Blanqui, Le Meilleur Des Amers, circa 1890

Société Philanthropique, L'Union du Commerce, Grande Matinée-Concert, 1892

Bullier, Tous les Jeudis Grande Fête, 1894

Demandez Les Confetti "Mousseline", Les Serpentins "Express", 1894

La Depeche, 1894

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In 1997, Nicolas Cage Participated in Several Costume Tests for Tim Burton’s Unproduced Film “Superman Lives”

In 1996, Warner Bros. began developing Superman Lives, a bold attempt to reboot the franchise following the critical failure of Superman IV. The project famously cast Nicolas Cage as Clark Kent, with Tim Burton directing a darker, more “gothic” version of the hero.

The plot was primarily based on the Death of Superman comic arc. Superman would have faced Brainiac, Lex Luthor, and Doomsday. After being killed by Doomsday, he was to be resurrected by a Kryptonian entity known as The Eradicator (or “K”), which would also function as a high-tech “rebirth suit.”

Along with Cage, the film's rumored or planned cast included Chris Rock as Jimmy Olsen, Sandra Bullock as Lois Lane, and Christopher Walken as Brainiac. Producer Jon Peters famously insisted on bizarre requirements, such as Superman not being allowed to fly, not wearing the classic suit, and fighting a giant spider in the finale. 

Despite spending roughly $30 million on pre-production, including the creation of elaborate “glowing” light-up suits, Warner Bros. pulled the plug in 1998, just weeks before filming was scheduled to begin. Multiple script rewrites by Kevin Smith, Wesley Strick, and Dan Gilroy caused the projected budget to balloon beyond $140 million. Following the box office failure of Burton’s Mars Attacks! and the critical disaster of Batman & Robin, the studio became wary of expensive, stylized superhero films. 

While the film never happened, it gained legendary status through leaked screen-test footage of Cage in the suit. Cage eventually realized a version of this dream with a cameo as Superman in the 2023 film The Flash, where he is seen fighting a giant spider, a direct nod to the unproduced script.