35 Stunning Fashion Portraits of Jessica Patton Barkentin in the 1940s

Jessica Patton Barkentin was a prominent fashion model of the mid-20th century, epitomizing the refined elegance and quiet sophistication of the 1940s and ’50s. She frequently collaborated with legendary photographers of the era, such as Genevieve Naylor and Louise Dahl-Wolfe, appearing in prestigious publications like Harper’s Bazaar.

Known for her classic features, poised demeanor, and ability to breathe life into structured postwar garments, Barkentin remains a timeless icon of vintage fashion photography, capturing the graceful essence of an unforgettable era in haute couture. These stunning vintage photos capture portraits of fashion model Jessica Patton Barkentin in the 1940s.

Jessica Patton Barkentin in natural silk shantung suit with wide-brimmed hat, photo by John Rawlings, Vogue, 1942

Jessica Patton Barkentin wearing a pink and black linen skirt and black top, photo by John Rawlings, Vogue, 1942

Jessica Patton Barkentin wearing dark hand-knitted sweater, gray kidskin pants, black belt and pink scarf and pin, photo by Horst P. Horst, Vogue, 1942

Jessica Patton Barkentin in green high-waisted slacks, black top worn with pink jacket, photo by John Rawlings, Vogue, January 1, 1943

Jessica Patton Barkentin is wearing a Pacific Mills 100% wool coat by Falkenstein, photo by Horst P. Horst, Vogue, March 1, 1943

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30 Photos of Diana Rigg in the 1970s

Diana Rigg (July 20, 1938 – September 10, 2020) was a British actress celebrated for her elegance, wit, versatility, and striking beauty. During the 1970s, Rigg transitioned from her 1960s pop-culture stardom into a highly respected, versatile actress across Hollywood films, American television, and prestigious West End and Broadway stage productions. After rising to global fame as Emma Peel in The Avengers and starring as Tracy Bond in the 1969 film On Her Majesty’s Secret Service, she spent the 1970s shedding her “action girl” stereotype. She established herself as a powerhouse of both classical drama and sharp comedy.

She starred alongside George C. Scott in The Hospital (1971), the critically acclaimed satirical film which earned her a Golden Globe nomination. She made her Broadway debut in Abelard & Heloise (1971) and later starred in the acclaimed staging of Who’s Afraid of Virginia Woolf?. Rigg starred with Vincent Price in the cult-classic British horror-comedy Theatre of Blood (1973), which both actors frequently cited as one of their favorite films.

She moved to the United States to headline her own NBC sitcom, Diana, playing an English divorcee adjusting to life in New York. She showcased her musical talents by starring in the film adaptation of Stephen Sondheim’s famous musical, A Little Night Music (1977).

Behind the scenes, Rigg was fiercely independent and openly critical of the demanding nature of Hollywood commercialism. When her American sitcom Diana failed to attract a large audience and was canceled after 13 episodes, she openly expressed relief, calling the experience “shitty” and noting that she dreaded the absolute commitment required by standard studio contracts.

On a personal front, she married Israeli painter Menachem Gueffen in 1973, though the marriage ended in divorce in 1976. Throughout the decade, she regularly appeared on British talk programs like the BBC Parkinson Interviews, where she charmed audiences with her sharp wit, level-headedness, and pride in her working-class Yorkshire upbringing.

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Blondie Photographed by Ian Dickson on Oxford Street, London, 1977

In May 1977, Blondie arrived in the UK for their first-ever British tour, supporting Television. Renowned music photographer Ian Dickson captured the band during a casual promotional stroll down London’s busy Oxford Street. Rather than a staged studio session, Dickson captured candid, gritty street-level portraits that perfectly matched the band’s burgeoning punk and new wave energy.

During the walk, the band popped into a traditional London shoe shop. Dickson captured this striking, intense portrait of Debbie Harry resting in a chair, framed perfectly by stacks of shoe boxes. Her iconic platinum hair and cool composure contrast sharply with the mundane, everyday retail backdrop. He also photographed the band members gathering outside the storefronts. These images capture the raw, effortless style of the era, just as Blondie was on the cusp of exploding into global superstethers.

When these photos were taken, Blondie was still an underground phenomenon in the UK. Within a year of this promotional tour, their breakout album Parallel Lines would propel them to the top of the British charts, making moments like a quiet shoe-shopping trip on Oxford Street a thing of the past.

1957 Dual-Ghia Convertible: Rare Glamour of the Hollywood Elite

The 1957 Dual-Ghia Convertible was one of the most exclusive and glamorous automobiles of the 1950s. A collaboration between American Dual Motors and Italian coachbuilder Ghia, it combined a powerful Chrysler V8 engine with elegant, handcrafted Italian bodywork.

Only around 117 units were ever produced, making it an ultra-rare collector’s car. With its sleek lines, luxurious interior, and convertible design, the Dual-Ghia became a favorite among Hollywood’s biggest stars, including Frank Sinatra, Dean Martin, and other members of the Rat Pack.

These beautiful photos perfectly capture the rare glamour and sophistication of the 1957 Dual-Ghia Convertible. Its timeless Italian-American design continues to fascinate collectors and classic car enthusiasts to this day.

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36 Amazing Photos From the Set of “American Graffiti” (1973)

Directed by George Lucas and produced by Francis Ford Coppola, American Graffiti (1973) stands as one of the most influential coming-of-age films in cinema history. Before Lucas took us to a galaxy far, far away with Star Wars, he captured a deeply nostalgic, grounded look at American youth culture on the precipice of change.

Set over the course of a single night in late August 1962 in Modesto, California, the film follows a group of high school graduates spending their last night of summer cruising the streets before heading off to college.

Released in 1973 against the backdrop of the Vietnam War and the Watergate scandal, the movie offered a bittersweet look back at a simpler, pre-1963 America. It single-handedly sparked a wave of 1950s and 1960s nostalgia in pop culture, directly paving the way for shows like Happy Days.

American Graffiti revolutionized the use of popular music in film. Instead of a traditional orchestral score, the movie features a non-stop, wall-to-wall soundtrack of 41 rock 'n' roll hits from the era, all tied together by the mysterious, gravelly voice of legendary radio DJ Wolfman Jack.

The film featured a stellar ensemble cast of young actors who would go on to shape Hollywood for decades, including Richard Dreyfuss, Ron Howard, Cindy Williams, Charles Martin Smith, and a breakout performance by Harrison Ford as the drag-racing Bob Falfa.

For many fans, the true main characters of the film were the machines. The late-night cruising culture was perfectly captured through some legendary American steel: 1932 Ford Deuce Coupe (driven by John Milner), 1955 Chevrolet One-Fifty (driven by Bob Falfa), 1958 Chevrolet Impala (driven by Steve Bolander), and 1956 Ford Thunderbird (driven by The Blonde in the T-Bird)...

Filmed on a shoestring budget of roughly $777,000 over just 29 nights, American Graffiti went on to gross over $140 million worldwide, making it one of the most profitable films in Hollywood history and giving George Lucas the leverage he needed to pitch Star Wars.

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Kangaroo Jumps Rebound Shoes From the 1930s

Kangaroo jumps (or rebound/jumping shoes, also called “moon shoes” or spring-heel shoes) from the 1930s era refer to early spring-loaded footwear toys or devices, precursors to modern rebound boots like Kangoo Jumps.

A woman helping her friend with her Kangru-Spring-Shu, a pair of boots fitted with springs, ca. 1935.

These were not the modern fitness rebound boots (which emerged in the 1990s with brands like Kangoo Jumps, featuring advanced leaf springs or tension bands for low-impact exercise). Instead, they were simpler, often risky “ankle-breaker” toys with metal coil springs attached to wooden or metal platforms that strapped over regular shoes. They aimed to let kids (or adults) bounce like kangaroos or walk on the moon, tying into the space race hype later on.

A 1914 French patent by Gaston Devore described a device adapting to shoes for increased running speed or jump amplitude, considered one of the first conceptual “jumpers.” “Kangru-Springshu” or similar “Kangaroo” spring shoes appeared from between the 1920s and 1940s as toys. They featured large metal springs (front and back) on platforms, with leather straps. These were sold as fun, novelty items emulating kangaroo hops but were unstable and dangerous.

Popularity surged in the 1950s amid the Space Race (branded as “Moon Shoes” or “Satellite Jumping Shoes”), but the kangaroo-themed versions predate that. They were basic: wooden/metal bases with springs, adjustable straps, and poor lateral stability—often criticized for causing injuries. Modern equivalents are safer with better designs.

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How Kersal, Salford Has Changed: Striking Then-and-Now Photos

These striking then-and-now photos, created by Dr Shane, offer a fascinating look at how Kersal, a district of Salford, Greater Manchester, has transformed over the decades.

Comparing images from the 1960s and 1970s with those taken in recent years reveals significant changes in architecture, streetscapes, and daily life: from traditional terraced houses and local shops to modern developments and evolving urban landscapes.

This visual journey highlights not only the physical transformation of the neighborhood but also the broader social and economic shifts that have shaped this corner of Greater Manchester over the past sixty years.

Looking across the park towards Spencer House, late 1960s and April 2, 2025

A parade on Kersal Way in the early 1970s. On the left you can see Milton House, and to the right Spencer, Shakespeare and Shelley House. The same spot below on July 14, 2013

A view from Shakespeare House towards South Radford Street, late 1960s and July 28, 2011

A view from the Jubilee Footbridge looking towards Agecroft, July 5, 1967 and February 2, 2013

A view of Kersal Way between the shops and Milton House, January 26, 1970 and June 18, 2024

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