Yesteryear
Giorgio Armani, the iconic Italian designer who turned the concept of understated elegance into a multibillion-dollar fashion empire, died Thursday, his fashion house confirmed. He was 91.
Armani died at home, “peacefully, surrounded by his loved ones,” the fashion house said. “Indefatigable to the end, he worked until his final days, dedicating himself to the company, the collections and the many ongoing and future projects,” the fashion house said in a statement.
Before Armani became a household name, he worked as a window dresser and then as a designer for Nino Cerruti’s Hitman menswear line in the 1960s. This gave him a reputation for creating sharp but relaxed tailoring.
In 1973, he partnered with his friend and business associate Sergio Galeotti, who encouraged him to go independent.
In 1975, Armani and Galeotti officially founded the Giorgio Armani company in Milan. Their first collection was men’s ready-to-wear, which challenged the rigid, structured suits of the time. Armani introduced a softer, deconstructed jacket that would become his signature.
By the late 1970s, he expanded into womenswear, giving women tailored clothing with a masculine edge—looser silhouettes, neutral tones, and power suits that later defined the 1980s.
Photos Taken by David Swenson on the Morning of September 11, 2001
David Swenson, who worked in a data center in New York City, was taking weekly time-lapse photos of a new building under construction across the street. He used the Twin Towers to frame his shots, providing a consistent reference point.
On the morning of September 11, he was taking one of these regular photos when he witnessed the first plane, American Airlines Flight 11, crash into the North Tower. He captured this moment and continued to document the unfolding tragedy, including the impact of the second plane, United Airlines Flight 175, into the South Tower, as well as the collapses of both towers. His photographs – taken from 499 Washington Boulevard in Jersey City, directly across the Hudson River facing the World Trade Center – provide a unique perspective on the attacks, showing the progression of events from a nearby vantage point.
“Tuesday morning at 8:45am I was in our data center taking pictures of our new building going up across the street,” said Swenson. “I had been taking a few pictures each week, using the Twin Towers to frame/align all the shots evenly so I could later make a time lapse video of the new 30 story building’s construction.”
“After taking the shot I see a large plane flying south right over the Hudson River. For a moment I thought what a great shot I’m about to get, then American Airlines Flight 11 suddenly rolls into a left bank of about 40 degrees. The impact came about a second later, and I can’t believe what I’m seeing. After shooting a few more pics I run to the hall where I meet up with a few of the building engineers and we head up to the roof for a better view. The scene is surreal, and after watching United Flight 175 circle around and fly into the South Tower everyone began to realize we were under attack. We kept looking around for the next plane and my knees began to go weak. I will never EVER forget that image of American Airlines 11 rolling left and striking the North Tower. To this day, I’m still somewhat startled when looking up at a plane overhead.”
The 1958 Chevrolet Corvette Convertible: Chrome, Curves, and Classic American Power
The 1958 Chevrolet Corvette Convertible is a classic American sports car that represented a bold step forward in the Corvette’s styling and performance. This model year introduced a distinctive new look with quad headlights, a louvered hood, and chrome trim accents, giving it a more dramatic presence on the road.
Powered by a range of V8 engine options paired with manual or automatic transmissions, the 1958 Corvette combined sleek design with impressive performance. Its convertible top added to its appeal as a stylish open-air cruiser, perfect for the booming car culture of late 1950s America.
Today, the 1958 Corvette Convertible is highly prized among collectors as one of the most iconic early Corvettes. These stunning photos highlight the chrome details, sweeping curves, and raw American power that made the 1958 Chevrolet Corvette Convertible a timeless classic.
30 Fascinating Vintage Portraits of People Wearing Pince-Nez Spectacles From the Late 19th and Early 20th Centuries
Pince-nez is a style of glasses, popular in the late 19th and early 20th centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, “to pinch,” and nez, “nose.”
Early versions were simple lorgnettes without handles, designed to rest lightly on the nose. At first, they were often associated with scholars, clergy, and the upper classes, as spectacles in general still carried social stigma.
By the mid-1800s, pince-nez had become widespread across Europe and America. They were prized for their compactness—easy to slip into a pocket or hang from a ribbon or chain. They became especially common among professionals, academics, and politicians. Mark Twain, Anton Chekhov, and Theodore Roosevelt all wore pince-nez, helping solidify their intellectual and dignified image.
Around 1900–1920, pince-nez began to decline in favor of modern spectacles with sidearms (temples), which were more stable and comfortable for active use. By the 1930s, they were considered old-fashioned and often caricatured in popular culture as a symbol of fussy intellectuals or stern authority figures.
Today, pince-nez are rare but remembered as an iconic style of eyewear associated with the Victorian and Edwardian eras. They still appear in historical dramas and period films, and vintage pairs are collectible. Some opticians even make modern reproductions for enthusiasts.
Vintage Photos Show Commercial Airplanes Used Wicker Chairs for Passenger Seating in the 1920s and 1930s
In the early 20th century, commercial airplanes used wicker chairs for passenger seating because the lightweight, durable, and ventilated material was ideal for early aircraft design. These simple wicker seats, often with leather linings for easier cleaning, were common until the late 1930s, when more comfortable, padded, and lighter aluminum seats began to replace them.
Early aircraft had less powerful engines and smaller payloads. Wicker was an extremely lightweight material, which helped keep the overall weight of the plane down and allowed it to carry more passengers or mail.
Flying was a novel and expensive activity, appealing to the wealthy who were accustomed to fine home furnishings. Wicker furniture was a common, stylish choice for patios and sunrooms of the era, and its inclusion gave airplane cabins the feel of a flying parlor or living room.
The use of basic wicker chairs began to change as aircraft design and air travel evolved. In the late 1920s, airlines began adding leather lining and padding to the wicker seats to increase passenger comfort and make them easier to clean.
As early as 1930, the Aluminum Company of America created a lightweight aluminum-framed passenger seat. With the introduction of the iconic Douglas DC-3 in 1936, rubber-covered foam seats became the industry norm, replacing wicker entirely.
While early wicker chairs were sometimes simply placed in the cabin, they were eventually fastened to the floor to prevent them from moving around during turbulence.
35 Studio Portraits Show Men’s Styles From the Mid-19th Century
Men from the mid-19th century lived during a period of rapid change marked by industrialization, social shifts, and cultural transformation. Their fashion often included tailored suits, waistcoats, high-collared shirts, and top hats, which reflected formality and social status. Beards, mustaches, and carefully styled hair were also fashionable, giving men of the era a distinguished appearance.
Portraits from this time capture not only their personal style but also the values of discipline, respectability, and tradition that shaped 19th-century society. Take a look at these studio portraits to see how men presented themselves in the mid-19th century.
The Marriage of 22-Year-Old Charlie Johns and 9-Year-Old Eunice Winstead in 1937
On January 19, 1937, 22-year-old tobacco farmer Charlie Johns married his 9-year-old neighbor, Eunice Winstead. The couple was joined by Baptist preacher Walter Lamb in Sneedville, Hancock County. Johns offered Lamb a dollar (equivalent to $22 in today) to perform the marriage. To get to the wedding without her parents’ knowledge, Winstead told them she was going out to get a doll.
Johns falsified Winstead’s age in order to obtain their marriage license. At the time of their marriage, the state of Tennessee had no minimum age for marriage. Winstead’s mother had married at the age of sixteen, and her sister Ina married at thirteen. Though the mothers of Johns and Winstead initially believed that Eunice was too young to marry, they ultimately decided to approve of the marriage.
Johns and Winstead’s marriage was discovered by the press approximately ten days after the wedding. It was then widely covered by American newspapers and magazines. The union was reported by The Times and Life magazines, along with The New York Times. It also inspired the 1938 film Child Bride. Johns avoided media attention, accusing reporters of making things up, and he did not allow any photographs to be taken of his wife and children.
A 1937 piece published by Life about the case displayed a picture of Winstead and Johns at their home in Sneedville. In a news article published that year, The Knoxville Journal reported that “The Winstead family seems complacent over the future of the 9-year-old bride because Charlie, the bridegroom, owns 50 acres of mountain land, several mules and he’s a good farmer.” Another article in Newsweek portrayed Winstead sitting on Johns’ knees.
Reactions to the marriage triggered a change to the law in Tennessee, forbidding marriage of individuals under the age of 16, even if they have parental consent. It provided for exceptions in cases such as pregnancy.
Walter McClintock’s Powerful Photos of Blackfeet Life
Walter McClintock (1870–1949) was an American photographer, writer, and ethnologist best known for documenting the culture and traditions of the Blackfeet (Niitsitapi) people. Beginning in the late 19th century, he spent years living among the Blackfeet in Montana, where he was adopted into the tribe and given the name “White Weasel Moccasin.”
McClintock’s photos captured portraits, ceremonies, and everyday life, preserving invaluable visual records of Native American heritage during a period of rapid cultural change. In addition to his photography, he published books and articles that combined ethnographic study with a deep respect for the people he lived with.
Today, his work is regarded as an important historical archive, offering both artistic and anthropological insight into early 20th-century Native American life. Below is a collection of powerful photos taken by Walter McClintock, documenting the traditions of the Blackfeet people.
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| Blackfeet inner-circle |
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| Black buffalo tipi |
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| Blackfeet tribal camp with grazing horses |
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| Blackfeet war tipi |
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| Blue tipi, or home of the thunder |
Studio Portraits of a Young Keanu Reeves Taken by Aaron Rapoport, 1987
In 1987, Keanu Reeves was photographed by Aaron Rapoport, a Los Angeles–based photographer best known for his work with musicians and rising actors of the 1980s. At the time, Reeves was just beginning to make a name for himself in Hollywood. He had appeared in River’s Edge (1986), a dark indie drama that gave him credibility as a serious young actor, and was starting to get cast in bigger studio projects.
Rapoport’s session with Reeves captured him at this transitional stage: still relatively unknown to mainstream audiences but already showing the brooding, offbeat charm that would become his signature. The photographs show a lean, boyish Reeves with tousled hair, casual clothes, and an introspective expression, projecting both vulnerability and quiet confidence.
1987 was also a pivotal year for Reeves’ career. He appeared in Babes in Toyland (a TV movie with Drew Barrymore), The Night Before (a quirky teen comedy), and had just wrapped Permanent Record (1988), where he played a teenager dealing with a friend’s suicide. These roles showcased his versatility and made him a young actor to watch.
Rapoport’s photos contributed to shaping Reeves’ early public image: not just another Hollywood “teen star,” but someone with depth, mystery, and individuality. Looking back, they offer a fascinating snapshot of Keanu right before his breakout in Bill & Ted’s Excellent Adventure (1989), the film that launched him to stardom.
18 Publicity Photos of Salma Hayek as Rita Escobar in “Wild Wild West” (1999)
Wild Wild West is a 1999 American steampunk Western comedy film directed by Barry Sonnenfeld and written by S. S. Wilson and Brent Maddock alongside Jeffrey Price and Peter S. Seaman, based on a story conceived by Jim and John Thomas. Loosely adapted from The Wild Wild West, a 1960s television series created by Michael Garrison, it is the only production in the franchise since the television film More Wild Wild West (1980).
In the film, Salma Hayek plays Rita Escobar, a spirited and resourceful character who becomes entangled with the two eccentric government agents, Captain James West (Will Smith) and Artemus Gordon (Kevin Kline).
Rita is searching for her missing father, the brilliant scientist Professor Escobar, who has been kidnapped by the film’s villain, the deranged ex-Confederate inventor Dr. Arliss Loveless (Kenneth Branagh). While West and Gordon are assigned to stop Loveless’ plot to divide the United States using his giant mechanical spider and advanced weaponry, Rita joins forces with them, motivated by her personal quest.
Her character provides a mix of charm, wit, and a touch of romantic tension—particularly with James West—though she ultimately proves to be more independent than the agents expect. Despite being portrayed in a somewhat traditional “damsel-in-distress” light, Rita’s boldness and persistence give her a presence that stands out in the film.
Visually, Hayek’s costumes in the film emphasized both glamour and the Old West aesthetic, with elaborate gowns, corsets, and dramatic colors that matched the movie’s over-the-top steampunk style.










































