She remained a fashion muse and socialite, frequently photographed at events, galas, and parties in New York and Europe, while shifting focus toward activism. Her looks blended masculine-feminine contrasts, monochrome palettes (especially white and black), and eveningwear flair.

She favored sharply cut tuxedo jackets (often with satin lapels), double-breasted blazers, and structured suits. A notable example is a mid-1980s look with a perfectly tailored tuxedo jacket over a sheer top or bodysuit, paired with elegant bottoms—pure European chic. White suits and wide-leg trousers continued as signatures, echoing her famous YSL wedding look but updated for the decade.

Strapless black gowns, off-the-shoulder or draped dresses, and dramatic pieces like a Scarlett O’Hara-style dress for a 1980s AIDS charity auction. She also wore bustier/lace dresses and hoop-skirted ballgowns. Opulent hats (a longtime signature), chokers, high heels, and occasional bold touches like canes or furs. Her hair was often short or sleek in the 1980s.

Heavy on black and white monochrome, with elegant draping, structured shoulders, and contrasts between ultra-feminine (flowy, Grecian, or off-shoulder) and masculine-tailored elements. She made everything look effortless.

Her 1980s look is often cited by fashion historians as being “power dressing stripped of noise and excess,” serving as a bridge between high fashion and her burgeoning role as a global activist.

Ali, known for his charm as much as his skill, noticed Patrick and took the time to offer him some boxing tips. With a warm smile and playful spirit, he stepped into the ring with the young lad and sparred gently, allowing Patrick to land a few punches and “win” the round. It was a touching gesture that left a lasting impression on everyone in the gym that day.

The moment captured in these photographs speaks volumes: the world’s greatest boxer crouching low, grinning, while a little boy throws a punch with all his might. It was a rare, joyful glimpse of Ali’s kindness outside the spotlight, one that turned an ordinary boxing lesson into a magical childhood memory.

Born on May 1, 1905, in New York City to a show-business family (her parents, John Hyams and Leila McIntyre, were a well-known vaudeville comedy duo), Leila grew up around the stage. She reportedly appeared in her parents’ act as a child (legend has it she even “performed” as an infant sleeping in a trunk backstage).

After some stage work, she turned to modeling in her teens, posing for clothing, cosmetics, and even early Listerine “halitosis” ads. This led to her film debut in 1924 with the silent film Sandra (opposite Barbara La Marr). She quickly appeared in other silents, including Dancing Mothers (1926) alongside Clara Bow.

In the late 1920s, as silent films gave way to sound, Hyams rose to leading lady status. She starred in MGM’s first talkie, Alias Jimmy Valentine (1928), and appeared in films like Spite Marriage (1929) with Buster Keaton and The Thirteenth Chair (1929), where she showed dramatic range as a murder suspect. She was a press favorite, frequently appearing on magazine covers.

Hyams had classic blonde hair (often styled in soft waves or bobs fitting the flapper-to-early-1930s look), striking eyes, and a fresh, wholesome beauty that suited “pretty ingenue” roles. She was photogenic and stylish in both glamorous gowns and simpler attire, reflecting the evolving Hollywood glamour of the era. Contemporary photos show her as elegant and approachable rather than overtly seductive.

Hyams became one of the top leading ladies of the early talkie/pre-Code years. She was praised for her charming screen presence and versatility, she could play light comedy, drama, and even edgier material. She appeared in over 50 films total during her roughly 12-year career (1924–1936), moving from supporting “smile and look pretty” parts to more substantial leading and character roles in crime melodramas and horror.

In 1927, she married Hollywood talent agent Phil Berg; they remained together until her death. She retired from films in 1936 (her last feature was Yellow Dust) to focus on private life, though she stayed connected to the Hollywood community. She made one brief short-film appearance in 1946. Hyams died in Bel Air, Los Angeles, in 1977 at age 72.

Flossie’s battle with polio was not just physical, it was emotional and deeply personal. Long months of therapy, isolation, and dependence on others marked her experience. Yet it was the compassion of nurses, their tireless care and quiet strength, that left the most lasting impression on her. That mirror held up by a nurse wasn’t just about vanity; it was a gesture of dignity, reminding Flossie that she was still herself, still whole, even in the midst of suffering.