by CU Newswire | Apr 29, 2026 | Yesteryear
Irene of New York (born Irene Stone) was a distinguished American milliner who significantly influenced mid-20th-century fashion from the 1940s through the 1960s. Operating her boutique on East 54th Street, she became a household name for sophisticated, high-end headwear sold at luxury retailers like Saks Fifth Avenue and Henri Bendel.
Unlike some of her contemporaries who focused on theatrical avant-garde styles, Irene and her design partner, H. Robert Greene, were celebrated for creating “wearable” elegance. Her signature designs often featured innovative materials like ciré-finished organza and intricate details such as floral garlands and tailored silk turbans.
Her hats are still highly collectible vintage pieces, often recognizable by the “Irene of New York” label, representing a golden era of Manhattan’s custom millinery. These vintage photos showcase the incredible artistry of Irene of New York, reminding us of a time when a hat was the ultimate signature of a woman’s style and grace.
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| Nina de Voogt in coat that wraps closely or hangs loosely of wheat wool tweed by Ben Zuckerman, black silk organdy sailor by Irene of New York, photo by Horst P. Horst, Vogue, February 1, 1952 |
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| Evelyn Tripp in wonderful, peau-de-soie dancing dress with a long moulded torso, in a mixture of beige and brown by Ceil Chapman, small pink satin hat by Irene of New York, photo by Horst P. Horst, Vogue, September 15, 1954 |
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| Evelyn Tripp in Alaska Sealskin polo coat with flap pockets and low half-belt by Fredrica, ermine toque by Irene of New York, photo by Louise Dahl-Wolfe, Harper’s Bazaar, November 1955 |
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| Mary Jane Russell in gently tailored taupe satin suit by Ben Barrack, fitch beret by Irene of New York, jewelry by Verdura, photo by Karen Radkai, Vogue, September 15, 1955 |
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| Model in Anglo wool suit with a 7/8 length topcoat by Ben Zuckerman, Karakul tambourine by Irene of New York, Kislav gloves, photo by Erwin Blumenfeld, Town & Country, September 1955 |
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by CU Newswire | Apr 29, 2026 | Yesteryear
Penélope Cruz was 17 years old during the filming of her feature film debut,
Jamón jamón (1992). Despite the film launching her to international fame as a major sex symbol in Spain, she later revealed that the experience was emotionally devastating and that she felt completely unprepared for the movie’s explicit and sensual scenes.
Cruz has admitted she “did not handle it at all well” and was terrified that her performance, specifically her first nude scenes, would ruin her career before it truly began. On the last day of shooting, she was in tears, convinced she would never shoot another movie again.
“I remember the last day of filming; I was crying, saying, ‘What if I never shoot a movie again?’ The feeling was devastating. ‘Who knows when I will see these people again?’ Including Javier.”
The experience was so taxing that it caused a strong psychological reaction; following the film, she cut her hair short and refused to do any romantic or intimate scenes, even simple kissing, for several years.
The movie was shot in the Los Monegros Desert in Aragon, Spain — a harsh, sun-drenched landscape that mirrored the burning passions and emotional isolation of the characters.
Despite her personal struggle, Cruz noted that the crew and her co-stars were highly respectful of her age and the challenging nature of the material. Director Bigas Luna encouraged a daring and spontaneous atmosphere on set, often letting scenes evolve naturally to capture raw, unfiltered performances.
Cruz met her future husband, Javier Bardem, on this set in 1992. While Bardem later noted their “obvious chemistry,” describing the film as a “document of our passion,” the two remained strictly colleagues and friends for 15 years before beginning a romantic relationship in 2007.
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by CU Newswire | Apr 29, 2026 | Yesteryear
On September 23, 1941, a British mother abandoned her newborn baby behind blackberry bushes in Horsell Common, a 355-hectare park on the outskirts of London.
Stationed in England, three Canadian soldiers (Gunner Robert C. Griffin of Regina, Saskatchewan, Lance Sergeant Ernest Curtis of Brandon Manitoba, and Gunner Alonzo J. Brackett of Terrace, British Columbia) happened to be nearby. The three members of the Royal Canadian Artillery heard a strange noise coming from the bushes and discovered the baby who was clinging to life.
They immediately cut the remaining umbilical cord with a knife, and wrapped the little girl in a white shirt. An entry in the 8th Field Regiment’s war diary from that day says: “found a newborn baby in the gun area.” The baby girl was rushed to a nearby hospital, and survived.
She was later adopted by an English couple, who named her Mary, and growing up in Hertfordshire unaware of her dramatic beginnings. It wasn’t until 2018, at age 79, that Mary discovered an old photograph of the three soldiers holding a tiny baby, revealing the truth of her miraculous rescue. “Tears were rolling down my face,” said Mary. “I owe my life to them.” Her three guardian angels had already passed away, but in 2019, Mary found and got in touch with Harry Curtis, the son of Lance Sergeant Ernest Curtis.
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| At her home in Hertfordshire, England, Mary Crabb displays the 1941 photo featuring her as a baby, surrounded by the Canadian soldiers who saved her life. |
by CU Newswire | Apr 29, 2026 | Yesteryear
Joan Friedman (1931–2014) was a striking figure of the mid-20th century fashion world, embodying the sophisticated allure of the 1950s modeling era. As a high-fashion model, she was frequently captured by the legendary photographers of the day like Horst P. Horst, appearing in the pages of prestigious magazines like
Vogue and
Harper’s Bazaar.
Known for her refined features, graceful poise, and the ability to carry the era’s structured silhouettes: from dramatic ballgowns to chic Dior-inspired suits, Friedman represented the transition toward a more modern, expressive style of beauty. Her work remains a classic reference point for the “Golden Age” of modeling, where elegance was an art form and every pose told a story of high-society glamour.
These vintage portraits of Joan Friedman serve as a timeless reminder of an era when fashion was defined by pure grace and effortless sophistication.
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| Joan Friedman modeling Almanac dress, photo by Karen Radkai, Vogue, April 1956 |
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| Joan Friedman in a fitted, softly molded evening dress with a line flowing into a touch of a train, in silk crêpe made to order by Mainbocher, jewelry by Verdura, photo by Karen Radkai, Vogue, November 15, 1956 |
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| Joan Friedman in a sheer gray wool dress with a flat lowered collar by Nantucket Naturals, white beaver felt hat wrapped in satin by Dachette, alligator belt by Lederer, photo by Roger Prigent, Vogue, November 1, 1956 |
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| Joan Friedman in black rayon-crêpe dress with a deep bare-back and draped wrap-around skirt by Ceil Chapman, shoes by Delmanette, photo by Karen Radkai, Vogue, November 1, 1956 |
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| Joan Friedman in black silk dinner dress caught high with a black silk rose and a fall of streamers by Anna Miller, black shadow-hat by Lilly Daché, photo by Richard Rutledge, Vogue, April 15, 1956 |
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by CU Newswire | Apr 29, 2026 | Culture Pop!
After Helena Bonham Carter left, Laura Dern replaced her in the season 4 cast of ‘White Lotus.’ See the full cast here.
