by CU Newswire | Sep 8, 2026 | Yesteryear
Roecliff & Chapman Model was a British ready-to-wear fashion house active in the late 1940s and ’50s, specializing in high-end womenswear.
Based at a prestigious address on Grosvenor Street in Mayfair, London, the company produced elegant, well-crafted garments that reflected the refined style of postwar British fashion. Their designs offered sophisticated ready-to-wear alternatives at a time when quality and understated elegance were highly valued.
Though the label appears to have ceased operations by the late 1950s, surviving pieces remain appreciated as examples of mid-century British fashion craftsmanship. These elegant designs showcase the refined style and quality craftsmanship of Roecliff & Chapman Model, a sophisticated British ready-to-wear label of the postwar era.
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| Actress Hazel Court in watered silk dress in purple, white and gray, with a shirt top and gathered skirt by Roecliff & Chapman, photo by Richard Dormer, Harper’s Bazaar UK, July 1949 |
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| Anne Gunning in elegant silk jersey dress with soft folds on one side by Roecliff & Chapman, photo by Richard Dormer, Harper’s Bazaar UK, December 1950 |
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| Susan Hook in black velvet dress with mermaid-tight skirt flaring into a fish-tail from the knee by Roecliff & Chapman, photo by Richard Dormer, Harper’s Bazaar UK, November 1950 |
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| Actress Kay Kendall in cyclamen silk jersey draped evening dress leaving one shoulder bare by Roecliff & Chapman, photo by Richard Dormer, Madeira, Harper’s Bazaar UK, January 1951 |
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| Fiona Campbell-Walter in beautiful halter gown in navy taffeta with white embroidery by Roecliff & Chapman at Bon Marché, Harper’s Bazaar UK, June 1951 |
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by CU Newswire | Sep 8, 2026 | Yesteryear
A photographer (
storiestellr) on Threads has gained significant attention for sharing a series of unpublished, chronological photographs of 9/11 bystanders. The photo series documents everyday people on the streets of New York City during the morning of September 11, 2001, capturing the immediate, raw confusion, disbelief, and shock as the events unfolded.
Instead of focusing directly on the burning buildings, the images emphasize the faces of bystanders, witnesses, and ordinary New Yorkers trying to process the tragedy in real time. Many of these archival photos reflect a surreal mix of normalcy and mounting realization, showing how individuals reacted instinctively to preserve history before the full scale of the terrorist attack was completely understood.
Along with each image, the photographer posts written captions reflecting on what was happening at that specific location and moment, detailing the human experience behind the lens.
“Twenty-five years ago, on September 11, 2001, I turned my camera away from World Trade Center and toward the bewildered crowd,” he
wrote. “Starting today, I’m posting a few chronological photographs a day, with a line or two from my journal and an essay I wrote – until September 11, 2026.”
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by CU Newswire | Sep 8, 2026 | Yesteryear
The Sphinx Series (often referred to as the “Hunky Dory Sphinx” sessions) remains one of the most striking visual documentations of David Bowie’s transition from a folk-rock singer to a global superstar. Photographed by Brian Ward in 1971 at his studio on Heddon Street in London, these images captured Bowie in a state of high-fashion androgyny that would soon define the Hunky Dory era.
In 1971, Bowie was deep into the recording of Hunky Dory. He was experimenting heavily with his image, moving away from the “curly-haired mod” look of the late 1960s toward a more ethereal, gender-fluid aesthetic. Bowie appeared with long, flowing strawberry-blonde hair, wearing a floral “man-dress” designed by Michael Fish (which he also wore on the cover of the UK release of The Man Who Sold the World).
The name “Sphinx Series” comes from Bowie’s rigid, symmetrical posing, sitting on the floor with his legs tucked, hands resting on his knees, and a piercing, enigmatic gaze directed at the camera.
The session produced several iconic shots, though not all were used immediately. While Ward’s photos from these sessions were the primary source material, the final Hunky Dory cover was a hand-colored version of a specific portrait inspired by Greta Garbo, rather than the full Sphinx-style body shots. Brian Ward is also the photographer behind the famous Ziggy Stardust cover taken just a few months later on the very same street (Heddon Street) where his studio was located.
These photos are often cited by historians as the moment Bowie perfected the art of the staged persona. The Sphinx photos don’t look like a musician posing for a PR shot; they look like a classical sculpture or a silent film star, bridging the gap between rock music and high-concept performance art.
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by CU Newswire | Sep 8, 2026 | Culture Pop!
by CU Newswire | Sep 8, 2026 | Culture Pop!
