35 Wonderful Color Slides of Women in the Kitchens in the 1960s

In the 1960s, women in kitchens often faced a mix of traditional expectations and emerging modern influences. The decade was marked by a strong societal expectation for women to focus on homemaking and cooking, which was often idealized in media and advertising. This period saw a rise in convenience foods and appliances like microwave ovens, which began to change how cooking was approached.

Despite these changes, many women still found themselves primarily responsible for meal preparation. However, the feminist movement of the 1960s also started to challenge these traditional roles, leading to gradual shifts in domestic responsibilities and expectations over the following decades.

Take a look at these wonderful color slides to see what women did in the kitchens in the 1960s.

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30 Beautiful Photos of Women With Big Hair in the 1960s

Big hair in the 1960s was a major fashion trend, epitomized by styles such as the beehive and bouffant. These voluminous hairstyles were often achieved using backcombing (teasing), hairpieces, and copious amounts of hairspray. Icons like Brigitte Bardot, Jackie Kennedy, and Dusty Springfield popularized these looks, which became synonymous with the era's glamour and style.

In addition to the beehive and bouffant, other notable 1960s hairstyles included the flip, characterized by ends that curled outward, and the mod look, made famous by figures like Twiggy, with sleek, straight styles and sharp cuts.

Hair accessories like headbands, scarves, and large decorative clips also played a significant role in the era’s hair fashion. The 1960s were a time of experimentation and bold statements, reflecting the cultural shifts and youthful energy of the decade.

Here below is a set of beautiful photos that shows portraits of women with big hair in the 1960s.

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30 Elegant Photos That Show Women’s Fashion Styles in the 1860s

Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.

Under Queen Victoria’s reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising.

Take a look at these elegant photos to see what fashion styles for women looked like in the 1860s.

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35 Elegant Photos That Defined Women’s Sunglasses in the 1960s

In the 1960s, women’s sunglasses were characterized by bold, oversized frames and a variety of shapes, often reflecting the era's playful and experimental fashion sense. Key styles included: Cat-eye frames, round frames, colorful frames (bright, bold colors and patterns were in vogue, often made from plastic).

Sunglasses often featured decorative elements such as rhinestones, engravings, and other embellishments. These styles emphasized individuality and often served as a statement accessory in women's fashion during the 1960s.

It also was during this decade when sunglasses started to become more affordable for the common person and were sold for modest prices compared to other decades. Take a look at these elegant photos to see what women’s sunglasses looked like in the 1960s.

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Impressive Hat Styles Designed by Jean Barthet in the 1950s and 1960s

Jean Barthet (1920–2000) was a French milliner who first rose to prominence in the 1950s as hat maker to Hollywood and French film stars, also designing hats for films such as The Young Girls of Rochefort.

Hat styles designed by Jean Barthet in the 1950s and ’60s

Barthet helped to define fashionable hat styles – including the bucket hat, pillbox hat and fedora – that predominated throughout the 1960s and collaborated with major couture houses. With a career spanning more than 40 years, he remained a favorite hatmaker of Sophia Loren (both for film and personal wear), also creating hats for Michael Jackson’s 1988 world tour.

Here below is a set of beautiful photos that shows impressive hat styles designed by Jean Barthet in the 1950s and 1960s.

Joan Olson wearing a hat by Jean Barthet, photo by Regina Relang, Paris, 1953

Rose Marie in layered tulle turban adorned with pink rose by Jean Barthet, emerald and diamond jewellry by Cartier, photo by Philippe Pottier, 1957

Rose Marie in hat of flexible draped satin in three shades of pink by Jean Barthet, jewelry by Van Cleef & Arpels, photo by Philippe Pottier, 1958

Grès has used a marvelous reversible wool, as light as down, for this coat in which the cape effect is given by the low inset of the sleeves, hat by Jean Barthet, handbag by Henry a la Pensée, photo by Guy Arsac, 1959

Gunila in very fine wool suit featuring longer jacket by Jules Crahay for Nina Ricci, hat by Jean Barthet and croc handbag by Ferest, photo by Philippe Pottier, 1959

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Beautiful Portrait Photos of Classic Beauties Taken by Pierluigi Praturlon From the 1960s

Born 1924 in Rome, Italian photographer Pierluigi Praturlon was known for his work with film director Federico Fellini. He was the official set photographer on more than 400 films, including Ben Hur, Cleopatra, La grande guerra, Thunderball, Grand Prix, La Dolce Vita, The Pink Panther, Matrimonio all’italiana, Amarcord, and La Ciociara.

Praturlon was Sophia Loren’s personal photographer, and Frank Sinatra consulted with him on which tapestries to hang in his private jet. He died in Rome in 1999.

These beautiful photos are part of his work that Pierluigi Praturlon took portraits of classic beauties in the 1960s.

Audrey Hepburn in wool coat by Balenciaga and blouse and skirt by Pierre Cardin, photo by Pierluigi Praturlon, Rome, 1960

Elsa Martinelli, photo by Pierluigi Praturlon, Rome, 1960

Sophia Loren wearing hat by Jean Barthet, photo by Pierluigi Praturlon, Italy, 1960

Angie Dickinson on location in Sicily for the film "Jessica", photo by Pierluigi Praturlon, 1961.

Angie Dickinson on location in Sicily for the film "Jessica", photo by Pierluigi Praturlon, 1961

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Beautiful Photos That Show Brides’ Styles in the 1950s

In the 1950s, brides often wore tea-length or full-length dresses featuring cinched waists and full skirts, creating a classic hourglass silhouette. Dresses were typically made from luxurious fabrics like silk, satin, and lace, and often included details such as sweetheart necklines, cap sleeves, and intricate beading.

Veils, pearls, and gloves were common accessories. Hairstyles featured soft waves or curls, and makeup was polished with red or pink lips. The overall look was elegant and feminine, reflecting the post-war return to traditional values and fashion.

Take a look at these beautiful photos to see what brides looked like in the 1950s.

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30 Amazing Photos Capture Young Women in Jodhpurs in the 1920s

Jodhpurs, in their modern form, are tight-fitting trousers to the ankle, where they end in a snug cuff, and are worn primarily for horse riding. The term is also used as slang for a type of short riding boot, also called a paddock boot or a jodhpur boot, because they are worn with jodhpurs.

According to Tara Mayer, “Jodhpurs … exemplify the material and cultural exchanges between Britain and its Indian colony in the nineteenth and early twentieth centuries.”

Originally, jodhpurs were snug-fitting from just below the knee to the ankle, and were flared at the hip to allow ease for sitting in the saddle. Modern jodhpurs are made with stretch fabric and are tight-fitting throughout. They are supportive and flexible.

These amazing photos were found by anyjazz65 that show young women wearing Jodhpurs in the 1920s.

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Amazing Vintage Photos Offer a Behind the Scenes Look at the Famous Gaby Young Agency in the 1950s and 1960s

The Gaby Young Agency was originally known as the Gaby Young Mannequin Agency as models were known as mannequins in those days.

Gaby Young-MacKinnon started off as one of Christian Dior’s muse and house models and later started her own atelier in Mallorca, Spain. She appeared on the cover of a range of magazine’s, including Vogue, and and big walked for an array of designer names.

Her agency was coveted among aspiring models, and taught them how to walk a catwalk, do a three-point-turn, take their coat or jacket off during a walk, and exit the car in a “lady-like manner” – knees “firmly pressed together.” First class models would take Gaby’s three-week course, before being signed off by her and passed onto a photographer, where they would see if they could get work.

The incredible images show a model learning the correct way to walk in 1965 with her tummy in and pelvis forward. Elsewhere a young hopeful is seen being interviewed by Gaby Young herself in 1950, while Young and her secretary are pictured coping with busy telephones that don't seem to stop ringing.

Other striking shots show Gaby Young modeling a Reveille coat in 1951, and one of Gaby Young’s models walking along Regent Street on her way to work. Meanwhile a model pupil practiced the sitting position she learnt the previous week, with her hands clasped neatly on her knee and legs on the opposite side.

These remarkable photographs reveal the inner workings of one of the UK’s top modeling agencies during the 1950s and 1960s.

Charm School. 1965: A model learning the correct way to walk in 1965.

One Call a Minute, all through the day, comes into the West End office of the Gaby Young Mannequin Agency. Gaby is seen dealing with a request herself.

Models are seen learning from experts as they take notes on how to pose.

Pictured: An appointment chart is checked over during call on Gaby Young by Elizabeth Chantler in 1950.

Members of the Mantle and Costume Manufacturers Export Group of Great Britain today presented a parade of English tailored coats and suits at the Grosvenor Hotel Ballroom, Park Lane.

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Marilyn Monroe and Jane Russell Putting Their Handprints and Footprints in the Cement at Grauman’s Chinese Theatre, 1953

“I’ll never forget Marilyn saying, ‘It’s for all time, isn’t it?’ ‘Yes,’ I told her, ‘it’s for all time, or as long as the cement lasts.’ She made me cry, she was so sweet. I believed in her. We made a hell of a team and I wish we had done another picture together.” – Jane Russell

On June 26, 1953, Marilyn Monroe and Jane Russell both placed their hands and feet in wet cement and were forever immortalized in the forecourt of the famous Grauman’s Chinese Theatre on Hollwood Boulevard in Hollywood. “Filmdom’s first blonde and first brunette” as the newsreels proclaimed, earned their place in the forecourt of the movie theatre as promotion for their up and coming feature film Gentlemen Prefer Blondes, which was due to hit theaters on July 1, 1953.

“When I was younger, I used to go to Grauman’s Chinese Theatre and try to fit my foot in the prints in the cement there,” Marilyn recalled. “And I’d say ‘Oh, oh, my foots too big. I guess that’s out.’ I did have a funny feeling later when I finally put my foot down into that wet cement, I sure knew what it really meant to me, anything’s possible, almost.”

That day the two stars made their appearance in matching white polka-dot dresses. The cement was poured, wet and waiting for their prints, when Marilyn suggested they make a more personal contribution to posterity. Jane Russell could leave and imprint of her bust, and she would do likewise with her posterior. When the suggestion was ignored, Marilyn proposed a diamond to dot the “i” in her name. The rhinestone used for the purpose did not take very long to catch the eye of a souvenir hunter. Across both squares the ladies wrote “Gentlemen Prefer Blondes” forever tying them together with such a wonderful movie.

70 years on and Marilyn’s hand and footprints are still by far the most popular and most photographed at Grauman’s Chinese Theatre. Of course, it wasn’t just Marilyn’s big day, Jane Russell was right by her side. Taken from “Jane Russell: An Autobiography,” Jane shared her thoughts on the day:

“Marilyn and I were invited to add our footprints to those already cemented in at Grauman’s Chinese Theatre on Hollywood Boulevard. We were both wearing summer dresses and high heels as we posed, arms linked together, for the photographers. We were thrilled beyond words. While I was placing my my feet in that square of soggy cement, I thought of all the times when Pat Alexander and I tried to fit our feet in the footprints of various actresses and how we figured that they must have worn the tiniest shoes for the occasion. Our feet never fit in. Now my prints were in that cement and I couldn’t believe it. I’m sure Marilyn felt the same. Always one for personal comfort, I was wearing my usual big shoes, so no aspiring actress will have any trouble whatsoever getting their feet into my footprints!”

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