Baby Moss, Adorable Childhood Photographs of Sipermodel Kate Moss

Katherine Ann Moss (born January 16, 1974) is an English model. Arriving towards the end of the “supermodel era,” Moss rose to fame in the early 1990s as part of the heroin chic fashion trend. Her collaborations with Calvin Klein brought her to fashion icon status. She is known for her waifish figure, and role in size zero fashion.

Moss has had her own clothing range, has been involved in musical projects, and is also a contributing fashion editor for British Vogue. In 2012, she came second on the Forbes top-earning models list, with estimated earnings of $9.2 million in one year. The accolades she has received for modeling include the 2013 British Fashion Awards acknowledging her contribution to fashion over 25 years, while Time named her one of the world’s 100 most influential people in 2007.

Kate Moss was recruited as a model in 1988 at age 14 by Sarah Doukas, founder of Storm Management, at JFK Airport in New York, after a holiday in The Bahamas. Corinne Day shot black-and-white photographs of her, styled by Melanie Ward, for The Face when she was 16, in a shoot titled “The 3rd Summer of Love.” Moss was presented as a young unknown, and Day described the pictures as “dirty realism” or “grunge.”

Moss then featured in the Levi’s campaign ‘Levi’s for Girls,’ with great success, set up by The Design Corporation and again shot by Corinne Day. A further shoot followed for The Face, by Tony Briggs, entitled “Haute Coiffure,” Moss went on to become the “anti-supermodel” of the 1990s in contrast to the models of the moment, such as Cindy Crawford, Elle Macpherson, Claudia Schiffer and Naomi Campbell, who were known for curvaceous and tall figures.

Moss featured in the fashion look heroin chic in 1996 (which prompted speculation over her weight) with a campaign for Calvin Klein. Then-US President Bill Clinton spoke out against the trend. Moss said, “It was just the time. It was a swing from more buxom girls like Cindy Crawford and people were shocked to see what they called a ‘waif.’ What can you say? How many times can you say ‘I’m not anorexic?’”

Below are some adorable photos of Kate Moss when she was a kid in the early 1980s:

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20 Vintage Get-Well Cards in the Mid-20th Century

A get-well card is a greeting card that people send to someone who is sick, recovering from an illness or surgery, or going through a tough time. The purpose of the card is to express well wishes, offer encouragement, and show support to the person who is unwell.

Typically, a get-well card includes kind and uplifting messages such as “Wishing you a speedy recovery” or “Hope you’re back on your feet soon!” Some cards may also include humor or comforting images to help lift the person’s spirits.

It’s a thoughtful way to show you care and let someone know they are in your thoughts. Here below is a set of vintage get-well cards in the 1950s and 1960s.

Cheer Up!

Feelin' Pooped?

Get Well Soon, Measles

Get-Well Bluebird

Get-Well Bunnies

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Nurse in the Interior of Coast Hospital Horsedrawn Ambulance in Sydney, ca. 1900s

In the early 1900s, the sight of a nurse seated on the back of a horse-drawn ambulance at the Coast Hospital in Sydney was a testament to the grit and determination of medical professionals in a time of limited technology. The clatter of horses' hooves echoed through the hospital grounds as the ambulance made its way to the hospital, a stark contrast to the modern, motorized vehicles we see today.

This nurse, with her crisp white uniform and steadfast demeanor, embodied the spirit of an era when healthcare was as much about dedication as it was about skill. The Coast Hospital, which would later become the Prince of Wales Hospital, was a beacon of hope for the sick and injured.

Here, patients were transported not by the hum of an engine, but by the steady trot of a horse, each journey a reminder of the lengths to which medical staff would go to provide care.

As the ambulance pulled up to the hospital entrance, the nurse prepared to assist the patient, her calm presence a source of comfort in a time of uncertainty. This scene, simple yet profound, highlights a chapter in Sydney’s healthcare history when even the most basic of resources were used with utmost care and compassion. In the face of adversity, these early healthcare workers forged a path that would lead to the advanced medical services we rely on today.

(Photos by © Museums of History NSW - State Archives Collection)

40 Lovely Portrait Photos of Victorian Couples in the Mid-19th Century

Victorian portraits of couples often reflect the era’s emphasis on formality, respectability, and social status. These portraits were typically posed with careful attention to clothing, posture, and background, showcasing the couple’s wealth, class, and propriety. Men were usually depicted in formal suits with stiff collars and vests, while women wore elaborate dresses with high collars, corsets, and intricate hairstyles.

The couples were often shown seated or standing with a dignified, restrained demeanor, sometimes with subtle hand gestures or glances to suggest affection, though overt emotional expression was avoided. These portraits were not only a means of capturing love or partnership but also a way to assert one’s social position and family legacy in a society that valued decorum and appearances.

Here below is a set of lovely photos that shows portraits of Victorian couples from the mid-19th century.

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A Gallery of 80 Amazing Behind the Scenes Photos From the Making of “Mad Max 2: The Road Warrior” (1981)

Mad Max 2 (released as The Road Warrior in the United States) is a 1981 Australian post-apocalyptic dystopian action film directed by George Miller, who co-wrote it with Terry Hayes and Brian Hannant. It is the second installment in the Mad Max franchise. The film stars Mel Gibson reprising his role as “Mad Max” Rockatansky and follows a hardened man who helps a community of settlers to defend themselves against a roving band of marauders.

Despite the success of the first Mad Max (1979), the sequel had a relatively modest budget of around $4 million AUD. The production team had to rely heavily on resourcefulness and ingenuity. Many of the vehicles and props were constructed from scrap materials, and some were re-used or modified from the first film.

The movie’s high-octane action was achieved with real stunts performed by an exceptional stunt team. The film’s director, George Miller, worked closely with stunt coordinator Max Aspin to ensure the high-speed chases and crashes felt authentic. Many stunts were incredibly dangerous by today’s standards. One particularly infamous stunt involved a motorcycle rider being launched into the air, flipping end over end. The stuntman, Guy Norris, narrowly escaped serious injury and completed the stunt in one take.

The film was shot in the barren deserts of Broken Hill, New South Wales, Australia. Cast and crew had to endure harsh weather, including sweltering heat during the day and freezing temperatures at night. The isolation of the location added to the production's raw and gritty feel but also presented logistical challenges.

The post-apocalyptic look of Mad Max 2 was groundbreaking and influential. Costume designer Norma Moriceau created the iconic outfits, including Max’s leather jacket and the elaborate, punk-inspired gear worn by the marauders. Much of the wardrobe was cobbled together from found items, contributing to the world’s scrappy, scavenged aesthetic.

Max’s Pursuit Special, the black Ford Falcon XB GT known as the “Interceptor,” became an icon of the series. The car was modified from the first film and further altered to reflect the deteriorated world of the sequel. Its destruction in the film was a major moment, but production built several versions for different shots.

At one point during filming, the local police had to be involved to regulate the area due to curious onlookers and the dangerous nature of the stunt scenes. Additionally, the rugged terrain caused frequent mechanical issues with the vehicles.