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T1. Drawn; Duffy in 1972 for Harper’s Bazaar and Queen magazine illustrated by acclaimed and eclectic copyrighter, photographer, art editor, painter and illustrator Adrian Bailey (b.1928).

T2. Swinging; In 1962, Duffy profiled alongside fellow Black Trinity members David Bailey and Terence Donovan in an article by Francis Wyndham in The Sunday Times. Headlined The Model Makers, the piece explored how the trio had helped inspire Michelangelo Antonioni’s cult film Blow Up which reflected the enormous cultural change in the 1960s through photography, models and photographers.

T3. Swinging (2); Duffy taken by David Bailey in the 1960s for Bailey’s 1969 book Goodbye Baby & Amen: A Saraband for the Sixties. The book featured portraits of some of the movers, shakers, models and artists of the 1960s, many originally published in Vogue. Duffy featured alongside subjects including Mick Jagger, Jean-Luc Godard, Roman Polanski, Federico Fellini, Mary Quant, Tom Stoppard, Richard Attenborough, Anthony Newley and Joan Collins, Mia Farrow, Michael Caine, Jean Shrimpton, and David Hemmings, who had played the photographer in Blow Up.

T4. Fashion; Duffy discusses photography and fashion in Creative Camera magazine in 1968, the year it emerged from the more hobbyist Camera Owner. Creative Camera was an influential monthly magazine covering fine art, documentary photography and serious photojournalism. For a while it was subsidised by its owner’s pigeon magazines. Its final issue, number 362, was published on March 31, 2000.
T5. Inside; studio interior, south facing wall.
T6. Location; Duffy’s large multi-roomed studio at 151a King Henry’s Road in Swiss Cottage, North London. He had transferred his studio base from his family home at number 139 in 1965. The 151a building had been the home to a succession of artists since the 1870s, and from 1901 had been used by the innovative stained glass artist Leonard Walker until his death in 1964.

T7. Light; Duffy’s Studio at 151a King Henry’s Road before it was converted and was still set up as a stained-glass workshop. What made it perfect for glazing made it perfect for modern photography: north light, a massive skylight, 30 foot A-frame roof and double doors at the front that enabled vehicles to be driven in. Small rear studios became offices and a dark room.


T8. Silver; ChromaLuxe print from the Ziggy Stardust session, 1972. When the Duffy Archive led by Duffy’s son Chris began exhibiting Duffy’s photographs of David Bowie, it was decided to print the original negatives on ChromaLuxe aluminium panels. This wasn’t only because of the amount of vibrant light and colour created, and the durability of the print, but also because the silver background enhanced the excitement of each collaboration between Duffy and Bowie.

T9. Ultra; ChromaLuxe print from the Ziggy Stardust session, 1972. This type of printing uses an archivally stable process that produces prints with stunning depth and an ultra-high-gloss finish.

T10. Intense; ChromaLuxe print from the Ziggy Stardust session, 1972. ChromaLuxe printing uses a process called dye sublimation which fuses images on to a 1.2mm panel of white coated aluminium and achieves a high luminosity and a colour intensity comparable to the traditional Cibachrome and Kodachrome prints.

T11. Film; original poster for the behind-the-scenes documentary and concert film Ziggy Stardust and the Spiders from Mars by D.A. Pennebaker. A short 60-minute edit was broadcast in 1974, before a full-length version was released theatrically in 1984. The concert footage was taken from David Bowie’s final performance as Ziggy Stardust at the Hammersmith Odeon in 1973, where his on-stage retirement announcement led people to believe Bowie himself was quitting performance and not his alter-ego.

T12. Knife; the original poster, designed by pioneering airbrush artist Philip Castle, for Stanley Kubrick’s film version of the Anthony Burgess novel A Clockwork Orange. Kubrick commissioned and briefed Castle himself. Duffy worked with Castle and the provocative pop artist Allen Jones on the 1973 Pirelli calendar, originally produced in 1964 by the UK subsidiary of the tyre company as a naughty corporate gift for important clients. By the 1970s each annual edition would showcase the leading models, actresses and photographers of the time and symbolise an era’s style.

T13. Girl; the infamous poster designed by psychedelic graphic designer, artist and illustrator Alan Aldridge for the showing of Paul Morrissey and Andy Warhol’s 1966 Chelsea Girls at the Arts Lab alternative art centre. It manipulates a nude Aldridge image of actress and artist Clare Shenstone, a witness at David Bowie’s first marriage to Angela Barrett in 1970 and an inspiration for the song Heroes. Signed by both Aldridge and Shenstone.

T14. Show; original David Bowie concert poster for a Bowie performance at the Plymouth Guildhall, Sunday, 30th April 1972, the 24th show of the first leg of the Ziggy Stardust tour. The striking minimal poster was created by Peter and Greg Van Dike of the show’s promoters, Plymouth’s underground Van Dike Club, which closed that year. The image was more Hunky Dory than Ziggy, as Bowie’s new persona was still something of a secret, and his vivid red hair only a few days old.


T22. Hype; infamous manager, impresario and innovative negotiator Tony Defries (b.1943) began managing David Bowie in 1970. Bowie was taken by Defries’ promise that he could help make him the next Elvis. To some extent he did, including signing him tPresley’s label RCA. With Bowie at the heart of things Defries created MainMan, a rights management organisation which also included Lou Reed, Iggy Pop and Mott the Hoople. Bowie had signed a notoriously bad contract weighted towards Defries, his Colonel Tom Parker, and they parted in 1975 in a deal that gave Defries a share of future income for the next seven years. After that, Bowie took control of his own career; businessman as a new alter ego.

T23. Studio; portrait by Chris Duffy, 2019, of producer and engineer Ken Scott. Scott started working at the famous Abbey Road studio on Beatles sessions between 1964 and 1967 and John Lennon’s Imagine and George Harrison’s All Things Must Pass. Getting to know Bowie as an engineer on the Tony Visconti-produced The Man Who Sold The World, he mentioned to Bowie over a cup of tea that he was keen to produce. His first job as producer was Hunky Dory, and he then produced the Ziggy Stardust, Aladdin Sane and Pin Ups LPs. His technique, he said, was “to let David be David.”

T24. Glamour; once a star make-up artist at Elizabeth Arden in London, the mysterious Pierre Laroche was the make-up artist on the Aladdin Sane shoot. Two years after Aladdin Sane he designed the make up for each character in the 1975 film version of The Rocky Horror Picture Show. A prime influence on glam imagery, he created the Japanese influenced astral sphere Bowie used on his forehead during the Ziggy tour and styled the Bowie/Twiggy ‘mask’ shoot for Vogue that was ultimately used as the cover of Pin Ups. Laroche once said “David Bowie has the perfect face for make-up.”

T25. Life; Celia Philo was a 25-year-old graphic designer who had first worked with Duffy on the 1973 Pirelli calendar. Liking her work, he asked her to be part of Duffy Design Concepts and she was in the studio on the day of the Aladdin Sane shoot. Watching Duffy develop the photos the day after, seeing the images come to life, she realised “he’d cracked it.”

T26. Expense; portrait of Francis Newman, Duffy’s studio manager between 1971 and 1974, also acting as Duffy’s assistant for the Aladdin Sane shoot, which took about half an hour. He was first in at 8 in the morning to set the studio up, with everyone else arriving one by one. Bowie arrived last.

T27. Open; during the Aladdin Sane shoot, Duffy had taken a photograph of Bowie in the same position as the classic closed eyes cover shot, except Bowie had his eyes open, exposing particularly explicitly his permanently dilated left eye, his own dramatic special effect revealed just by looking. Over thirty years after the shoot, the Duffy Archive discovered the photograph, and in 2013 it became the central image promoting the V&A’s ground-breaking David Bowie is exhibition. It was as though the image itself had blinked; nothing changed, but everything did, and the forty-year-old symbol of Bowie’s changeling power was instantly refreshed. It is this shot from the session that is in the National Portrait Gallery, London.

T41. Guitar; ChromaLuxe aluminium print of a shirtless Mick Ronson (b.1947). Ronson added musically sophisticated dynamics to Bowie’s music from The Man Who Sold The World and Hunky Dory through to Ziggy Stardust and the Spiders from Mars and Aladdin Sane. Reluctantly overcoming his initial concerns about the tight glitter clothing he was now expected to wear, he helped change Bowie’s musical fortunes as Bowie went from quirky cult figure to transgressive glam icon. By the end of 1973, Ronson was no longer an integral collaborator. Bowie said that he wanted no more of that loud thing, exactly what Ronson had given him that led to his lift-off.

T42. Bass; ChromaLuxe aluminium print of a shirtless Trevor Bolder (b.1950). Bolder was part of Mick Ronson’s Hull band The Rats, later Ronno, before moving with Ronson to backing David Bowie in the band that became known as the Spiders from Mars. He played on four of Bowie’s studio albums, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Aladdin Sane and Pin Ups before Bowie looked elsewhere for rhythm, and for his bass players. For many, the Spiders from Mars remained the best band Bowie ever had, with Bolder’s extra-long silver mutton chop side boards as alien as Bowie’s red hair.

T43. Drums; ChromaLuxe aluminium print of a shirtless Woody Woodmansey (b.1950). A part of David Bowie and the Hype with Ronson and Bowie producer Tony Visconti before they morphed into the Spiders from Mars and were required to wear make-up, platform boots and costumes even though they were really the Spiders from Yorkshire. The bare-chested solo photos of the Spiders were originally intended to be featured inside the gatefold sleeve of Aladdin Sane, which became the full-length silver sprayed Bowie.

T44. Other; Duffy’s son Chris Duffy created this black and white negative remaster of the Aladdin Sane cover in 2011 to accompany an exhibition at the Stephen Webster Gallery in Beverly Hills, California, producing a ghostly echo of the original full colour image. The supernatural stillness of the famous otherworldly cover photo is further enhanced as a ChromaLuxe print.

T45.Concentration; a ChromaLuxe print of a composite contact sheet from the Aladdin Sane photoshoot combining the original black and white images with a single colour image. The black and white images are negatives and the colour is a Kodak Ektachrome transparency, so from different types of film. This contact sheet was put together in 2008 by Chris Duffy. Duffy was initially cool about the idea but was eventually won over.

T46. Pose; one of Duffy’s favourite models Jane Lumb (b.1942) was photographed for June in the 1973 Pirelli calendar. One of the most familiar 60s faces, but never as famous as her friend Twiggy, she had appeared in the first ever Pirelli calendar, as well as A Hard Day’s Night, Goldfinger, Dr. Who and the Daleks, Carry On Spying and Carry On Cleo, Ken Russell’s television film on composer Claude Debussy and in television ads for Fry’s Turkish Delight. The airbrushed Pirelli June image led to experiments the same year with the positioning and painting of Bowie’s face and body.

T47. Silver; original printer’s colour separation proof of inside gatefold image #1.
T48. White; original printer’s colour separation proof of inside gatefold image #2.
T49. Cyan; original printer’s colour separation proof of inside gatefold sleeve image #3.

T50. Magenta; original printer’s colour separation proof of inside gatefold image #4.

T51. Yellow; original printer’s colour separation proof of inside gatefold image #5.

T28. History; for all the glamorous action and symbolic glamour in the cover photograph of Aladdin Sane, the mixed messages and static energy being sent from the decorated face of an audacious pop star at the height of his powers, the image is meditative, ethereal and timeless. In 2008, a photograph of Queen Elizabeth II by Chris Levine with her eyes closed, resting between shots, was called The Lightness of Being, echoing how Duffy’s Bowie image had taken the viewer into a spiritual realm.

T29. Silver (2); ChromaLuxe aluminium print of the full-length David Bowie image used inside early pressings for the record’s gatefold sleeve. The design was based on a photograph of Bowie naked except for minimal white briefs standing full length against a plain white studio background, with six-foot wooden panels on either side. From an idea first used from the June photograph in the 1973 Pirelli calendar (see T46), Philip Castle airbrushed spaceship silver onto Bowie’s body from chest down to ankle, accentuating the alien and androgynous qualities.

T52. Grey; original printer’s colour separation proof of inside gatefold image #6.

T53. Phantom; original printer’s colour separation proof of inside gatefold image #7.

T54. Vivid; original printer’s colour separation proof of full colour inside gatefold image #8.


T70. Sand; ChromaLuxe aluminium print #3 of David Bowie at White Sands, New Mexico, sixty miles from the site of the detonation of the first atom bomb in 1945. In 1975, Duffy had been commissioned by The Sunday Times to take photos of Bowie on the set of the Nicolas Roeg directed environmentally conscious science fiction film The Man Who Fell to Earth (1976). Duffy photographed Bowie as the sun was setting in the White Sands National Monument in south central New Mexico, an alien landscape surrounded by the 3,200 square mile White Sands Missile Range where wave like dune fields cover nearly 230 square miles with dunes often rising over sixty feet. Roeg had used the pristine white sands to represent the barren surfaces of the scorched planet that Bowie’s alien character Thomas Jerome Newton had left behind in his search for a new home. Bowie described the film as a very sad, tender love story that evolves over a long period of time, “the furthest thing from a science fiction film really.”

T71. Silhouette; ChromaLuxe aluminium print #4 of David Bowie at White Sands, New Mexico. Bowie’s clothes as Newton in The Man Who Fell to Earth intersected with the functional yet futuristic Thin White Duke look he adopted after the film, an expressionist modification of transexual Weimar Republic clothing and noirish 1940s jazzman suits. A dark flowing silk suit featured throughout the film over a minimalist buttoned up white shirt, along with the wide-brimmed black fedora that produced the distinctive enigmatic Thin White Duke silhouette.

T72. Risk; ChromaLuxe aluminium print #5 of David Bowie at White Sands, New Mexico. Because the shoot happened late in the day, Duffy riskily shot Bowie in dim light with no autofocus, with a one second triple exposure while Bowie kept his body still and moved his arms so that Duffy could get the blurred action he was looking for. There was no polaroid taken and with limited time only one chance to get the shot. Duffy would not see the processed film until he returned to the UK to see if his gamble had paid off.

T73. Patience; David Bowie smoking in the make-up room while being transformed into the hairless, reptilian Newton, or while Newton is being transformed into the avaricious, posh sensualist Thin White Duke. Bowie would be taken into make-up at 3.30 in the morning and stay asleep while they worked on his body. He would be woken when they attended to certain parts of his body, including the crotch and the fitting of the bald cap, and he could fit in a quick smoke or a visit to the toilet. The face was the last thing to be done, and he would arrive on set around 9. The lengthy process never seemed to disconcert him. “Just being me was perfectly adequate for the role. I wasn’t of this earth at this particular time,” he would say.

T74. Carriage; crew members on set building an example of ancient-futuristic transport from Newton’s doomed, ravaged planet, called Anthea in the novel by Walter Tevis that the film was based on.

T75. Family; a colour collage of images taken during the shooting of The Man Who Fell to Earth, capturing the cast and crew as a makeshift family in the New Mexico desert, an almost completely British team working in a foreign country, on Roeg’s first made in America film, underlining the off-kilter nature of the project. It was filmed there, away from the book’s original setting in Kentucky, to ensure the British visitors would not break any American work regulations – New Mexico was a Right-To-Work state.

T76. Together; a black and white collage of images from the set of The Man Who Fell to Earth. Along with T81, they’re a kind of still photographic homage to Nicolas Roeg’s style of creating film collages to emphasise timelessness and uncover, or recover, hidden meaning.

T77. Buck; actor, screenwriter and director Buck Henry photographed in Madrid, New Mexico. In The Man Who Fell to Earth he played the patents lawyer Oliver Farnsworth who Bowie’s Newton asks to take charge of World Enterprises, a new corporation specialising in electronics formed so the technologically advanced alien can make money. “Never quite understood the script,” he said over thirty years later, “still don’t.” Henry created the spy spoof Get Smart with Mel Brooks, wrote the screenplay for Catch-22, received an Oscar nomination for The Graduate, and appeared in Gus Van Sant’s black comedy To Die For.

T78. Orange; a Chris Duffy portrait of Martin Samuel, 2017, who created Bowie’s carefully shaped orange hair with discreet blonde streak based on a specific brief from Bowie, referencing a particular hair dye colour by Schwarzkopf. This hair lasted while the ethereal Man Who Fell to Earth became the restless, alienated Thin White Duke, became the Berlin Low. Samuel had previously worked on the 1974 musical drama Stardust, starring David Essex.

T79. Flashback; a Chris Duffy portrait of Candy Clarke, 2017, who played the naïve, needy and loyal Mary-Lou in The Man Who Fell to Earth, falling head-over-heels for the strange, fragile genius stranger who suddenly appears in her life, inadvertently luring him into her own alcoholic world. She also played the wife Bowie had left behind on his alien planet, seen in flashback. Two years before she had appeared in George Lucas’s American Graffiti and would appear – as would David Bowie – in David Lynch’s Twin Peaks, the Return. “You’re a freak,” Mary-Lou calls Newton. “I don’t mean that unkindly. I like freaks. And that’s why I like you.”

T80. Glow; ChromaLuxe aluminium print of David Bowie #1 at White Sands, New Mexico. Bowie as ghostly figure belonging nowhere, isolated, increasingly powerless, alien otherworldly traveller, and mysterious, adrift and troubled pop star making things happen around him, taken under time pressure in the hushed and lonely desert as the earth rotates away from the sun, the white sand casting a strange, soft, eerie glow reflecting and scattering the light upward and out.

T81. Warlock; a portrait of The Man Who Fell to Earth’s director Nicolas Roeg, whose explosively surreal, transformative films brilliantly rearranging time and space included Performance, Walkabout, Don’t Look Know, Eureka, Insignificance, Bad Timing, Track 29 and The Witches. “Film,” he once said, “remains completely mysterious and mystical to me.” Bowie called him “an old warlock. You come out winded from the experience of working with him.”

T82. Cameras; The Man Who Fell to Earth’s cinematographer Tony Richmond and Nicolas Roeg, a regular collaborator, with Olympus OM SLR cameras in front of a 35mm movie camera.

T83. Poster; an original classic UK film poster for The Man Who Fell to Earth, designed by the acclaimed English designer Vic Fair (b.1938), who worked regularly on posters for Nicolas Roeg films. He designed numerous posters for many of the Hammer Horror Productions and the cheeky British Confessions films. The typeface Fair created for his The Man Who Fell to Earth poster would later be used for the Iron Maiden logo.


T100. Meeting; Derek Boshier in the studio, 2017, taken by Chris Duffy. Boshier graduated from the Royal College of Art (London) in 1959, where he was a contemporary of David Hockney, Peter Blake, Patrick Caulfield and Allen Jones. He became one of the first British artists to introduce popular culture iconography into fine art, acclaimed as an originator of Pop Art. Duffy introduced his friend Boshier to Bowie on a ‘blind date’, believing the two would get on. Later Boshier worked on the sleeve for Bowie’s Let’s Dance. Bowie’s brief for the inner gatefold sleeve of Lodger was “do what you want.”

T101. Cascade; Derek Boshier taken in Camden Town, London, 2015, by Chris Duffy, in front of Amy Winehouse graffiti. Bowie became a collector of Boshier’s work and shortly before he died in 2016 sent him an email saying his work “cascades through the decades.”

T102. Engineer; portrait by Chris Duffy, 2017, of recording engineer Edu Meyer taken at Hansa Studios, Berlin, a key collaborator on the Low and Heroessessions along with producer Tony Visconti and conceptual advisor Brian Eno. He would also work with Bowie on Iggy Pop’s Lust For Life and Bowie’s Bertolt Brecht EP Baal. Meyer’s background was in classical music, studying at the Robert Schumann Konservatorium in Düsseldorf, and he had no knowledge of Bowie when he started working with him in the winter of 1976, a few months after he had started working at Hansa. “He was just another client. I should have kept a diary!” A gifted cellist, he played on the Low track Art Decade.

T103. Guitar; Carlos Alomar taken by Chris Duffy, 2017, at Hansa Studios, Berlin. No other guitarist has worked with David Bowie for as long as Carlos Alomar, who played on eleven Bowie albums in the 70s, 80s, 90s and 00s including Station to Station, the Berlin Trilogy, Scary Monsters, Heathen and Reality. Bowie met him in 1974 and Alomar worked on the first sessions in Philadelphia for what would become the stylised soul of Young Americans – writing Fame with Bowie and John Lennon – bringing with him the experience he’d had playing on stage with James Brown, Wilson Pickett and Chuck Berry. The late 70s ‘DAM’ trio – Alomar with the rhythm section of Dennis Davis on drums and George Murray on bass – were Bowie’s most significant backing band if more abstract and discreet alongside the early 70s Spiders from Mars.
T104. Falling; Bowie and Duffy and collaborators taken on the set of Lodger as things fall in, and out, of place.

T105. Distortion; ChromaLuxe aluminium print of a higher resolution Kodachrome version of the cropped Polaroid ‘accident victim’ photograph used for the 1979 Lodger cover. Bowie wanting an image of a falling man, with his face distorted by G-forces like a pilot breaking the sound barrier. Duffy used chemicals to distort the edges of the image, emphasising Bowie’s intended sense of unceremonious disarray, even violence.

T106. Construction; contact sheet #1 of behind-the-scenes images from the Lodger shoot showing the building of the intricate set and the preparing of the prosthetics and wires for Bowie. Antony Clavet was an internationally famous hair and make-up artist, creating distinctive looks for Sophia Loren, Susan Sarandon, Joan  Collins and Catherine Deneuve, and was consulting stylist on Miami Vice as well as Bowie films The Hunger, Just a Gigolo and Merry Christmas, Mr Lawrence. Taken aback that Bowie wanted to keep his burnt, bandaged right hand as part of the photograph’s effect after saying it would take an hour to remove – “leave it on”, Bowie said – he entered the spirit of the occasion by finding a solution to how to bend Bowie’s nose by attaching fine nylon line and then pulling it to flatten it.

T107. Time; contact sheet #2 of behind-the-scenes images from the Lodger shoot showing the team ‘operating’ on Bowie to create the desired effect. The image of Bowie being readied, top left, was used on the inner gatefold sleeve of Lodger alongside images chosen by Boshier, who was given free reign by Bowie including the famous photograph of Che Guevara’s autopsy, Andrea Mantegna’s painting Death of Christ, the image of a baby, and a double image of two watches. Boshier chose these images because, he said, they all had something to do with time, with beginning and end, life and death, and the circle of life.

T108. Sink; ChromaLuxe aluminium print of water being thrown into a sink from the Lodger inside gatefold cover designed by artist Derek Boshier, then experimenting with photo-based media. As part of how the illusion of Bowie falling was created, the sink was laid on the floor underneath a makeshift table Bowie was lying on lifted a few inches off the floor.

T109. Polaroid; ChromaLuxe aluminium print of the SX-70 Polaroid photograph test Duffy took to check the light and setting. Responding to how accidental moments could emerge out of choreographed actions for an album originally called Planned Accidents, Bowie preferred the rougher low-resolution quality of the Polaroid to the glossier, tidied Kodachrome shot.

T110. Falling; the falling man from the cover of Lodger as envisioned by painter Derek Boshier, who would share a fascination with the idea of the ‘falling man’, as a comment on man’s identity and the myth of Icarus, a story of a grand idea and a lack of control, with Bowie.


T126. Posing; Steve Strange – Stephen John Harrington (b.1959) – at work #09, power posing with models, taken by Chris Duffy, 1985. His preferred name for what became known as the New Romantics was “the cult with no name, because the papers can never put one finger on it.”

T127. Face; the face of the New Romantic movement, Steve Strange, at work #01, with models Yasmin Parvaneh, later Simon Le Bon’s wife, and Terry. The Chris Duffy photograph was used for the 1984 Visage single Love Glove, from their third and final album Beat Boy. Visage were formed around Steve Strange in 1980 as a kind of studio supergroup using leading post-punk musicians including Barry Adamson (bass) and Dave Formula (keyboards) of Magazine, John McGeoch (guitar) of Siouxsie and the Banshees, and Midge Ure (guitar/voice) and Billy Currie (electronics) of Ultravox.

T128. Culture; portrait of Spandau Ballet’s guitarist and songwriter Gary Kemp by Chris Duffy on the set of the video Gold in Carmona, Spain, in 1983. After Spandau’s launch as the heroes of a new British style movement, Kemp found himself writing more to secure the financial security of the band than celebrating working class ingenuity and wanting to burn bright in dark times and define, and design, the culture of the times.
T129. Fashion (3); portrait of Steve Norman, 2019, multi-instrumentalist and founder member of Spandau Ballet, taken by Chris Duffy. Spandau Ballet were the ‘achingly fashionable’ musical leaders of the cult with no name, children not just of Bowie but of the television age and were signed to a major label desperate for the latest thing after only playing eight shows. They entered the traditional pop mainstream in the early 1980s placing an emphasis on clothes and presentation as much as music alongside Duran Duran, Wham! and Culture Club.

T130. Legacy; portrait of DJ, drummer, entrepreneur and raconteur Rusty Egan by Chris Duffy, 2008. Chris worked for his father full time between 1973 and 1978 before launching his own studio in 1979 and in 1983 joined The Creative Workforce Agency set up by Rusty Egan, Steve Strange and Carol Hayes, in the Trident Studios Egan had bought. Chris photographed many of the 1980s faces and acts associated with the New Romantic movement. He is now Director of the Duffy archive, set up in 2009 to promote and exhibit his father’s work.

T131. Synths; portrait of Midge Ure taken by Chris Duffy, 1997. Along with Egan, Ure had been in Glen Matlock’s post-Sex Pistols group The Rich Kids, and then joined electronic pioneers Ultravox replacing John Foxx and worked with Egan on Steve Strange’s Visage project. Ure and Egan knew that the soundtrack to the New Romantic social disrupting obsession with fashion and style had to be driven by the exotic futurist soundscapes and atmosphere of synthesisers. Ultravox’s Vienna and Visage’s Fade to Grey – both co-written by Ure – were New Romantic anthems, both heavily influenced by the east European mood and expressionistic glamour of Bowie’s Berlin Trilogy. The direct momentum of the new romantic movement perhaps ironically ended with the 1984 release of Band Aid’s Do They Know It’s Christmas charity appeal song, also co-written by Midge Ure.
T132. True; portrait of Spandau Ballet’s singer Tony Hadley by Chris Duffy on the set of the video Gold in Carmona, Spain, in 1983. Hadley, never completely comfortable with the Strange-era make-up and androgyny of the early Spandau Ballet, came into his own as a passionate, no-nonsense crooner with the romantic ballads True and Gold – the latter with a video directed by Brian Duffy. The band had a series of international hits wearing more ‘sensible’ clothes and shedding most of their initial, post-Bowie cult with no name attitude.
T133. Travel; taken by Chris Duffy on the set of the video for Spandau Ballet’s Gold. The gold lady in Duffy’s Goldfinger-inspired video was played by eighteen-year-old actress Sadie Frost, who would later marry Gary Kemp and appear together in the 1990 filmThe Krays. The video was shot in vibrant, picturesque Carmona in southwest Spain, featuring members of the group searching for gold shapes that make up a golden puzzle. Duffy would also direct lush, evocative videos for less officially designated new romantic bands ABC and the Human League.

T134. Love; Chris Duffy portrait of Steve Strange #16 taken in 1984. When Strange first met Bowie when he came to his club, he remembers the first thing Bowie said to him: “I’ve been watching you and love what you’re doing.” One of the guests who arrived with Bowie was Edward Bell, who would contribute to the design themes of the next Bowie album Scary Monsters.

T135. Gothic; Chris Duffy portrait of Steve Strange #05 taken in 1984. Strange appeared as one of four Blitz club ‘heroes’ following Bowie in the warped wonderland video for Ashes to Ashes, which at the time was the most expensive pop video ever made. It was shot on the beach in Hastings, Kent, requiring them to be up at the crack of dawn. When they arrived, Bowie greeted them in their chosen gothic-style gowns, already dressed as Pierrot, and after Bowie’s Blitz chorus had arrived back in London, they went clubbing in a club called Hell after a little freshening up.

T136. Payment; Chris Duffy portrait of Steve Strange #42 taken in 1985. Strange once said, regarding his fee of £50 for appearing in the Ashes to Ashes video, that he would have paid to have appeared in the video. “I didn’t tell them that though.”

T137. Freaks; Chris Duffy portrait of Steve Strange #24 taken in 1984. “You can’t buy my style, the Strange style,” he once said. Once, walking down the street dressed as Lord Fauntleroy, in velvet knickerbockers and lace jabot, someone shouted at him, “hey, you’re not on stage now!” He managed his clubs to make a space where fashion freaks of the time could go where they wouldn’t be hassled.

T138. Visual; Steve Strange #26 for the rear cover of the Love Glove single, 1984, by Chris Duffy. The dressed up Blitz kids finding somewhere to go, something to do and someone to be influenced by in the downtown Manhattan Club Kids scene in early 80s New York that produced Madonna; one way the fiercely competitive drive of the New Romantics, bridging the gap between the spectacle of the stage and that of the street, entered the pop culture bloodstream all the way to Lady Gaga, Harry Styles and Janelle Monáe even as they themselves faded from the front line, and the front pages.


T139. Fantasy; Scary Monsters contact sheet featuring the session’s make-up artist, the Australian Richard Sharah, recommended to Bowie by Steve Strange and costume designer Natasha Kornilof. Sharah did the Strange make up for the cover of the first Visage album, worked with Siouxsie of Siouxsie and the Banshees, Toyah and Divine, and was famed for using make-up alone to create a fantasy.

T140. Tribute; portrait of make-up artist Richard Sharah. He was described as “the Picasso of make-up” by his long-time collaborator, fashion designer Zandra Rhodes.

T141. Danger; Pierrot/Scary Monsters/Ashes to Ashes contact sheet #1. After Duffy had photographed Bowie as a flawless, poignant Pierrot, Edward Bell, reflecting the tension between the two, had other ideas. Bowie’s make-up was smeared, his clown hat removed, his hair messed up, and he started to smoke a cigarette, a mere echo of a man. He’d used make-up to change his appearance and hide his feelings, and then revealed something of his true sexually ambiguous self, allowing a glimpse of raw transgressive glamour, a hint of malice, and perhaps encouraging some dangerous behaviour.

T142. Mercurial; ChromaLuxe print of the contact sheet from the Scary Monsters shoot in 1980. Duffy had by this time retired from stills photography, but Bowie persuaded him to do one more shoot. Bowie called Duffy back from the photographer’s own transformation for one more particular transformation of his own. Working with Duffy who had been with him from Ziggy and Aladdin Sane through various changes to the Lodger and a sort of unsettled settling down was part of a certain closure Bowie was looking for. He returned to the mercurial, androgynous and self-sufficient Pierrot at the end of one particular set of travels, a symbol of his enduring love for theatre where normal laws are suspended, before he set out in a different as yet undetermined direction. Bowie could inscribe his own desires onto the blank canvas of the amorphous Pierrot, wearing a mask that is his own face rather than anything removeable, producing a greater degree of synthesis between actor and character.

T143. Displaced; Bowie taken by Chris Duffy during the Scary Monsters shoot. Duffy’s studio was no longer equipped to be the shoot’s venue and after deciding to leave photography behind he had no assistants. His photographic equipment was being replaced with the tools necessary for Duffy’s new venture, restoring antique furniture. He used his son Chris’s studio in Little Russell Street – subsequently the Cartoon Museum – for the shoot and Chris assisted on the session.

T144. Scene; contact sheet of Chris Duffy photos of David Bowie. Chris took some of his own photographs of Bowie on the day of the shoot for promotional use, making a direct connection between Bowie and the New Romantic scene the 24-year-old Chris was part of as a musician, fan and photographer. Bowie was fascinated by the spirit of this new scene, its resplendent mixture of futurism and nostalgia, and how it had emerged from his own experiments with the invention of personas and the way life could be changed through art, and how in the 20th century life had become a form of art. The Blitz party goers reminded him of the music scenes and clubs of the 1960s where a space was created for new, different things to happen, of wild, restless creative collectives such as Andy Warhol’s Factory, of the kind of ambitious dreamer he had been when he was looking for fame, or as close as he could get to it. Swinging London had been like a test lab for the entrepreneurial inventiveness of the early 1980s, and Bowie connected the two.

T145. Spell; ChromaLuxe aluminium colourised print of Bowie as blue Pierrot with cigarette. David Bowie as the playful and daring, sensitive and melancholy, and in this photo tortured and smoking, Pierrot linked back to Bowie’s theatrical debut, appearing in mime artist, choreographer and teacher Lindsay Kemp’s 1967 avant-garde pantomime Pierrot in Turquoise, also known as The Looking Glass Murders. A version of the performance was broadcast on Scottish television in 1970. Both costumes were designed by Natasha Kornilof, connecting 1970 Bowie with 1980 Bowie, both having fallen under Pierrot’s spell. Both Bowies fitted easily into the costumes being worn by the New Romantics – the influencer and the contemporary in one place previewing and representing the spirit of the age and returning to Pierrot to acknowledge Kemp’s importance on his performance. “I taught him how to free his body,” said Kemp. “I owe it all to Lindsay,” said Bowie.

T146. Shadowplay; the Scary Monsters photograph before it was manipulated by Edward Bell. The visual artist and Chelsea School of Art student Edward Bell became part of the team working on the Pierrot shots after Duffy and Bowie had visited a private view of his first exhibition, called Larger Than Life at the Neal Street Gallery in London. Bowie, ever the synthesist, was always looking for new collaborators who would bring unexpected elements into his performance – musicians in the studio and on stage, screen and page artists, photographers, make-up artists, designers and stylists. Duffy’s feeling that his time as photographer had passed was confirmed when an image he had taken of Bowie was covered over by a collage/painting of Bowie by Edward Bell, leaving only a shadow from the original photograph remaining. Three people were photographing Bowie for the album cover, but it ended up as a painting.

T147. Pristine; Bowie taking a bow as the pristine Pierrot. During the shoot, this perfectly achieved version of the iconic loner, the romantic darling, the socially elusive subversive, always watching and learning, trying to make sense of nonsense, was slowly distressed and stripped of its clothing.


T167. Walk; David Bowie with friend in a meeting about the Scary Monsters album sleeve in 1980. The Scottie dog just walked into the room and quietly sat next to Bowie. You can imagine him saying in this meeting something he once said to his friend the artist Derek Boshier, “You never have control over who makes you famous. I just came up with ideas and people took them for a walk.”

T168. Seen; Duffy taken by his friend, rival and swinging sixties co-conspirator David Bailey, featuring Bailey’s finger. “Duffy and aggravation go together like gin and tonic,” Bailey once said.