Bowie Style

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Galvin:29; Harry Goodwin:34r, 35tr, c&bl, 73r, 107cl, 118l; Alison Hale/ Crankin’ Out: 112b; Dezo Hoffman/ Rex: 4, 6, 15, 19, 97t; Dave Hogan/ Rex: 150; Hulton Getty:32t, 55tl, 92, 108b, 114tl, 125br, 127, 133c, 141ct; Mick Hutson/Redferns:21br; Nils Jorgensen/Rex: 34tc, 135; AndyKent/Retna:9, 111, 114c, 125c; Jak Kilby/Retna:10, 44t; King Collection/Retna:1; John Kirk/ Redferns: 70b; Christian Koller/ Crankin’Out:154c; Jean Pierre Leloir /Redferns: 34b; London Features International:1, 3, 4, 6, 7, 9, 10, 12, 1 4t, 16tr, 20, 21tl, c&cr, 22t, 34tl&c, 5 3tl&br, 54l&br, 64b, 69b, 73t, 74, 75 br, 81, 82bl, 84, 85t&bl, c&t&br, 91br, 103, 106l, 107tl&r&cr, 108tl, 109, 110, 111c&b, 119, 125tr&bl, 129, 131b, 132b, 134, 137, 139b, 140cr, 141bc, 142bl&r, 143, 144, 145, 146b, 151, 154b, 159bl; Doug McKenzie: 26, 27br, 36tl; MEN Syndication; 21tr; Pearce Marchbank:100/101b; Robert Matheu/Retna: 148t; Jeffrey Mayer: 153tr; Catherine McGann, 155; Mirror Syndication Int: 57, 108cl; Keith Morris/Redferns:79t;
© MTV Europe: 140bl; G. Neri/ Sygma:126tl; Michael Ochs Archive/Redferns: 80t, 106cl, 156; Frank W. Ockenfels III: 54c; Alex Oliveira/Rex: 51c; Terry O’Neill: 98t&bl, 102, 146t; Denis O’Regan/ Idols: 55t; Scarlet Page/Retna: 48b, 130; PA News:159tr; Courtesy of Penguin Books: 146r; Kenneth Pitt: 5, 44br, 45, 48l, 52; Pictorial Press:1, 3, 9, 14b, 36cr&b, 40, 42b, 43r, 46tc&r, 47, 48tr, 53cr, 54t, 56t, 60, 61t, 80r, 82tc, 83bc&r, 87tl, 88tr, 99, 104tr, 114tr, 115, 133r, 14 0bc, 141br; Photofest/Retna: 6, 114bl; Barry Plummer: 46br, 87b, 117b; Pat Pope/Rex:155; Neal Preston/Retna:139c, 140c, 148r; Michael Putland/Retna:6, 73l; RCA: 118r, 121l, 126b; David Redfern: 23; Redferns: 35tl, 105; Lorne Resnick/Retna: 9; Retna:108tr, 141r; Rex Features: 9, 10, 22b, 27t, 28bl, 42l, 50rt&b, 55b, 76, 82tl, 83t r, 83bl, 85t&bc, 86, 88br, 96, 97bl, 100tr, 104b&l, 107bl, 116, 117t, 121cr, 131t, 136bl, 138, 141c, 146cl, 160; Ebet Roberts/Redferns:78b; Copyright © Mick Rock; 1, 16tl&c, 38, 39, 42t&r, 68, 71, 72, 73b, 75l, 77, 78tl, 87tr, 90, 93, 94t, 95t, 113, 132t, 133tl&b, 140cl, 141t; Photograph by Ethan A. Russell copyright © 1972-2000: 106tr; Nina Schultz: 122b; Wendy
Page 5: Gavin Evans/Retna: Front & back cov
Page 9 and 10: At manager Ken Pitt’s flat, Londo
Page 11 and 12: Only One Paper Left. New York, 1997
Page 13 and 14: Yes, Bowie’s project was about st
Page 15: ultimately, Bowie is less about tra
Page 18 and 19: SHAPING UP As early as 1962, Bowie
Page 20 and 21: 1.1 The Buddha Of Suburbia Suburbia
Page 22 and 23: The boy David. By 1953 the Jones fa
Page 24 and 25: May 1964. Tonight, Matthew, I’m g
Page 26 and 27: Superstar to the hilt. Only favoure
Page 28 and 29: Tolkien, would be played out to the
Page 30 and 31: Bowie dressed in a quilted black pl
Page 32 and 33: When you’re a boy, they dress you
Page 34 and 35: Almost Grown. “He was always into
Page 36 and 37: I’M YOUR FAN Bowie celebrated his
Page 38 and 39: Suede Twenty years later, the “I
Page 40 and 41: A rare publicity shot of The Kon-ra
Page 42 and 43: The dilated pupil in Bowie’s left
Page 44 and 45: music, Wendy Carlos’s Moog take o
Page 46 and 47: Bunuel and Dali’s surrealist shor
Page 48: Garland for the rock generation”.
Page 51 and 52: some of that locally in Bromley, bu
Page 53 and 54: Portrait of a young man as an art b
Page 55 and 56: are O-level pass in the subject. Hi
Page 57 and 58:
Fulham, 1995, with samples of his w
Page 59 and 60:
Walter Gramattè’s 1921 canvas, S
Page 61 and 62:
Afro/Pagan And Work 1975-1995, a re
Page 63 and 64:
Bowie recently revamped The Crowd P
Page 65 and 66:
The Mannish Boys in Maidstone’s M
Page 67 and 68:
Safely inside the BBC Television Ce
Page 69 and 70:
Elvis Presley “I saw a cousin of
Page 71 and 72:
Jacques Brel Bowie discovered Belgi
Page 73 and 74:
loved her,” there’s a very high
Page 75 and 76:
mainman Marc Bolan, whose revivalis
Page 77 and 78:
change. He’d briefly called himse
Page 79 and 80:
MICK ROCK Bowie, pictured with phot
Page 81 and 82:
“It was all done on a shoestring
Page 83 and 84:
he’d sign anything without readin
Page 85 and 86:
1.3 Renaissancemanbowie In paisley.
Page 87 and 88:
hard concepts to put into song, tho
Page 89 and 90:
GAY GAMES This European CD of Sixti
Page 91 and 92:
other that I took home and neatly f
Page 93 and 94:
ock a potent spokesman.” A year l
Page 95 and 96:
liberating effect Bowie had in unlo
Page 97 and 98:
deal after Bowie’s 1967 LP floppe
Page 99 and 100:
Ken Pitt: “Now you see the genesi
Page 101 and 102:
Bowie seized his moment. He attende
Page 103 and 104:
At the Beckenham Free Festival. “
Page 105 and 106:
‘Hole In The Ground’ is a littl
Page 107 and 108:
Bowie’s continuing interest in Bu
Page 109 and 110:
inflicted my taste for the theatric
Page 111 and 112:
dark days of the mid-Seventies, he
Page 113 and 114:
The late Sixties quest for alternat
Page 115 and 116:
might be. In another song, ‘Width
Page 117 and 118:
A paint-splattered Ziggy doing some
Page 119 and 120:
A rare colour shot of Growth’s Su
Page 121 and 122:
At the BBC’s Paris Cinema Studios
Page 123 and 124:
Mick Jagger The spectacle of these
Page 125 and 126:
John Lennon They never shared a sta
Page 127 and 128:
Tin a Turner Bowie was regularly se
Page 129 and 130:
1.5 The Man Who Bought The Dress In
Page 131 and 132:
Long tresses and long dresses. “O
Page 133 and 134:
Most Sixties and early Seventies ro
Page 135 and 136:
Showing off designer footwear, 1971
Page 137 and 138:
Trouser rehearsal for The Man Who S
Page 139 and 140:
oo style like Veronica Lake’s. Mo
Page 141 and 142:
Lauren Bacall Veronica Lake.
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I FELT LIKE AN ACTOR As the anarchi
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As Thomas Jerome Newton in The Man
Page 147:
CLASSIC CREATIONS
Page 150 and 151:
of the decade he’d succumbed to t
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of those four guys, although aspect
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Lucky numbers. Ziggy plays guitar i
Page 156 and 157:
STARMAN: SECOND BITE Black shoes, w
Page 158 and 159:
Stardom, as John Lennon was fond of
Page 160 and 161:
the QE2. But a punishing work sched
Page 162 and 163:
Bowie’s mind during 1971 and the
Page 164 and 165:
As Bowie and his Ziggy doppelganger
Page 166 and 167:
When I first wrote it was just an e
Page 168 and 169:
THE ZIGGY ENIGMA Bowie’s most eni
Page 170 and 171:
keen to stress the importance of th
Page 172 and 173:
throwback to the first idol of Glam
Page 174 and 175:
The Nazz, Todd Rundgren’s band.
Page 176 and 177:
The Aladdin Sane lightning bolt was
Page 178 and 179:
‘Drive In Saturday’ was also pe
Page 180 and 181:
these girls try to get me over to t
Page 182 and 183:
John Hutchinson. The threesome appe
Page 184 and 185:
Kornilof, a costume and set designe
Page 186 and 187:
never been central to their relatio
Page 188 and 189:
Ava Cherry, the funk-soul sister. W
Page 190 and 191:
Paris, May 1976. Dalliances with Je
Page 192 and 193:
With Iman at London’s Cork Street
Page 194 and 195:
No outfit was out of bounds to Bowi
Page 196 and 197:
“This was the first Japanese cost
Page 198 and 199:
Bogart, Sinatra, right and below),
Page 200:
switched again, to Marlboro Lights.
Page 203 and 204:
made it more durable than its prede
Page 205:
Watch That Man. At New York’s Rad
Page 208 and 209:
MIND YOUR OWN BUSINESS A man of wea
Page 210 and 211:
with her own bank account. David Bo
Page 212 and 213:
Bowie’s flagging creativity. Igno
Page 214 and 215:
2.3 Soul Survivor At the Amstel Hot
Page 216 and 217:
the heat out of Bowiemania, and wit
Page 218 and 219:
previously,” Bowie insisted. He w
Page 220 and 221:
“To this day he was the most extr
Page 222 and 223:
Aleister Crowley The so-called Wick
Page 224 and 225:
Nazism The power of a modern media
Page 226 and 227:
David Bowie circa 1974 is not rock
Page 228 and 229:
above the audience, were cradled by
Page 230 and 231:
Never mind the quality, feel the wi
Page 232 and 233:
The Mask. Performing ‘Aladdin San
Page 234 and 235:
The wedge cut -Phil Oakey was intri
Page 236 and 237:
Bauhaus Oh dear. Punk met Glam and
Page 238 and 239:
Japan David Batt enjoyed the “cra
Page 240 and 241:
Not many people needed Leo Sayer (a
Page 242 and 243:
Psychedelic Furs Richard Butler tho
Page 244 and 245:
Bowie gets ready to ‘wave’ to t
Page 246 and 247:
Fashion! Turn to the right. Bowie:
Page 248 and 249:
Bowie tried out different outfits e
Page 250 and 251:
“All my reading in that particula
Page 252 and 253:
Decked out like a Christmas tree. A
Page 254 and 255:
“The audiences are always about o
Page 256 and 257:
“I’d got this thing in my mind
Page 258 and 259:
Duke Of Earl. Bowie had recorded a
Page 260 and 261:
‘Be My Wife’. Bowie filmed a vi
Page 262 and 263:
different thing to saying it needs
Page 264 and 265:
changed outfits - but his real wort
Page 266 and 267:
Bowie/Visconti at the Daily Mirror
Page 268 and 269:
2.5 Punk Pierrot Bowie gives a twir
Page 270 and 271:
At a VIP gala premiere of The Man W
Page 272 and 273:
This Ziggy-era reissue of Bowie’s
Page 274 and 275:
Photographed by Snowdon, June 1978.
Page 276 and 277:
anner was draped over a balcony at
Page 278:
Dallas, April 1978: with hooded mic
Page 281 and 282:
“I think (music) should be tarted
Page 283 and 284:
Costumes and comments by Natasha Ko
Page 285 and 286:
ERASE & REWIND Come Blow Your Horn.
Page 287 and 288:
3.1 I’m Only Dancing As the new d
Page 289 and 290:
Proof that the deification of David
Page 291 and 292:
sexual about ‘Dudes’ as a lyric
Page 293 and 294:
Lulu performing ‘The Man Who Sold
Page 295 and 296:
“My wife says that David wears cl
Page 297 and 298:
“If anything, maybe I’ve helped
Page 299 and 300:
STARMAN: THIRD BYTE Showing off his
Page 301 and 302:
Distraught Beatles fans gather outs
Page 303 and 304:
Tonight (1984): Bowie portrays Scre
Page 305 and 306:
and upbeat, bearing all the sophist
Page 307 and 308:
STAGECRAFT Bowie revived 1974’s m
Page 309 and 310:
wielding skit on Shakespeare’s Ha
Page 311 and 312:
took over during 1974, but for most
Page 313 and 314:
Doing ‘Time’ at London’s Marq
Page 315 and 316:
Waiting in the wings. Doing ‘Time
Page 317 and 318:
off by a more informal suit and sue
Page 320 and 321:
The way you wear your hat. A Sinatr
Page 322 and 323:
“He knows everything. He’s so w
Page 324 and 325:
George Orwell 1984 - The Musical? T
Page 326 and 327:
Jean Genet Genet’s A Thief’s Jo
Page 328 and 329:
Bowie as Baal, August 1981.
Page 330 and 331:
which Bowie was, he maintained, mer
Page 332 and 333:
Soundchecking at the Freddie Mercur
Page 334 and 335:
On stage in the Nineties. Tin Machi
Page 336 and 337:
Tired Of My Life. “I’d hate to
Page 338 and 339:
Unfair, yes, but kind of understand
Page 340 and 341:
In 1996, Bowie’s hair made an ata
Page 342 and 343:
Rakish Georgian sleeves backstage o
Page 344 and 345:
up with the perfect marketing strat
Page 346 and 347:
David in theatrical black, on stage
Page 348 and 349:
I’m Not Losing Sleep. In Neil You
Page 350 and 351:
Bowie received an honorary doctorat
Page 352 and 353:
The male stiletto at The Brit Award
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Bowie Style

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