My fourth article as a columnist for Guise Magazine has gone live!
I interviewed club kid Ernie Glam about his arsenal of costumes, how Buggs Bunny influenced him, and his recent plans with "Party Monster" friend, Michael Alig.
One third of the trio of photographers who helped define the 60s as an iconically fashionable era.
Born: 15th June 1933 Famous for: Photographing in a more youthful and urban way - breaking free from the "neat" styling of the 1950s. Style Characteristics: His style of photography included iconic portraiture, voyeuristic editorials and album sleeves (most notably for David Bowie's "Alladin Sane").
Fashion
As a young art student living in London, Brian Duffy became less and less enthusiastic about his chosen pathway, fine art. He became transfixed on clothing, fashion was becoming more and more outrageous and exciting as the 1950s were coming to an end, as was the last of wartime rationing.
The most obvious "jump" from painting to fashion was to become a fashion illustrator, Duffy was employed by Harper's Bazaar. At his time there, however, he accidentally stumbled on another art form which would be the medium to drive him into a household name. These unsuspecting contact sheets from an editorial shoot caused Brian Duffy to become a fashion photographer. He later joked in an interview that taking photographs of clothes was the easier option; be that as it may, he became a master of his craft.
Duffy's photography catapulted models into stardom as he began capturing the change in British fashion that was happening in the 1960s. His most notable clients at this were Jane Birkin, Joanna Lumley and Grace Coddington. However, as he began to become more well-known internationally, he began to take portraits of icons such as Brigitte Bardot and Ursula Andress. Brian Duffy was proudly recording all of these fashions and muses, which are now so evocative of the 60s.
The Photographic Trio
Fashion changed in the 60s, as we all know for obvious reasons - such as the end of rationing fabrics in the war; children from the "post war baby boom" were growing into teenagers and wanted to differentiate themselves from their parents etc - it had evolved into a more innovative business. Fashion (womenswear) transformed from being primarily glamourous, feminine, accentuating and demure to graphic,
So you would have thought that a business that had become so fast-paced and innovative would evoke competition between all those in the same field. Not the case with the photographic trio! These photographers came to define the Swinging Sixties and managed to become well known as friends rather than opponents. They all came from similar working-class backgrounds and were known as the "terrible three", which definitely suggests mischief!
One of Duffy's favourite models, Joanna Lumley recited a poem in a recent interview, "David Bailey makes love daily, Brian Duffy, bald and scruffy" - emulating their notoriety as fashion photographers. The formality of the 50s was abandoned and the spirit of the 60s was captured on their film, Duffy's studio became the centre of swinging London and although the poem suggested David Bailey was the most promiscuous of the three, they all encouraged the well known bohemian motto of "free love".
Bailey became known as the womaniser, Donovan, the wit, however, Duffy was the enigma - hard to please, afraid of no one, with a seemingly underwhelming exterior.
"If you're going to have a best friend, he may as well be a shit-head."
- Brian Duffy talks about his relationship with David Bailey
Bowie
Although, by the 70s, David Bowie was already nearing the height of his fame, Brian Duffy's vision catapulted him into a new realm of success. As Duffy was a fashion photographer, he knew that Bowie needed an image that would shock and evoke intrigue. Fashion photography is basically advertising, advertising clothes, a lifestyle... So an album cover was pretty much the same thing, advertising Bowie, projecting his music, image, clothes and lifestyle to the world.
The pair were visionaries, and continued to work together to create three album covers, each of them as iconic as the last.
Pirelli In 1965 Duffy was asked to create the second annual Pirelli calendar, it was shot in Monaco and was filled with extremely sexual images of women - to be sent out to very select clients of Pirelli. It featured nudes and glamour photographs of the elite models at the time. A position which, today, is reserved for controversial/celebrity photographers such as Terry Richardson, Karl Lagerfeld and Patrick Dermarchelier. The calendars celebrate the female form, and the ways in which photography and fashion changes drastically over time, it is an excellent way of seeing how our perception of the perfect female body has adapted - androgyny in the 60s, voluptuousness of the 70s, to "heroin chic" of the 90s. The ninth issue of the calendar, again shot by Duffy in 1973 was the result of a collaboration between him and British Pop Artist Allen Jones. This resulted in quite a lot of tension between the duo, as their chemistry wasn't as jovial as the dynamic relationship demonstrated by the terrible trio. Jones was an artist, not a photographer, so he expected Duffy to create the images from sketches he had done. And as I said previously, Duffy wasn't afraid to stand up for himself. He did eventually shoot versions of Jones' artwork, however, it wasn't as exact as the illustrator would have liked!
Brian Duffy carried on creating extremely successful pieces of work in all areas of his photography career (fashion, music, art and advertising); despite that, he decided to give up photography in a very final and abrupt way. Duffy burnt all his old negatives and film in 1979. Although a large portion of his images were lost, the pieces that remain showcase his talent impeccably - they are a definitive collection which capture the changes in British fashion and culture spanning twenty-five years. Duffy resumed photography in 2009, recreating images of models and celebrities he had shot in the 60s and 70s, possibly as a way of reminiscing and trying to reconnect with his past. He died a year later.
Brian Duffy directed the music video
for Spandau Ballet's "Gold" (I wanted to leave you all with something a bit more cheerful!)
I strongly believe that, as a fashion student, I am not confined to simply reading magazines and looking at images from the catwalk. Fashion is integrated with everything, music, films, poetry, art and whatever else you can think of!
So here is my list of "fashion" films. I use the term fashion loosely, because although there are some directly linked to designers etc, some are purely "inspirational" (not necessarily about Anna Wintour, although who hasn't seen The Devil Wears Prada, really?).
A satirical representation of the fashion industry and life as a model "is there anything below the surface of Polly's pretty exterior?".
I was lucky enough to find the actual film on youtube, however, if you are reading this in 2024 I would go ahead and download it straight onto your built-in google glass. Ha.
A fashion magazine from the 1950s, and Audrey Hepburn in wedding dresses. Think "the love child of Breakfast at Tiffany's, Blow-Up & The Devil Wears Prada" with a bit of a song and dance.
An American avant-garde film, starring Edie Sedgwick. Although persistently described as not being a documentary, the film depicts Edie as a pretty close representation of herself, reminiscing.
I know everyone was obsessed with Edie, but rightly so, an innocent icon with a tragic demise. One girl at my college admired her so much she insisted on doing the classic 60s "crease" look with layers of false eyelashes (as did Edie) everyday. I couldn't cope with that!
A tale of unrequited love, betrayal and Christina Ricci showing off her tap dancing skills. Pulp Fiction-esque, shot through a blue filter (constantly making you feel cold).
Two films by Larry Clark, although nothing to do with fashion, I am constantly inspired by Clark's raw attitude to teenagers. Two films that synonymously represent 90s street style at its most organic.
(a photocopy from one of my foundation sketchbooks,
Maybe I'm wrong, but I feel like this film has been severely overlooked. A biographical film about the grandmother of fashion, the woman who introduced us to androgyny and popularised Breton stripes.
A biographical film about the model "Gia Carangi", Angelina Jolie at her best. Depicts Gia's struggles with breaking into the modelling industry despite her different image (something the industry would relish nowadays) and drug abuse.
i-D is a British magazine that was set up by Terry Jones, who decided to design a magazine not to promote fashion products or consumerism, but celebrate "Street Style" fashion and youth culture.
The first issue of i-D was released in the September of 1980, I say "released" instead of published as it was originally a fanzine/DIY magazine which was pieced and stapled together by hand.
Issue 1. sold a mere 50 copies (each at the price of just 50p - a steep difference from the more recent price of £5.50). Jones felt that the lack in sales was due to the fact that the magazine consisted primarily of "street style" (a concept which has grown in popularity since i-D has become more well-known) and had a very homemade feel to it. The writing was typed up on a type-writer and the models were members of the British public.
"The idea was to break down the pigeon-holing of identity and fashion; to go beyond the facade of fashion, so you could play it as a game. So you could inject more fun into the codes of fashion."
- Terry Jones (Editor-in-Chief of i-D)
Although the magazine has since evolved from a hand stapled fanzine, into a mature glossy magazine, the original mentality of "street style" and "youth culture" remains a prominent part of the magazine, separating it from all of its successors (such as Dazed & Confused orLOVE magazine) and predecessors (Vogue).
Terry Jones
Born in 1945 in Northampton, Terry Jones studied graphics in Bristol (but dropped out in protest when a favourite tutor resigned).
Jones set up the magazine with his wife, Tricia (whom he married in 1968).
For many years, Terry has established himself as "one of the most experimental creative director of his generation". His career began designing the covers of Vanity Fair and Vogue (both British & Paris) in the 70s.
These covers were a harsh contrast to the more innovative designs used in i-D magazine.
"The first few years of i-D were controlled chaos"
There was a creative aspect to designing for more established magazines like Vogue, however, i-D proved as a creative risk to Terry Jones. He wanted to venture out, trading in the years of demurely editing photographs for experimental graphic layouts. Terry often massacred images and text with his graphic design layouts, but this was what the magazine industry needed. It was a fresh take on 80s fashion. Post-modern.
Examples of Terry Jones' Experimental Layouts (Used in i-D)
Usher
Dappy
(I can't believe I have a picture of him on my blog - what is the world coming to?!)
Kate Moss, (deemed the "anti-supermodel" of the 90s) was discovered at a young age, and has grown to become one of the most iconic Brits of the fashion industry.
Born: 16th January 1974
Famous for: Being a fresh-faced model, turned temporary drug addict, turned designer.
Style Characteristics: Heroin chic & festival fashion (Kate often embraces the "model off-duty" look and is loved for her casual style of dress).
Early Life
Kate was born in Croydon, to a humble family (her mother was a barmaid, and her father, a travel agent). She was scouted in 1988 (at the age of just 14 years old) and her modelling career quickly catapulted her to the forefront of the fashion industry.
The Supermodel
Although Kate Moss is not often considered a supermodel; as in contrast to classic supermodels (such as Cindy Crawford and Elle McPherson), Kate embraced the waif-ish look of the 90s; she has still become one of the most famous models (of all time...?).
Moss changed the polished look of modelling and began to create controversy - she played a large role in the rise in size zero fashion as her slender figure was embraced throughout the industry.
She almost created a brand for herself (before her days of fashion design) where she gained the public's attention for her tempestuous romances, drug abuse and apparent eating disorders.
Heroin Chic
Kate "Mossy" Moss' modelling career truly began in the mid 90s after she became the face of Calvin Klein. She developed the "heroin chic" look which was characterised by pale skin, dark circles below the eyes and a bony bod.
The popularity of heroin chic was due to the drugs increase in popularity within popular culture (appearing in many defining films such as Pulp Fiction and Trainspotting) and its overall use in society (it's price had decreased by the 90s due to the AIDs epidemic of the 80s).
... And so, fashion was influenced greatly by the decade's everchanging lifestyle.
The aesthetic soon became unpopular, however, as debates arose about the welfare of models who were demonstrating the trend by becoming "size-zero"; (many also felt that models and films were glamorising heroin).
Kate: The Designer
Modelling through to the noughties, Kate Moss decided to try her hand at designing clothes; as by then, she had become a fashion icon herself.
In May 2007, Moss released a collection of clothing designs for the British chain, Topshop. This chain was hyped with a "countdown to launch" leaving the fashion loving public eagerly awaiting the clothing range. She had caused a media frenzy as this was the first iconic model creating her own brand.
Reportedly, Topshop had paid Kate Moss £3 million for her collection of fifty designs (including skinny jeans, leather jackets and minidresses).
Since then, Kate Moss has designed a further 13 collections for Topshop - which have been sold worldwide (due to popular demand). She has also branched out to design for brands such as Longchamp and cosmetics company, Rimmel. Her design career has been greatly supported by designers and past clients such as Alexander McQueen and John Galliano, who saw her as muses.
Love Life
In 1994, Johnny Depp (then, a divorced, but still young, actor) and Moss (a fresh faced model) started their four year long relationship. The couple were famed for their multiple break ups, one of which happened in 1998, their last. Depp has recently spoken (of Kate) that they wanted different things for their lives:
"I don't think I was very good for her... She went on to bigger and better things, and I went on and fell in love and had kiddies".
Kate was also famed for her "festival fashion" as her relationship with Pete Doherty merged the couple's careers of fashion and music. The pair attended Glastonbury and The Isle of Wight Festival during their relationship, where Kate Moss made muddy wellies and dishevelled hair look good (for once).
Doherty, influenced Moss in other ways than music, he was an avid drug user and throughout the relationship is became apparent that Kate had developed a cocaine addiction (causing her career to suffer, as she was dropped from several campaigns as a result of her "bad image"). Doherty and Moss broke up (after a short engagement) in 2007.
After other relationships, Kate Moss finally settled down and married Jamie Hince earlier this year. The marriage took place in the Cotswolds and the bride wore a cream, bias-cut dress (with sheer skirt, gold leaf embroidery and rhinestones) designed by her friend and fashion designer John Galliano - in true supermodel style.
Kate Moss starring in the video of "I Just Don't Know What to Do With Myself" by The White Stripes
As a young art student living in London, Brian Duffy became less and less enthusiastic about his chosen pathway, fine art. He became transfixed on clothing, fashion was becoming more and more outrageous and exciting as the 1950s were coming to an end, as was the last of wartime rationing. 
Fashion changed in the 60s, as we all know for obvious reasons - such as the end of rationing fabrics in the war; children from the "post war baby boom" were growing into teenagers and wanted to differentiate themselves from their parents etc - it had evolved into a more innovative business. Fashion (womenswear) transformed from being primarily glamourous, feminine, accentuating and demure to graphic, 
One of Duffy's favourite models, Joanna Lumley recited a poem in a recent interview, "David Bailey makes love daily, Brian Duffy, bald and scruffy" - emulating their notoriety as fashion photographers. The formality of the 50s was abandoned and the spirit of the 60s was captured on their film, Duffy's studio became the centre of swinging London and although the poem suggested David Bailey was the most promiscuous of the three, they all encouraged the well known bohemian motto of "free love".
Bowie
The ninth issue of the calendar, again shot by Duffy in 1973 was the result of a collaboration between him and British Pop Artist Allen Jones. This resulted in quite a lot of tension between the duo, as their chemistry wasn't as jovial as the dynamic relationship demonstrated by the terrible trio.
Although a large portion of his images were lost, the pieces that remain showcase his talent impeccably - they are a definitive collection which capture the changes in British fashion and culture spanning twenty-five years.
"The idea was to break down the pigeon-holing of identity and fashion; to go beyond the facade of fashion, so you could play it as a game. So you could inject more fun into the codes of fashion."
For many years, Terry has established himself as "one of the most experimental creative director of his generation". His career began designing the covers of Vanity Fair and Vogue (both British & Paris) in the 70s.
Reportedly, Topshop had paid Kate Moss £3 million for her collection of fifty designs (including skinny jeans, leather jackets and minidresses).
"I don't think I was very good for her... She went on to bigger and better things, and I went on and fell in love and had kiddies".
