Taken by Duffy during the second of five sessions with David Bowie – Duffy’s most famous photograph dates from 1973, the iconic and revolutionary cover of David Bowie’s album – Aladdin Sane. This shot became the defining look of Bowie’s long career and has been referred to as the “Mona Lisa of pop.”
The defining image of Duffy and Bowie’s creative relationship is synonymous with the legacy of both artists. Bowie's manager, Tony Defries, commissioned Duffy Design Concepts to create the entire Aladdin Sane album. The brief was simple: "Can you make it expensive?" The intention was to take Bowie to an international level. If the production cost were so expensive, the record label would have to pay attention. A dye-transfer image was the answer. This notoriously costly process, with production in Switzerland, ensured that RCA invested in the up-and-coming star. Duffy drew the iconic red and blue 'lightning bolt' across David’s face in lipstick. Makeup artist Pierre Laroche then filled in the outline. The image was sent to airbrush artist Philip Castle, who had previously worked with Duffy on the 1973 Pirelli Calendar. Castle added the water symbol to Bowie’s clavicle, which Bowie later remarked he thought was "quite sweet".
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