Aladdin Sane Album Cover
On the 19th of April 1973, the Aladdin Sane album was released to critical acclaim. The music speaks for itself but rarely has a portrait on an album cover become the definitive image of one man. Rarely has an image become known as a cultural icon (as quoted by the V&A) or popularly known as the Mona Lisa of Pop. Thousands of words have been written on the image, numerous interpretations of the pool of liquid on David Bowies collarbone and the lighting flash has been replicated ad infinitum.

The defining images of Duffy and Bowies creative relationship are 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 Davids 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 Bowies clavicle, which Bowie later remarked he thought was "quite sweet".