//According to artist Kevin Whitney, the "strange boy in drag" was the German fashion model Jurgen (surname not known).//
A couple of months back I wrote about a photo-session conducted at David Hockney’s Notting Hill house* in May 1974 by photographer Willie Christie.
I am beguiled by this photograph, which is entitled Pierre’s Breakfast and was taken by Willie Christie at David Hockney’s house in Notting Hill on May 18, 1974.
The identities of the two individuals on the left are a mystery*; with Clark (in the white jumpsuit) are make-up artist Pierre Laroche, Marianne Faithfull and Michael Roberts (then writer/photographer at The Sunday Times, now Vanity Fair’s fashion/style director). Behind the group are a selection of artist Mo McDermott’s signature painted wooden tree sculptures.
Laroche, who had worked at Elizabeth Arden for five years before taking up with rock & roll when he was recruited by Brian Duffy for the cover of David Bowie’s 1973 album Aladdin Sane, engaged Willie Christie for the May 74 session for a potential magazine feature.
//Front cover (No Pussyfooting), Fripp & Eno, EG/Island, 1973.//
The final piece in Tate Modern’s current Yayoi Kusama show – her dramatic Infinity Mirror Room – brought to my vinyl-fixated mind one of the greatest record sleeves of all time: the gatefold for (No Pussyfooting), the album released in 1973 by Brian Eno and Robert Fripp.
All of a piece with the music it packages – prismatic, playful, calm, cerebral, oblique – the four-part composition was photographed and designed at Eno’s behest by photographer/filmmaker Willie Christie.
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