subCULTURE Shock!

Jul 06, 2026

**Numanoids!** - Gary Numan Farewell Concert, Wembley Arena, 1981

I was recently thrilled to discover that the Artists Rights Society who represent my photography had licensed some of my 80s and 90s photos to Shelly and Philip Bond who are about to publish an exceptionally cool book called subCULTURE. A book about In-Crowds & Outliers. A hardcover collection of comics, photos, and essays. I’ll post the link further down the page for you to check out.

Above is one of the many promos Shelly has been posting, and with this theme in mind, I’ve been inspired to post some cuttings and covers of books and magazines from my collection back in the UK.

100 Nights at the Roxy, 1978. I bought this when it was first published. It’s since been reprinted, but original copies sell for $600 to $1,300. That’s why I keep it in a bag!

Nina Hagen, known as “The Godmother of German Punk,” is responsible for one of my Desert Island Discs…

… This! Still one of my favourite/favorite album sleeves.

I bought this magazine in France in 1984. “Les Fous du Rock” (French for “The Mad Ones of Rock”).

In 1983, my friend Gail Everett was designing for BOY London, a UK fashion house recognized for its counter-cultural style, a brand that became an aesthetic cornerstone of the Punk and New Romantic movements. At this time, Gail’s brother, Paul, and I had the chance of photographing some of their fashions for the catalogue (above). These are my shots of Mariel, another of BOY’s designers who was up for modeling her own collection. She had the perfect look for the time, and I utilized the stationary engines in my father’s workshop for the backdrop.

Mariel models her collection for BOY London, 1983. I took this shot in the grounds of St Helier Hospital, Sutton, UK.

In 1970s Britain, during the recession and the three-day week, my father’s was the only business running for five because he bought a huge old stationary engine that was powerful enough to keep all the machines running and keep his men employed. This was the engine, pictured here with Mariel.

Time Out magazine from January 1981. The New Romantics start hitting the headlines around this time.

TOYAH - SPANDAU - SHOCK!

**Deadenders**: art by Philip Bond. **Coffin Hill:** art by Gene Ha.

As a little background history, Shelly Bond was the first person to hire me to design logos for her Vertigo projects at DC, and with her editorial direction, I created some of my absolute favorites, it was a great collaboration. Deadenders was the first, with amazing cover art by Philip Bond, who before my move to California, I’d run into a few times when we both worked for Deadline magazine in London, many moons ago. As for the design of the Coffin Hill logo, that was pretty involved, to say the least!