In 1966  I was commissioned to do some illustrations on the set of Kubrick’s 2001. This was an extraordinary blessing and huge responsibility for a young art school graduate. I’d previously taken my drawings to Town Magazine and the art director had really liked them and I could not believe it when I got the call to do this job. I was a SciFi addict and also I was aware of  Kubrick’s work in Hollywood, as a student  I had been in charge of the Film Club at Kingston School of Art.

It seemed surreal to find myself on the set of 2001. It felt like I was in a SciFi movie myself, the sets were unbelievable and so realistic. I remember looking at the lettering on one of the pods which was in the minutest type (which you would probably not even see on camera) and just being stunned at the meticulous attention to detail. I had limited amount of time on set and I was allowed to take my camera purely for illustration purposes and below are the images that appeared in Town Magazine, which was a very well read and respected title at the time. An English Esquire before Esquire existed.

The extraordinary synchronicity was that after my first pictures appeared in Harpers in 1969 (before I’d ever shot for Vogue), David Puttnam (later to become Sir David Puttnam) called me to say ” I want to take you to lunch at Wheeler’s Restaurant in Soho. At that time he was still a photographic agent (the best in London) representing Richard Avedon, Hiro, Terence Donavan and David Bailey and a few other amazing photographers. I was the new kid on the block and all the others were very well established and I felt amazed to be joining this talented group of photographers. After lunch he said to me “We’re going around the corner to see 2001 with Terence Donavan, Duffy, you and me. What do you reckon Clive?.” I was really excited and said “Great, I’ve been a big Kubrick fan since Paths of Glory and Town Magazine sent me to do illustrations on set”.

I was totally overwhelmed by 2001 when I saw it (it had taken a long time to reach the cinemas from when I was on set). The story of Hal the AI computer wanting to take over the mission and then the mystical reincarnation of the child. I think this must have been the influence of Arthur C. Clarke who lived in Sri Lanka which is of course a Buddhist country.

I thought back to my half day on set where I rushed about taking pictures with no lighting and tripod and really appreciated the end result of the amazing film itself. It has remained one of my all time favourite films. I should make clear that at this point I was just starting out as a photographer and my skills had not yet developed. I share these images because they are of historic interest and was persuaded by my daughter to do this. 2001 is an epic film that has grossed to date over 190 million dollars and will continue to enthral all audiences around world and is more relevant now in a lot of ways.

When I was on set I also met this really friendly and quietly spoken American actor pictured below (Kier Dullea) and I didn’t appreciate at the time that he was the lead actor. The way Kubrick  masterfully directed his relationship with HAL the computer was incredible. His portrayal of normality in outer space gives the film so much credibility, just an astronaut doing his job.

Below is an unintentional selfie of me reflected in an escape pod window on the set of Kubrick’s 2001 – A Space Odyssey, for me it was my odyssey into the world of photography and an inspiration for life.

• Clive Arrowsmith is shooting stunning images, staging exhibitions and is as passionate about photography as he was when he first pressed the shutter at The Paris Collections. He is available for global media opportunities related to his work and photography generally. SEE OUR  *Kickstarter Campaign for LIMITED EDITION PETER GABRIEL REFLECTIONS EXHIBITION CATALOGUE – HERE – Bespoke prints from Clive’s archive are also available by special request, for any enquiries  (email Eugenie here). Clive’s book Arrowsmith: Fashion, Beauty & Portraits is available hereand Lowry at Home: Salford 1966 is available here

I was at The Worx studio in Chelsea waiting to photograph the up and coming actor (as he was at that time) Alan Cumming, for the Sunday Times ‘Next Big Thing’ feature. I was wondering what he would wear when he rolled into the studio dragging a wheeled suitcase behind him. “Hi” he said with a broad smile  “I’ve come to have my picture taken by Clive Arrowsmith, is that you?”.

There was something so fantastic about him that I immediately took to his warm and quick-witted personality. “What will you be wearing” I ventured and he looked at his large suitcase and said “Don’t worry I’ve brought some costumes with me”. Earlier I had made a desperate call to the stylist demanding some appropriate attire (kilts, sporrans, claymores and a selection of haggis, which I was reliably informed was not a type of hat) but she had not been able to get anything at such short notice.

I was so relieved he had come prepared and very curious. I said to my assistant “I wonder what (costumes) he’s brought with him” (while Alan prepared himself in the dressing room), “I bet it will be good as he was so fantastic in Hamlet at The Donmar Warehouse, although he seems far too cheerful to play Hamlet,” My assistant said “No, no he was absolutely amazing in it”

I was bent over the camera, adjusting the lens for the exposure and instructing my assistants to make the final touches to the set when I felt my assistants whispered in my ear “He’s ready”. I looked up and there to my delight and relief was Alan in full Scottish regalia with the adaptation of a leopard skin kilt, Doctor Martin’s boots and a see through black net vest, bag pipes and tartan bonnet.

I said “Is this the new Scottish National Costume” “Yes it is” he replied and put his leg on a box and adopted what can only be described as a naughty, haughty, fabulous Scotsman pose. I said “Fantastic” knowing that this was the most dynamic, joyful and dare I say camp adaptation of the Highlander theme I’d ever seen and  completely up my street.

After we’d made inappropriate jokes about bag pipes and Alan toyed with his instrument in a suggestive manner (which made us all cry with laughter so much I had to stop shooting) I indulged in the classic “what do Scotsmen wear under their kilts” interrogation. Alan said, “Mostly nothing, unless it’s freezing cold” He then returned to the dressing room and came out in what looked like a PVC kilt and a tartan trimmed Scottish beret. This was more fabulous than the previous outfit and at this point he was topless and his nipple piercing was on show..

Rarely have I photographed someone who was such a total delight to photograph, principally because he was so completely comfortable with himself and in front of the camera. This is unusual for an actor as they can sometime be quite self aware and self conscious. Alan was just so open, so joyful and fun and didn’t hold back at all. I am so pleased his career as an actor has gone from strength to strength I knew from that afternoon that he would do great things. He just had that extra spark, that ‘it’, that cannot really be put into words and came across as very kind too. It’s great that he has done so much to campaign for gay rights and is now happily married. It’s also self evident that Alan just loves what he does, on stage, or on film he is having a wonderful time. Where ever you are Alan, it was a total blast to work with you. Come over for tea with your husband when you are next in London. Always Love Clive.

• Clive Arrowsmith is shooting stunning images, staging exhibitions and is as passionate about photography as he was when he first pressed the shutter at The Paris Collections. He is available for global media opportunities related to his work and photography generally. SEE OUR  *Kickstarter Campaign for LIMITED EDITION PETER GABRIEL REFLECTIONS EXHIBITION CATALOGUE – HERE – Bespoke prints from Clive’s archive are also available by special request, for any enquiries  (email Eugenie here). Clive’s book Arrowsmith: Fashion, Beauty & Portraits is available here   and Lowry at Home: Salford 1966 is available here

Really delighted that this is continuing – I have copied the press release below as I so like what they have written about me. Very honoured to be exhibiting at this incredible Gallery, www.holdenluntz.com

CLIVE ARROWSMITH: AMAZEMENT AND AMUSEMENT

7/28/18 – 9/22/18

For decades, Clive Arrowsmith’s fashion studies and portraiture have been celebrated for their creative vision and jubilant, expressive style; emphatic photographs of Bowie, McCartney, Sammy Davis Jr. or Jagger are created from a mixture of the photographer’s alluring brand and his traditional art school training. The Welsh photographer from Mancot gained recognition as one of the leading photographers of his generation, distinguished naturally as a world-renowned photographer of the fashion industry and of the most celebrated personalities in recent history.

Arrowsmith pursued an education at the Queensferry Art School and the Kingston College of Art. While studying Renaissance painting, he mastered the aspects of light and composition that would become defining characteristics in his work. After finding a livelihood as a painter difficult, Arrowsmith worked as a designer for the British music show Ready, Steady, Go! Here, Arrowsmith would begin to teach himself photography to accompany his designs, taking behind the scene shots of the era’s iconic musicians. Ultimately, he would prefer photography to painting, deciding it was more efficient to create a picture quickly instead of spending months on a painting. He learned to arrange, shoot, and print his own negatives and gained the photographic expertise that would later materialize into well-established commission work as a fashion photographer. Arrowsmith would be commissioned to work for some of the leading magazines in the fashion industry and become a regular contributor to brand names such as British & French Vogue, Nova Magazine, Vanity Fair, and Esquire U.S.A., to name only a few.

“I was shooting for the Paris collections and French Vogue. I was going on fashion trips around the world, so I never had time to be an assistant and learn from a mentor; I was totally self-taught. Being hurdled in at the deep end of fashion photography at Vogue in the UK meant I had to experiment as I went along. My five years in art school gave me the vision of light and form, so that, along with analyzing the various techniques of film and cameras, moved me deeper into my work.”

Arrowsmith’s photography is characterized by its dynamic compositions, often using movement and unpredictability to create a captivating image. It is through the photographer’s experimental nature and expressive flexibility that the images can generate a sense of fascination. Dramatic lighting, an enchanted subject, capturing a sudden moment, these methods define how the photographs will present themselves and also denote Arrowsmith’s “Caravaggisti” influence. Using the techniques of chiaroscuro by placing his subjects under low-key lighting and through aesthetic arrangements influenced by stage designs, the photographer develops his own style of ingenious and emotive photography. Arrowsmith’s photographs are not overly complex; his black and white portraits are at times softly-lit and recall classical sculpted busts while others offer a mental intensity and contrast analogous to film noir. His color work is expressive and lyrical in the use of a rich, vibrant palette.

Clive Arrowsmith’s ability to highlight the subjects’ individuality and offer insights into their individual personalities is recognized as a dominant force in portraiture. He has lectured extensively on the art of the photographic portrait, has had an award-winning eponymous monograph published and is one of the few photographers who has been chosen to shoot the prestigious Pirelli calendar for two years consecutively.

“If the celebrities go for my idea, that is great, but mostly I find the face and a plain background give me enough to work with; the face is such a map of expression and time. One sees through years of working that the camera is indeed a time machine preserving unique moments in time and space.”

Arrowsmith was passionate about the music scene and honed his skills in the context of the fashion and entertainment industry, choosing a career behind the camera as opposed to his other passions. Michael Roberts, Editor at large of Vanity Fair, says Arrowsmith’s work contains a “…Strange hallucinogenic allure”, further accentuating the photographer’s charismatic style. His work is multi-dimensional as well as unpredictable, the photographer’s own vitality and energy transcend to the other side of the camera. He has maintained an almost aloof freshness and a feel of improvisation. His subjects, whether they are well-known personalities or designer clothes and products are eye-catching and intriguing. Clive Arrowsmith ultimately portrays a world of celebrities, models, and designers under a tightly focused and highly detailed lens. He carefully constructs each image with his own flexible and adaptive style – whether the subject is high couture or an influential character, the photographs are alive with a spontaneity and an urgency to record the fundamental aesthetic expression of “cool”.

• Clive Arrowsmith is shooting stunning images, staging exhibitions and is as passionate about photography as he was when he first pressed the shutter at The Paris Collections. He is available for global media opportunities related to his work and photography generally. SEE OUR  *Kickstarter Campaign for LIMITED EDITION PETER GABRIEL REFLECTIONS EXHIBITION CATALOGUE – HERE – Bespoke prints from Clive’s archive are also available by special request, for any enquiries  (email Eugenie here). Clive’s book Arrowsmith: Fashion, Beauty & Portraits is available hereand Lowry at Home: Salford 1966 is available here

Raquel Welch only had three lines in the 1966 movie One Million Years BC but the sight of her in a doe-skin bikini became an iconic image of the time. To a certain extent Raquel and her curves was more reminiscent of the glamazons of the Marilyn Monroe era and was a direct counter point to the waif like models appearing in 60s fashion magazines. However her beauty was such that she transcended fashion and was out in her own Raquel universe. In todays parlance the image of Raquel in that bikini would have broken the Internet

Raquel Welch in One Million Years BC

She was a curvaceous woman more in the mode of Sophia Loren or much like the Kardashian’s are today. You have to respect a woman who knows herself and doesn’t bow to fashion but sticks meticulously with what she knows works for her. Raquel for me just has something that lights up the screen be it for a film camera or at a photo shoot.

I was lucky enough to work with her for Hearst Magazines. Rarely have I known a celebrity take so much trouble with her own image, she visited all the best boutiques in London with my stylist and selected what she wanted to wear ahead of time. Raquel spent a lot of time preparing to be in front of the camera. When I worked with her she individually placed each eyelash on separately and discussed the minutest detail of every costume change. 

I was absolutely taken aback by her effortless professionalism and poise in preparing herself to go in front of the camera. That level of commitment to getting it right is rare and she new what her brand was even before people were talking about any personality having their own brand. Raquel was and is an absolute expert at being Raquel. She was so familiar with the form of her body that however she posed it just worked. I remember saying to her, “Raquel you’ve done this before,” and her laughing. 

Raquel Welch – Photo Clive Arrowsmith

As a photographer you sometimes have to make decisions about the angle of a hat or the way someone is looking but with Raquel I was very happy to let her just do her thing. It did mean she took a little bit longer but once she got in front of the camera I fully understood and respected her approach.

Raquel Welch – Photo Clive Arrowsmith Raquel Welch – Photo Clive Arrowsmith

As the shoot was taking some time I knocked on the door and was called into the dressing room by Raquel who was in front of the mirror doing her eyelashes in a rather tiny bra and pants looking like the Goddess she is. As my regular readers will know I am rarely lost for words and could feel myself getting all hot and bothered and looking at my feet and shifting my weight from one leg to the next. I looked up and Ms. Welch who was grinning from ear to ear and laughing and said, “Clive, This is when you are supposed to tell me I look beautiful.”  Without missing a beat and continuing to fix her lashes, a beautiful, naughty and witty woman.

Raquel Welch – Photo Clive Arrowsmith

I was genuinely stumped by that and retreated out of the dressing room back behind my camera, as I felt over stimulated and needed to be calmer. I did the shoot, completely over awed by the beauty of Ms. Welch. She played it like an icon, which is exactly what she is.

Raquel Welch – Photo Clive Arrowsmith

Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil

I first met Marina Schiano in Hanover Square at the offices of Vogue. Grace Coddington said to me “I have the most incredible Italian model for you to work with.” Grace was never prone to exaggeration, she added “You will adore her with your fetish for Renaissance faces. She’s in reception now, I’ll go and get her.”

Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil

I thought as I waited in the studio, I hope she’s right, she’s always been right. I started to check the lighting and set up the studio with my assistant. The next thing I knew I heard this wonderful, rich, husky Neapolitan voice say “Hello Clive” I turned around to be greeted by this statuesque beauty who glided across the room with a wide smile towards me. I looked at her and all my hopes where realised, here was a beauty like La Gioconda by Leonardo Da Vinci. Grace was right again.

Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil

I gave her a hug and then said, “Lets do some wonderful pictures” and she said “I’m so excited I love your work” and then went to the dressing room with Grace. My dear friend Leonard was doing the hair and the genius Gil was doing the make up. Later that year Gill and I shot the Paris couture collections together. Gil stunned everyone with his amazing blue astral space age make up on Donna Mitchell wearing Pierre Cardin.

Donna Mitchell Paris Collections – Photograph Clive Arrowsmith – Styling Grace Coddington Make Up Gil

I heard various howls of laughter from the dressing room from Leonard, Gill and Marina whose laughter was the loudest. I did wonder what they were doing and what was so funny. Marina then emerged from the dressing room with what I recall was a real Cartier diamond encrusted arrow. Leonard and Gill followed her talking and laughing to themselves, having a self congratulatory conversation about how fabulous she looked. ‘Clivio” said Leonard, “Look what we’ve brought you!”

Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil

She looked beautiful and I knew that I didn’t want this to be a funny image as much as everyone found it so amusing. Once Marina was under the lights she looked angelic and I asked Grace to get more white silk to drape across her. They all continued to giggle excitedly and I understood it was amusing but I had to say, “Everyone please, let’s just be quiet for minute and let’s just look. Let’s not get carried away, let’s just see this for what this is” Gill piped up, “Yes, Maestro” because that is what he used to call me.

Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard Make Up Gil

A moment of reverence and silence fell on the studio as I looked and lit Marina. Fortunately she instinctively new what I was trying to achieve and didn’t behave in a kookie oddball way. I wanted her to look like she had been struck by cupids arrow and at the same time I recall the cupid was also eros the good of desire and erotic love.

Ingrid Bolting Marina Schiano – Photograph Clive Arrowsmith – Styling Grace Coddington Hair Leonard

As soon as they all saw the first polaroid from the back of my Hasselblad they all wanted one and I think I used a whole pack. For any of you who follow my musings on this blog and aspire to take pictures; I have found that stopping for a moment of silent reflective looking always helps me visualise how to capture the moment. Sometimes we’re too eager to press the shutter and take the picture straight away without realising that it is a silent image. Its voice speaks through the final photograph. We worked on more images that day where Marina looked so graceful, elegant and beautiful.

Left to Right – Gil. Marina, Clive, Liz Smith and Leonard

After the first shoot, I worked with Marina and Leonard and Gill again and we did a whole set of beauty pictures for the Observer with Liz Smith. We became a close knit gang for a while and Liz Smith got me into Yves Saint Laurents private salon. Coincidentally Marina also become known as one of Yves Saint Laurents muses. Marina also went on to become a well known stylist and socialite working as the stylist for Vanity Fair (Tina Brown era).

I photographed Terence Stamp about a decade ago for a newspaper supplement feature in Holborn, sort of East London way. Terence arrived in a very uncoordinated outfit. A pale blue polo shirt, topped off with muted russet cardigan and grey trousers. I looked at him and thought, oh no this is like something my Granddad would wear, complete with the horrendous old man cardigan. To make matters worse, the only prop in the studio was an electric purple sofa that clashed horribly with the drab tones Terrence was wearing. I immediately covered the sofa with an old dust cloth. For this session there was no stylist or make up artist and at that point I really wished there was (where was Michael Roberts, Grace Coddington or Marcella Martinelli when I needed them!).

However Terence is still such a ridiculously handsome man that the kind of clothes he was wearing was really irrelevant. I was really surprised at his attire as I had seen him out on the town and he was very sharply dressed, but also I expect he was expecting there to be a stylist on hand. He did however fortunately have a tie, shirt and black jacket with him that did work which I was extremely please about. That aside I decided the way to go was to just try and get a really classic head shot portrait. He is after all such a great actor, that ultimately his clothes are a secondary consideration.

He was totally relaxed in front of the camera, which didn’t surprise me considering how many incredible films he’s starred in (Far From The Maddening Crowd, the Superman series, Valkyrie) to name just a few.  The photo session was very relaxed and we chatted about our mutual interest in Eastern esoteric schools of thought and I found he was very knowledgeable about Krishnamurti, and various other Eastern schools including Japanese Zen although his Master I believe was Indian. The session went well and I was really happy with the session, particularly when I enlarged and printed the pictures in black and white.

Last year I had lunch with Michael Stephenson who was awarded the BAFTA for being the assistant to Kubrick and many other directors. He mentioned that he had seen Terence and that Terence wanted to use one of the pictures on a book he was writing. He suggested we all had lunch at the infamous E Pelicci Cafe in Bethnal Green. I had been told that it was the haunt of various East End underworld figures like the Krays, although I don’t know if this is true. I agreed and on entering the establishment the wonderful aroma of baked beans, sausage and egg and steaming pies filled the air. The place was packed and heaving with people and waitresses shouting orders to the kitchen “Sausage and egg twice and three pies”. My girlfriend who is a devout vegan looked completely horrified but brightened at the prospect of meeting Terence Stamp. Terence was sitting at the far end of the restaurant with his brother and Michael Stephenson. We struggled through the crowd and made our way to the table. Terry looked up while eating and just nodded, I presented him with my book.

He said he would like to use one of my pictures I said that’s fine and then I ate a cheese and bacon sandwich while my girlfriend attempted to order tea with coconut milk. This  turned out to be a river of no return and the waitress burst out laughing. We drove back through the bustling East End and I handed Terence’s request to use the photo onto my agent and heard no more about it for a while.

A few months later I got a call “Hello Clive it’s Terence, once again I would love to use a picture of yours on the cover of my book which I have just finished.” I said that’s fine; I will send you some prints, which my daughter delivered personally to Terence’s doorman. A week later the publisher called and said he would like to use the image and I said to the publisher, I am absolutely fine for Terry to use it but there will be a fee. His publisher said, “Oh, I thought he could use it for free”. I said, “Well I gave my permission but as this is a book there will be a fee”. I thought the book was going to be a large hardcover biography at the time and left the process with my agent. My agent called and told me they wanted global usage and that I couldn’t just give it to them for nothing. I said well try them with £500.00 then, and she said “but Clive usually we charge £5k for a deal like this”. Anyway in the end they did not use it as no agreement was reached.

However my ex son in law Mike works at a famous mystical bookshop in Central London that was used in the Harry Potter films and rang me and said, “Clive Terrence Stamp was in here and he comes here a lot buying books on Eastern mysticism. Anyway somehow we got around to talking about photographers and I mentioned that you used to be my Father in law. He then gave a copy of his book ‘An Ocean Fell Into a Drop‘

I received the book in the post and when I showed it to my daughter, she said “Don’t you think that cardigan looks terribly familiar, I think they’ve scanned and messed with your photograph”.  Terence sent me a dedication with the words, “Especially for Clive, all the very best wishes. I asked for your portrait for the cover, but you were too expensive, but worth it no doubt Terence.” I don’t actually care if they did or didn’t use it, I think its quite hilarious. Original image above and the book cover. Draw your own conclusions. Blessings Terence it’s a great book, which I will cherish.

• Clive Arrowsmith is shooting stunning images, staging exhibitions and is as passionate about photography as he was when he first pressed the shutter at The Paris Collections. He is available for global media opportunities related to his work and photography generally. SEE OUR  *Kickstarter Campaign for LIMITED EDITION PETER GABRIEL REFLECTIONS EXHIBITION CATALOGUE – HERE – Bespoke prints from Clive’s archive are also available by special request, for any enquiries  (email Eugenie here). Clive’s book Arrowsmith: Fashion, Beauty & Portraits is available hereand Lowry at Home: Salford 1966 is available here

Clive Arrowsmith 1980s shoot for Boulevard Magazine styled by Michael Roberts

Michael Roberts said to me one evening over dinner “Lets go to LA and do a shoot for Boulevard Magazine”. We were dining with our mutual friends Soumi and Nadia La Valle the amazing Spaghetti People.

On the plane to LA, after a few drinks had mellowed my in flight nerves (in those days I always needed a drink to fly, now I fly everywhere sober) I said to Michael. “Michael I realise you have a mountain of clothes but we have not booked any models?”

He looked back at me over his red wine and said “Clive do not worry I know loads of people in LA,” and so the adventure began.

When we arrived Michael went off to his hotel with all the clothes and I went to stay with my dear friend Peter Morton in Beverley Hills. Peter was living in a beautiful white house, which overlooked Los Angeles and had reputedly belonged to Errol Flynn at some point.

When I arrived it was night and I looked down on the lights of LA from the terrace and they looked like a billion planets twinkling. I thought to myself we’ve got to do a shoot from here but how would I balance the light. Oh the torture of balancing the light, made worse by jet lag and alcohol. The next morning after a gallon of black coffee, which incidentally never helped. The coffee just woke me up with and the ghost of delirium tremens haunted me all the way to the Sunset Marquee where I met Michael for breakfast. As ever Michael was totally on the case, a quality he has never lost. Michael had a whole list of set ups and locations in mind and a great hair and make up team ready to go. 

We went up to his hotel room to look at the clothes. Where Michael had arranged them all over the place and set up an ironing board. As we talked he continued to iron clothes. I said “Michael don’t you want to get someone else to do that?” He smiled at me and said, “No Clive, I find it very therapeutic actually.” and ironed on.

The first model arrived and she had the classic model, tall blonde and beautiful a genuine Miss LA. Michael had also chosen another model who was incredibly beautiful and right for the shoot but not a conventional model and very voluptuous She had the most stunning emerald green eyes I had ever seen. Her beauty was so astonishing that it was almost terrifying; She exuded a raw natural beauty, like a purring panther waiting to pounce. Just extraordinary. 

I said to Michael, “Where did you find all these incredible people?” He smiled and said, “I have friends.” More models arrived and we drove down to Venice beach to shoot the first model in swimsuits. There was a cool wind coming off the ocean and she was being buffeted about but retained her poise even when the umbrella blew away. Joel my US assistant had to run after it and I had to explain to him that I only wanted her footprints to be visible in the sand to give the sense of her being on her own private beach, enjoying her solitude. As the weather got worse we abandoned that day and we were lucky to get that shot.

The next day we shot the white swimsuit and looking back this was the era of early Madonna with all the bangles and accessories. More was definitely more then. In the afternoon we shot five models on a balcony the theme being a pimp and his hookers. We were trying to be a bit risqué and capture the atmosphere of 80s LA where everyone was trying to be someone.

Later in the evening after the balcony shot Peter kindly let us use his terrace. Michael surpassed himself yet again, with his innovative and beautiful styling and I managed to balance the light! All this was before Photoshop and was shot on film. After the shoot we partied till early in the morning as we were really, really excited about all the pages we had shot for Boulevard Magazine. We were really looking forward to getting back to London and working on the layouts together, it had been a heady and exciting trip and the looks were really fresh for the time.

We had partied, met incredible people, and worked through epic hangovers. I’d also met some beautiful women and was convinced I was in love with about three different people. All in all we arrived at the airport, exhausted and elated and full of joyous anticipation of the sensation the pictures would cause once they were printed. Michael and I got to LAX glorying in a job well done. Michael said, “I’m going to call Boulevard and get them to send a car to pick us and all the clothes up.” I waited at the bar sipping my medicinal potion to calm my nerves. Michael came back and silently sat on the bar stool next to me, sighing. I looked at him and he was a little quiet. I said, “What’s a matter?” He said staring out across LAX ” Boulevard Magazine has folded.”

We both sat there in stunned silence for a moment and it brought to mind the end scene of the Hollywood Classic Some Like it Hot where Jack Lemon says, “You don’t understand I’m not a woman.” and his suitor (Joe E Brown) says, “It doesn’t matter”. 

The movie “Some Like It Hot”, directed by Billy Wilder. Seen here from left, Joe E. Brown as Osgood Fielding III and Jack Lemmon as Jerry. Initial theatrical release March 29, 1959. Screen capture. © 1959 Ashton Productions. Credit: © 1959 Ashton Prod. / Flickr / Courtesy Pikturz. Image intended only for use to help promote the film, in an editorial, non-commercial context.

Layla Ali I flew to NYC to photograph Layla Ali, the stunning boxer and daughter of legend Mohammed Ali. Layla arrived with her entourage, swept into the dressing room, gave my assistants and me a fleeting glance. She was accompanied by some really tough looking boxer friends, who stopped and looked at me up and down, then one of them said “who are you then”? “ I’m Clive Arrowsmith. I’m the photographer from London, here to photograph Layla, for this Nike promotion. “Ok I’ll tell her” We waited until Layla finally appeared again, dressed in a full length boxing robe. I was immediately struck her beautiful golden dark bronze skin. She was stunning. “Hi”, I said, “so great to meet you. How do you want do this? Personally I would like you to be in the outfits you feel really comfortable in. They should be like training clothes if that’s ok with you”. She agreed and went to get her make up and change. Some time later she came back dressed and ready in a white vest and black training shorts. In her left hand hung some bright red boxing gloves. I remembered thinking, “Wow, she looks like an Amazon Warrior Princess. “ “That’s great”, I said. We chatted as the scene was prepped and I showed her a picture I’d taken of His Holiness Dalai Lama and gave it to her as a gift.

“This is for you,” I said “I know your father met His Holiness and they got on really well”. She smiled a warm smile and we shot this picture.

If you’d like to inquire about purchasing a print please contact me though my website at: www.clivearrowsmith.com

If you’d have a press inquiry contact Chilli Media who run my archive:

Tel: 01622 600491 /// Web: chillimedia.com /// F. @CHILLIMEDIA Steve Tomkins

The Girl In The Iron Mask shot for the FT’s then luxury lifestyle title ‘How to Spend It’ (those were the days). I’m particularly fond of the way she looks soulfully through the mask and radiates a particular intensity.

Yoko Ono

I was commissioned by The Sunday Times magazine to photograph Yoko Ono. Prior to my arrival and setting up, her P.R. person told me “you’ve got 10 minutes”.

Yoko came in looking very composed. There was a stillness about her, similar to that of many Japanese people I’d come across in the past on my visits to Japan…..a polite containment and dignity.

I asked her to stand on the spot my assistant had marked. I started to shoot, but Yoko remained unanimated I said” Oh come on Yoko” in my best Liverpool accent,( as she new I had known John in my Art school days in Liverpool back in the day)

“Give us a song” she smiled “Ok I will “ she said I will sing the Beetles song,” When I’m sixty four, and I am sixty four”, we both laughed and she sang away waving her arms and really enjoying herself, ending with a bow, as my assistants and I applauded.

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Tel: 01622 600491 /// Web: chillimedia.com /// F. @CHILLIMEDIA Steve Tomkins