The Sphinx Series (often referred to as the “Hunky Dory Sphinx” sessions) remains one of the most striking visual documentations of David Bowie’s transition from a folk-rock singer to a global superstar. Photographed by Brian Ward in 1971 at his studio on Heddon Street in London, these images captured Bowie in a state of high-fashion androgyny that would soon define the Hunky Dory era.
In 1971, Bowie was deep into the recording of Hunky Dory. He was experimenting heavily with his image, moving away from the “curly-haired mod” look of the late 1960s toward a more ethereal, gender-fluid aesthetic. Bowie appeared with long, flowing strawberry-blonde hair, wearing a floral “man-dress” designed by Michael Fish (which he also wore on the cover of the UK release of The Man Who Sold the World).
The name “Sphinx Series” comes from Bowie’s rigid, symmetrical posing, sitting on the floor with his legs tucked, hands resting on his knees, and a piercing, enigmatic gaze directed at the camera.
The session produced several iconic shots, though not all were used immediately. While Ward’s photos from these sessions were the primary source material, the final Hunky Dory cover was a hand-colored version of a specific portrait inspired by Greta Garbo, rather than the full Sphinx-style body shots. Brian Ward is also the photographer behind the famous Ziggy Stardust cover taken just a few months later on the very same street (Heddon Street) where his studio was located.
These photos are often cited by historians as the moment Bowie perfected the art of the staged persona. The Sphinx photos don’t look like a musician posing for a PR shot; they look like a classical sculpture or a silent film star, bridging the gap between rock music and high-concept performance art.
