Garrett and his studio Assorted Images worked closely with Duran Duran from the time of their first single Planet Earth in 1981. If I had designed something then, it would have been completely wrong… but my time would come.” His designs didn’t only reflect that moment in culture, they defined it. Malcolm’s design was executed perfectly for the context. “I would’ve loved to have designed those first releases, but EMI quite wisely chose Malcolm Garrett. At that point, I don’t think anyone had any idea of aesthetic direction in the intellectual sense, more an intuitive reaction to design – what was right or wrong was purely a matter of personal taste. I designed some of their early gig posters. Warwicker, now an established graphic designer, explained: “It was during my stay in Birmingham that I met the early Duran Duran, before Simon and Andy had joined. To promote these early appearances, they worked with a friend of the band, John Warwicker, on what would be their first artwork. Wisely, from day one, they established a routine of trusting some of the best with their design, and have remained engaged in the creative process to this day.Īt the tail-end of the 70s, before the line-up of the band was settled and still without a record contract, Duran Duran were regulars on the live scene, particularly around the UK’s Birmingham scene. They rose to fame during a period in which design was crucially important the way a pop package was assembled could help make or break new artists. Over the last 40 years, members of Duran Duran have worked with a wide range of creative talent on the design of their record covers. Not only did this lead to an unashamed fascination with the possibilities of fashion, but also to a four-decade catalogue of record design work that is as strikingly inventive as it is wildly diverse… By Andrew Dineley
Always ambitious, continually seeking to make a lasting statement, No band of their era understood the vital commercial alchemy between music and visual appeal better than Duran Duran.
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