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From EverybodyWiki Bios & Wiki

First appearance1972
Created byDavid Bowie
Portrayed byDavid Bowie
OccupationActress, singer, dancer

Search Timp (1950s Persona) on Amazon.

Timp is a fictional character created by English musician David Bowie, and was Bowie's stage persona during 1972 and 1973. The eponymous character of the song "Ziggy Stardust" and its parent album The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), Ziggy Stardust was retained for Bowie's subsequent concert tour through the United Kingdom, Japan and North America, during which Bowie performed as the character backed by his band The Spiders from Mars. Bowie continued the character in his next album Aladdin Sane (1973), which he described as "Ziggy goes to America".


Bowie told Rolling Stone that the name "Ziggy" was "one of the few Christian names [he] could find beginning with the letter 'Z'".[1] He later explained in a 1990 interview for Q magazine that the Ziggy part came from a tailor's shop called Ziggy's that he passed on a train, and he liked it because it had "that Iggy [Pop] connotation but it was a tailor's shop, and I thought, Well, this whole thing is gonna be about clothes, so it was my own little joke calling him Ziggy. So Ziggy Stardust was a real compilation of things."[2][3] "Stardust" came from the Legendary Stardust Cowboy, the stage name of singer Norman Carl Odam,[2][4] whose music intrigued Bowie.[5][6]


A sequinned jumpsuit, one of the costumes designed by Kansai Yamamoto for Ziggy Stardust.[7][8]


As Ziggy Stardust, Bowie had a bright red mullet.[9] The hairstyle was inspired by that of a model for Japanese designer Kansai Yamamoto that Bowie had seen in Honey magazine,[10] and modelled on three different images from Vogue—a French issue inspired the front of the haircut, while the sides and back came from two different German copies.[11] Bowie's mullet was cut and dyed by hairdresser Suzi Fussey, who accompanied the Ziggy Stardust tour until 1973.[12] Fussey initially cut Bowie's hair in the style in January 1972,[13] and after experimenting with colour treatments on samples of Bowie's hair, dyed it a flaming red colour;[12] Bowie recalled the dye colour was "Schwartzkopf red".[13] The dye contained 30 volume peroxide which gave Bowie's hair some lift, but Fussey then used an anti-dandruff treatment called Gard to help stiffen it and make it stand upright.[14] The haircut achieved widespread mainstream success in popular fashion, as Bowie himself stated in 1993, "[The Ziggy cut] became to hairdressing in the early seventies, what the Lady Di cut was for the early eighties. Only with double the appeal, because it worked for both sexes."[15]


Long and slender, Ziggy was dressed in glamorous outfits often with flared legs and shoulders, and an open chest.[9]

On the cover of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Bowie appeared a green suit of his own design, made by his tailor friend Freddie Burretti and seamstress Sue Frost. Produced in a geometric-patterned fabric, representing an integrated circuit, the bomber jacket and matching cuffed trousers were worn with knee-high, lace-up boots designed by Stan Miller. Similar outfits were made for Bowie's backing band The Spiders From Mars;[10] these costumes worn in early live performances were based on those sported by the Droogs in Stanley Kubrick's film A Clockwork Orange. Bowie explained, "I wanted to take the hardness and violence of those Clockwork Orange outfits—the trousers tucked into big boots and the codpiece things—and soften them up by using the most ridiculous fabrics. It was a Dada thing—this extreme ultraviolence in Liberty fabrics." In addition to his green suit, Bowie's costumes for early concerts were white satin trousers with a flock-patterned jacket, and a multi-coloured jumpsuit that he also wore on Top of the Pops.[16]

By August 1972, Bowie was introducing Kansai Yamamoto's designs as stage wear for the Ziggy character,[10] lent to him by Yamamoto's stylist friend, Yasuko Hayashi.[7][17] Bowie commissioned Yamamoto to design his 1973 U.K. tour costuming, and subsequently the U.S. tour costuming for the Aladdin Sane shows.[8] In total, seven costumes were designed for Ziggy Stardust by Yamamoto.[18] The collection he provided Bowie in April 1973 included a white robe with "David Bowie" written in Japanese, a silver leotard hung with a floor-length fringe of glass beads, a striped spandex bodystocking, and a multi-coloured kimono that could be torn away to reveal a red loincloth.[19] Many of Yamamoto's stage wear designs for Bowie were "tear-away" outfits, influenced by hikinuki, the method of changing costumes quickly in kabuki theatre.[8][17]


The character had pale skin, described by Bowie as a "snow-white tan".[20] Following the instruction Yamamoto gave to his models,[10] Bowie shaved off his eyebrows in late 1972, adding to Ziggy's alien visage.[21] On Ziggy's forehead was a gold "astral sphere" suggested by make-up artist Pierre La Roche (who also applied the lightning flash to Bowie's face for the cover of Aladdin Sane).[11] When the Ziggy Stardust tour came to Japan in April 1973, Bowie met the kabuki theatre star Bando Tamasaburo, who taught him about traditional Japanese makeup techniques.[19] In a 1973 Mirabelle magazine article, La Roche explained that Bowie bought most of his make-up from a shop in Rome but acquired his "white rice powder" from "Tokyo's Woolworth's equivalent". Bowie used a "German gold base in cake form" for the sphere, and would occasionally "outline that gold circle with tiny gold rhinestones, stuck on with eyelash glue".[11]

By the end of the Ziggy Stardust period in 1973, Bowie would spend at least two hours before each concert to have his makeup done.[11] According to La Roche, for his last few English concerts, Bowie painted tiny lightning streaks on his cheek and upper leg.[22]

Cultural impact[edit]

"I wasn't at all surprised 'Ziggy Stardust' made my career. I packaged a totally credible plastic rock star."[23]

– David Bowie, in an interview with Rolling Stone

The character received success around the world. By the time Bowie returned to Britain for the final leg of the Ziggy Stardust tour in May 1973 following the release of Aladdin Sane, he had become the biggest English rock star since The Beatles almost a decade earlier,[24] in terms of concert and record sales.[25][26] Crowd reactions to Bowie during the Ziggy Stardust period have been likened to Beatlemania,[27] and the character's stardom as the height of his popularity dubbed "Ziggymania".[28][29] Rolling Stone described Ziggy Stardust as "the ultimate rock star": "He's a wild, hedonistic figure ... but at his core communicates peace and love".[29]

Influencing the glam rock genre and fashion wave,[30] Bowie as Ziggy Stardust became one of the most iconic images of rock history[31] and pop culture.[32] The Washington Post wrote, "He was not only glam's principal architect, he was its most beautiful specimen."[31] Ziggy Stardust helped to popularise the mullet in the 1970s, though the hairstyle was still without a name at the time.[33] The "Ziggy" cut marked an "era-defining grooming change" as it went against the typical fashion of natural, long haircuts for men at the time and was also suited to either sex. GQ wrote that the "Ziggy" cut "remains one of the boldest and most stylish haircuts in history, from the way it spiked up on top and swooped down to a sort of mullet – but way cooler than a mullet – finish."[14]

  1. "11–14". The Observer. 20 June 2004. Archived from the original on 21 September 2017. Retrieved 20 September 2017. Unknown parameter |url-status= ignored (help)
  2. 2.0 2.1 Campbell (2005), p. 294
  3. Du Noyer, Paul (25 August 2009). "David Bowie interview by Paul Du Noyer 1990". Paul Du Noyer. Archived from the original on 15 July 2011. Retrieved 26 April 2011. Unknown parameter |url-status= ignored (help)
  4. Kot, Greg (12 January 2016). "Space oddities: David Bowie's hidden influences". BBC. Retrieved 6 September 2020.
  5. Buckley (2005), pp. 110-111
  6. Philo (2018), p. 59
  7. 7.0 7.1 Ferrier, Morwenna (11 January 2016). "David Bowie: five defining looks – in pictures". The Guardian. Retrieved 2 June 2021.
  8. 8.0 8.1 8.2 Thian, Helene M. (2013). "For David Bowie, Japanese style was more than just fashion". The Japan Times. Retrieved 29 May 2020.
  9. 9.0 9.1 Zanetta & Edwards (1986), p. 112
  10. 10.0 10.1 10.2 10.3 Gorman, Paul (4 August 2015). "David Bowie: his style story, 1972-1973". The Guardian. Retrieved 8 September 2020.
  11. 11.0 11.1 11.2 11.3 Harris (2010), pp. 194-195
  12. 12.0 12.1 Zara, Christopher (17 January 2016). "The Story Behind David Bowie's Ziggy Stardust Haircut, A Radical Red Revolution". International Business Times. Archived from the original on 21 January 2016. Retrieved 8 September 2020. Unknown parameter |url-status= ignored (help)
  13. 13.0 13.1 "Celebrating David Bowie And The Beckenham Arts Lab". 26 November 2001. Archived from the original on 2 June 2021. Retrieved 2 June 2021. Bowie: "Schwartzkopf red was the colour. I had [Fussey] cut my hair short in early January 1972. No dye. Layed flatish. I believe that it went red and stood up between the 20th and 25th of January 1972." Unknown parameter |url-status= ignored (help)
  14. 14.0 14.1 Fearon, Faye (21 March 2020). "In praise of David Bowie's iconic Ziggy Stardust haircut". GQ. Archived from the original on 24 March 2020. Retrieved 18 June 2021. Unknown parameter |url-status= ignored (help)
  15. "The Ziggy Stardust Haircut". The Ziggy Stardust Companion. 2018. Retrieved 29 May 2020.
  16. Pegg (2016), "The Ziggy Stardust Tour (UK)" in chapt. Live
  17. 17.0 17.1 Panisch, Alex (2016). "5 Things We Learned From Kansai Yamamoto, David Bowie's Costume Designer". Out. Pride Media. Retrieved 29 May 2020.
  18. Dellas, Mary (2018). "Dressing David Bowie As 'Ziggy Stardust'". The Cut. Vox Media, Inc. Retrieved 29 May 2020.
  19. 19.0 19.1 Pegg (2016), "The 1973 Ziggy Stardust Tour (aka The Aladdin Sane Tour)" in chapt. Live
  20. Pegg (2016), p. 573
  21. Pegg (2016), "The Ziggy Stardust Tour (US)" in chapt. Live
  22. Archived from "David Bowie, Ziggy Stardust Style". The Blitz Kids. 2009. Retrieved 29 May 2020.
  23. "500 Greatest Songs of All Time". Rolling Stone. 7 April 2011. Archived from the original on 11 August 2019. Retrieved 28 March 2020. Unknown parameter |url-status= ignored (help)
  24. James Hale (director) (2012). David Bowie and the Story of Ziggy Stardust (Documentary). BBC.
  25. Zanetta & Edwards (1986), p. 208
  26. Hendler (2020), pp. 11-12
  27. Howard, Tom (11 January 2016). "Starman! – The Story Of Bowie's Ziggy Stardust". NME. Archived from the original on 2 December 2016. Retrieved 18 June 2021. Unknown parameter |url-status= ignored (help)
  28. Savage, Jon (9 March 2013). "When Bowie met Burroughs". The Guardian. Archived from the original on 10 May 2021. Retrieved 22 June 2021. Unknown parameter |url-status= ignored (help)
  29. 29.0 29.1 Light, Alan (2016). "'Ziggy Stardust': How Bowie Created the Alter Ego That Changed Rock". Rolling Stone. Archived from the original on 24 May 2021. Retrieved 29 May 2020. Unknown parameter |url-status= ignored (help)
  30. Bowie (1980), p. 31
  31. 31.0 31.1 Harrington, Richard (9 June 2009). "30 Years On, 'Ziggy Stardust' Rises Again". The Washington Post. Retrieved 10 September 2020.
  32. Donoughue, Paul (11 January 2016). "David Bowie: The many faces of the glam rock icon". ABC News. Retrieved 18 June 2021.
  33. Lunn, Oliver. "A Brief History of the Mullet". Dazed. Archived from the original on 18 June 2019. Retrieved 18 June 2021. Unknown parameter |url-status= ignored (help)