Peter Ashworth

Ashworth's work came to prominence in the 1980s when he worked with pop bands such as Soft Cell, Eurythmics and The Associates; rock artists such as The Clash, The Ramones,[13] The Cult, Tina Turner, Julian Cope and The The; post-punk band PIL with John Lydon; 1980s-era New Romantic performers Visage and Steve Strange; and established artists such as Bryan Ferry.[14][15]

Ashworth's images have been used on album and single covers of the artists he has photographed, including Adam & The Ants’ Kings of the Wild Frontier,[16] The Associates’ Sulk,[17] Soft Cell's Non-Stop Erotic Cabaret,[18] Frankie Goes to Hollywood's Welcome to the Pleasuredome,[19] Visage's debut album Visage[20] and Eurythmics' Touch.[21]

Unusually for a rock photographer, Ashworth worked mostly with the large, square format Hassalblad cameras because, as he reasoned, ‘album covers are square’.[22]

Through his initial work with musicians and designers in the eighties, Ashworth came into contact with fashion designers and moved into the area of fashion photography, working with designers such as British milliner Stephen Jones OBE,[23][24][25][26] (both Ashworth and Jones working together with Visage and Steve Strange)[20]) - Jones using Ashworth's portrait on his first business card in 1979.[27][14]

Ashworth has also worked and with British fetish designers Murray & Vern, Basso & Brooke, and Atsuko Kudo.

Ashworth's photographic work with the avant-garde performance artist and fashion model Leigh Bowery was featured in a 2012 celebration of Bowery's life entitled Xtravaganza: Staging Leigh Bowery[28][29] that was held at the Kunsthalle Wien museum in Vienna, Austria.

• Mavericks - Lever Gallery, London, 2018.[37][38][39][40]
• Mavericks Photographic Show - The Gallery, Liverpool, 2018[41][22]

• Street Style: From Sidewalk to Catwalk - V&A, London
• Hats: An Anthology by Stephen Jones - V&A, London
• The House of Annie Lennox - V&A, London
• Otherness - Louis Vuitton Gallery, Paris