This was the model’s first job; might have been her last too…

For the first and not the last time, we didn’t sell the back cover to an advertiser; business acumen wasn’t our strong point, but it’s helpful to know that this issue came out in Spring 1993.

RuPaul had just released the single Supermodel (You’d Better Work); like much of the magazine at this stage the cover was a cut and paste job.

The photographer Rankin shot this all-black model cover as a counterpoint to Vogue magazine’s supermodel one shot by Peter Lindbergh in 1990.

Our friend Jenny agreed to this one while drunk and stoned late one night and fortunately didn’t renege on the deal in the clear light of day.

Michael had recently bought a large framed version of Tretchikoff’s Blue Lady in a car boot sale and we were all obsessed by her.

A great example of how we endeared ourselves to the rest of the fashion world. Loved us. They absolutely loved us.

Perhaps my favourite BLOW cover, this was shot by Fiona Freund and was an updated spoof of the Nova magazine cover from September 1968. The cardboard pistol and handbag were made by Nina Chakrabarti.

Although we’d sold some back covers to advertisers by this point, we must have been the only editors who were glad we hadn’t on this occasion. Fiona Freund reshot the model from behind and this was the rather stunning result.

We may not have sold the back cover, but we’d managed to sell the spine to Sauza Tequila.

This was our take-off of the iconic Charlie’s Angels logo, and our first cover in colour; the rest of the magazine remained in black and white.

Another favourite of mine, and not only because along with Fiona Freund and Samson Soboye, I made clothes for a series of toilet dollies based on current couture collections.

New logo and now perfect bound, we were attempting to take the magazine more mainstream. Colour pages and double-sided too.

As with the previous issue, the magazine’s logo was die-cut into the front cover. Great idea, but for the fact that a) it tore very easily and b) we couldn’t really sell the inside front cover.

An issue all about travel, I think it’s fair to say that by this time we’d lost our way a little. This was the last issue of BLOW to be produced.

From the iconic IN and OUT pages with which each issue began. Typically tongue in cheek, these were often the last pages to be created and designed. Normally Michael and me the night before production with a supply of joints and Häagen-Dazs.

Princess Margaret’s shoes were IN while the Queen Mother’s teeth were OUT. Obviously…

Strip cartoon created by Chris Tappenden, who happens to be my cousin. No nepotism, though. Promise.

An utterly BLOW ending to Chris Tappenden’s cartoon strip.

Artist Duggie Fields (1945-2021) corrupted a series of adverts for us in his trademark manner by removing slices of heads and other body parts. The blood red shapes were the only colour in the whole of this issue.

Duggie Fields wielded the axe with a sense of fairness and equal opportunity as can be seen from this take on Chanel’s Antaeus advert.

Part of a series of pieces where we telephoned people to ask them the burning fashion question of the day - or at least we pretended we’d phoned people. The interpretation of Vivienne Westwood’s logo demonstrates the punk aesthetic of early BLOW’s graphic design.

We loved Kate Moss at BLOW, and in this fashion shoot, David Bob (actually David Humphreys, but his hair was bobbed, and this was what we always called him) pissed off the people at Vogue magazine by another of his glorious collages.

The first part of a double page spread spoof of 1994’s Eva Herzigová Wonderbra ad. Photograph by Fiona Freund.

I telephoned Leigh Bowery and asked him if he’d like to take Eva Herzigová’s place and he was so keen to do it that he went to Marks & Spencer and bought his own bra and pant set. This image features in Tate Modern’s Leigh Bowery exhibition.

Doris was my alter ego and she wrote letters of query and complaint to companies and the well-known. Here’s one of my favourite ones, her letter to Dame Barbara Cartland.

And here is Dame Barbara Cartland’s response which she sent along with…

… her poem, My Dog And I and…

A sub-Pierre et Gilles portrait of herself.

Another spoof advert, this time of Yves Saint Laurent’s perfume Opium; ours shot and designed by Fiona Freund and Taren McCallan respectively.

David Bob at it again with his wonderful collage, this time putting Ivana Trump on the back of a scooter as part of our BLOW goes Hello! issue.

Linda Evangelista stars in a Pop Art illustrated fashion shoot by Louise Hilton (I think… we could be very lax when it came to crediting our contributors).