Editing Pin Ups (section)

== Artwork and packaging ==
[[File:Twiggy 1973 crop.jpg|thumb|upright=0.7|English model [[Twiggy]] ''(pictured in 1973)'' appears on the cover of ''Pin Ups'' with Bowie.]]
The cover photo for ''Pin Ups'' reflected the theme of [[Swinging Sixties|swinging London]] by featuring the 1960s supermodel [[Twiggy]], who had previously been name-checked on ''Aladdin Sane''{{'}}s "[[Drive-In Saturday]]" as "Twig the Wonder Kid". The photo was taken midway through the recording sessions at a Paris studio by Twiggy's then-manager and partner [[Justin de Villeneuve]]; he recalled in 2010: "Twiggy and I had first heard David mention her on ''Aladdin Sane''{{nbsp}}... We loved the album so much I called David and asked him if he would like to do a shoot with Twiggy. He jumped at the idea."{{sfn|Pegg|2016|pp=364–367}}{{sfn|Cann|2010|pp=307–313}}<ref name="Phillips" /> Twiggy recalled in her autobiography ''In Black and White'' that she was "really quite nervous" meeting Bowie, but "he immediately put me at ease. He was everything I could have hoped for and more". During the shoot, Bowie and Twiggy had different skin tones, which ''Aladdin Sane'' make-up designer Pierre Laroche balanced out using make-up masks. Twiggy found the final result "enigmatic and strange", later calling it one of her favourite images and "possibly the most widely distributed photograph ever taken of me". The photo was originally slated to appear in ''[[British Vogue|Vogue]]'' magazine, although they did not want a man appearing on their front cover, so Bowie opted to use it as the album cover instead; de Villeneuve later recalled ''Vogue'' being infuriated by the decision.{{sfn|Pegg|2016|pp=364–367}}{{sfn|Cann|2010|pp=307–313}}<ref name="Phillips">{{cite web|url=https://www.theguardian.com/artanddesign/2012/may/16/photography-justin-villeneuve-best-shot|title=Justin de Villeneuve's best photograph: David Bowie and Twiggy|last=Phillips|first=Sarah|date=16 May 2012|work=[[The Guardian]]|access-date=8 October 2013|archive-url=https://web.archive.org/web/20131004215914/http://www.theguardian.com/artanddesign/2012/may/16/photography-justin-villeneuve-best-shot|archive-date=4 October 2013|url-status=live}}</ref>

The original LP's rear sleeve featured two photos by the photographer [[Mick Rock]], one of a concert shot from the Ziggy tour and another of Bowie wearing a double-breasted suit cradling a saxophone. Bowie wrote in the book ''Moonage Daydream'': "I chose the performance photos for the back cover as they were favourite Rock shots of mine. I also did the back cover layout with the colour combination of red writing on blue as it again hinted at Sixties psychedelia."{{sfn|Pegg|2016|pp=364–367}}{{sfn|Cann|2010|pp=307–313}} A discarded idea for the sleeve came from photographer Alan Motz, who "wanted to shoot Bowie metamorphosing into an animal". This idea would be used for Bowie's next album, ''[[Diamond Dogs]]'' (1974).{{sfn|Sandford|1997|pp=114–116}}