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Early life Born in North London to graphic designer Alan Aldridge, Miles grew up accustomed to celebrity – John Lennon was a family friend, as well as Eric Clapton and Elton John. When he was a child, he posed with his father for Lord Snowdon. At the age of 12, Alan Aldridge moved to Los Angeles where he formed a new family. Miles stayed in London with his mother Rita, a housewife, and his half brother Marc Aldridge and sister Saffron Aldridge. His two half-sisters Lily Aldridge and Ruby Aldridge are also models. He studied illustration at the Central St Martins to follow his father's steps and afterwards briefly directed pop videos (for bands including The Verve, The Charlatans and Catherine Wheel). He moved into photography by chance: he sent some photos of an aspiring model girlfriend to an agency and fell into fashion when British Vogue called him as well as her.
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By then he had hung out on shoots with his sister and traveled to New York in the mid-nineties, where he started working almost immediately. Publications His monographs include Acid Candy (published by Reflex New Art Gallery, Amsterdam, with an introduction by Glenn O'Brien); The Cabinet (with an introduction by Marilyn Manson), Pictures for Photographs (published by Steidl) and Other Pictures (2012, Steidl). In 2013, Brancolini Grimaldi (London based Art Gallery in Somerset House) announced a Rizzoli special edition of Aldridge's new book, I Only Want You to Love Me, limited to 200 signed and numbered copies. Aldridge's latest project is a book made in collaboration with stylist Nicola Formichetti and entitled Zero Zero Vol. 02, that will be presented during the New York Fashion Week. Writing on Miles Aldridge's Work. Miles sees a color coordinated, graphically pure, hard-edged reality.
— David Lynch. Miles Aldridge constructs dreams. That is his artistic and commercial practice.
He understands the essential ingredients of the dream and he uses impeccable instinct in crafting something like 'stills' from the fractured narratives that we normally experience nocturnally and unconsciously.he creates these dreams while illustrating today's fashions for their potential buyers. A dream can make you conquer a new land or buy a new hat or a painting or a philosophy. Aldridge knows that dreams are an exquisite tapestry of right and wrong, a chain of happenings in which what is 'right,' that is what is logical or normal, conflicts with what is wrong, what defies our waking order of things, our expectations and sensibility. Dreams disrupt what is perceived as reality.
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Dreams happen to some people. And some people make them happen. — Glenn O'Brien, from Introduction to Acid Candy. Miles Aldridge is a director at heart. His images are anything but portraits of a subject.
They are his actors, his actresses.Each photograph has a very sacred pathology to every angle and obsession to detail. There is genius in the very deliberate blankness on the face of the models than enables a transference of identity. He always draws you into an arrested fetish that seems as forbidden as a little girl's diary. — Marilyn Manson, from Introduction to The Cabinet.
In his acid-coloured images of lascivious lips, impossibly glossed models and hallucinogenic still lives, the photographer Miles Aldridge is plainly heir to some of the twentieth century's enduring pop culture visionaries. David Lynch's surreal stylisation and interest in moths, the carefully staged elegance of Richard Avedon and the psychedelic graphic design of Alan Aldridge are all in there.
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— Skye Sherwin, Art Review April 2009.