"I like the rigor and tension of looking through the lens and seeing the picture," said Miles Aldridge. From his studio inside an industrial building in North London, the British illustrator-turned-photographer reflects on his journey into the world of camerawork and the allure of film photography. The space is filled with an assortment of framed, large-scale works of art—some hung on the walls, others neatly lined up on the floor. These pieces are a testament to Aldridge's illustrious career, which has seen him capture numerous stars, including Elton John, Donatella Versace, and Kate Moss.

Aldridge's fascination with film photography stems from its unpredictable nature, a characteristic that has driven his work for nearly three decades. "At that point, you only have your eyes to trust," he explained. "You don’t know if it was in focus or if you’ve got something meaningful until you get the film back and start working on it. And I like that way of working, because the anxiety of not knowing drives you to work harder and be more determined to get the shot."

This statement is particularly intriguing given Aldridge's reputation for working in highly controlled environments. The son of Alan Aldridge, a graphic designer and illustrator known for creating some of the most enduring pop imagery of the 1960s and '70s, Miles Aldridge rose to prominence in the mid-'90s when he began collaborating with Franca Sozzani, the long-standing editor-in-chief of Vogue Italia. With meticulous attention to lighting, composition, and color, Aldridge's images often feature glamorous women in moody, suspenseful settings that add an air of intrigue.

A culmination of Aldridge's work is now on display in London. At Sotheby’s Story Café, the walls, props, and furnishings are covered from floor to ceiling with his kaleidoscopic imagery of women in the kitchen, including one carving ham. A retrospective exhibition, co-hosted by Sotheby’s and the Lyndsey Ingram gallery, runs until April 17 and features some of Aldridge's most iconic shoots, such as "Chromo Thriller #3." This particular piece depicts a woman with coiffed blonde curls, wearing a strappy lace nightgown tucked into her underwear, holding a coral-colored hairdryer next to her head. "This one really emphasizes the cinematic aspects of my work," said Aldridge. "She’s in a dark, spooky bathroom. I designed the colors to resemble one of Francis Bacon’s paintings."

The initial idea for "Chromo Thriller #3" was for the model to blow dry her hair in a sexy way. "I checked to see if the colors were pleasing and satisfying," Aldridge recalled. "We started the shoot, but I wasn’t quite sure what it was about. After a while, I decided to review all the Polaroids (used to test shots) and I saw this one (with her) just standing there, sort of static. I realized it felt like she was holding a gun to her head. There was a quietness in her body language compared to the other (images), which were more expressive and loose. And so, the picture feels special in the way that it revealed itself to me through the process. There’s a lot of that in my work."

Aldridge's approach to photography is more akin to that of a film director than a documentarian. His process begins with a storyboard, followed by casting and set design. A single shoot can require several months of preparation. The advent of digital photography has made capturing and sharing moments easier and more accessible, but Aldridge believes that working with film allows for a more serendipitous result. "When you work on digital, you have that instant satisfaction, and I think it actually relaxes the creative muscle," he reasoned. "When photography is too organized and prepared, you lose some of the vitality."

Aldridge's exhibition follows a special edition of Toiletpaper magazine, published in February, which featured several of his surreal images. "When a friend of mine, a stylist, started to work for (artist Maurizio Cattelan and photographer Pierpaolo Ferrari, the founders of Toiletpaper), I said ‘please pass on my compliments’. They came straight back saying they (also) loved my work and often reviewed my images as inspiration," said Aldridge. "There was a sense of wanting to celebrate this."

Also on display for the first time are lesser-seen works, such as "Hahaha!", a chromogenic print of a woman laughing, and a series called "Doors," featuring a cast of female characters coming in and out of what appears to be the doors of their homes. Their activities might seem banal—carrying a bag of groceries filled with fruits and vegetables, or a fluffy white cat—but the sharp color coordination and gussied-up models give the images a psychedelic feel. This mood has often evaded Aldridge's work, which is heavily influenced by a diverse range of artists and filmmakers, including Federico Fellini, David Lynch, Caravaggio, Richard Avedon, Diane Arbus, and his father's album covers for The Beatles and The Who.

In an unexpected turn, one-on-one Polaroid portrait sessions are being offered to the public at Sotheby’s in April. Props, including feather boas, oversized glasses, and retro telephones, will be available on set. Visitors will get to keep "the best" photograph, signed by Aldridge, while he’ll hang onto the outtakes and potentially use them for a future exhibition, depending on the results. This marks another first for the photographer, who rarely turns his lens to someone who isn’t a model or celebrity. One exception took place prior to the pandemic when Aldridge took Polaroids of private collectors visiting his studio.

For Aldridge, the upcoming project brings a sense of excitement and unease. "How will you survive this? How will you achieve it?" he mused. "I’m somebody who likes to control the dynamic of my portraits, but in this, I’m relinquishing some control, because the person will want to direct to some degree what is happening." He continued, "They may not want to look like they are thinking deeply about themselves, which is often an image in my pictures. They might be laughing. They might be wearing horrible clothes that they think are nice, or they may want their hair done in a certain way. There is a wrestle."

Emily Bierman, Sotheby’s global head of photographs, explained the rationale behind the project: "We are always looking for ways to reimagine our spaces. We wanted to push the boundaries within our walls, and who better to do just that than Miles?" She added that the portrait sessions offer "a rare opportunity" for visitors to become part of Aldridge’s artistic process. "His striking hyper-stylized images have never felt more relevant than today—in an age where social media curates a vision of perfection that often conceals deeper, darker truths. It really feels like his work holds a mirror up to this," said Bierman.

While Aldridge may have little say over his subject matter, the sophisticated pizzazz that comes with his technique is sure to shine through. "Photography is a medium where it’s very hard to do that. Even the world’s worst painter could do better, because painting allows for more of a signature. As a photographer, how can you bend the camera to your will, to create your picture?" he said. It’s a challenge that Aldridge has taken in stride. "I dread it, but I think it’s good for you, as a photographer and as an artist, to be taken out of your comfort zone."

In an era dominated by digital photography, Aldridge's commitment to film and his meticulous approach to image-making stand out. His work is a testament to the power of controlled chaos, where the unpredictability of film meets the precision of a master craftsman. As visitors step into the world of Miles Aldridge, they are not just witnessing a photographer at work; they are experiencing the transformative power of art, where every frame tells a story and every shot is a journey into the unknown.