Great paper, and a fascinating study. I've never seen anyone really delve into the Dita character before, as I think the general public completely missed it. Dita and Camille being compared and contrasted is quite brilliant, as these were the two most dynamic, fleshed-out of each artist's characters.

Of course, it should be mentioned (and you and I have discussed this before) that Prince and Madonna both took a page from Bowie with these side personas. Prince and Madonna were both products of the New Romantic movement (Prince much more so, Maddy only peripherally) that sprang up in the wake of Bowie. Bowie's characters were fully realised, and often seemed quite seperate from his core personality (or, at the very least, representing a small aspect of his personality). Dita and Camille were more hyped-up representations of Maddy and Prince, not dramatically different from themselves. Dita was Madonna's sexual side amped-up, while Camille represented Prince's inner conflicts.