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Editor’s Letter

My Style


Trip-hop artist Jamie Girdler dresses for high society.



With terrorists targeting sporting events, music venues and tourist attractions, why are airports still singled out for security theatre?

The Lab Tri harder than ever with training watches for above and below the waves; the next generation of web-streaming TV boxes have landed – we test the best.


172 Watches


Time’s are changing: IWC’s new Portofino chronograph is a redesigned classic.

Animal Collective’s pet sounds; why the new Wonder Woman is our kind of Gal; meet the wide boys that did away with skinny jeans; actor James Jagger gathers no moss. 137


Cars GQ gets low and dirty as Mercedes channels the Batmobile with its new coupé SUV; the Audi A4 is the executive four-door saloon you’re looking for.




Tony Parsons Why opening Europe’s borders to unlimited immigration may consign us to years of violence.


Hugo Rifkind If your partner asks for cowboy-based fashion tips, don’t shoot from the hip.


Our Stuff Contributing Fashion Editor Luke Leitch lives the good life.


Agony Aunt Victoria Coren Mitchell absolutely, positively writes her own column (we promise).

Are you in the air more than 150 hours a year? Here’s why buying a PJ beats a charter; plus the Mandarin Oriental in Milan.


Taste Robert De Niro and Nobu Matsuhisa talk to GQ about building an empire together; Drama, London’s new home of hedonism; follow Speyside’s whisky trail.


The GQ Food & Drink Awards 2016 The votes are in: Veuve Clicquot presents your shortlist of the nation’s most esteemed restaurants, hotels and bars.


Bachelor Pad Make your whole home a work of art.

175 The Drop Zoolander 2 strides into view; Scorsese’s Vinyl puts a new spin on music-biz TV drama; popcraft princess Sia finds her own voice; Jeremy Corbyn’s hollow victory; artist Mark Wallinger opens his mind; Jean Stein’s Hollywood memories; sport’s chief tyrants must fall.


Michael Wolff No one wants another President Clinton, but the alternative (ie, Trump) makes Hillary unbeatable.


Dresser How G-Star’s jeans went 3-D; wardrobe building with Jim Chapman; Luke Leitch meets the men behind Thom Sweeney; plus Style Shrink and Raymond Weil.

265 Grooming

Acqua di Parma goes into the Blu; is your skincare harmful to your health? MARCH 2016 G 23

Freak out, far out: Press your space face close to for the greatest collection of David Bowie memories and tributes on the web

Photograph © Masayoshi Sukita/courtesy of Morrison Hotel Gallery

208 ‘We are always listening to Bowie, and to people inspired by Bowie. He’s one of the elements that constitute the air that pop music breathes’ David Bowie: an obituary BY DORIAN LYNSKEY

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Features & fashion

GQ Portfolio Products and events.

142 Alastair Campbell meets Gary Neville The ”busiest” man in football and new coach of Valencia talks about England’s dreaming, why he gave up the best job on TV and losing faith in politicians.

273 Life

Get in the cycle lane with our guide to the must-have gear; Bear Grylls’ bushcraft breakdown; Game Of Thrones gets real in the bedroom.


Stockists All the labels in this month’s issue, from A to Z.


Out To Lunch Noel Gallagher swims against the tide at J Sheekey.

164 The office has moved house How the rise of shared offices and elite short-let clubs is making work more mobile, exciting and creative. BY EMILY WRIGHT

198 This is Europe. This is now From the beaches of Greece to the reception centres of Berlin, GQ charts the dangerous and all-too-often tragic journey of Middle East refugees to the West.



What Beckham did next

210 The Weeknd: Off the wall

Bigger than football. Bigger than fashion. GQ showcases an exhibition of new and classic images of David Beckham that explore the global reach of this cultural phenomenon. BY CHARLIE BURTON

The new prince of pop prepares for his biggest year with an exclusive feature photographed by Terry Richardson. BY JONATHAN HEAF


218 How to be a modern gentleman The worldly voices of GQ provide the perfect guide to 21st-century manners, from Tinder and tanning to careers and cocktail cuffs. You’re welcome...

224 Anchorman: 2.0 Here is the news. ITV’s Tom Bradby is shaking up stodgy current affairs with a US-style revolution.



228 Katie’s Girls: Part 1 Stars of stage, screen and catwalk come together for celebrated stylist and editor Katie Grand. PHOTOGRAPHS BY SØLVE SUNDSBØ

240 Collections 228

Go wild with colours, textures and patterns as the new season’s best tailoring goes freestyle. STYLING BY LUKE DAY


Bright young things Hackett helps Britain’s young stars shine brighter than ever in our portfolio of luxury menswear. PHOTOGRAPHS BY BRYAN ADAMS

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Contributing Editors Mel Agace, Andrew Anthony, Chris Ayres, Jason Barlow, Stephen Bayley, Tara Bernerd, Heston Blumenthal, Debra Bourne, Michael Bracewell, Charlie Brooks, Ed Caesar, Alastair Campbell, Naomi Campbell, Robert Chalmers, Nik Cohn, Giles Coren, Victoria Coren Mitchell, Andy Coulson, Adrian Deevoy, Alan Edwards, Robert Elms, David Furnish, AA Gill, Sophie Hastings, Mark Hix, Julia Hobsbawm, Boris Johnson, John Kampfner, Simon Kelner, Rod Liddle, Frank Luntz, Dorian Lynskey, Piers Morgan, John Naughton, Hans-Ulrich Obrist, Ian Osborne, Tom Parker Bowles, Tony Parsons, Oliver  Peyton, Julia Peyton-Jones, Hugo Rifkind, David Rosen, Martin Samuel, Darius Sanai, Kenny Schachter, Simon Schama, Alix Sharkey, Ed Smith, Ed Vaizey, Ed Victor, Celia Walden, Danny Wallace, Jim White, Michael Wolff, Peter York, Toby Young

Contributing Photographers Miles Aldridge, Guy Aroch, David Bailey, Coppi Barbieri, Matthew Beedle, Gavin Bond, Richard Burbridge, Richard Cannon, Kenneth Cappello, Matthias Clamer, Dylan Don, Jill Greenberg, Marc Hom, Benny Horne, Norman Jean Roy, Tony Kelly, Steven Klein, David LaChapelle, Brigitte Lacombe, Joshua Lawrence, Sun Lee, Peter Lindbergh, Steve Neaves, Zed Nelson, Mitch Payne, Vincent Peters, Sudhir Pithwa, Rankin, Mick Rock, Mark Seliger, Søren Solkær, Mario Sorrenti, Mario Testino, Ellen von Unwerth, Mariano Vivanco, Matthias Vriens, Nick Wilson, Richard Young DIRECTOR OF EDITORIAL ADMINISTRATION AND RIGHTS Harriet Wilson EDITORIAL BUSINESS MANAGER Stephanie Chrisostomou INTERNATIONAL PERMISSIONS MANAGER Eleanor Sharman SYNDICATION DIRECTOR OF PRESS AND PUBLICITY Nicky Eaton



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H A R R O D S – M E N ’ S I N T E R N AT I O N A L G A L L E R Y – LO W E R G R O U N D F LO O R


Cover 2 Photographed by Marc Hom (2001)

Cover 1 Photographed by Nadav Kander (2015)

David Beckham calls the shots David Beckham is not exactly your typical ex-footballer. Entrepreneur, fashion icon and sporting statesman, he has created a role for himself that was previously vacant. In fact it didn’t really exist at all. This month we celebrate his involvement with Unicef and the Positive View Foundation in David Beckham: The Man, an exhibition that opens this month in London at Phillips, Berkeley Square, followed by a gala auction. It’s a fundraising effort for 7: The David Beckham Unicef Fund, which seeks to save and change children’s lives around the world, and Positive View, a charity that aims to transform the lives of young people from difficult backgrounds by interesting them in photography. Positive View’s chief executive, Andrew Page, alighted upon the Beckham idea at three in the morning one day in 2013, having witnessed the success of a similar enterprise focusing on Kate Moss. “I always go to bed with a pad and pen nearby, and I was thinking, ‘That was the most profitable charity event – what can we do for Positive View? Who else is there?’ I could only think of David Beckham. He’s always in the papers, he’s not a model, like Kate, but he’s a media hero in a different way. And he has a history of having built an amazing relationship with the lens.” The exhibition includes over 50 photographic images of Beckham, some of which were shot specifically for the project, and which we have reproduced in this issue. We have also produced special-edition covers, including work by Vincent Peters, Nadav Kander and Marc Hom. These are all extraordinary images in support of an extraordinary project. “Throughout my footballing career and in my life outside of the game, I have seen the power of photography in action,” says Beckham. “One photo can capture feelings and emotions that would take many words to express. One photo can change minds and drive people to make a difference. I am deeply proud that through this international exhibition [and auction] of photographs spanning my career so far, we can use the power of photography to support Unicef’s work for children in danger around the world and the work of Positive View in empowering young people in London.” The images in the exhibition are testament to a remarkable career and show a man growing up in public, from his first tentative steps in the fashion arena to the confidence of today. Of course there are those who feel that Beckham’s tattoos have become divisive and that he sets a bad example by having so many prominent markings and for parading them so enthusiastically. But then there are always going to be people who complain about the music on the radio, or the kind of clothes their children wear. In Beckham’s case, as far as tattoos are concerned, he has simply pre-empted the zeitgeist. Whether or not you buy into the zeitgeist is of no concern to him, and nor should it be.

‘One photo can change minds and drive people to make a difference’ Cover 5 Photographed by Marc Hom (2015)

Cover 4 Photographed by Inez and Vinoodh (2013)

Cover 3 Photographed by Marc Hom (2004)


All five cover images are part of David Beckham: The Man at Phillips in association with Unicef. Public view from 27 February to 10 March. Auction on 10 March. Phillips, 30 Berkeley Square, London W1. 020 7318 4010.

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Smiles all round: Unicef goodwill ambassador David Beckham in the Philippines with survivors of Typhoon Haiyan, photographed by Per-Anders Pettersson for Unicef, 13 February 2014


eckham really has a golden aura about him these days, a star quality burnished by a dedication to self-improvement, a savvy series of brand endorsements and the not inconsiderable fact that the public as a whole appear to have taken him to their hearts. The last two times I saw him were both occasions when he appeared to be completely in control of his immediate surroundings without appearing to actually do anything at all. Which is obviously real star power. The first was in the restaurant in Nick Jones’ Little House in Mayfair, where Beckham was having an after dinner drink with Mad Men’s Jon Hamm following one of our London Collections Men dinners. These are starry enough events in themselves, but when the assembled throng saw these two ridiculously good-looking examples of mediated maleness, one of our group – a rather successful US fashion designer – dropped her voice to a whisper and said, “Oh my God, they’re trying to out-handsome each other.” If they were, it was a score draw. The second time was a year or so ago at the Alexander McQueen show at the V&A. The Beckhams were the guests of honour (at least according to the paparazzi waiting outside for them to arrive) and when they finally reached their table, the crowd having parted ominously for them, both David and his wife, Victoria, appeared to have some sort of halo around them. You couldn’t see it, but you kind of knew it was there. Anyone in any doubt as to his gift for self-deprecation, or indeed his ability to display it with self-assuredness, should watch the recent sevenminute promotional video he made for H&M, in which he fends off attention from a star-struck Kevin Hart (who is prepping to play Beckham in the fictional biopic, I, Beckham). It is genuinely funny, and shows Beckham has more of a gift for comedy than anyone could have expected. As for this special issue, it came about after a conversation with Damien Whitmore at Phillips, who described in some detail the mammoth

project it was embarking on with Beckham and his team. When we saw the scale of the project, and the wealth of images being auctioned – including some iconic ones that had been shot for us at GQ – we couldn’t wait to get involved. “Over 15 years ago, I remember being shown photographs of Unicef’s lifesaving work for children around the world,” says Beckham. “These images each portrayed a story: sometimes of devastation, sometimes of challenge, yet always of hope. For me these images were the start of my story with Unicef, a journey that led me to launch 7: The David Beckham Unicef Fund in 2015. “The 7 Fund is one of the most important things I have done and represents my personal commitment to helping children who so desperately need support around the world. But I am equally committed to supporting young people closer to home, including in my home city of London. The charity Positive View is doing amazing and important work with disadvantaged young people in the capital by transforming their lives through photography.” And so say all of us. Enjoy the feature, enjoy the issue. GQ would like to thank Simon Oliveira and Lindsay Stocker at Doyen Global; Trunk Archive; Andrew Page and Positive View.

Dylan Jones, Editor

Blessed are the tastemakers: The iconic GQ cover from June 2002 that reinforced David Beckham’s extraordinary relationship with fashion and photography

52 G MARCH 2016

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Katie GRAND & Sølve SUNDSBØ GQ’s Contributing Women’s Editor Katie Grand created a portfolio of her favourite models, including Cara Delevingne and Adriana Lima. “My intention was to represent them as strong women,” says Grand. “These icons control their own subjectivity, ensuring women as well as men enjoy looking at them.” The women were shot by Norwegian-born photographer Sølve Sundsbø, who says, “Not only are these some of the sexiest women, but also some of the most fun women Katie knows.”



Bryan Adams, first known for his music, is also a celebrated photographer, including his moving 2014 exhibition of images of wounded British soldiers. Adams shot GQ’s December story on Star Wars actor John Boyega and this month photographed our “Bright Young Things” feature on the UK’s rising stars of stage and screen. “We had a great day hanging out. If these gentlemen are any example, the future is very bright for British acting,” he says.

This issue, GQ gets an exclusive look at photographer Giles Duley’s epic project, Legacy Of War, which focuses on the consequences of conflict across and beyond the Middle East. Duley, a triple amputee after stepping on a landmine in Afghanistan in 2011, spent three months travelling through Europe documenting the refugee crisis. “My aim was to humanise this story,” says Duley. “These are people no different from ourselves – we should not fear them.”


Photographs Boo George; Rex; Kjell Ruben; Ben Weller

AA Gill explains to why you’ll strike gold if a hotheaded chef kicks you out of his establishment. It arms you with a brilliant anecdote, a war story – you’ve “been to the front and come back to tell the tale”. Not so if the ejectee is female: “If you throw out a woman, she becomes Sicilian. You have made an enemy for life.”

Luke DAY Luke Day, Editor of GQ Style and winner of the 2015 Fashion Monitor Stylist Of The Year Award, styles the GQ spring/summer collections for this month’s issue. “It’s not a shopping guide, but more of an education as to what’s exciting from the best collections,” he says. “We chose the coolest models of the moment to show how the trends can translate and relate to different men.”

Terry RICHARDSON American fashion and portrait photographer Terry Richardson, who has worked with everyone from Miley Cyrus to Barack Obama, shot The Weeknd for this month’s profile. Richardson dressed the Canadian singer-songwriter in formal attire, capturing another side to his character. “We had so much fun, he was really spontaneous,” he says. “He also loved my playlist, so I know he has great taste in music!” MARCH 2016 G


U K / L O N D O N / M A N C H E S T E R / L I V E R P O O L / S H E F F I E L D / N OT T I N G H A M / N E W C A S T L E / B R I G H TO N / C A R D I F F / E D I N B U R G H / G L A S G OW / L E E D S / B I R M I N G H A M J A P A N / A O YA M A / N A G O YA P A R C O / O S A K A / S A P P O R O / F U K U O K A / V E N U S F O R T / R E R A / KO K U R A


EMOTIONAL BAGGAGE Does ramped-up airport security provide little more than the illusion of greater safety from terrorism? GQ challenges the orthodoxy of this seemingly endless battle with the bombers he growing certainty that the mid-air destruction of a Metrojet airliner flying from Sharm el-Sheikh to St Petersburg was caused by a bomb placed in the baggage hold led to predictable calls from politicians for tighter airport security across the world. “What we have got to do is ensure that airport security everywhere is at the level of the best,” said foreign secretary Philip Hammond. “That may mean additional costs; it may mean additional delays at airports as people check in.” The deaths of 224 people aboard the Airbus A321 is a tragedy. But if passengers groan at ever more intrusive security screening, they are right. Airliners are exceedingly tempting targets for jihadist terrorists, particularly those wanting to hurt the “far enemy” in the West. Inspired by its success on 9/11, al-Qaeda and its offshoots have sought several times since to attack aircraft. In 2006 an ambitious plot to bring down several planes crossing the Atlantic simultaneously

Photograph David Arky

was foiled by good intelligence work. In 2010 a tip-off from a Saudi agent helped uncover an attempt by al-Qaeda’s Yemeni branch to send bombs disguised as printer toner cartridges to Chicago. Richard Reid, the “shoe bomber”, and Umar Farouk Abdulmutallab, the “underwear bomber”, tried to set off explosives on board airliners before being subdued by their fellow passengers. Two things are striking about these events. The first is that, despite the terrorists’ fascination with blowing up airliners, attempts to do so are actually rather rare. Unless the Malaysia Airlines Boeing 777 that disappeared last year was brought down by terrorists (and the most probable theory remains pilot suicide), the explosion of the Metrojet A321 over Sinai is the first major success they have had since 2004, when two Russian planes were destroyed. The second striking thing is that the enhanced airport security introduced after the terrorist attacks of 9/11 played no role in thwarting any of these attacks. MARCH 2016 G


fficials responsible for airport security argue that the system of checks and screening that takes place at every airport, albeit with varying degrees of rigour, is the main reason for the absence of successful attacks. Perhaps it has served as a modest deterrent. But there are legitimate doubts about how much the kind of security currently inflicted on passengers really contributes to their safety. The prohibition on carrying liquids on board, introduced in response to the method of mixing chemicals to explosive effect revealed by the 2006 plot, is a case in point. If security staff find illicit liquids, they deliver a ticking off and confiscate the containers, but still allow the passenger to fly. Discovery of a gun, by contrast, would result in immediate arrest. Despite the mild consequences, nobody has been apprehended trying to get liquids on board to combine into a bomb in almost a decade. Nor have there been any reports of a would-be shoe bomber being intercepted, despite the requirement for passengers to remove their shoes brought in after Reid’s cack-handed effort. It could be that both security measures are so effective that they have completely deterred would-be terrorists from trying these methods again. Or it could be that they are essentially a performance to reassure passengers. Most experts incline towards the latter view. Philip Baum, a security consultant and editor of Aviation Security International, calls it “security theatre as opposed to security reality”. The US’s Transportation Security Administration (TSA) has a budget of more than $7 billion a year and access to the most advanced scanning technologies money can buy. Critics say it has not foiled a single terrorist plot or caught a single terrorist in the past decade. Bruce Schneier, the chief technology officer of security firm Resilient Systems, points out that, whereas the TSA catches plenty of guns and knives inadvertently packed by passengers, it is less good at spotting more determined attempts to get hazardous items onto aircraft. In June its acting head was “reassigned” after a team appointed by the Department of Homeland Security succeeded in getting fake bombs and weapons through the screening process in 67 out of 70 tests carried out in airports across the US. Why such a dismal record? “My guess is that it’s a combination of things,” reckons Schneier. “Security screening is an incredibly boring job, and almost all alerts are false alarms. It’s very hard for people to remain vigilant in this sort of situation, and sloppiness is inevitable.” Schneier also points to technology failures. Screening technologies are poor at detecting PETN, an ingredient of the explosive Semtex, and disassembled weapons have a good chance of getting through security. Schneier reckons that the only worthwhile changes that happened after 9/11 were the introduction of locked, blast-proof cockpit doors and the willingness of passengers to intervene if they see somebody behaving oddly. Some security experts argue that airports’ greatest vulnerabilities come from what Baum calls “the insider threat”. The working assumption is that the Metrojet bomb was placed in the hold by a baggage handler (or placed in a passenger’s luggage by a hotel worker and not picked up by scanners). And Baum believes the airport at Sharm el-Sheikh is no worse than others at vetting its staff. He says British airports employ those who follow jihadist social media and that, at some big American airports, employees are not screened on their way into work if they have an ID card. But nobody is more dangerous than a psychologically disturbed pilot, as Andreas Lubitz demonstrated when he killed 150 people by flying his Germanwings Airbus A320 into a mountain last year. Some clue as to how easy it would be to put a bomb into somebody else’s bag comes from the number of valuables stolen from checked-in luggage. In the four years prior to 2014, passengers filed more than 30,000 reports of missing property with the TSA. This year police at Miami International Airport used a hidden camera 64 G MARCH 2016

The main reason airport security is so bad is that it tries to find things instead of focusing on the people who might carry them to film baggage handlers rifling through bags in a plane’s hold and stealing whatever took their fancy. Security experts reckon such practices are widespread. The main reason airport security is so bad, says Baum, is that it tries to find things instead of focusing on the people who might carry them. Issy Boim, a former Shin Bet officer who worked closely with Israel’s El Al airline, argues that whereas the Americans are looking for weapons, the Israelis “are looking primarily for the terror suspect”. Baum is a strong advocate of what is known as “profiling”: building a picture of both passengers and airline staff. He rejects the idea that this has to be based on crude stereotyping (being suspicious of all young Muslim men, for example). Instead it should be based on behaviour both prior to flying – for example, when, how and where a ticket was purchased – and at the airport itself. El Al employs people who have been trained in psychological observation techniques to interview every passenger before he or she is cleared to go through physical screening. Anyone who arouses their suspicion is subjected to a further grilling and may well not fly. El Al is thought to use some profiling techniques that would be politically unacceptable in Europe. Hebrew-speaking Israelis can expect to get off more lightly than Arabs and single white women, for example. But, as Baum points out, immigration officers at airports in the West commonly use profiling, “and it works”. El Al also spends more than other airlines on different types of security. Hold bags are subjected to barometric pressure testing, undercover armed marshals travel on every flight and its planes are equipped with anti-missile systems. Elsewhere, better technology might improve the performance of conventional screening, but few airports can afford to update their systems whenever the latest gizmo comes out. Instead, says Baum, they should use profiling to help make their procedures much less routine. “Airport security is far too predictable,” he adds, “Giving everyone a pat-down search is a waste of resources. Terrorists don’t like unpredictability.” Schneier is more dubious about profiling, and he is “incensed” by the way the TSA singles out unlikely passengers “for humiliation, abuse and sometimes theft”. He says that when people propose profiling “they are really asking for a system that can apply judgement. Unfortunately that’s really hard. Rules are easier to explain and train... judgement requires better-educated, more expert and higher-paid screeners.” Simply offering more airport security by rote seems like a bad idea. There ought to be more emphasis on dealing with insider threats through better vetting and more intrusive monitoring of airside staff by CCTV. Apart from that, greater focus on passenger behaviour at the airport and less predictable forms of screening (for example, more swab tests, more sniffer dogs and so on) would be good. But the most important thing of all might be to keep a sense of proportion. Many people travel on buses and trains, go to sporting events and attend open-air concerts. All are potential targets for terrorists, yet they receive not even a fraction of the attention that air travel gets.

on my wishlist

gal gadot


farewell, skinny jeans


man skills


scorsese’s vinyl




ANIMAL Collective’s new album, Painting The band found a kindred spirit in THE With, takes familiar pop structures Velvet Underground innovator John Cale, and then distorts them like warm clay who joined the session as a viola player. RE into something thrillingly original. “He brought his sampler and a bunch of TURNS Fitting, then, that they recorded the electronic drone sounds,” says Weitz. “He album at EastWest Studios, Hollywood, ended up doing stuff that sounded so the former base of The Beach Boys. “We were in good we had to find ways to stick it into a song.” Studio Three, where they did Pet Sounds and part The record’s title alludes to the artistic movement of ‘Good Vibrations’,” says sample wizard Brian that inspired the album. “We were talking about “Geologist” Weitz. “Being in that room, I don't know cubism and how it’s a distorted version of reality,” how they did it. The idea that they crammed all those explains singer Noah Lennox, otherwise known people in there to record ‘God Only Knows’ is crazy.” as Panda Bear. So how, literally, do they apply that Perhaps some of its Brian Wilson magic rubbed to music? “There’s a connection,” says Lennox. off. “One of the first people we played it to said he “With our songs there are traditional elements like was trying to figure out if these are really simple verses, bridges and choruses, but they’re elongated, songs made to sound complicated, or the other way shrunk down – or just chopped off.” Kevin Perry around,” says Weitz with a laugh. Painting With is out on 19 February



Photograph Tom Andrew


The class menagerie (from left): Geologist, Avey Tare and Panda Bear, aka Animal Collective

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TOTALLY ADDICTED TO BASQUE Regional restaurants are getting specific. The latest wave draws on bar-to-bar txikiteo and pay-by-stick pintxos to zero in on Spain’s distinct northern enclave THE



eneko at one aldwych

bilbao berria

ametsa with arzak instruction

9 Seymour Place, W1

1 Aldwych, WC2

2 Regent Street, SW1

Halkin Street, London SW1

best for

Cool kids hungry for on-trend tapas.

Haute hotel business powwows.

Foodie friends after some hustle and bustle.

background check

Damian Surowiec was so successful at London’s Donostia that the owners made him executive chef at their second restaurant, Lurra (that's “land” in Basque).

Three Michelinstarred Basque chef Eneko Atxa will reinvent the traditional fare he serves back home in Bilbao for the luxurious confines of the One Aldwych hotel.

Founders Iñaki Lasa, Rafa Viar and Pedro López (two Basque, one Catalonian) have transported the brilliance of their restaurant in Barcelona to Regent Street.

the look

It might be inspired by gruff erretegia dining spots, but it’s worlds away from rustic simplicity.

The restaurant will be a casual affair, while the mezzanine bar will provide a stylish backdrop for pre- and postdinner sips.

Part industrial, part bohemian, the restaurant combines handsome wood, polished brass, battered leather and exposed piping.

Full white-tablecloth formality – beneath a canopy of spicefilled test tubes (7,000 of them, to be precise).

With Salt Yard and Barrafina on his CV, Damian thrills with the grills.

Atxa is known for his creativity, using ultrasound to alter textures and serving truffled eggs “inside out”.

Ramon Antequera conjures up lighter, less rustic versions of Basque recipes.

Her father runs the family restaurant in San Sebastian but Elena masterminds their London vision with ease.

Two signatures compete for the spotlight: the 14year rubia Gallega (Galician Blond) prime rib and the turbot with Txakoli sauce.

A selection of pintxo – bread laden with ingredients and skewered with a stick – will change daily in the bar. Pair with a crisp cava.

Either lamb neck with olives, garlic sauce and rosemary foam, or aged Txuletón beef from Sondika charred over the Josper. Both equally memorable.

The tasting menu (£105) is Arzak through and through, running the gamut from “graffiti” egg to monkfish “confetti” via ox with piquillo “flames”.

There are plenty of European options, but we’d always go for the Spanish bins.

Exclusive wines, including slightly sparkling Txakoli from Atxa’s own vineyard.

Tipples include a range of natural ciders, but it’s a big, bold Toro that you’ll need for the beef.

kitchen philosophy

on your plate

in your glass



by alex wickham

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David Cameron hosted celebrity hairstylist John Frieda and his glamorous wife, Avery, for dinner at Downing Street recently. Curiously, Frieda is the first Tory donor to be invited to dine at Number Ten for years. Perhaps Dave is about to revamp his image...

How paranoid is Jeremy Corbyn about a coup? Orchestrated emails have been sent out to the MPs who nominated him last year, asking for their support should he face a leadership challenge. He will need all the help he can get if a contender emerges.

The Tory wives’ club traditionally offered a chance for MPs’ other halves to gossip about their husbands. Times have changed. Female Conservative MPs recently organised a bonding session for their spouses. Its name? The Denis Thatcher Memorial Dinner.

Michelin-starred dinner dating. Nothing but elegant eats at the Halkin hotel’s dining room, run by father-anddaughter team Elena and Juan Mari Arzak.

The Txomin Etxaniz 2014 from Getaria – a coastal town in Basque Country – has our vote.

Anybody who is anybody was at the premiere of Star Wars: The Force Awakens, so it was odd so few politicians turned up. I can reveal why: Tory ministers and MPs were treated to their own private screening days before the film was released. It’s a hard life.

Presenting: the most peculiar anecdote from journalist Davis Miller’s new book about his friendship with Muhammad Ali. The scene: Ali’s mother’s house, March 1988. Miller has just met the boxer for the first time. “I excused myself to the bathroom, locking the door behind me. A pair of Ali’s huge, shiny black, businessman’s dress shoes was on the floor beside the toilet. The toe of one had been crushed, the other was lying on its side. When I unlocked the door to leave, it wouldn’t budge. I couldn’t even turn the handle. I tentatively knocked. There was laughter from the other room. I distinctly heard Mrs Clay and [Ali’s brother] Rahaman murmuring. I yanked fairly hard on the door a few times. Nothing. Just when I thought I was stuck there for the millennium, the door easily opened. I caught a glimpse of Ali bounding into a side room to the right, laughing and high-stepping like some oversized, out-of-shape Nubian leprechaun. I peeked around the corner. He was standing with his back flat against the wall. He saw me, jumped out from the room, and tickled me, a guilty-little-kid smile splashed across his features. Next thing I knew, he had me on the floor, balled up in a fetal position, tears flowing down both sides of my face, laughing. “Ali, you crazy,” Rahaman said. Approaching Ali is out on 23 February.

Illustration Dave Hopkins Story Nicholas Clarke Photograph Miko Lim/Contour by Getty Images

ing Coming spr 6! 0 2 1


wonder woman’s perilous flight path 1996 First mutterings of a Wonder Woman film being in the works 2001 Now in the hands of Warner Bros; Sandra Bullock is in the running for the lead 2005 Joss Whedon is on board! 2007 Joss Whedon is not on board! 2008 The story shifts from the Second World War to the present day (it will eventually come to span three time periods). 2013 Gal Gadot is cast as the woman herself. 2015 Patty Jenkins signs on to direct the main event, ahead of the character’s debut in Batman V Superman.



WONDERS NEVER CEASE Actress, beauty queen, stunt woman: in cinemas this month for Triple 9, super-hero-in-waiting Gal Gadot is three times a lady

CROSS Gal Gadot at your peril. The former Miss Israel (2004, if you’re inclined to research further) served two years in the Israeli Defense Forces, undergoing a four month boot camp to become a fight instructor. She was quite literally the model cadet. A period of military service is mandatory in Israel – and unlike some of her contemporaries, Gadot wasn’t about to dodge the draft. Seven mile runs at 6:30am? Bring it. This toughness has served Gadot well in Hollywood. Her small but pivotal role in this month’s heist thriller Triple 9 pitches her into an ultra-violent world of crooked cops and brutal mobsters. A volatile party girl swigging vodka straight from the bottle, her character has an authentic touch that makes you almost pity her estranged husband (Chiwetel Ejiofor). Almost.

Gadot rose to prominence in the Fast And The Furious franchise. Playing a former Mossad agent working for a drug cartel gave her the opportunity to showcase her very particular set of skills. Naturally she performed her own stunts, and zooming around on a black Ducati was second nature because she rides a motorbike in real life – a black Ducati, in fact. All of which is to say: you now understand why Gadot won the coveted role of Wonder Woman, who will appear in March’s Batman V Superman and next year in her own film. Other actresses could play a badass; Gadot is one. Henry Cavill, watch out. Max Williams Triple 9 is out on 19 February. Batman V Superman: Dawn Of Justice is out on 25 March. MARCH 2016 G




IF you haven’t got a body like a 22-year-old indie pin-up (eg, anyone who cycles, runs or, well, eats) then the truth is: you don’t have the body for skinny jeans. Yet since Dior Homme’s Hedi Slimane first debuted the look in the early aughts, it has ruled with an unwavering tyranny – until now. This season, trousers are getting looser. “Everybody is bored with the same silhouette,” says Patrick Grant of E Tautz (left), who, alongside brands such as Topman Design and Universal Works, is leading the charge. “It feels more enjoyable to wear clothes with a bit of drape to them.” Here is his guide for wearing them well and what to wear them with...


It’s the end of skinny jeans – time to set your legs free the rules ON THE TOP HALF


“I mostly tuck my shirt in as that gives you a waist,” says Grant. “A waist is key. So if you want to wear big chunky knits with wide trousers, ribbed waistbands might help.”

bring your ’a’ game no 15

THE FREEWHEEL TRACK STAND Because keeping your feet on the pedals when you stop looks pretty sweet...



“My evening trousers are heavy pleat tapered and that’s perfectly smart.”



“You need something with a little heft: Red Wing boots, a heavyweight brogue – I’ve got Church’s ones – or techno trainers. You just don’t want to look like you have tiny little child’s feet and massive trousers.”

1 Decelerate in a low gear to almost stationary, standing up with feet level, arms straight and eyes forward.


4 Jeans by E Tautz, £220.


“When turning them up, putting a little fold in to taper them a bit makes them more versatile. This can also help you pull off less clunky shoes.”


2 Balance by feathering the brakes and pedalling very slowly against the resistance.

3 Just as you feel like you’re about to fall off, turn the front wheel 45 degrees in the relevant direction to regain balance.



4 As you get better at it, try leaning subtly in the opposing direction you’re falling – this will reduce handlebar twitching.

Blazer by Scotch & Soda, £165. Shirt by Orlebar Brown, £155. Brogues by Church’s, £400.

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Top by Armour Lux, £45. Trainers by Converse, £60.

Jacket by Universal Works, £139. Sweatshirt by Ralph Lauren, £175. Boots by Red Wing, £239.

5 If you’re moving too far forwards, squeeze the front brake then bounce backwards to correct. (Best not to practise on the open road.)

Photographs Full Stop Photography; PA Illustrations Dave Hopkins





Photograph Lucia O’Connor McCarthy Stying Mark McMahon Grooming Alice Howlett using MAC Cosmetics

Earning a role on HBO’s new drama isn’t easy – even with a cast-iron rock lineage WHEN you’re auditioning for Martin Scorsese’s new TV series, it doesn’t matter if your father is the show’s producer, or a Rolling Stone. You still have to undergo what James Jagger refers to as “the dickhead test”. So, Jagger – who previously impressed with parts in Sex & Drugs & Rock & Roll and Mr Nice – made the pilgrimage to Scorsese’s house in uptown New York. “I was let in by his chef, into the Hall Of Intimidation, which has this trophy cabinet full of Globes and Oscars. It tells you there’s no messing around.” Jagger had spent a week preparing for the meeting (“I was watching all this weird arthouse cinema, every European gangster film I could get my hands on”) but was still wracked with nerves. “Then this really personable little man came down the stairs and we ended up just talking about a film I loved.” In short, he passed – as evident in this month’s Vinyl. Written by Terence Winter (The Sopranos, Boardwalk Empire), the HBO import has all of Scorsese’s fingerprints: a reprehensible protagonist (Bobby Cannavale, as coked up-music exec Richie Finestra), flawless period setting (the New York music industry in 1972), mob bosses and a soundtrack to match. Jagger plays Kip Stevens, “a ne’er-dowell” singer who Finestra is trying to take to the big time. “He’s on his third go, been in a couple of bands that haven’t done so well,” says Jagger. For inspiration, the actor looked to Iggy Pop and Seventies punk pioneer Jack Ruby – but he avoided basing his performance on his father, Mick. Instead, the elder Jagger provided showrunners with period insights and helped re-create venues. “It was important to have someone who was there, to say, ‘Not actually everyone dressed in platforms and big Afghans.’” Jagger is hoping the show’s second season – if it’s confirmed by HBO – doesn’t go too Game Of Thrones. “I’m a bit worried. I spend a lot of the show doing scag,” he says, “so it would be easy to kill me off.” Oliver Franklin-Wallis Vinyl starts this month on Sky Atlantic.

Papa was a Rolling Stone: The musical sensibilities of James Jagger’s fictional frontman are a far cry from his father’s

Jacket by Lanvin, £1650. At Harrods, Shirt by Hugo Boss, £129. hugoboss. com. Trousers by Polo Ralph Lauren, £195.00. At Harrods.

DATA CRUNCHING jagger’s father mick is worth £225m; jagger’s step-fatherto-be, rupert murdoch, is worth £8.6bn

See page 176 for more on Vinyl

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GABRIEL KANE DAY LEWIS for Zadig & Voltaire, Paris Fashion Week Party, Spring Summer 2016.



Tastes like screen spirit: Cîroc's limited edition pays homage to Zoolander 2


TAKE a picture; it lasts longer. Even better, let Instagram do it for you. Here are the three funniest we’ve seen this month.



Follow us @britishgq @dylanjonesgq

Do something different this month; tune into these new sounds...



SUNFLOWER BEAN This New York three-piece, led by Julia Cumming, has become one of the most talked-about new indie bands going.


Human Ceremony is out on 5 February.



PARLOUR TRICKS Songwriter Lily Cato fronts a band of New Yorkers set to win hearts and minds with their mix of girl-group harmonies and big rock’n’roll.

@ TA N K . S I N AT R A

And it's a lot of Adele. I'm calling 911.

Broken Hearts/Bones is out on 5 February.

Photograph Matthew Beedle

VERY HARD LIQUOR This limited edition will be winning walk-offs at a bar near you – now all we need is the Magnum

@ B E R T B O N DY

HOW’S your blue steel? Cîroc’s is something to behold. Its special “Derek Zoolander” bottle is an apt tie-in to the new film: the vodka itself is distilled in columns made of, yup, steel, and it has been a firm favourite of the fashion industry since it was introduced back in 2003. This new limited edition, in association with Mario Testino who shot its promotional campaign, might reinvigorate the design, but rest assured the spirit inside retains the same eminently enjoyable taste – because, as Zoolander himself once noted, there is more to life than being really, really, ridiculously good looking. £38,



FOXES Louisa Rose Allen doesn’t deserve to remain under the radar. After all, she just earned a Grammy for her classy, exuberant pop. All I Need is out on 5 February.

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Of Cameron’s potential successors – Boris, Theresa or George – who would you be most likely to accept a coalition offer from?

It’s not up to me and I think there’s a reasonable chance it might be none of those three. I can’t think who it will be. But of those three, who do you have the most common ground with? Boris? He’s a libertarian…

What can I say about Boris Johnson other than he’s very sceptical about Europe and he’s the Donald Trump of the United Kingdom, really. The point is I’m capable of having a good relationship with pretty much anybody. You’ve dodged this question before: you’re a Christian – do you think gay sex is a sin?

I’m not a religious leader; I’m a political leader. I think that everybody is utterly equal. People should be free to love who they want and marry who they want. But I don’t go making theological pronouncements. THE




The Lib Dems were obliterated in the last election. Now, new leader Tim Farron is rebuilding from the ground up. GQ stopped by his Westminster office... The Lib Dems lost the student vote over tuition fees, lost the protest vote to Corbyn and Scotland to the SNP. Who is your core constituency now?

We are for the challengers. Liberals believe everybody should have equal opportunity. That doesn’t just mean laissez-faire – it’s about rolling up your sleeves and making it happen. Will a party with only eight MPs get votes?

Well, look at the clever campaign that Lynton Crosby ran for the Tories. A few weeks later he tried the same thing in Canada and lost heavily to a Liberal party that had had a shocking result at the previous election. What the Liberal party did in Canada was puff out its chest and assert its right to be there. My job is to do the same. What’s the one thing you would like to achieve if you got back into government?

I want to tackle the housing crisis by building three million houses over ten years.

How do you think the public perceives you?

So whether you think it’s a sin is irrelevant?

I don’t go around making theological pronouncements. One of the reasons I joined the liberals was because of lesbian and gay rights. Friends of ANY mine were gay and I saw how NICKNAMES? they were treated and bullied. ”i was called faz I want a society where people at school and occasionally get are valued for who they are. called faz now, i understand.“

I think the question is whether I am perceived by the public. If you talk to my constituents, I hope they consider me to be human and committed. How would you describe your style?

I am not that conscious about what I look like. I’ve always worn Dr Martens, so I don’t see why I should change, and I’ve had basically two haircuts in my entire life. The first was meant to look like Chris Lowe from the Pet Shop Boys; the second was meant to look like Damon Albarn. I’ve just receded since then. If you made it to the Privy Council, would you wear Dr Martens to meet the Queen?

Yes. I would polish them, but they are good, solid British footwear. They’re multipurpose – as good on a farmyard as they are in Buckingham Palace.

How would you like to be remembered?

Well, I won’t be. So there’s no point in worrying about how you’d like to be remembered at all. I would like to have made sure I did things that made a difference to people’s lives. The whole point of winning elections is to make a difference. I see a whole bunch of people in this place who, whether they say it or not, are trying to leave a legacy – they like the idea of holding office, not making a difference. You really don’t think that you’ll be remembered?

Who is? Who’s the greatest US President of the last 100 years – Eisenhower, Roosevelt, Kennedy... People only remember Kennedy because he got shot, but the average 16-yearold can’t name you more than one of those people. Be motivated by something else. CB



Street dance might seem a nebulous thing, but it’s as subject to straightforward trends as any aspect of pop culture. Here’s a bluffer’s guide to what’s big – and where...

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In short: Next-gen breakdancing, swapping heavy footwork for a sense of levitation. See it: On the New York subway, even though it’s now illegal. Recognise it: A frenzy of jumping and fast acrobatic steps. The knowledge: Puff Daddy and Pharrell perform a litefeet routine in their Get Lite remix of “Finna Get Loose”.

In short: A spectacular offshoot of Nineties Jamaican “bruk-up”. See it: On stage (flexing shows are hitting London and the US). Recognise it: It’s described as “bone-breaking” for a reason – this is a contortionist act with rhythm. The knowledge: Flexing master Storyboard P can be seen in the video for Jay Z’s “Picasso Baby”.

In short: That guy in the club with the fancy footwork? That’s probably shuffling. See it: On dancefloors across London. Recognise it: Imagine a moonwalk with less gliding and more, erm, shuffling. The knowledge: Not everyone’s a fan – there are campaigns to have it banned from clubs.

In short: A series of moves taken from Silentó’s video, "Watch Me". See it: On Vine, where it is still the dance craze du jour. Recognise it: By its core step, the “Nae Nae” (a hip swing with one hand aloft and the other by your knee). The knowledge: Want to see a Nae Nae done badly? Google Matt Damon’s rendition.

Photograph Getty Images


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Photographs James Mason; Antonio Salgado

Caroline Flack and Jack Guinness

Cozette McCreery, James Long, Holly Fulton, Lou Dalton and Sid Bryan Dermot O’Leary

To call the GQ family “extended” is an understatement. So the new, capacious German Gymnasium restaurant in London’s King’s Cross provided the perfect space to bring everyone together for the biggest Christmas lunch in our history. And not an ironic jumper in sight...

Patrick Grant

Stephen Webster and Alex James

Alan Edwards and Gary Farrow

Sharleen Spiteri

Caroline Rush and Clara Mercer





George Lamb

Anya Hindmarch

Watch Simon Nessman #GETITON at

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Claudia Winkleman and Rachel Johnson

Photographs James Mason; Antonio Salgado; Rex

Dave Benett and Harold Tillman

Simon Jones

Rob Diver, Lara Mingay and David Gandy

Mollie King

Henry Hudson

Tara Bernerd and Heather Kerzner

Stuart Bell and Richard Dawes

Oliver Peyton, Mark Hix and Anastasia Webster

Julian Vogel and Tanya Hughes

Jon Stanley and Max Pogliani

Andy Coulson and Ed Victor

Roxie Nafousi

Giorgio Locatelli and Mark Hix

Ewan Venters

Claire Neate James

Katie Eary

Stephen Webster, Justine Simons, Oliver Peyton, Anastasia Webster


Piers Morgan

Jack Guinness and Liz Matthews

Tinie Tempah and Dumi Oburota

Paddy Harverson and Jane Boardman

Nathalie Notzold

Jane Moore

Danny Wallace and Andy Coulson

Jonathan Sanders and Olivia Cole

Photographs James Mason; Antonio Salgado

le • ta b ot




ta b

Spas Roussev


Paul Solomons and David Gandy


Richard Agnew



Nicky Carter, Carrie Hobbs and Sophie Hastings

th e pre mi

the pre m

Rob Diver

Harvey Goldsmith and Leo Green




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Lennon and McCartney in music; Jobs and Wozniak in tech; Rodgers and Hammerstein in theatre. The culture is indebted to creative partnerships and the restaurant world, too, has a dynamic duo: Jeremy King and Chris Corbin. Any dining room they launch seems to immediately become a vital cog in London’s social machinery. Their back catalogue – The Wolseley, The Delaunay, and The Colony Grill among others – are destinations of choice for London’s big beasts from fashion to politics, and the latest, Bellanger, expands their territory to a neighbourhood that has been largely off-radar since Cool Britannia: Islington. Named after the car mogul Robert Bellanger, it focuses on the cuisine of Alsace. This translates into a menu involving tartes flambées (a kind of Germanic pizza), baeckeoffe (beef, pork and lamb hotpot) and any number of sausages, all to be enjoyed in a room that achieves the pair’s trademark feat of twinning all-day dining with a sense of occasion. Word to the wise: its 200-cover capacity means you’re going to want to prebook your post-lunch car back to town. CB 9 Islington Green, London N1.


Paul McGuinness



Tracey Emin

Peter York


©2016 COACH®


Glovetanned Saddle Bag in Bordeaux , Mixed Fabric Jacket on Niels Whiplash Saddle Bag in Camel on Lexi




F L A G S H I P S T O R E , 2 1 0 P I C C A D I L LY, L O N D O N W 1 J 9 H L


Tolerance of intolerance has to stop now

If the freedoms that underpin the West are not defended on home soil, our society will face decades of sectarian strife. Time to close ranks and fight back against religious reaction n the Monday morning after the mass murder in Paris, the mood on the Tube was reflective. London kept calm and carried on but did so with the knowledge that we are truly hated now. After Paris, it no longer felt like we are waging a war on terror. It felt like terror is waging a war on us. This is the challenge to our generation, the constant threat of murderous Islamic terror suddenly erupting in our lives. Islamic terror bears no resemblance to the IRA bombing campaign – there is no ultimate political ambition, no dream of Brits out. The atrocities in Paris – like the slaughter of Lee Rigby, the Charlie Hebdo massacre, the mass murder of 7/7 and 9/11 – was the nihilism of a death cult. The terrorists of our time seek only to dance on our graves, dream only of seeing all we love in flames, want nothing more than to witness our cities in ruin. The attacks on Paris were – quite literally – mindless. What god was served? What cause was furthered? What injustice was avenged? And how do we respond? Three weeks after Paris, the RAF started bombing Syria. The polls suggested that most of the public supported bombing Syria while simultaneously believing that it would make us less safe. So we fight back with Tornado jets and yet we place no great faith in them bringing any of this to an end. We fight back with clear-eyed realism. That’s not a bad place to

The Left, who detest all violence unless it is directed against the West, insist Paris was the price we pay for our foreign policy

unless it is directed against the West, insist that Paris was the price we pay for our foreign policy. “Without decades of intervention by the US and its allies there would have been no ‘war on terror’ and no terrorist attacks in Paris,” gloated Stop The War. And the bitter irony is that many Europeans would be delirious with joy if the free world had nothing to do with the Middle East. Let the million refugees swarming into Europe find new lives in Saudi Arabia or Qatar instead of Sweden or Germany. Let Iran and Iraq bomb Islamic State back to the Stone Age instead of the RAF. Let that blood-soaked region resolve the sectarian conflict between Shia and Sunni Muslims – most of us can’t tell them apart. Let the Middle East sort itself out. If only they would stop killing us.

e will fight back if we finally have the guts to admit that our multicultural societies are in danger of falling apart. “Urgent efforts are being made to integrate Islam and its followers more fully into a British identity,” said a shockingly honest leader in the Times. “Their success is not guaranteed, however. If they fail, this country faces the possibility of open-ended sectarian strife as bitter as anything seen in Northern Ireland during the Troubles.” A rift is developing between host nations

Illustration Sam Kerr


start. But there is a body of opinion that says we should be blaming ourselves. “Paris reaps whirlwind of Western support for extremist violence in Middle East,” jeered a blog from the Stop The War Coalition. Jeremy Corbyn expressed the same sentiment after the blameless aid worker Alan Henning was beheaded by “Jihadi John”. “This is the price we pay for war and jingoism,” simpered the Labour leader. But the victims of 13 November could hardly have been more innocent – 130 Parisians from 19 different nations out for a Friday night in the free world – watching a band, attending a football match, eating dinner. And the simple act of peacefully enjoying their lives was a death sentence. The victims could hardly have been more like you and me. They were lawyers, architects, musicians and photographers. These were not imperialist warmongers who had it coming. But the pacifist Left, who detest all violence

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LAST MAN STANDING of the West and their Muslim communities. It cannot be allowed to turn into an abyss. The Sun was criticised for running a frontpage headline that said “1 in 5 Brit Muslims’ Sympathy for Jihadis”, but the paper’s findings were almost identical to a Channel 4 poll of ten years ago that found 23 per cent of British Muslims believed the 7 July 2005 attacks on London could be justified because of the government’s support for the war on terror. Yet we reach for reassuring clichés. Before Paris had even mopped up the blood from its streets, the hashtag #TerrorHasNoReligion was trending on Twitter. But the man who shouts “Allahu Akbar!” as he fires his weapon at a crowd watching a band is not an atheist. And the terrorists in Paris were emphatically not Sikhs, Hindus, Jews, Christians or Jedis. Pious platitudes will never be enough to keep us safe. If we are going to fight back then we need to start confronting some uncomfortable truths rather than snuggling down under the comfort blanket of cosy Twitter hashtags. And – truly – we finally have to get over our fear of looking racist. ihad has its strongest appeal to the second generation, the children of immigrants, who share a passport with you and me, who grew up and grew bitter in Molenbeek in Brussels, or the banlieues of Paris, or the suburbs of Leeds, home of the 7/7 bombers. It is men with EU passports who are the threat, like Mohammed Emwazi – “Jihadi John”, the Islamic State celebrity executioner who was evaporated by a US drone – and Abdelhamid Abaaoud, mastermind of the Paris attacks, killed in the police raid in Saint-Denis. The former had a British passport, the latter a Belgian passport. Their families came to the UK and Belgium from Kuwait and Morocco respectively. It is not the migrants entering Europe who we should fret about. Most are fleeing exactly the kind of senseless slaughter that we fear being inflicted upon ourselves. The challenge of the coming decades is the integration of their children. And that integration cannot be taken for granted. There is a theory that we stand up for what we believe (democracy, freedom, equality, the right to have a drink without being shot in the face) by remaining a liberal, tolerant, open society – a sentiment embodied in the selfsatisfied hashtag #RefugeesWelcome. Liberal orthodoxy believes that we fight hatred with love, fanaticism with limitless tolerance, that Islamic terror can be defeated by humanitarian

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compassion. We will win in the end by opening our hearts and our borders. But what if mass migration of Muslim refugees does not make Europe a more tolerant place ten, 20, 50 years from today? What if Europe becoming far more Islamic doesn’t safeguard our way of life, but endanger it? Josef Schuster of the Central Council of Jews in Germany told Die Welt magazine, “Many of the refugees are fleeing the terror of Islamic State and want to live in peace and freedom, but at the same time they come from cultures where hatred of Jews and intolerance are an integral part. Don’t just think about Jews, think about the equality between men and women, or dealing with homosexuals.” Nobody knows why the Muslim population finds it so much more difficult to integrate than every other minority group. But they apparently do. Yet still we spout banalities about all being united. When young men with EU passports can shoot young men and women with EU passports because they are watching

We need to confront some uncomfortable truths rather than snuggling under the comfort blanket of cosy Twitter hashtags a band, then we are anything but united. And when Turkish football fans can boo a minute’s silence for the victims of Paris – sorry, but we are not united. It is an insult to the dead to say we are united. For decades we have assumed that other cultures would cheerfully integrate with the open, tolerant, freedom-loving culture of the West. We presumed too much. In the week before Parliament decided to bomb Syria, the actress Frances Barber called a taxi and was told by the driver that she was “disgustingly dressed” and “shouldn’t be out alone”. It could have been Saudi Arabia or Afghanistan. But Frances caught her cab at London’s Old Vic. The faith of the driver was not revealed, but I will bet you my last euro that he was not a Buddhist, Hindu, Sikh, Jew or Jedi. “Just had Sharia Uber driver. Shocked. Reported,” Barber tweeted. “THIS IS LONDON.” Yes, and this is where our liberal beliefs get us; this is where our big-hearted acceptance of other cultures eventually leads to. Must we learn to tolerate the intolerant? Karl Popper

wrote in The Open Society And Its Enemies: “If we extend unlimited tolerance even to those who are intolerant, if we are not prepared to defend a tolerant society against the onslaught of the intolerant, then the tolerant will be destroyed and tolerance with them.” Long after Isis has been annihilated, we will struggle to reconcile different visions of the world. Twice in 2015, Labour Party meetings in Oldham and Birmingham segregated men and women. Does that matter? Does what we believe – that women are equal, that sexes should not be separated by gender apartheid – matter as much to us as what the Muslim community believes? Is our tolerance infinite? It would be comforting to believe that these two visions can happily coexist.

t is reasonable to have doubts. “We are faced by fascists,” said Hilary Benn. “They hold our values in contempt. They hold democracy in contempt. What we know about fascists is they need to be defeated. We must now confront this evil.” Nobody disputes that Islamic State are evil. But they are not Nazi Germany. They are the dregs of humanity, life’s losers, a collective of petty criminals, failed DJs and skunk-smokers who discovered a cause they could build their miserable lives around. Let’s fight back by keeping a sense of perspective. My wife’s parents were children in a country – Japan – where enemy planes dropped nuclear bombs. My parents lived in a city – London – where two million houses were destroyed and enemy bombing killed 32,000 civilians. For all the horror of the years since 11 September 2001, for all the grief and shock and heartbreak, does anyone really believe we face that kind of apocalyptic challenge from Islamic terror? We do not. I write these words the morning after a man with a knife ran amok on a London Tube station, screaming, “This is for Syria!” Within minutes, the police took him down with a Taser. This is not World War Three. When she was 21 years old, the model Peta Todd visited the Ministry of Defence’s rehabilitation unit, Headley Court, in Surrey. One of the injured veterans told Peta, “I wasn’t fighting because I hated what was in front of me, but because I loved what was behind me.” As a thought to carry forward into the years ahead, that one takes some beating. How do we fight back? By having the courage to believe that all that we love is worth fighting for.


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This month:

An attempt to rustle up a diplomatic fashion assessment leaves Hugo Rifkind firing blanks he says, “How do I look?” He says, without turning around from the kitchen worktop, “Great.” She says, “You didn’t look!” He says, “Mmmm.” She says, “It’s not a trap.” He says, “Really?” And she says, “Promise. I just want to know if I look like a cowboy.” And so he turns around and looks at her and says actually, yes, she does. And she calls him a wanker. He feels aggrieved. He thinks back to that time when she’d bought those wet-look leggings, and put them on with hoop earrings, and heels, and a pink top, and asked him whether she looked “enough like one of the hookers from Crocodile Dundee”. Whereupon he had felt a great and terrible sense of impending danger, but blundered on nonetheless, telling her, “Yes, but only in a good way!” which had led her to say, “So this is how you’d like me to look all the time, is it?” and he’d said, “If you want to, dear,” and she’d said, “Have you forgotten I’m off to Maggie’s hen night and it’s fancy dress?” and he’d been so unsure what to say that he’d run, literally, from the room. “Anyway,” he says, noting that this time she’s blocking the door, “don’t you want to look like a cowboy?” She says he’s just being rude now. “You’re wearing double denim,” he says, “and cowboy boots. Who wears cowboy boots when they don’t want to look like a cowboy?” She says, “Yeah, but it’s not like I’m wearing a shoestring necktie, is it?” And he says, “Like that one you

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bought the other day? Which is hanging on your mirror.” And she says yes, but she took it off because it seemed a bit much. So he says she must have wanted to look a bit like a cowboy, then, and she says, oh fine, she gets the message, she’ll change. And he says but she looks good. And she says, “Oh, come off it.” And he says, “You’re making me feel very tired.” Then she goes upstairs. After a while he follows her, and finds her rummaging through a cupboard. “Don’t change,” he says. “It’s a classic look. Retro. Tailored. Powerful.” He feels these are all good words. She says, “Don’t bother. I saw

Calamity Jane: Wearing double denim doesn’t always mean she’s channelling Gary Cooper – nor Harry Styles for that matter...

‘I just can’t believe you want me to look like a boy,’ she says

myself in the mirror on the way up and I think I look like Harry Styles.” He says, “That’s not necessarily a bad thing.” And she says, “What?” and he says, quickly, “Nothing,” and she says, “You want me to look like Harry Styles?” and he says, “Whoa!” and then, “No!” and then, “But maybe?” and then, “I’m suddenly very confused”. She says, “All the girls in the office fancy Harry Styles.” He says, “Well, then.” She says, “But I didn’t realise you did, too.” He says, “I feel you’re twisting this.” She says, “I just can’t believe you want me to look like a boy.” And he says, “Aren’t cowboys boys?” and she says, firmly, “Cowboys are men,” and for some reason he feels incredibly small, and not nearly as manly as a cowboy, and perhaps not even as manly as Harry Styles. “Look,” he says. “I think you look fantastic. I don’t think it’s because of Harry Styles. Please don’t tell your friends I said that. But either way, we’re meeting the guys in the pub at eight. And suddenly seeing you getting all dressed up, I feel incredibly scruffy. So, if you aren’t going to wear your denim shirt, I’ll go and change into mine.” And she grunts, and he goes to his cupboard and finds his denim shirt and takes it downstairs to iron it. Then he puts it on and comes back to find her now just in a bra, surrounded by a pile of different shirts, and asks her what she thinks. “You’re not wearing that,” she says, immediately. “Why not?” he says. “Because you look like a cowboy,” she says. OHugo Rifkind is a writer for the Times.

Illustration Ryan McAmis

Do I look like a cowboy?






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Our Stuff GQ’s grounded style maven guns for his all-time wardrobe, tech and living essentials – from Anderson & Sheppard to allotments

This month: LUKE LEITCH, Contributing Fashion Editor, GQ GEAR Phone: Motorola Play Watch: Omega Seamaster Aqua Terra (above) Outdoors audio: AKG K451 headphones Cameras: Samsung Galaxy NX; Leica X Type 113 Bike: Rossignoli Garibaldi 71 Device I couldn’t live without: Apple Bluetooth keyboard (below) Dictaphone: Olympus DM-5 Essential garden tool: Elwell billhook No.2947 Backpack: Nikelab ACG (below) Top three most-desired things: Alton greenhouse; Rivendell Atlantis bike; Sony a7R II camera (below)

CULTURE To read: Ted Hughes: The Unauthorised Life by Jonathan Bates; Tales From The Back Row by Amy Odell; The Man From Berlin by Luke McCallin (above) Last piece of art acquired: “Float” (1969) by Martin Sharp Artists: JR, Peter Doig, Martin Sharp, Tracey Emin and Christian Marclay Building: St Pancras Station Album: Hard Nose The Highway by Van Morrison (below) On the night stand: Battling Boy, Vol.1 by Paul Pope

Photographs Full Stop Photography Grooming Chloe Blotting using Nars

STYLE AND GROOMING Suit: Olive cord commissioned from Gieves & Hawkes Overcoat: Loden from Anderson & Sheppard (right); Moncler in green tweed when it’s seriously cold Dress shoe: Church’s Shanghai; a Tod’s patent Trainers: Margiela GATs; original Bundeswehr Sportschuhe; NBR (right) Trousers: Brunello Cucinelli (right); Hackett; Levi’s Shirts: Hilditch & Key; Uniqlo (below) Bags: Filson tote; Mulberry Henry rolling luggage Work boots: Cheaney Pennine II R Veldtschoens (below) Shades: Persol all the way (below) Classic fragrance: Hermès Eau d’Orange Verte Razor: Merkur 34C with feather blades (below) Barber: Carmelo Guastella




Watering hole: Claridge’s Bar, London W1 (below) Pub: The Black Lion, London NW6 Weekend must-visit: The Emirates Stadium, London NW7 (pictured) Exercise: Allotment. Occasionally Last meal on Earth: Lamb chops from Woody Grill, London NW6; a nata pastry from Lisboa, London W10; and three Gimlets Favourite YouTube channels: TheVirgoClown; TheLateLateShow; and Stampylonghead View: The Grose Valley from Govetts Leap, New South Wales, Australia Apps: Just gone cold turkey on Boom Beach. Still using Snapseed and TuneIn Would like to visit: The Kimberley, Australia

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From those ‘difficult’ early anniversaries to standing on ceremony in the office, Victoria Coren Mitchell provides the voice of sanity

I’m very well, thank you. Happy anniversary. May I also congratulate you on thinking of photos as “paper”; how romantically old-fashioned. Interesting and unexpected paper gifts might include an erotic magazine or a decade’s worth of disposable Prince George commemorative napkins. Other options: a pack of antiseptic cleansing wipes for problem orifices, a secret second passport, or your own terrible attempt at an origami swan. Or perhaps the most adorable paper gift of all: cash. However, my genuine advice is to hatch an agreement with your wife that you give nothing. Presents are difficult and (unlike bodies) they only get harder with time. You’ve already got to purchase gifts on each other’s birthdays and 25 December, and husbands must hand over a box of chocolates or flowers or jewellery on 14 February. Why not let yourselves off the hook for this new, fourth annual occasion? I’m sure your wife will be relieved; men are a nightmare to shop for. Christmas is the only time of year when I wish my husband was more into golf. Besides, if you don’t buy anything in this key first year then you will never have that poignant moment on your 15th anniversary when one of you says: “Really? Nothing? But you used to be so generous...”

My company recently deployed “standing desks” in an effort to make the studio more healthy/trendy/ designer. On the face of it, a good idea. My question is: at what point is it acceptable to

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say “sod this” and return to my natural sedentary ways? My feet are aching.

What do you mean “on the face of it a good idea?” This is a horrible idea. It’s a cruel and

ridiculous privileging of physical vigour over mental agility, and certainly over anyone’s happiness or well-being. Do you think eugenics is “on the face of it a good idea”? It’s exhausting and uncomfortable to work standing up, and all the more so when it’s a job that could just as easily be done sitting down. (I’m assuming you’re not a postman). To answer your question: you can never sit down. Not in that place. For whatever reason, you’ve found yourself working for people who prioritise having a trendy and energetic vibe over staving off the exhaustion of their staff. This is the kind of boss who would make a pit pony apply lip plumper to seem perkier as it plodded about its hellish subterranean tasks. They are looking for weakness. If you sit down, they’ll shoot you. So, if you want to do well in that company, all you can do is grasp the nettle. Buy some less comfortable shoes, in order to demonstrate how much ghastliness you can take. Snap up a pair of Cuban heels and march round in them for as long as you can take it. Wear tighter trousers. Jog on the spot while making phone calls. And then, when you hit rock bottom and quit in a blaze of foul-mouthed glory, do send me the video.

I started talking to a girl via Tinder but we soon moved to Snapchat, agreeing that we definitely want to be at least FWB, if not more. My problem is that she lives in Manchester and I live in London so I won’t be able to see her in person for at least four weeks. How do I make sure she doesn’t lose interest by the end of the month?

I haven’t a clue. I lost interest by the end of your first sentence.

Don’t take offence, but do you write your own column? I’m not being sexist or anything but that joke from last August’s GQ about one half of a nipplepierced couple surviving a lightning strike… It was very funny. So I naturally wondered, does your husband write your articles for you?

Are you kidding? I can’t even get him to take the bins out.


 YOUR EMAILS For to-the-point answers to life’s whys and wherefores, share your burning issues with GQ’s agony aunt at:

Illustration Magda Antoniuk

Victoria, I do hope you’re well. My wife and I are coming up to our first wedding anniversary, which, as I’m sure you’re aware, is the “paper” anniversary in terms of gifts. Have you got any interesting ideas outside of the standard: tickets, photos, letter etc?



CLASS DISTINCTION The new Mercedes GLE is filling the boots of the marque’s now defunct M denominations. The first in the range: a low-slung, BMW-baiting coupé. Jason Barlow finds out why the Germans are taking the ‘utility’ out of SUV P H OTO G R A P H S BY



Tailed off: The Mercedes’ GLE Coupé is better equipped for the street than the trail Jacket by Hackett, £1,000. Top by Tom Ford, £750. Trousers by Jaeger, £99. jaeger. Shoes, £65. Bag, £149. Both by Marks & Spencer.

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CARS few years ago, I spent an absorbing day with Nick Mason and Jay Kay, music’s two most illustrious petrolheads. Between them they must own close to 100 cars, their collections as fastidiously curated in the automotive world as Charles Saatchi’s or Eli Broad’s are in the art one. Not for these gentlemen the kneejerk Tesla or Toyota Prius while still jetting the world on a Gulfstream, although we agreed that internal combustion – as thrilling as it is – was also likely to be unappreciated by future generations. All that fuel and noise, and for what? Well, at least a Sixties racing Ferrari had a purpose: go fast and look hot. Or maybe it was the other way round. Now cast your eye over the Mercedes GLE Coupé and answer me this: what’s it actually for? This is an SUV weighing 2.2 tonnes that will never go off-road and whose functionality is hobbled by a body style that lops off the rear in a myopic bid for aesthetic kudos. You couldn’t dream up a more dubious vehicle if you tried. Mercedes, of course, knows full well what it’s doing. It’s more than a decade since it pioneered the four-door coupé template with the CLS, a car and an idea that I immediately declared dead on arrival, whereupon it sold by the bucket-load. It was arch rival BMW that had the chutzpah to turn its chunky X5 SUV into an X6 coupé – a car that was definitely the product of a warped mind. As with Towie and Ed Sheeran, the public inexplicably went for it in a big way. Mercedes has recently rebranded its ML off-roader as the GLE and added the Coupé derivative in the process as a belated riposte to the opportunistic Bavarians. Historically, coupés have been elegant, raffish reinterpretations of their saloon siblings, but this one shuns that in favour of a bluff modernism. What it lacks in prettiness it compensates for in presence, the kinetic equivalent of Jimmy Page’s riffing on Led Zeppelin’s stentorian classic “Kashmir” or the monolithism of London’s South Bank. Although obviously related to the standard GLE, the Coupé’s body is longer, lower and wider of track. This has two advantages: it gives it a planted stance on the road and should enable it to handle more adroitly. We’ll see. The GLE Coupé’s offensive charm ramps up once you climb inside. Mercedes mislaid its quality mojo for a while, but the entire range is now

Styling Holly Roberts Grooming Alice Howlett using Urban Decay and Kérastase Model Jamie Kendrick at FM London


about as good as it gets. One of the SUV genre’s most irresistible USPs is the commanding driving position and this thing is fabulously imperious. The seats are magnificent, the instruments and multimedia system a masterclass in ease of use and the quilted leather extends across the cabin and up the doors. Naturally, the German proclivity for desirable optioning means you can accelerate very rapidly into fiscal oblivion: the Designo Line adds a panoramic sunroof, heating and ventilation to those amazing seats and even richer upholstery for £9,295, while the Bang & Olufsen audio upgrade is £3,495. Choose carefully. On the other hand, you could go all-out and blow £96,555 on the AMG GLE 63 S, which introduces 577bhp into the equation in an effort to upend some long-established principles of physics. Ours is the “entry”-level 350d, powered by a humbler 254bhp turbodiesel that uses the latest vogueish nine-speed automatic transmission. That’s a lot of ratios to get your head round, but it’s all in the name of cycling through the gearbox as swiftly as possible to reduce emissions and optimise fuel economy. (We managed an average of exactly 30mpg, which is impressive given the car’s dreadnought size and weight.) Rarely have I wanted to hate a car more and ended up so enamoured.

GQ drove the GLE 350d, but for the ultimate experience try the AMG 63 S version. It comes with a 5.5-litre twinturbo V8 and can do 0-62 in 4.2 secs. It also costs a fairly staggering £96,555. ENGINE 254bhp, 2,987cc V6 turbodiesel PERFORMANCE 0-62mph in 7.0 seconds; top speed 140mph PRICE £60,680 CONTACT

Its chassis features configurable dynamics, as is the modern way, so the “sport” mode adds heft to the steering, firms up the suspension and gives the throttle pedal bite. But it works better if you leave it in its “comfort” setting and settle deeper into the pillowy embrace of those terrific seats. There’s another reason to hate the GLE Coupé: it makes me sound – and feel – old. Besides, why would you want to hustle something this size? Yes, it’s way more agile than it should be and even on gigantic 21in alloy wheels its ride quality isn’t an unmitigated disaster. But this mash-up of automotive genres is still a bit daft, not least when Mercedes itself has a handful of other models that are purer in spirit and nobler in mind. There’s the ancient G-Wagen; an evergreen, purpose-built off-roader reverse-engineered from a German military vehicle back when Checkpoint Charlie still existed. Or the stock GLE itself. Best of all is the GLS, a recently refreshed square-rigged, lanternjawed full-size SUV that feels like it would survive a nuclear winter. Savour the irony in the least fashionable of all Merc’s 4x4s being the coolest of the lot.

Inner charm: The GLE Coupé is a concept that shouldn’t work – but it does

AUDI’S STELLAR SPACE ACE The aspirational-yet-affordable four-door saloon is the golden goose of mass-market motoring and the new Audi A4 may just have the Midas Touch. Beneath its unambitious exterior, there exists a Millennium Falcon’sworth of space-age equipment. A virtual cockpit, head-up display, 8.3in touchscreen, Bluetooth smartphone connectivity (plus wireless charging) and 4G internet access are all available, as is a Driver Assistance pack that will practically drive the car for you (and park it) while also avoiding traffic. It won’t do the Kessel Run in 12 parsecs (the best you can hope for is 0-62mph in 5.3 seconds in the 3-litre V6 diesel), but all that tech will keep you busy. Throw in a class-leading interior, greater economy and decent performance and you have a package that could make the A4 the ultimate Force in the compact executive galaxy. PH From £25,900. MARCH 2016 G



















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Time-sharing and renting your route into the jet set no longer flies: the owner-occupier class is ruling the skies




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Winging it: Inside a life-size mock-up of an Airbus ACJ319 at The Jet Business headquarters in London’s Belgravia

ON a harried Friday afternoon last autumn, I stepped into the cabin, or rather stateroom, of a converted Airbus now operating under the nomenclature of an ACJ319 VIP where the sounds of my all-time favourite album were already snuggling their feet into the cashmere-soft carpeting. This, I thought, is how it must feel to possess one’s very own $100 million private jet, gassed up and giddy to fly me 11,000km nonstop in the kind of

comfort more akin to a particularly sumptuous home. Alas, the aircraft I’d boarded was a life-size mock-up installed in the operational headquarters of The Jet Business on Belgravia’s Grosvenor Place. A customary google had supplied the name of my favourite album, but everything else designed to entice renters, fractional owners and maybe, one day, the rest of us to buy their very own “PJ” is the work of Steve Varsano, the king of the MARCH 2016 G

TRAVEL ”haute couture” end of the private-jet business, consisting of mid- and long-range, large-cabin aircraft. “We currently have 18 jets worth around $600m that we represent for sale,” he told me as the music dimmed and the clink of coffee cups took over. “To give you an idea, about 150 jets trade in the world each month. So on the average price we represent, we are No1.” It’s not hard to see why when Varsano deploys his killer app, a one-of-a-kind programme that collates all the aircraft currently on offer and edits the list down depending on the buyer’s requirements in terms of aircraft usage, range, capacity and, finally, price. Although happy to represent a prospective purchaser wishing to buy new, “Probably 80 to 85 per cent of our business is selling pre-owned,” says Varsano, “because new prices are getting higher and the difference in technology isn’t really that great. Aircraft are going the same speed, plus or minus ten per cent, burning the same fuel and carry the same number of people. Airplanes that are ten, 15 years old can do virtually anything a new aircraft can and will cost you 20 per cent of the price.” After years of choosing to charter domestically while opting to fly commercial internationally, a recent customer of Varsano’s is the business guru Tony Robbins, who last year purchased a 2000 Global Express that formerly belonged to the owner of Miami Heat and Carnival Corporation, Micky Arison. “I’ve always prided myself on being frugal,” Robbins tells me from his home in Palm Beach, Florida, “but at this stage of my life – I’ve sold a couple of companies and seen a nice return – the reward of going where you want when you want, with the opportunity of taking friends and family, is a total dream. I used to charter domestically, and I’m 6ft 7in, so I’d have to put a foam bed in the baggage area so I could get some sleep. I have a bedroom now, so I have a ten-foot bed and the best food imaginable. I’m lucky enough to have six homes and I’d get rid of five of them and keep the plane.” And then, says Varsano, there’s the extra productivity: “Not only do

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Air show: The Jet Business’ Grosvenor Place showroom; (inset, from left) Steve Varsano in its trading floor and the dining room inside the Airbus A319 mock-up

you go on more trips, but because of the convenience factor, I’ve calculated that if you fly 200 hours a year, which is half the average number of normal corporate hours flown, you will save 20 business days a year. And that’s not including productivity on the plane.” It’s hard to see why anyone, liquidity permitting, wouldn’t want to own their own jet, but according to Varsano, “Unless you fly more than 150 to 200 hours a year, you shouldn’t really own your own airplane – you should just rent. But the problem when you rent is that you don’t really know the history of the aircraft or the background of the pilots. Don’t get me wrong, it’s 1,000 per cent safe [to charter], but when was the last time you took a rental car to a car wash?” One could argue that what the elevator and air conditioning did for urbanisation, the business-class flat-bed and the PJ has done for globalisation – the former delivering fresher, keener salarymen to the

AIR FORCE CAMER-ONE Was the British government right to pay £10m to reconfigure an Airbus A330 as a prime ministerial chariot? Steve Varsano says Number Ten has got itself a bargain: “A brand-new 330 is going to cost $200m and to do the interior is $100m. And that plane is great for 15 years – they were designed to fly 5,000 hours a year, and most planes in private use are flying 500 hours a year. So it’s the sensible thing to do.”

world’s business centres, the latter offering entrepreneurs and CEOs access to farther-flung opportunities in considerably less time and far more comfort than commercial air travel allows. Still, the politics of envy will always suggest their buyers’ motives lie elsewhere. According to Varsano, “People look at this industry and think, incorrectly, that it’s about some rich guy who flies around drinking champagne. And I can assure you, fewer than one per cent are sold for personal use. It just doesn’t happen. People who use these aircraft actually employ a lot of people, so this industry is good for business and for economic development.” But perhaps the proof of the pudding is in the eating: “I was in seven locations in 21 days recently,” Robbins told me. “Brazil, Toronto, Las Vegas, Fiji, Australia, India, London, back to New York. I circumnavigated the globe and it was phenomenal because to do that on commercial flights I would never have stopped in Fiji, I would have had to go straight to Australia, and I had the opportunity to fly straight from Australia to India, where normally I would have stopped in Singapore. It’s been the greatest change in the quality of life of anything I’ve ever done.” BP



Private view: The balcony of the Mandarin Oriental Milan’s Terrace Suite; (below) its stylish restaurant; (bottom) a glimpse inside the bedrooms, with interiors by Antonio Citterio

The 21st-century ‘gin-dustry’ shows no sign of abating. Continue your journey with these travelinspired artisanal examples

RAFFLES 1915 Distilled by Sipsmith to mark the centenary of the Singapore Sling (concocted at the city’s landmark hotel), Raffles 1915 Gin is now served worldwide in Raffles hotels and is sold at Selfridges (£44.

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YOU can tell a lot about a five-star property by the GM: absent and/or aloof, and chances are the staff will be much the same, clearly around but often “unavailable” – set decoration, in other words, there to describe the air of affluent calm, yet leaving the object of all that non-attention anything but. Not so Luca Finardi, who until recently ran the best hotel in Taormina, the Belmond Grand Hotel Timeo (in fact, a tie for first place with its sister property – also under his control – the nearby Belmond Villa Sant’Andrea). Last year, he jumped ship to open the Mandarin Oriental Milan, and when GQ visited last autumn the city was still catching its breath from its hugely successful Expo – and the dynamic Finardi’s arrival. It’s not that Milan is short of good, or indeed great, hotels: it’s just that the 104-room Mandarin Oriental almost immediately hit the spot with the city’s fashion-forward traveller set. Carved from four adjoining 18thcentury buildings, which once comprised the regional Bank of Lombardy’s headquarters, it manages to be both tucked away and grandly apparent (depending on which entrance you choose), while boasting its own private courtyard and similarly hidden al fresco dining area. As you’d expect, rooms feature Italian marble bathrooms and Antonio Citterio furnishings – but they also come with simply the best bedside connectivity we’ve yet found. Otherwise, Finardi’s contribution has been to set a blue touchpaper to the whole affair: ensuring the lobby scene is active without seeming frantic (his ever-present staff and excellent greeters see to that) while running a day-to-night café/bar/destination restaurant/ ground-floor terrace operation under the careful culinary control of former Il Pellicano executive chef Antonio Guida. Naturally, there’s an excellent spa with indoor swimming pool and the best shopping and city sight-seeing in Italy is just moments away along Via Manzoni. Otherwise, book the one-of-a-kind Fornasetti suite, and simply wallow in Milan’s latest star turn. BP BA flies from Rates for Mandarin Oriental Milan start from Heathrow to Milan £480 a night on a B&B basis. +39 02 8731 8888. from £169 return.

TOUJOURS 21 Eurostar ( marks its 21st birthday with Toujours 21, a “bi-cultural” gin designed in conjunction with its culinary director, Raymond Blanc OBE, and distillers Silent Pool, available to Business Premier customers in its lounges.

GORDON CASTLE Despite sitting in the heart of whisky country, the Gordon Castle estate on Speyside, Scotland, offers a small-batch, super premium gin made from ingredients harvested in its Walled Garden (£28. gordon

Photographs Full Stop Photography; Rex

The Mandarin Oriental Milan is a fashion-forward addition to the city’s bustling hotel scene

C H A M B R AY J A C K E T £ 7 9. 9 0 C H A M B R AY PA N T S £ 3 9. 9 0 C H A M B R AY S TA N D C O L L A R S H I RT £ 2 9. 9 0 ONLINE 1 1PM 3RD MARCH I N - S TO R E F R O M 1 8 T H M A R C H

nobody squeezes more nuts in

More taste, more protein, more energy. At our very own factory here in the UK, we can squeeze a lot more nuts into our nut butters because we don’t add palm oil or sugar. Better for you, and better for the orangutans.

meridian: nuts about nuts












The untouchables: Since the 1993 launch of its New York restaurant, the Nobu empire has grown to 32 locations

Photograph Steve Neaves Styling Grace Gilfeather Grooming Tyler Johnston at One Represents using Chanel Les Beiges Foundation & S 2016

Nobuyuki Matsuhisa wears jacket, £1,700. Jumper, £900. Robert De Niro wears jacket, £1,500. Shirt, £300. All by Giorgio Armani. Hat, De Niro’s own

‘Are you cooking for me?’ The partnership between a visionary Japanese chef and a screen icon changed world cuisine. Now Nobuyuki Matsuhisa and Robert De Niro tell GQ about their next venture and why Michelin stars don’t matter...

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Nobu Over 20 years on, De Niro and Nobuyuki’s cult brand has grown to occupy five continents. What is their recipe for world domination?

Food is the key to any restaurant Robert De Niro: “When I went to

Matsuhisa in LA, I had never seen that kind of Japanese food before. The ones that I knew in New York were good, but they were very traditional. What Nobu was doing, with the South American influences, was different and exciting. I thought he was terrific.” Pick the right partner Nobuyuki Matsuhisa: “I had a partner in Peru

and that didn’t really work out. In Alaska, I had a partner and I had only been open 50 days when the restaurant burned down. So when I opened Matsuhisa in LA, it was mine and it was my home with my wife – my big boss – so I didn’t want to work with anyone else. Bob was patient, he treated me with respect and he waited for four years. By that time, I felt I could trust him.”

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Patience is a virtue... especially when it comes to chefs RDN: “It took around four years from me

asking him to getting the first Nobu up and running in New York. He wasn’t ready to move at first and I understood that. But I had opened the TriBeCa Grill and was looking for another opportunity. I kept up with Nobu’s career through my restaurant partner, Drew [Nieporent], and eventually we convinced him to come out to New York.” Restaurants are a serious business NM: “I don’t play games with my business.

I take it all very seriously. If there is a problem I talk to my team and we address the issue and solve it. I never say no to my chefs. If they want to try new ideas, I am open to them... it is not just me. It is like a family, and we all work together.” The name might be the same, but every territory is unique RDN: “Nobu has a real care and appreciation

for all our different locations. It has taken a while, but we’ve fine-tuned our expertise so we know how to handle any problems. If a restaurant is struggling in the off-season, or a chef

Gold fusion (from top): Nobu and De Niro; lobster tempura; Nobu London, Berkeley Street

is having issues, we can find a solution. Nobu cares about everyone. I’m not sure if he cares about me!” Michelin stars don’t pay the bills NM: “Personally, I am not looking for

Michelin stars for my restaurants. Food, service, design, atmosphere and energy are all vitally important. As long as our restaurants are busy and people still enjoy our food, we don’t worry about Michelin.” RDN: “Exactly! The proof is in the pudding, no pun intended.” Brand extension shouldn’t be limited RDN: “For a long time, we were being

approached by a number of hotels who asked if we wanted to open a restaurant in their hotel when they were starting out or looking to go to the next level. And I kept thinking: why would we be giving another hotel extra credibility and the cachet of being associated with our brand, when we could be opening a hotel ourselves? For me, it was a logical step, hence the Nobu hotels we are opening.” Apply the classic principle: who cooks the food when Nobu isn’t there? The person who cooks it when Nobu is there RDN: “And when neither Nobu or the other

guy are there, I cook the food!” PH ONobu and De Niro were in London to celebrate the tenth anniversary of Nobu Berkeley Street. 15 Berkeley Street, London, W1. 0207 290 9222.

Photograph Steve Neaves

IT is Los Angeles in the late Eighties and film director Roland Joffé (The Killing Fields, The Mission) has invited one of his actor friends to dinner at the hottest new restaurant in Beverly Hills. In a town where buzz is everything, seemingly overnight Matsuhisa has become the place to go for ground-breaking Japanese food, with both the LA Times and New York Times singing its praises and celebrating its quiet and serious proprietor, Nobuyuki (Nobu to his friends). Joffé has been in before and struck up a friendship with the hard-working chef, and now he wants to introduce him to his guest. Looking back, Nobu remembers coming out and chatting with Joffé’s pal “Bob”. “He was very nice,” says Nobu now. “But I was busy, I was in the kitchen, and I didn’t know who he was. I had spent all my life working as a sushi chef and didn’t have time to watch films.” Luckily for the chef, Robert De Niro wasn’t offended. “I don’t remember much of our conversation, but I do know the food was incredible,” De Niro says with a smile. “And because of that, I said to Nobu: ‘If you ever want to open a restaurant in New York, let me know...’” The rest is a very successful history. Thirty-two restaurants on five continents and over 20 years later, the Nobu/De Niro partnership is still going strong. This is how they did it...

TASTE Cumbria may be mopping itself up after Storm Desmond, but these two unique hotels will bring a flood of visitors back to the Lake District



Augill Castle

Gilpin Hotel

The vibe

Quirky You wouldn’t necessarily expect to feel at home in a castle (the Lannister family and vampires nothwithstanding), but the quixotically charming Augill is as relaxed and laid-back as an informal country cottage (just with turrets).

Classy Gilpin Hotel and Lake House boasts the warmth of a country house hotel with all the perks of a contemporary stay. The Cunliffe family, who bought the site in 1919, have modernised without overwriting its heritage.

The decor

Romantic retreat Vast, soft sofas, open fires, four-poster beds and claw-footed baths are the order of the day in the 15 uniquely eclectic and attractive rooms. GQ recommends the chic Orangery, with its stained-glass windows.

Boutique bedroom The bedrooms offer a spectrum of modernity, from the Georgian main house, via the Garden Suites (each with terrace and hot tub) to the more 21stcentury Spa Suites (cabins with treatment beds and private sauna and steam rooms).

The food

Eat like a lord Depending on your mood, you can eat informally in the drawing room or go full-aristo and join the large banqueting table. They stop short of roasting whole pigs, but the simple home-cooked British food is delicious.

Eat like a local Enjoy cocktails in the drawing room, then head to the restaurant to experience the creativity that the new, awardwinning executive head chef, Hrishikesh Desai, injects into the cooking.

The amenities

House party If you want to make it a weekend to remember, block booking Augill is a lot of fun. They have a 12-seat minicinema screening room, plenty of comfy chill-out spots and a well stacked honesty bar that never sleeps. PH

Escape the crowd In addition to its pool, sauna and hot tub, the Jetty Spa has treatment rooms by a private lake. It’s one of the jewels in the Gilpin’s crown – but thanks to the layout you’ll often feel as if you’re the only person there. Charlie Burton

The details

Rooms from £80pp for bed and breakfast. Augill Castle, Leacetts Lane, Kirkby Stephen, Cumbria CA17 4DE. 01768 341937.

Rooms from £195 (includes breakfast and dinner). Gilpin Hotel and Lake House, Crook Road, Windermere, LA23 3NE. 01539 488818.

OEast Poultry Avenue, Smithfield Market, London EC1.



ri o



is t

P ra

B ird

Break district: The entrance to Augill Castle; (far right) the luxury of the Gilpin Hotel’s lounge area

i r i e H o r n co





A good speakeasy needs four elements: extravagant cocktails, great jazz, an exclusive “hidden” entrance and a diverse clientele. Oriole, the new bar from the founders of London’s celebrated Nightjar, rates highly on all four fronts... and more. First, the menu features an impressive 39 cocktails, each made from unpronounceable and rare ingredients, including flamboyant garnishes, and have unique backstories hitting on Old World, New World and Oriental themes. From the pewter alligator mug holding the bourbon-and-absinthe Bayou cocktail to the delicate inverted flute glass containing the peppery champagne Fernworthy, be prepared for a serious case of FOMO for whatever the table across the bar has just ordered. Second, like its sister bar, Nightjar, there’s a regular roster of the best jazz, blues and swing bands in London and plenty of space to dance. Third, Oriole’s unglamorous exterior perfectly complements its beautiful art deco-meets-tiki bar interior. Sandwiched between the poultry and meat sections of London’s bustling Smithfield market, as a bonus you can pick up a brilliant steak when the bar closes – and the market opens – at 2am. Fourth and finally, that leaves the diverse clientele, which, dear reader, is up to you. Conrad Quilty-Harper


(fr o

m top): Inside




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TASTE small bites


Super troopers (from top): The wild rumpus starts; guests sport masks and sparklers; neon decor

has been eating this month... THE PUB

The Wheatsheaf

BIG EASY The barbecue joint gets a new east London outpost, offering a classic Good Morning America breakfast. standout dish The pulled-pork eggs Benedict (with a giant cinnamon bun on the side) Park Level, Crossrail Place, Canary Wharf, London E14. 020 3841 8844.


Drama GUNPOWDER This tiny Spitalfields venue has a blast with vibrant Indian home-style cooking and small-plate street food. standout dish Spicy venison with vermicelli doughnut 11 White’s Row, London E1. 020 7426 0542.

Ever find yourself craving a night that’s a touch more outrageous? Behold: Drama, a hedonistic playground where every member of staff is a model, brought to you by the team behind Mahiki. Expect the garish, the loud and the salacious – peep around the darkened alcoves and who knows what you might stumble across... Turn up at: Midnight, which will give you time to grab a drink before

catching the dancers (all women, all gorgeous, all semi-nude) at 12:30 and the, erm, freak show at 12:45. Get on point: The dress code is Mayfair chic, so tuck in your shirts, clean

up those Air Maxes and watch your step among the stilettos. Thursdays attract an especially fashion-forward crowd. Look familiar? The venue used to be home to Whisky Mist, but it’s been

revamped to include a bigger dance floor and a neon-splattered, art-laden interior. Note the new golden room with its gilt throne – the perfect hangout for exhibitionists and voyeurs alike.

Photographs Ashley Verse

SHACKFUYU Bone Daddies’ boss Ross Shonhan’s yoshoku restaurant now has a permanent home in Soho, serving Japan’s take on Western food. standout dish Iberico pork pluma, with black pepper miso 14a Old Compton Street, London W1. 020 7734 7492.

Big sounds: A blend of deep house and hip-hop booms through the Funktion1 sound system from Thursday to Saturday, while Sunday features rap all the way. Drink this: The signature Slow Motion cocktail – Cîroc vodka, guava

juice, peach purée and fresh raspberries (£13). Like the art? Everything is for sale (prices from £1,000 to £20,000). Go upscale: Tables start at £1,000, with an extra £1,000 for VIP,

where you might rub shoulders with Rita Ora or But not Brooklyn Beckham: the 16-year-old was turned away recently for being underage. Eleanor Halls OThursday to Sunday, 11pm to 3am. £20 entry, guest list only. 35 Hertford Street, London W1. 0207 2084 125.

COTSWOLDS. Gastropub. Two words to send a chill through the heart of any Camra-card-carrying “authentic” pub-goer. “Don’t tell us,” they mutter. “Farrow & Ball on the walls, flagstones on the floor and comfy armchairs by an open fire?” What, goes the predictable lament, has happened to real pubs? The answer is simple: they (for the most part) don’t exist anymore. Once run-down, rubbish affairs, they were absorbed into brewery chains then closed and turned into convenience shops. Unless, that is, a savvy restaurant group such as The Lucky Onion has granted one of these previously unloved venues a new lease of life. Like The Wheatsheaf in Northleach (just outside Cheltenham), for example. What started out as a 17th-century coaching house for weary travellers en route to London, has ended up as a welcoming and understated inn for anyone hoping to escape the city. In keeping with its heritage, it still offers rooms – 14 in total, with big beds, flatscreens and freestanding baths – and the pub itself is cool, comfortable and convivial. You’ll notice plenty of interesting art on the walls, including a portrait of local lass Kate Moss by the German artist Sebastian Kruger, but as with any pub it is the food and drink that is attracting the attention. Starters such as a twice-baked cheese soufflé and wood pigeon saltimbocca are rich and tasty; for mains, the oyster pie with dripping mash is outstanding. While the much-hyped Snickers pudding is still definitely worth an order, we recommend you share it. If you do make a weekend of it, don’t expect to get an early night in if your room backs on to the noisy courtyard. Then again, with old-fashioned public house hospitality this good, why would you want to sleep? The pub is dead… long live the pub. PH ORooms from £120 per night. The Wheatsheaf Inn, West End, Northleach, Gloucestershire GL54 3EZ. 01451 860244.

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Whole roast stuffed squid, black pudding, farro and cauliflower by Tom Oldroyd at Oldroyd’s METHOD

O1 medium squid per person, cleaned with tentacles removed and chopped roughly.

OPreheat oven to 180C. OIn a pan, cook the cauliflower in the milk, cream and butter until soft. In a food processor, blitz until smooth. OIn a hot pan, sweat the shallot, garlic and thyme in the olive oil with a pinch of salt and pepper. Remove to a mixing bowl with a slotted spoon. Next, fry the black pudding until crisp and add the chopped tentacles to cook for a minute. Squeeze over some lemon juice. Remove to the same bowl with any pan juices or oil. Add the cooked farro, parsley, capers and lemon zest. Season to taste. OStuff the mix equally among the squid. Pinch off the ends using a cocktail stick. In a hot griddle pan brown the squid on both sides and then place in the oven for 10 minutes until hot throughout. OTo serve, spread warm cauliflower purée on each plate, then cut the squid into thick slices and arrange on top. Drizzle with a little oil and a squeeze of lemon.

For the stuffing (fills approximately six squid) O 3 banana shallots, finely diced O3 fat cloves of garlic, finely diced OThe leaves from 4 sprigs of thyme O50ml olive oil O250g black pudding, finely diced OHalf a lemon O250g cooked farro (or spelt or pearl barley) O1 small handful of chopped parsley O1 small handful of roughly chopped capers For the cauliflower purée O1 medium cauliflower, cut into small pieces O200ml whole milk O80ml double cream O80g butter OSalt and pepper Oldroyd’s, 344 Upper Street, London N1. 020 8617 9010.


Japanese Izakaya: The rise of Asian ‘beer food’

Kurobuta (Harvey Nichols)



109-125 Knightsbridge, London SW1

89 Kingsland High Street, London E8

426 Coldharbour Lane, London SW9

The setup: The ever-expanding Kurobuta now has three London branches, the latest being this simple, swish affair at Harvey Nichols. Eat this: So much umami, sugarand-salt stickiness to enjoy. We’d recommend the black pepper soft shell crab tempura (£9.50), while the BBQ pork belly in steamed buns is a lip-smacking treat (£13.50). Drink that: The house special is the gin-based Green Bastard (£9.50), a sweet and sour concoction that contains midori cucumber and lime.

G MARCH 2016

The setup: This stripped back Dalston eatery specialises in Japanese meat skewers from Aussie chef Brett Redman, also known for neighbouring joint The Richmond. Eat this: Highlights include the chicken thigh and spring onion skewers (£4.50) and the wing, shiso and grilled lemon (£4). Drink that: There’s a fine range of sake cocktails on offer, but an even better range of Japanese beers. We’d go for the glorious Hitachino White ale (£7).

The setup: Nanban doesn’t just serve izakaya, but the focus of this trendy south London eatery – from Masterchef winner Tom Anderson – is the same: Japanese soul food. Eat this: Best is the deceptively unappealing-sounding horumonyaki (£4.70), which is twice-cooked pig tripe with miso, cabbage, bean sprouts, rice and radish. Drink that: Try the Brew By Numbers, made with matcha, honey and lemon. But at six per cent, just try not to have too many. Stuart McGurk

THE BOTTLE Domaine Ostertag A360P Grand Cru Pinot gris

STEP inside Fortnum & Mason’s new restaurant, 45 Jermyn St, and you’re immediately struck by the cultured hum of a contemporary-classic dining room firing on all cylinders. And then you clock the wine list. Here, 45’s chief architect, Simon Thompson (formerly of Alfred’s and before that Sexy Fish owner Richard Caring’s Caprice group) has striven to bring world-class wines at eyewateringly low prices, none more so than his personal favourite, cult Alsace producer Domaine Ostertag’s A360P Grand Cru Pinot Gris, which can be found on other lists at nearly twice the price. Named for its land registry number in the otherwise Reisling-dominated Munchberg appellation, A360P balances sharp minerality with a tantalising spiciness. “The A360P is easily my favourite everyday wine,” says Thompson. “I love the story of its naming by André Ostertag [the appellation’s authorities initially refused to grant him Grand Cru status on the grounds he wasn’t producing Reisling], and even the label [painted by his wife]. A true genius wine maker and maverick to boot.” BP £68 at 45 Jermyn St, London W1. 020 7205 4545.

Photographs Matthew Beedle; Full Stop Photography; Aaron Tilley



Speyside, Scotland

The Glenfiddich distillery and Malt Barn bar

The Glenfiddich stag outside the Malt Barn

Chicken and haggis ballotine at the Drouthy Cobbler Café & Bar

The copper whisky stills of Glenlivet Distillery




London to Aberdeen, from £100 return.

One hour and fifty-five minutes.

Ten hours from London (545 miles)

With more than half of all Scotch distilleries poured liberally into this small region between the Cairngorms National Park and the North Sea, the area around the River Spey is undoubtedly the world’s whisky hotspot. Here’s GQ’s guide to where to stop for a dram, where to refuel and where to recharge in style…

TAKE a leaf out of Kate Moss and Noel Gallagher’s books and stay at the (1) Craigellachie Hotel (Victoria Street, Craigellachie. 01340 881204. in the heart of Speyside. A grand Victorian property that’s been restored by London nightclub guru Piers Adam, it is also home to one of the most highly rated restaurants in the area, the Copper Dog. GQ recommends the Elgin sausage and rumble thumps (like a Scottish bubble and squeak) and butternut squash risotto with Strathdon blue cheese. Begin at the centre of Speyside whisky country at Dufftown, where one of the titans of the industry, (2) Glenfiddich (Dufftown. 01340 82037., will take you on a tasting tour, and then settle down for lunch. The Malt Barn restaurant has exceptional trad dishes such as haggis, neeps and tatties as well as a magnificent Cullen Skink. Head up the road to Elgin, the biggest town in the area, but not before stopping off at (3) Rothes and the Glen Grant Distillery (Elgin Road, Rothes.

01340 832118. for a dram and a wander in the beautiful Victorian gardens. The Gordon & MacPhail store in Elgin has around 1,000 malt whiskies in its Whisky Room to keep you busy before dinner at the region’s coolest venue (4) Drouthy Cobbler Café & Bar

(48a High Street, Elgin. 01343 596000. The morning after the night before cries out for a visit to the (5) Glenlivet Distillery (Castleton of Blairfindy, Ballindalloch. 01340 821720. Walk off

G MARCH 2016

lunch on one of the Cairngorms’ smugglers’ trails that surround the distillery, before heading up the road to the (6) Cardhu Distillery (Knockando, Aberlour. 01479 874635. discovering-distilleries. com/cardhu). Cardhu might not be a household name, but you’ll definitely be familiar with its silken charms, as it’s used by Johnnie Walker in its blends – hence the fantastic JW archive on site. Next up, take in the

Single malt casks at Aberlour

Dowans Hotel’s MBar; whisky snug (below)

(7) Aberlour Distillery

(01340 881249. and its double cask-matured single malts before taking a riverside breather at the nearby (8) Fiddichside Inn (Craigellachie, Speyside. 01340 881239). The pub is legendary, and not just for its tiny size (there are a couple of stools and benches, and that’s it) and the hospitality of its octogenarian landlord, Joe Brandie. Round it all off with elegant food in a setting to match at the (9) Dowans Hotel (Dowans Road, Aberlour. 01340 871488,, an imposing Victorian mansion superbly refurbished by the Murray family and boasting two restaurants, Spé (fine dining) and 57. Plus, if your palate can take it, the hotel’s super-smart bar does a mean single-malt cocktail... Mark Russell Note: If you’re on driving duties, fear not – minibottle doggy bags are completely acceptable. The Spirit Of Speyside 6 Whisky Festival runs from 28 April - 2 May with hundreds of events, from exclusive distillery openings to tastings and fine dining. For tickets, visit

Strawberry cheesecake with berries at 57

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5 1km 12km


8 Photograph Phill Burgess

The Quaich Bar at the Craigellachie Hotel

Outside the Cardhu Distillery

Winner plates all (clockwise from top left): The Scarlet hotel, Cornwall; the bar at Sexy Fish; Cumbrian suckling pig with pumpkin purée at Pollen Street Social, London; a Thomas Harrison cocktail at Nightjar, London; a rock pool of local shellfish and sea vegetables at The Kitchin, Edinburgh

Last year saw the hugely successful inaugural GQ Food & Drink Awards presented by Veuve Clicquot, with thousands of entries from across the country. This year, even more votes were cast, with two new categories. Here is the shortlist and the expert panel of judges who will decide the winners at our April awards ceremony. Results will appear in the June issue of GQ.



A WA R D S 2016


BAR ODandelyan (LONDON) Forgets (LONDON) OBramble (EDINBURGH) OThe Blind Pig (LONDON) OThe Punch Room, London Edition (LONDON) OClaridge’s (LONDON) OHappiness



Fisher’s (LONDON) OThe Fat Duck (BERKSHIRE) OThe Araki (LONDON) OPollen Street Social (LONDON) OThe Clove Club (LONDON) OThe Kitchin (EDINBURGH) 132 G MARCH 2016





Wareing OJames Knappett ORobin Gill OSkye Gyngell OJames Lowe BEST


Mullion at Kitty Fisher’s ODavid Boyd at the Aqua Shard OJason Tesoriere at The Wolseley OJuanito Asencio at

Chiltern Firehouse OSonal Clare at Purnell’s OMourad Ben Tekfa at Belmond Le Manoir aux Quat’Saisons BEST


Simms at Sartoria OJan Konetzki at Gordon Ramsay OStefan Neumann at Dinner by Heston Blumenthal OLaurent Richet at Sat Bains


The judges

Dieudonné at Les 110 de Taillevent ORuth Spivey at Rotorino and Craft;

Introducing GQ’s panel of experts – leaders in the fields of food and drink, journalism, hospitality and interiors




Fish OCahoots OCasa Cruz OChiltern Firehouse OThe Ivy OSpring


Chester Residence




Coach (MARLOW) OThe Punchbowl (LONDON) OThe Sportsman (KENT) OThe Hinds Head (BERKSHIRE) OThe Harwood Arms (LONDON) OThe Cross Keys (LONDON) BEST


Scarlet (CORNWALL) OAce Hotel (LONDON) ORosewood London (LONDON) OSoho Farmhouse (OXFORDSHIRE) OThe Pig On The Beach (DORSET)

One of London’s most experienced restaurateurs, after 17 years as chef director at Caprice Holdings, Mark Hix launched the first of his eight restaurants in 2008. He writes regularly on food and drink for GQ.


Bukhov OJason Atherton ORichard Caring OAlan Yau OKaram Sethi OWill Beckett BEST


Foggs OPollen Street Social OThe Wolseley OThe Ivy OSketch OThe Nightjar

LIFETIME ACHIEVEMENT To be announced on the night.

Space is the place: The Wolseley, London; (above) the wine cellar and private dining room at Sartoria, London

Since he became Editor of GQ, the magazine has won 53 awards. He is also the author of several books, the chairman of London Collections Men and has eaten in nearly as many restaurants as Oliver Peyton.

JO THORNTON Jo Thornton has spent his career in the luxury drinks industry, beginning at Haynes, Hanson & Clark and joining Moët Hennessy – the largest luxury drinks distributor in the UK – in 1993, before becoming managing director in 2010.

FLORENCE KNIGHT Florence Knight was pastry chef at Raymond Blanc’s Diamond Club, before leaving to run Polpetto in 2010. Knight sees food “in filmic terms” and loves the informal, chaotic and family-like environment of a busy kitchen.

RAINER BECKER Restaurateur Rainer Becker is internationally renowned for Zuma, serving contemporary Japanese cuisine in cities including London, Rome and Hong Kong. Becker also owns three London Roka branches and Oblix at the Shard.

GIZZI ERSKINE Chef and TV presenter Gizzi Erskine presented Channel 4’s Cook Yourself Thin, as well as Cooks To Market and Drop Down Menu. Erskine likes to keep clean eating fun and has hosted pop-ups at both Bestival and Latitude festivals.

OLIVE R PEY TON Restaurateur and judge on Great British Menu, Peyton is the chairman of hospitality group Peyton And Byrne, which is responsible for bringing fine dining to such fine arts institutions as the Royal Academy and ICA.

TA R A B E R N E R D British designer Tara Bernerd has a wealth of experience when it comes to luxury design. Her company, Tara Bernerd & Partners, has worked on everything from five-star hotels and private members’ clubs to superyachts.

M AT T H O B B S Matt Hobbs went into the restaurant business at 15, working his way up to night manager during his seven years at The Ivy. He is now managing director of the legendary Groucho Club.

MARCH 2016 G 133

SMOOTH FINISH With vodka, it doesn’t get more exclusive than Grey Goose. As one of France’s most revered spirits, its signature cocktail, Le Fizz, has become an A-list favourite “It doesn’t matter whether you are the best chef with the finest recipe,” argues Grey Goose creator and maître de chai François Thibault on the creation of Grey Goose. “Without the best ingredients, the dish will never be perfect. The same goes for vodka.” Inevitably, he’s right and, of course, it shows. For Thibault, the story of his luxury vodka started in the Picardy region. Nestled between Paris and Lille – and often romantically titled “the bread basket of France” – the area’s soft winter wheat is the starting point of Grey Goose’s distinctive taste. Surprisingly, the wheat only needs a single distillation before being blended with pure spring water and being filtered through Champagne limestone. What came next was the creation of Le Fizz (opposite, right) a fitting tribute for those dominating global cinema. Thibault’s unique (and almost hyper-local) distillation process forms the backbone of the

cocktail and further complements the vodka’s smooth finish. Already a regular appearance in February’s film awards afterparties, Le Fizz is on hand to offer a more contemporary alternative to that archetypal glass of champagne. Global mixology maestro Joe McCanta (centre) has the enviable job of creating and serving Le Fizz at the BAFTA and Oscar celebration parties and has become a stalwart behind each bar, knowing what the silver-screen elite want when it comes to cocktails. Made with Grey Goose Vodka, St-Germain Elderflower liqueur, soda water and fresh lime juice, it comes as no surprise, then, to discover that Grey Goose Le Fizz is exactly that. It goes without saying that Thibault had exclusivity in mind when it originally came to creating Grey Goose. After all, how much more exclusive can you get than a red-carpet regular ordering your drink?

“ It doesn’t matter whether you are the best chef with the finest recipe – without the best ingredients the dish will never be perfect. The same goes for vodka.” François Thibault

G Promotion


Grey Goose Le Fizz You needn’t be among the ranks of cinema’s elite to enjoy Grey Goose’s award-season favourite. Instead, read on... 1

Mix it up Pour all the ingredients (below) into a cocktail shaker, but leave the soda water until later. Shake briefly over ice. 2

Strain and gain Strain into a pre-chilled flute (and leave the champagne in the cupboard). 3

Finishing touches Top with soda water to taste and garnish with a stirrer. Ingredients O35ml Grey Goose vodka O25ml St Germain Elderflower liqueur O20ml fresh lime juice O70ml chilled soda

Mixing things up: Mixologist Joe McCanta serves up Grey Goose Le Fizz to one of 2016’s hottest prospects


A laptop that erases borders, starting with the display. It’s the world’s smallest 13-inch laptop, but that’s only the beginning. With the Intel® Core™ processors, Windows 10, a virtually borderless InfinityEdge display with an UltraSharp™ Quad HD+ option, and amazing battery life, XPS 13 is designed to outperform the competition in every category.

The new XPS 13. Includes an Intel® Core™ processor BEST LAPTOPS 2015

Find out more about the new XPS 13 at or search for Dell XPS.

© 2015 Dell Inc. All rights reserved. Dell Corporation Limited. Registered in England. Reg. No. 02081369 Dell House, The Boulevard, Cain Road, Bracknell, Berkshire, RG12 1LF. Dell, the Dell logo and XPS are trademarks of Dell Inc. Intel, the Intel Logo, Intel Inside, Intel Core, and Core Inside are trademarks of Intel Corporation in the U.S. and/or other countries.

Intel Inside®. Extraordinary Performance Outside.

De Stijl your beating heart and make any space pop with special-edition pieces inspired by colourful art and artists P H OTO G R A P H BY








1 Poufs by Cristian Zuzunaga, from £526 each. 2 Mondrian fridge by Smeg, £1,299. 3 Pure Evil hi-fi by Ruark Audio, £2,000. 4 Kirkby Design x Jon Burgerman armchair by Ligne Roset, £1,741.

MARCH 2016 G

WHAT I WEAR As the one-man band Society, Jamie Girdler has carved out a darkly elegant look to suit his brooding trip-hop sounds P H OTO G R A P H BY


Jacket This was made by two friends, Charlie Mellor and Harry Woodrow, who set up their own tailoring business. I like classic cuts: light, slim and durable. £700.


Scarf I’m waiting for someone to buy this from Aylit for me. Though I always lose scarves, so on second thoughts... £1,300. At Loro Piana.

Cardigan I love to wear this Cos cardigan as a layer under my jackets. It also looks good with a collarless shirt. £69.





I usually prefer vintage watches but this is superb. IWC does a really great take on a classic style. £5,900.

I’ve started wearing Japanese sunglasses. It’s turned into a fetish of mine. I like how Eyevan take the classic designs and add a twist. £28. At Liberty.


I only ever wear APC and Frame denim. This pair is Japanese material and invincible. I always re-dye my trousers so that they keep for years. £135.


Headphones These Master & Dynamics are the best. I usually wear earphones but these are too cool to resist. £319,


Camera I once had a vintage Leica camera but I sold it to a friend, so I’m in the market for a new one. £2,900. 138 G MARCH 2016

Trainers Spalwart is my favourite brand. I wear trainers with a suit, and in dark colours you can get away with pairing them with something smart. £175.

Story Eleanor Halls Photographs Full Stop Photography Grooming Alice Howlett using Mac Cosmetics and Bumble And Bumble


This APC bag strikes a good balance between sporty and smart. It can fit my laptop, snacks and all my random paper. I take it on flights as my hand luggage. £110.

# S TA RT W I T H T H E S H O E S Spring / Summer 16 dunel o ndo n. c om

Valencia’s new coach tells GQ about his (realistic) dreams for England, being the best football pundit on TV and why he hates being called an entrepreneur. But then, Gary Neville has always been very busy... It used to be so easy to label Gary Neville. Footballer. Manchester United footballer. The United fan who became a player, then captain with a fearsome prematch tunnel death stare, utterly dedicated to the cause of winning matches and trophies. An England player, too, one who felt he and his generation should have added to the Neville trophy haul. Since his playing days ended, he has been less easy to pigeonhole. He is a businessman. To the surprise of many, including perhaps himself, he took to broadcasting and quickly became Sky Sports’ star pundit. His skilful use of social media, and his bestselling, above average football memoir, Red, also helped cement this new relationship with the public. Along the way Neville came to be appointed assistant manager of the England team. For some, that would be a full-time job. Not for (copyright Jaap Stam) “busy” Gary Neville. A man with so many fingers in so many pies was an obvious target for interview. I approached via Twitter. Neville agreed. En route, however, I received an apology. He would have to rearrange. He couldn’t say why, but told me it would become obvious. Sure enough, the following day his appointment as head coach of Valencia – owned by his billionaire friend and business partner Peter Lim – was announced to surprise in Britain and Spain. True to his word, he rearranged the interview so I could take in Valencia’s home game with Real Madrid, a 2-2 draw that led the next day to the sacking of Real manager Rafa Benítez. The pundit work is on hold. His businesses are being largely managed by others. He is warming to management, but still trying to work out where his life will take him. One thing is for sure: it will be an intense and interesting ride.

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Photograph Solo Syndication

‘I don’t fear the sack. I don’t fear anything’

Reign in Spain: Gary Neville on the pitch of Valencia’s Mestalla Stadium, 3 December 2015

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CONTACT: +44 (0) 20 77 20 97 25 UK@THOMASSABO.COM

Photograph Mirrorpix

ALASTAIR CAMPBELL control of first team players. It’s a necessity because of the times we live in. AC: But when Ferguson and [former CEO] David Gill left United, they had provided stability but also seemed to have control of succession planning. GN: Succession planning is down to the owners. AC: But Fergie went for David Moyes and it didn’t work out. GN: I don’t know that to be true; that is what is mooted. Owners control clubs. Whoever makes decisions is empowered by them. Fault or success is down to the owners. AC: Are United’s fundamentals still strong? GN: They are. Manchester United has been going 120 years. It is impossible to retain success year after year after year. When Sir Alex Ferguson was manager, everyone said that when he leaves there will be a period of transition. Now people don’t want to accept it; they aren’t enjoying it. There is a dip, but it is normal. AC: But football does funny things to business people. Would the Glazers, in any other business, have given ownership of the succession planning to the departing manager? GN: I don’t know that they did. AC: It all happened in Fergie’s house, he said so. GN: Alastair, I don’t know if they did consult with Sir Alex Ferguson, or if they didn’t. But if they did or they didn’t, they would get criticism either way. There is no right or wrong answer. United won the league two and a half years ago, then seventh, then fourth, and it is like this is some ultimate dip. I see a magnificent club. I grew up watching them finish tenth, twelfth. This is not a shock. AC: What about the way they play under Louis van Gaal? GN: I like the way they defend. Louis van Gaal will want more goals himself. But it is none of my business. In taking this job, I feel I have lost the power to comment on them. AC: What do you think went wrong with José Mourinho? GN: I haven’t got a clue. Coaching is a tough job. I’ve sat alongside Roy Hodgson for three-and-a-half years and I have enjoyed every minute, but it is tough. Hot shots: AC: Could you get hooked on Gary Neville this job? (front-row centre) with the GN: I am hooked. When I do many stars of United’s famous something I’m hooked. This is the ‘Class of ’92’ only job I would have done and said “drop everything”. AC: What if Peter Lim had said take a three-year contract? GN: That was never discussed. I have had other offers in club football and what was different was really knowing the owner, knowing we will have an honest conversation in a few months’ time.

AC: So sitting here now, how do you

GN: I don’t accept it. They have

describe yourself? Gary Neville the brand? Media man? Football man? Manager? Businessman? GN: [Long pause.] Good question. AC: I think you’re a football entrepreneur. GN: I don’t like the word entrepreneur. It feels like you’re just chasing money. I do things I like doing. I like business. I like sport. I like media. I like coaching. I knew I didn’t want to go straight into coaching from playing. Then out of nowhere came the job with England, which meant I could do coaching and still do business and media. I’m very aware I have been having my cake and eating it. It was too good to be true. AC: Did you ever feel conflicted as a pundit? I mean, you could never slag off Roy Hodgson or the England players... GN: I guess some people might think I was unfair to some non-England players. I think everyone in punditry is conflicted to some degree. There are pundits who are close to certain managers, who won’t have a go at their teams. Jamie Carragher is the best. He is neutral across the board. AC: You never saw a pro-Liverpool bias? GN: Not at all. I think before the England job I was totally neutral; after, I could still be critical of an England player but maybe not as ferociously as a non-England player. AC: When you were a player did you care what pundits said about you? GN: The last ten years, no. Up to 2000, yes. Then I lost confidence and reading things got to me. From then on I never read the media when we had a defeat. Why would you? Why confuse yourself? When you lose, all that matters is getting your head right for the next game. Reading that stuff makes it worse. If you have professional pride, you do your own analysis. AC: So do you tell England players not to worry about pundits? GN: What I do say is that talking to the media is part of what you have to do as a professional footballer, like putting on your boots, passing a ball, driving to training – you have to do it. AC: I couldn’t believe how young your [Valencia] squad looked during training. GN: I think we might have the youngest squad in Europe. Around 23 average age. It’s fantastic. When they are 19, 20, 21, they’re like sponges; they want to listen. I played all my career under a hardened manager with a hardened set of players, robust mentally and physically. I never knew anything else. Being a coach at England and now here has helped me understand the vulnerability of these young lads. A lot of footballers are boys, kids. Yes, they are well paid, they are talented, but that doesn’t mean they are hardened to fame, the distractions, problems in relationships. AC: Where do you stand on this idea that they are all role models?

responsibilities as individuals, but if you watch my punditry you will never see me stick the knife into a player when people are calling for them to be booted out of the game. Like when Luis Suárez bit Branislav Ivanovic: I said on Monday Night Football it is ridiculous this talk of throwing him out of the game. We all do things we shouldn’t. We expect too much. A 17-year-old will make mistakes. There is always a line but some of the petty things that happen... I have a lot of tolerance. I don’t see it as “x-granda-week-footballer”, I see a young person who needs help and education. AC: Are today’s players less motivated than you were? GN: No. This idea that modern players don’t care, I don’t get that. I have never seen a single training session with England that lacked effort or desire. They may struggle with confidence, players can have mental problems, or worry about leaving their family in a different country, but they care. We have a player here whose wife has just had a baby in a different country and he’s not there. That’s hard. AC: But there is no doubt the power structures have changed. GN: That’s true. The traditional managerplayer relationship is dead. AC: So Sir Alex Ferguson and Arsène Wenger are probably the last of a kind? GN: Yes. It is going to become head coach/ sporting director/CEO depending on the structure. The idea of the manager running the club is finished. AC: Is that a good thing? GN: In some ways. Managers used to get more time and they could plan in ways that affected the whole club – even for two, three years – but now, with 12 months the tenure for a lot of them, the idea of a manager having control is unworkable. So clubs look for a more stable structure with a CEO, key positions filled, and the head coach is in

‘I don’t accept that players are role models’

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AC: I’m surprised at your passion for it. I just imagine it is feels second best after playing. GN: It depends how you go about it. There are some, you know who they are, who turn up, talk a bit about football, go home. Then there are people like Jamie Carragher, Jamie Redknapp, me, others, challenging ourselves to come up with new information, really thinking about it in advance. It is real professional analysis. It is one of the reasons football managers get asked more about what pundits say. Some of the best minds in football work in TV now. AC: Would you hate to do Match Of The Day, with its time constraints?

Talking shop (from left): Ed Chamberlin, Jamie Carragher and Gary Neville on Sky Sports

‘When I was doing TV I got butterflies the same as playing’ He could have given me a three-year contract but what if in a few months it is not going well... AC: Would you be honest enough with yourself to admit that if it was the case? GN: Yes, absolutely. AC: I was surprised how much you took to your life as a pundit. GN: Whatever people think of Sky, let me tell you, on the inside they are massively serious and professional about football. When I was doing Monday Night Football, I got butterflies the same as playing. AC: Seriously? GN: It’s live TV. Look at all these politicians trying to dodge live debates. Four hours a week, and the best football programme by a million miles. I’m not just saying that because I was on it. I watched Arsenal-City when I was home for Christmas, and I thought, “Wow, this is great live TV.” Arsenal scored in the 45th minute and I was laughing, thinking “panic stations”, because that goal gets scored, then there are 20 guys upstairs scrambling around, then Thierry Henry and Jamie have to pick the bones out of a goal they’ve just seen and tell the world something they didn’t see at the time. AC: So it wasn’t too much of a letdown after playing? GN: I loved it. But I was hopeless at co-commentary for the first six months. I made so many technical errors. Also, watch back my first Monday Night Football shows in the studio. My hands were twitching, I was talking like a train, but it kept me enthralled. I don’t like the word “pundit”, it sounds lazy, like you just sit there giving a few opinions. It’s like a coach without a team. And if I didn’t perform well, my producer would bollock me, so I was being challenged all the time. [Presenter] Ed Chamberlin was brilliant for me too. He just gets you with the right one word question: “Why?”

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GN: No, but it is different. So little time. You have to show every team. But go back five years and compare it with today, there is so much more detail. Fans are knowledgeable. I am on social media and often the feelings the fans express are spot on. They might not know so-and-so was two yards out of position but they read the game. My dad always used to say, “You can’t con a football fan. You have to prove to them you deserve to be in that shirt.” AC: Are you surprised Paul Scholes is a pundit? GN: Pundits fall into different categories. Ones that give you detailed tactical analysis; and ones that come out with the showstopper statement; and the ones who fall in between and say next to nothing... the unsuccessful ones. Scholesy can deliver the hammer blow. He has a great eye for the game. He wouldn’t do Monday Night Football, but when there has been a big incident, a sending off, a big mistake, you want him there. Graeme Souness is the same. AC: Were you surprised you became more popular... Well, at least got a different reputation? GN: I genuinely don’t think about what people will think of me. AC: You couldn’t have gone on being a pundit forever though? GN: You have to keep adapting. I was already having conversations about how I adapt, keep stimulated, stay relevant to Sky, because you know there will be more retired players coming along and, if you just do the same thing, you fall off the end of a cliff. AC: And don’t say daft things off mic? GN: [Laughs.] AC: How much did you learn from Andy Gray [football pundit fired from Sky in 2011 for offensive behaviour]? GN: Andy Gray was the most compelling co-commentator ever. Me versus him, he was

incomparable. Fantastic delivery. People think it is the accent. It is a factor, but the timing and the delivery are what really matter. AC: Do you speak to the media differently as a coach than as a pundit? GN: You have to be more refined. The problem in Spain is they know everything. They knew my team, the system, where I had dinner, everything. Early on, the club told me if you do the team shape in training, they will watch, and your line-up for the match will be in the media. I said no problem, because the alternative is I don’t tell the players, we don’t train as a team, we are not prepared. Back when I was just Mr Football Man, I’d think, “Bloody media, what a joke”, but having been in the media now, I see both sides, and I think, “Don’t fight it.” AC: But what about the Fergie/Mourinho approach to siege mentality? GN: Sir Alex Ferguson was unique. José Mourinho, unique. Special individuals. Very few modern coaches could carry it off. It is not a fight you could win. And why would you want to? You are sending a message that they are against you when they’re probably not. I can honestly say, at Sky, I never heard anyone say, “Right, this is the agenda, let’s hope they lose and we can go for so-and-so.” Not once. No agenda. AC: Yet as a player you thought media people did think like that? GN: Yes. AC: José thought you all hated Chelsea. GN: I don’t hate Chelsea. Mourinho and Ferguson are the last of a kind. Very few adopt that policy now. The idea they are all against me – why? My genuine view is everyone starts with a clean slate. AC: How would you describe your touchline style? GN: [Laughs] How would you describe it? AC: I enjoyed the angry little dance you did at the end. GN: In the first game against Lyon I was very passive, but I have grown into it, partly because I have learned a bit of Spanish and can communicate more. But, yeah, against Real Madrid, I snapped a bit, threw a bottle, it was such an emotive finish to the game. AC: Were you pleased you helped see off Rafa Benítez? GN: No. Where are we going with this, managers getting sacked after five months, four months? They don’t get enough time. AC: Did Moyes get enough time at United? GN: No. Is seven or eight months long enough? Did you think that was long enough? It’s not long enough for any manager. It happens, but now they’re going after three or four months. AC: Is there a part of you that fears the sack and that is why you took this pro tem? GN: I don’t fear the sack. I don’t fear anything. I analyse and I think, “Is it the

Photograph Planet Photos


#LOVEMYCOTTON Purity. Quality. Responsibility. Find out more at


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running the hotel [his co-owned Hotel Football in Manchester]. I am not the general manager. Someone else does that. AC: Are you into money? Do you like having a lot of it? GN: As a kid, I never thought about money at all. You just think about what you want to do. I am still like that. People will come to me – or they did – with business ideas, but unless I really like it, I won’t do it. If I was a classic entrepreneur, I would say, “This Brother mine: market is hot, let’s follow it.” But Gary and Phil if it is just about the money I am Neville during United’s win not interested. over West Ham, AC: Going back to how to 7 December 2002 describe you. How does “social entrepreneur” sound? GN: The same with a different tag. I am not doing all these things to make money. I am doing it because I like it. I am not driven by money. If I was I would stay in the media. AC: The media? GN: Work it out. Forty days a year, pro rata it out. I didn’t come here for money. AC: But if you are successful... GN: Sure, but that is not the reason. I never had an agent. Would an agent have got me GN: Look, there are four serial winners – more money? Maybe. So what? Those Brazil, Argentina, Italy and Germany. Then negotiations I did myself made me more others who win but dip after, Spain, France rounded post career. They helped me now. did it, England in the Sixties. AC: You weren’t even born. I was nine. AC: How political are you? GN: It will come again. GN: I am, but I have always said I won’t talk about it. AC: It is not cyclical, not guaranteed. Hand on heart, do you think England can AC: Could politics ever become one of win the Euros? your things? GN: [Long pause.] I saw many English GN: I doubt it. I look at politics and it coaches answer that question, “Yes we are confuses me. People don’t see its relevance, going to win it” and the idea of saying “no” and I know every decision has an impact on is equally a disaster. On our day we can beat our lives, but I think I am with those people anyone. Then the question is can we sustain in thinking I’ll just get on with my life. There it over a tournament? That remains to be are lots of good MPs, and I’m sure lots of seen. Roy picks the players but I have strong people do good things behind the scenes, belief in them. Shaw, Jones, Smalling, Stones but it just feels like there is no connection – forgive me if I forget one and please put with the real world sometimes. that in because sometimes you’re bound to AC: Are you a fan of the Northern Economic Powerhouse? – Barkley, Sterling, Wilshere, Alli, Sturridge, GN: A gimmick. Henderson, Kane, they’re all young. I see Walcott, Delph and even Rooney as the older AC: What about Europe? If we come out statesman and Rooney is only, what, 30? of Europe... AC: How many of them would get in the GN: I don’t think about it. I am happy I am Germany team? here. I watch political programmes. I watch Question Time on the BBC. It is garbage GN: The German team that won the World these days, all about who shouts loudest Cup grew up together. That is my point. If and they don’t always get the best guests. It we can keep this group together, this can become “the” generation. used to be a good debate. I watch Sky News. I watch Prime Minister’s Questions, I can AC: Who will win the Premier League? sometimes see the point but it often feels GN: To be honest, I have become detached. like a charade, not a really meaningful, I am totally focused on here now. There is important thing. nothing like standing on that touchline having to make a decision when all those AC: Were you surprised Sir Alex Ferguson emotions are going on. said he had only ever managed four world-class players? AC: So you could stay on to manage permanently? GN: I never thought anything of it. GN: I don’t rule it out. AC: So you accept that you weren’t world class? AC: And you could still do business? GN: I am doing business now. But I am not GN: Bloody obvious!

‘These England players can become “the” generation’

Photograph Getty Images

right thing to do, what can I learn, will it be a great experience, is it a big challenge, do I have a chance of success and, being pragmatic, is it the right time?” And when that call came asking me to take charge to the end of the season, I only had 24 hours to make a decision. It felt right, weighing those questions up. AC: So what will success look like? GN: I want Valencia, by the end of the season, to be getting good results, to be a team that knows each other inside out and that is horrible to play against. AC: How much have agents changed the game? GN: Do they have too much influence? Yes. Will it change? No. Do you have to work with them? Yes. Even at Salford [where Neville is part owner], in the seventh tier of English football, we have agents demanding fees. AC: Can’t you just tell them to f*** off? GN: You can, but you’ll never sign a player. AC: Hand on heart, can you honestly see England ever winning the World Cup in your lifetime? GN: I desperately hope so. I desperately, desperately hope so. I desperately hope we can win the Euros this summer. AC: But deep down you know you can’t. GN: I would never say that. Greece won it when we had a more talented team. Denmark won it. Probably the biggest disappointments in my career have been England. In 1996 and 2004 we had the squad and the talent to do it. AC: But the success of the Premier League makes it harder and harder because its strategy doesn’t accord with yours. GN: My honest opinion is that we will win again. It is a cycle. AC: No, it’s not a cycle. GN: Why is it not a cycle? AC: It is cultural. Other countries have changed and adapted better. GN: We beat Spain in 1996 and 2001. AC: But... GN: No buts. Their first ever tournament win was 2006. AC: Because they had a national strategy. GN: They got a bunch of fantastic players who came through together. AC: And they had a league and clubs that valued Spanish players. GN: I accept it is more difficult, but there will come a point where we get that generation to succeed. Of course we need to improve, have more than the 32 per cent of English players we have in the Premier League now. AC: But that is not cyclical. It is real change. It has happened. GN: So Spain will be successful forever? AC: No. In fact they stayed the same and Germany adapted better. But both have more aligned strategies between leagues and national federations.





Te R! N I W NE


Wet work: The Moov Now is a wearable swim coach that tracks every stroke

We all know about running watches, but what about when you go sub-aqua? GQ tests the best triathlon-proof fitness trackers P H OTO G R A P H S BY





Moov Now Half the size of the previous iteration, the new Moov Now is a serious piece of kit. Not so much a tracker as a prodder, it’s about offering metrics that will improve your swimming. Via the app, you can check everything from your pool stamina to stroke type and distance-to-turn time, while a voice will even coach you in real-time. What’s more, rather than use a lithium smartwatch battery, it has a traditional watch battery, giving six months on a single charge. £55. Win: Incredible coaching functions. Fail: No face, so you can’t check data mid-swim. ★★★★★★★★✩✩




Speedo Shine by Misfit


Minimalist and sleek, Misfit’s Speedo Shine is for the serious swimmer who doesn’t want to be burdened with a bulky tracker, though that slimness (it’s the size of a coin) comes at a price: while, like others, it can track things like laps and distance swam, it can’t count stroke numbers or stroke type and, like the Moov, has no face of its own, meaning you can only see the data later, via the app. On the other hand, it’s made from aircraft-grade aluminium, so is virtually indestructible. £70. Win: Minimalist and hardy. Fail: Lacking in more advanced features. ★★★★���✩✩✩✩✩

Fenix 3 Sapphire by Garmin


This one’s not cheap: £470 of not cheap, to be exact. But you get the best fitness watch on the market – not just a swimming watch, but one for everything from skiing to cycling, gym work to hiking. In water, it can do everything you’d expect (lengths, distance, pace, calories) and much you wouldn’t, from being waterproof at diving depths (100m) to a specialist wild swimming mode. Best is the tracking of your “Swolf” score, which eggs you on to beat your best lap. £470. Win: Best overall fitness watch on the market. Fail: The price, the bulk. ★★★★★★★✩✩✩

PoolMate HR by Swimovate Yes, it may resemble that digital you threw out in the Eighties, but the PoolMate has some serious tech – as well as recording laps, strokes, distance and calories burned, it’s also one of the few watches that will track your heart rate in the pool (most monitors transmit at 2.4Ghz, but this one, at 122Khz, works in water) and includes a vibrating alert. Based on your arm movement, it can even judge your stroke efficiency. (No tittering at the back.) £160. Win: Only watch on test that monitors heart-rate in the water. Fail: Not a looker, pricey. ★★★★★★★✩✩✩


Moov Now

Speedo Shine by Misfit

Waterproof to...

50 metres

50 metres

100 metres

50 metres

Stroke analyser





Six months

Six months

Up to 50 hours in UltraTrac mode; three weeks in watch mode

30 days





Battery life


Fenix 3 Sapphire by Garmin

PoolMate HR by Swimovate

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WHAT’S ON THE BOX? Answer: anything you want! Next-gen media streamers are casting the net wider than ever 1

Amazon Fire TV with 4K Ultra HD This is a fast device with over 3,000 apps, and unlike the others can handle 4K (or Ultra HD) content. We just had a couple of gripes: the voice search function prioritises results from Amazon and we were never able to successfully cast a YouTube video from our handset to the screen. Also, why do they not supply an HDMI cable? £65. Win: 4K streaming. Fail: Prioritises Amazon search results. ★★★★★★★✩✩✩


Google Chromecast

Apple TV

Roku 3

115 x 115 x 18mm

51.9 x 51.9 x 13.49mm

98 x 98 x 35mm

89 x 89 x 25mm





HDMI; Ethernet; MicroSD; USB


HDMI; Ethernet; USB-C

HDMI; Ethernet; MicroSD; USB




32 or 64GB

Unknown (likely less than 1GB)

Voice control





Max output





Dimensions (w x d x h)




Apple TV 4 It’s the most expensive on test and can’t handle 4K video, so why is it our favourite? Let us explain. All these devices are pretty good at playing apps such as iPlayer, Netflix and YouTube on your living room TV – the difference is at the margins. For us, the touch-sensitive remote was such a joy to use, and the rich voice search so impressive (example: ask it for “that Friends episode with Brad Pitt” and Siri will not only identify it correctly, but also present a range of sources from which to play it) that, combined with the best interface of the group, we had a winner. From £129. Win: Game-changing voice controls. Fail: Lacks 4K capacity. ★★★★★★★★★✩


Amazon Fire TV

Google Chromecast Judge the Chromecast on its own terms. It’s not a fully equipped media streamer in the manner of Roku or Apple TV (Google’s older Nexus Player fulfils that function) but it achieves the same result at a fraction of the cost by streaming media from your phone or tablet. It took four seconds longer to load an iPlayer stream than the Apple TV, but we loved the device’s compact size and “tuck-away” clip. £25. Win: No frills, high quality. Fail: Have to pair with an extra device. ★★★★★★★★✩✩







Roku 3 The Roku could have been great. It has a decent amount of apps (over 1,700), offers voice and gesture control and viewers can plug headphones into the remote to listen in private. But it fell short of its potential. That headphone mode is plagued by annoying stutters; it restarted randomly when we closed iPlayer; and it can’t stream directly from an iPhone. £100. Win: Great remote. Fail: Glitchy experience. ★★★★★★✩✩✩✩

4 Islands in the stream: These power players will bring the web to your TV more accessibly that ever before

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From the backbiting double agent in Game Of Thrones to TV’s sinister Mr Hyde and the next Mark Rylance, GQ presents some of the freshest home-grown talent set to shake up the stage and screen in 2016 – a milestone that marks five glamorous years for Hackett as the official stylist for the EE British Academy Film Awards (Baftas). And what better way to toast our bright young things than to kit them out in one of Britain’s leading luxury menswear brands?

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Arnold OCENG, 30 Starring in blockbuster The Good Lie alongside Reese Witherspoon was “a definitive moment” for Arnold Oceng, who started out on BBC children’s drama Grange Hill. The Ugandan-born actor and rapper is currently filming Brotherhood, the final instalment in the Kidulthood trilogy. Also known for Top Boy, another British crime drama, Oceng admits, “As a black actor in inner-city London, those roles are thrust upon you. But these stories need to be told; it’s important to attach moral purpose to television.” ‘Arts Jacket’, £550. Silk waistcoat , £195. Pleat-front shirt, £110. Velvet bow tie, £40. All by Hackett.


Jonathan BAILEY, 27 Jonathan Bailey has rubbed shoulders with an array of big names since he kick-started his career with the children’s fantasy Five Children And It in 2004. He graduated to more serious roles, notably in Broadchurch alongside Olivia Colman and David Tennant, and Othello with Rory Kinnear. Despite his achievements Bailey insists, “The actor’s job is only ten per cent of the whole process.” Next up he’s starring alongside Colin Firth and Rachel Weisz in this year’s Donald Crowhurst biographical film, helmed by The Theory Of Everything director James Marsh. ‘Film Jacket’, £550. Marcella shirt, £110. Velvet bow tie, £40. Dinner trousers, £200. Leather shoes, £395. All by Hackett.

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Tom BATEMAN, 26 Tom Bateman admits he’s “anything but normal”, and with a twin called Merlin and thirteen siblings, Bateman is unconventional without even having to try. The Lamda graduate and Da Vinci’s Demons star approaches his roles a little differently too, performing his own stunts for his breakout lead role in ITV’s primetime thriller Jekyll & Hyde. Bateman’s impressive feats included trashing an entire bar, stage-fighting a group of 80 extras, and leaping on and off moving trains. Shawl collar jacket, £595. Marcella shirt, £110. Silk bow tie, £45. Dinner trousers, £225. Patent dinner shoes, £275. Pocket square, £35. All by Hackett.

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TOM BURKE, 34 As godson of the late Alan Rickman, Tom Burke is following in some formidable footsteps. Encouraged to attend drama school, Burke was warned by Rickman to heed the grave words of legendary theatre director George Devine, to “choose your theatre with as much care as you would your religion”. And he’s kept it sombre ever since, starring in two lavish BBC period drams (Athos in The Musketeers and Dolokhov in the recent War & Peace). “I took Alan’s advice very seriously,” says Burke. ‘Television Jacket’, £550. Pleat-front shirt, £110. Silk bow tie, £45. Dinner trousers, £200. All by Hackett.

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MICHAEL FOX, 27 Michael Fox admits that since he started playing Andy, Downton Abbey’s mildmannered footman, he ended up the butt of jokes any time he serves a cup of tea. Since then, his roles have displayed more gravitas, with Fox joining a criminal heist in Good People with Kate Hudson and playing thoughtful Shem in biblical drama The Ark. He points to that shoot, surrounded by snakes and scorpions under a rain machine in scorching Moroccan heat, as “the most wonderfully surreal experience of my career”. Velvet shawl collar jacket, £425. Shawl collar waistcoat, £200. Marcella shirt, £110. Dinner trousers, £200. Patent dinner shoes, £275. All by Hackett.

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Will TUDOR, 28 Even though he abandoned plans to follow his parents into the medical profession, Will Tudor has dipped his toes into the worlds of medicine and science. After a short detour via Westeros, playing a spy in Game Of Thrones, he is set to portray a soldier recovering from PTSD after serving in Afghanistan in this year’s Tomorrow with Stephen Fry. And his fascination with science aided his performance as an android in the Channel Four AI drama Humans, a role for which he had to attend “synth school”. ‘British Jacket’, £550. Marcella shirt, £110. Bow tie, £40. Trousers, £225. All by Hackett.

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James MC ARDLE, 26 After a secret megabus from Glasgow to audition for Rada without his parents’ knowledge, the then 17-year-old James McArdle became the youngest actor to be accepted to the prestigious drama school in ten years and has since been hailed as the next Mark Rylance. After starring alongside Ralph Fiennes in 2014 spy trilogy Salting The Battlefield and impressing in the title role of James I at The National Theatre, McArdle grabbed a few seconds of immortality in Star Wars: The Force Awakens as X-Wing pilot Niv Lek. Edge peak suit jacket, £700. Marcella shirt, £110. Velvet bow tie, £40. Trousers, £225. All by Hackett. Grooming Tyler Johnston at One Represents using Kiehls Photographer’s assistant Haydn Vooght Digital technician James Naylor at D Touch Production Ali Marr Stylist’s assistant Georgia Medley

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Thanks to telecommuting, the hot-desk is going nuclear – so get ready for the rise of elite, short-let business clubs. GQ unveils the next generation of shared offices for creatives and commerce alike S TO RY BY

OFFICE TEMPS Drop-in spaces for every work ethic


Soho Works

Preppy and collegiate, Soho House’s first business club is all about industrial chic, specifically designed with creative freelancers and start-ups in mind. Hot-desk rates start at £50 a day or £350 a month (£200 for the night owl package) with food add-ons. On-site extras include a photography studio, 3-D printer, library and reading room, roof terrace and showers. Plus it is open 24/7. Perfect for early birds and late-night brainstorming sessions.




Smart casual: Shoreditch-based Soho Works is the ‘collegiate’ shortterm work space from the brains behind hospitality giant Soho House

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t happens every few years: a seismic shift in the way we live our lives fuels a change in human behaviour so significant that it threatens to sound the death knell for the office as we know it. Fifteen years ago it was the rise of the home worker. A mercifully short-lived trend that petered into insignificance as soon as people realised that sitting alone all day in front of a desktop computer wasn’t much fun. But today the office is facing a new, considerably more powerful threat: the mobile revolution. Modern technology means we now have the capability to call, text, email, present, pitch, print, design, share, analyse, read or report anytime and from anywhere. In short, when it comes to the pure bricks and mortar, the role of a traditional work space as the place to carry out day-to-day tasks has been rendered almost obsolete. So why pay rent on one at all? And would anyone actually miss it? In reality, most people would, because there is not an app, Skype conference nor virtual video system in the world that can override the intrinsic sociability of human beings. “Some people assume that, since digital technology allows you to work anywhere, location will be less important in the future,” says Robert Guest, foreign editor of the Economist. “If you can telecommute from a beach in Bermuda or Skype from a ski resort in Wyoming, why bother renting space in London? But the information revolution has had the opposite effect. The more companies depend on technology to stay relevant, the more crucial it has become for people to hang out. You won’t bump into many peers to swap hot tips with or bounce ideas off on that beach in Bermuda.” This need to gather, interact and be part of a community will keep the overriding concept of an office alive and kicking. “We are social animals,” says Simon Allford, director of architecture practice AHMM. “Having the option to work from anywhere is one thing. We are happy to embrace the freedom that technology gives us, but more often than not it is because we also know we have the security of an office that is effectively a base, a hive.” The big question is what form this hive will take in the digital age. As people’s lives become more mobile and fluid, so too will the most successful work spaces. And with the meteoric rise of the shared office now fuelling a plethora of new drop-in business clubs – the latest, Soho House’s Soho Works, opened its first outpost in London’s Shoreditch last November – commercial offices will need to work even harder to stay relevant. “Spontaneous meetings in offices are more important now than ever before, as everyone is so absorbed by technology and probably more mobile and in the office less,” adds Allford. “This does not mean the office is dead. Far from it. Just that they have to be designed to be conducive to interaction. That means lots of breakout areas, putting things that everyone uses, such as the kitchen and bathrooms, at opposite ends of the space to encourage people to cross paths, and taking

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Blazer by Paul Smith, £570. T-shirt by APC, £55. Trousers by Gant, £150. Pocket square by TM Lewin, £20. Belt by Dior, £430. Watch by Nixon, £210. Camera by Leica, £1,500. uk.


14 Bedford Square Run by 27-year-old entrepreneur Reza Merchant, this place is all about hard work, dedication and smoothies by day and schmoozing by night. It’s everything young businesses need to get started, with a few world-famous DJs and rooftop parties thrown in for good measure – and hot-desk space from £198 a month.

OFFICE SPACE Corner office: Soho Works shares the Shoreditch Tea Building with artists, fashion brands and media firms

Shared office etiquette When the people around you change from day to day, you need to respect co-working’s ‘company policy’


Do not abuse the laissez-faire dress code Most business clubs do not have one. This does not make sloppy dressing acceptable.


Keep it down

away barriers where possible. The sorts of things tech companies have been doing for a while.”

Photographs Rhys Frampton Styling Jessica Punter Grooming Jody Taylor at Premier Models Harrison Griffiths at Elite and Tom Ashton at FM London


nd now the trend is catching on, with corporates desperate to attract and retain staff shaping innovative, creative interiors in traditional office buildings. Take the new Deloitte HQ in Montreal. Launched last September, the company shook up its office space after recognising the need to modernise to stand any hope of competing with the tech companies for the best young talent. From the show-stopping stairway in the central atrium to the doodle walls in the innovation centre and the chill-out chairs outside the on-site wellness centre, it’s the last thing you would expect from a global consultancy firm. But the new design is not just for show. Everything has been carefully constructed to facilitate spurof-the-moment interactions. Six hundred office cubicles were ripped out and replaced with 18 different – and very flexible – types of bookable work station, including coffee shop-style booths, airport lounge-inspired

Even Deloitte has doodle walls and chill-out chairs

Screaming, shouting and cackling phone calls in a shared work environment are unnecessary. Soho Works offers space in soundproof phone booths, so if you know you have loud tendencies, consider these your new friends.


Sense the zone Most shared office spaces are designed to indicate what is acceptable. If music is playing and people are chatting, you are probably safe to be a bit more relaxed.


Avoid the leer Mutual attraction that springs from a serendipitous crossing of paths is fine; cornering someone by the milk fridge every day for a week is not.


Leave last night’s curry at home This is one of the top co-worker grievances: do not eat smelly food. Make use of the on-site food offering to create co-mingling opportunities. It’s why you’re there, after all...

Jacket by Paul Smith, £649. Shirt by Wolsey, £75. Tie, £125. Trousers, £370. Both by Dior. Trainers by Jimmy Choo, £395. Headphones by Bowers & Wilkins, £330. Laptop by Apple, £1,049.

break-out areas, armchairs with wraparound folding tables and even treadmill desks. It is this level of choice that experts hail as another must-have in a modern office. Tim Oldman, an expert on staff productivity, explains: “Our research, based on more than 900 companies, shows that people who work in old-fashioned cubicles have an average productivity level of around 54 per cent. You move them into standard open-plan and that drops down to 30 per cent. Add in options and choice – different work stations, break-out areas, a mix of quiet zones and communal space – and productivity shoots up to 74 per cent. It is that mixture and choice that people want.” But what happens when traditional offices cannot, or do not, offer this level of choice and flexibility? Just because the overarching concept of the office is unlikely to be overturned by the digital revolution, it does not mean it will survive in its current guise. And right now the biggest threat to the traditional work place setup is the rise of shared offices and co-working. From high-end business clubs, such as 12 Hay Hill in Mayfair, to the “creative solution” that is Soho Works in Shoreditch, London’s co-working and shared office spaces are offering a fast-growing alternative to traditional offices and long leases. Apart from co-workers being able to choose from a range of price packages – whether that is a daily drop-in rate of around £25 to hot-desk up to an average monthly membership of £700-£1,000 for an entire private office – they also offer access to meeting rooms and communal areas and networking opportunities with other members. “The more fluid way of working is definitely fuelling MARCH 2016 G


oho Works is a prime example of an established hospitality brand moving into the burgeoning shared offices market. The 16,000 sq ft London outpost in Shoreditch is the first in an expansion that will see the concept rolled out in Istanbul and Los Angeles. From the industrial-style building and exposed ceilings to the Cowshed products in the bathroom, the space still has a distinct Soho House feel, but little touches mean the vibe is much more conducive to work than in the social clubs. The music is quieter, the rooms lighter and instead of the iconic deepset sofas and armchairs the space is full of huge wooden desks and rows of old-school silver lockers. And these preppy interiors are a stroke of genius. What better way to create a business environment without becoming stale and formal than by embracing the collegiate look? It is fun, but not silly. Inspiring, but not distracting. The ultimate east London work space for creatives, whether they are Soho House members or not. But one of the biggest shifts in the shared-office sector, and one that has the potential to really shake up the traditional office structure, is that these spaces are not only catering for start-ups and creatives. A swathe of new, high-end business clubs are attracting a very different breed of member, including bankers, investors and senior executives. Mayfair-based 12 Hay Hill, which opened last April, is a case in point. Here, the club’s 600 members are treated to a restaurant run by Michelin-starred chef Shaun Rankin, stylish communal meeting areas and a basement bar complete with a Cuban-cigar vending machine. A drop-in hot-desk membership is £150 a month on top of the £500 joining fee – affordable enough for members to use the space as a more relaxed, fluid bolt-on to their existing offices. “We do attract a lot of existing businesses here,” says Simon Robinson, chief executive of the club. “People who already work in Mayfair – diamond dealers, yacht brokers, hedge funders – who want somewhere to either work or entertain clients.” Add to this the A-list co-working experience of New York’s NeueHouse club, which charges up to £1,500 a month for membership and targets members from film, fashion, design, publishing and the arts (and is opening a sister club in the Art Deco Adelphi Building near


Productivity shoots up when offices introduce choice G MARCH 2016

Are you sitting at the right desk?


Are you a freelancer or a very young start-up on a tight budget looking for flexibility on a monthly, weekly – even daily – basis?

You should be... co-working. Usually a hot-desking setup, co-working is the perfect drop-in, pay-as-you-go way to work. Just turn up and grab a seat. As most co-working spaces have a coffee shop and kitchen it is great for meeting new people and way less depressing than sitting at home trying to avoid being distracted by Cash In The Attic.



You should be... in an accelerator.

You should be... in a shared working space.

Are you a young start-up with a strong business plan looking for investment and advice?

Programmes, rather than offices, accelerators operate out of shared working spaces like Second Home in Shoreditch and Runway East in Old Street. You apply for a space – usually lasting three months – and successful companies get seed funding, mentoring and access to a room full of investors on a final demo day.


12 Hay Hill With a Michelin-starred chef, cigar terrace and eleven plush meeting rooms, everything at 12 Hay Hill is geared towards impeccable service – right down to the doorman, David, who spent 27 years welcoming members to Annabel’s. Drop-in rates start at £150 a month on top of the one-off £500 membership fee. Private office hire is £6,000 a month, but you get what you pay for – there’s even a gold umbrella stand in reception...

Are you desperate for a flexible, permanent desk but still want to interact with other people?

Not quite your own office, but your own desk for as long as you pay for it. If you can nab a spot in a room or building filled with similar (but not competing) people or businesses, so much the better for networking.


Do you want a permanent private office space but also keep costs down and mitigate the risk that comes with signing up to a long lease?

You should be... in a private, serviced office. It sounds Eightiestastic. But if you pick the right provider, you could wangle access to an affordable private office with add-ons including food, drink, break-out spaces and events areas. And if you need to move out or on you just cancel the membership. Think of it as an office with hotel concierge.

Illustrations Brent Wilson

this trend,” says Tanya Nathan, director of Soho Works, “but there is a difference between a social club and a business club. We noticed our Soho House members trying to work on sofas and in noisy areas that weren’t necessarily conducive to focusing on business. And so while Soho Works feels like the Soho House brand, it is very different. We have ergonomic furniture and desk chairs here. People can use their phones and laptops, obviously. And we are open 24/7, with access to printers, binding, couriers, everything they need to do business.”



The Office Group Great for anyone who does not want to be tied down. These guys have spaces in more than 20 buildings in London, including the Shard, and will be moving into White Collar Factory next year. Starting at £250 a month, choose between HomeRoom or EveryRoom membership – the former grants access to just one outpost, the latter gets you into them all. Every location is different but the attention to detail across the portfolio means there’s even a “playlist manager”.


NeueHouse In New York and LA, NeueHouse is synonymous with creativity and commerce, and London is next on the list, with 66,000 sq ft on the Strand opening in the autumn. With drop-in rates starting at £150 a month the space will be designed to feel like “your great friend’s very sophisticated home”.

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London’s Strand next year) and the top of the coworking market looks assured. “I don’t see this concept disappearing any time soon,” says NeueHouse’s co-founder James O’Reilly. “I think we are just at the very early stages. At the moment many providers of shared work space cater to people who co-work because they have to, whether that is because they are at such early stages that they don’t want to commit to a long lease or that they don’t have the track record to secure one. But we are setting out to establish a preferred alternative, somewhere that makes people come to work because they want to. By 2020, 40 per cent of the US population will be working as part of a segregated economy, either independently or freelancing, so this idea of a flexible space that caters to them can only grow.” No wonder, then, that commercial lease lengths have fallen to an average of seven years compared to 25 years in the Nineties and look set to reduce even further, to around five, to fit in with new, more flexible occupiers. But apart from driving down lease lengths, shared spaces are actually well set up to complement traditional offices. The two can even feed into each other. Major commercial office schemes are incorporating co-working into their developments – Salesforce, Twitter, Pinterest, LinkedIn and Shutterstock are just a few examples of companies who have gravitated from edgy tech spaces to commercial office schemes and skyscrapers, while the first tenant signed up at Derwent’s White Collar Factory is a shared office company (The Office Group). “White Collar Factory is all about the future of work space and moving forward to embrace a new style – one that suits the more relaxed, flexible approach people tend to have to work these days,” explains Derwent director Simon Silver. “The way people work has changed so much. Who would ever have guessed that everyone would want break-out spaces or breakfast provided in the office? But this sort of thing is what attracts talent and fuels productivity. Staff get in earlier, leave later and work harder in spaces they like.” And as start-ups grow, the evidence suggests they are likely to move out of co-working and so-called incubator spaces into more serious offices to ensure they have a proper base for their team and one that will impress clients. “It was a brave concept when we came up with the idea in 2008,” says Silver. “A simple factory space, but not for blue-collar workers; a modern re-imagining with lots of volume and light, to the point where we have actually forgone two floors just to get the very high ceilings we wanted. We think that people will pay a premium for that – creatives love light and space and this is an industrial-style factory space for a modern creative workforce.” here is no question that the current seismic shift in human behaviour kick-started by the digital revolution is significant. But it couldn’t be further from the end of the office as we know it. Rather, it is fuelling a more futureproofed generation of work spaces designed for a mobile workforce. Not only that, the emergence of flexible, affordable co-working hubs is giving more young companies the chance to get their feet off the ground. And when this new breed of occupier matures, they want to spread their wings in a serious, impressive office space... albeit one with a doodle wall.


The winner of

major awards

GQ is the only magazine in Britain dedicated to bringing you the very best in style, investigative journalism, comment, men’s fashion, lifestyle and entertainment. British GQ is the magazine to beat NEW! 2015

DMA Men’s Lifestyle Magazine Of The Year

NEW! 2015

FMJA Stylist Of The Year (GQ Style)


BSME Digital Art Director Of The Year


DMA Designer Of The Year


TCADP Media Award


FPA Feature Of The Year

2014 2014 2014 2014 2013 2013 2013 2013

FPA Journalist Of The Year Amnesty International Media Award PPA Editor Of The Year FMJA Online Fashion Journalist Of The Year EICA Media Commentator Of The Year DMA Men’s Lifestyle Magazine Of The Year BSME Editor Of The Year FMJA Outstanding Contribution To London Collections Men PPA Magazine Writer Of The Year Mark Boxer Award BSME Editor Of The Year DMA Lifestyle Magazine Of The Year Help For Heroes Outstanding Contribution Px3 Prix De La Photographie Paris Gold Medal Foreign Press Association Media Awards, Sports Amnesty International Media Award Amnesty International Media Award One World Media Press Award The Maggies Magazine Cover Of The Year P&G Awards Best Styling (GQ Style) PPA Writer Of The Year BSME Editor Of The Year BSME Magazine Of The Year BSME Brand Building Initiative Of The Year

2013 2012 2012 2012 2012 2012 2011 2011 2010 2010 2010 2010 2009 2008 2007 2007

2007 2007 2006 2006 2006 2006 2006 2006 2005 2005 2004 2004 2003 2002 2002 2001 2001 2001 2000 2000 1999 1999 1999 1995 1995 1995 1994 1991

MDA/MJA Press Gazette Awards Best Cover P&G Awards Best Styling (GQ Style) P&G Awards Best Grooming Editor (GQ Style) P&G Awards Best Styling (GQ Style) MDA/MJA Press Gazette Awards Interviewer Of The Year MDA/MJA Press Gazette Awards Best Designed Consumer Magazine MDA/MJA Press Gazette Awards Subbing Team Of The Year PPA Writer Of The Year PPA Writer Of The Year Magazine Design Awards Best Cover Association Of Online Publishers Awards Best Website BSME Magazine Of The Year PPA Writer Of The Year BSME Magazine Of The Year PPA Writer Of The Year BSME Magazine Of The Year PPA Designer Of The Year Printing World Award Total Design Award Jasmine Award Winner Printing World Award Jasmine Award Winner PPA Designer Of The Year Ace Press Award Circulation Ace Press Award Promotion PPA Columnist Of The Year PPA Publisher Of The Year British Press Circulation Award Best Promotion Of A Consumer Magazine

Portofino Hand-Wound Monopusher in white gold by IWC, £19,950.

One-button suits The Portofino Hand-Wound Monopusher – IWC’s new pared-back chronograph – is a stunning reinterpretation of a classic design where less is definitely more G MARCH 2016


MOST of us like to think that progress is linear. Experience, however, teaches us that, like crowds of people rushing through an airport, it is rather more like Brownian motion – the random movement of particles suspended in a fluid. In other words, things can go backwards or sideways just as easily as forwards. This is particularly true in the world of watches, where the latest object of desire is just as likely to be the reiteration of an old classic (with a twist – naturally) as a technological leap forward. Take IWC’s Portofino Hand-Wound Monopusher. This may be the first time that IWC has presented a single-button chronograph but, traditionally, single pushers were used on pocket watches to start, stop and reset. It performed these functions admirably, but was to be overtaken by its double-pusher parvenus thanks to a simple weakness – with only one button you couldn’t pause your timings. Unlike its predecessors, however, when it comes to its chronograph function, the new Portofino Monopusher is the very model of discretion, with the pusher integrated into the crown with only the most modest of protrusions signalling its presence. Despite the discretion, this is no shrinking violet, with a case that measures a substantial 45mm – the size allows it to boast an eight-day power reserve. A hand-wound movement is now also a rarity, thanks to the convenience of self-winding – ie, automatic – versions. However, the hand-wound movement does allow for a greater power reserve. And, personally, I find the very action of winding a watch rather soothing, which more than beats the stress of missing your train when you – very occasionally – forget to do so. Robert Johnston

Photograph Ben Riggott Grooming Chloe Botting using Kiehl’s


You can download the GQ iPhone edition at no extra cost If you have purchased the tablet edition or are a print subscriber, simply search for ‘GQ’ in the App Store and download for free

£1.9bn Ben Stiller’s global box office draw, quantified – including £30m earned by the original Zoolander.

THE MAN OF STEEL Zoolander 2 Ben Stiller and Owen Wilson may still be really, really, ridiculously good looking in the Zoolander sequel – this time helped by the not-too-shabby sight of Penélope Cruz as an Interpol agent in red motorbike leathers, saving the world, as per – but is it also, 15 years on, really, really wearing a little thin? Will Ferrell is back as the evil Mugatu, doing what Mugatu does (throwing lattes over people), but it’s the less-than-PC character of Benedict Cumberbatch’s hot new transgender model All (“All is... All”) that suggests this is a sequel that’s already so last season. Stuart McGurk out on 12 february.

TV, Art, Books, Music, Politics, Sport and the best opinion for the month ahead...

LET THE MUSIC TAKE CONTROL Mixing live performance and narrative beats doesn’t always play well. So can Vinyl, a rocksteady new drama from Scorsese and Jagger, chime with viewers? STORY BY STUART McGURK

hen Empire, a soapy, melodramatic American drama about the running of a fictional hip-hop label first aired on Fox last year in the US, executives didn’t expect an awful lot. They hoped, as they do for all new shows, that it would be solid. Instead, it started with just under 10 million viewers (it’s since been picked up in the UK by E4) and ended its first series with a frankly absurd 17m. By comparison, fêted blockbuster Game Of Thrones – which airs on premium cable channel HBO – currently averages almost 7m viewers. It was remarkable, a smash, a total one-off. But, as ever with TV, where a one-off success comes, roughly 546 others will follow, and 2016 looks set to be the year of the music industry drama. The likes of Star on Fox (about a Dreamgirls-esque trio, from the creator of Empire), Sex&Drugs&Rock&Roll on FX (about an aging rocker trying to make a comeback) and The Get Down on Netflix (about the birth of hip-hop in the Bronx in the Seventies, starring Will Smith’s son, Jaden, from Moulin Rouge! director Baz Luhrmann) are all on their way, themselves following the popular Nashville, about competing country music singers. But it’s Vinyl, starting this month on Sky Atlantic, from Martin Scorsese, Mick Jagger and Boardwalk Empire showrunner Terence Winter – set in the world of Seventies rock in Brooklyn and focusing on struggling fictional label American Century – that easily looks the pick of the bunch. To suggest it’s arriving in Empire’s ratings slipstream is perhaps Behind the curtains: unfair. Unlike many of the others, it’s been in development for years, Set shots from Vinyl, with Jagger initially pitching a Casino-type film for the music busia new series about rock in the Seventies ness back in 2006, when they were discussing what would eventually

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be Scorsese’s 2008 Stones concert film, Shine A Light. Vinyl would follow two friends over 40 years, went the pitch, and take in the history of modern music, from the early days of R&B to hip-hop. Yet it was only when it arrived at HBO in 2010 with a solid Seventies setting (there’s no word on whether it still plans to hop forward 40 years, but for the sake of HBO’s make-up department, it seems unlikely) that it became a reality. The basic premise of Vinyl isn’t dissimilar to Empire – both are set behind the scenes at a record label, both take place in uncertain times (Empire due to illegal downloads, Vinyl due to the emerging disco and punk scenes). But the key question with any drama about the music industry is this: does it really care about the music? There are pitfalls either side. Care too much – like David Simon’s Treme, his follow-up to The Wire set in New Orleans’ jazz community in the aftermath of Hurricane Katrina, which often portrayed live performances almost in their entirety – and you can bore the audience rigid. Simon was trying to embed the symbiotic throb of live music in his show, yet, without plot to give the scenes

Four more hits from the TV listings

Imperial majesty: Boardwalk star Bobby Cannavale (below) plays the lead in Martin Scorsese’s latest empire-builder, Vinyl, which follows the fortunes of a Seventies rock record label

With three returns to form and Marvel’s latest detour to the dark side, point your tuner or browser in this direction... FEB

Better Call Saul The first season of Vince Gilligan’s Breaking Bad spin-off prequel was somewhat hit and miss – hit because it took us back into that world, but miss because, unlike Breaking Bad, it too often relied on “story of the week” episodes, where Bob Odenkirk’s crooked lawyer dealt with that week’s crooked case. One thing’s for certain for series two – with the Breaking Bad alumni expected to be back for cameos, it’ll certainly win on the first count. Series two starts on 15 February on Netflix.

Photograph Daniel Arnold; Instagram/@arnold_daniel; Instagram/@macallpolay


meaning, it showed that anything more than a short, sharp shock of performance highlights how ill-suited TV, that distancing rectangle in the corner of the room, is at replicating it. Barely care at all, on the other hand, and you get Empire, for which the music itself is little more than something to have on in the background while people plot, scheme, shoot, blackmail, threaten, disown and have board meetings on full-size basketball courts. This is not an exaggeration. Opening with the premise than the kingpin of Empire Entertainment, Lucious Lyon (played by Terrence Howard, with a supporting cast that includes his haircut), might only have three years to live, we hurl head-first into a plot that includes one person leaving jail, a father disowning his son (who decides to come out and release an album in competition with his brother), an artist who gets poached, a murder, an admission of four previous murders, Lyon being blackmailed, twice, by two different people on the same day, and an invitation from the president of the United States. That’s episode one. “I need you to sing like you’re going to die tomorrow,” Lyon says in the opening scene to an artist in the studio, giving

early hope that Empire might also be partly about process, until it becomes clear that she actually might. Vinyl looks set to play the middle-ground. In the brief clips released in advance, it’s clear Scorsese’s trademark Exocet camera flies around the live performances, rather than sitting back like Simon’s, while throwing enough logs on the bonfire of plot to keep it ablaze, not least that Bobby Cannavale (playing the record exec who must get his label back on track) is told they might be bankrupt within a month, has a coke problem, an unhappy wife (Olivia Wilde), a plethora of troublesome new bands (James Jagger, Mick’s son, plays the lead singer of punk outfit The Nasty Bits), and, because it’s Scorsese, the looming influence of the mob. It’s telling that as reality TV singing shows have veered ever and ever closer to semiscripted soap opera, we’ve become less and less interested. Indeed, the lead-in show for Empire in the US used to be American Idol, but declining ratings will see the current series as the last, with Empire effectively replacing it. Maybe we’ve realised if we’re going to watch doctored dramas about the music industry, we may as well watch the real thing. Vinyl starts on 15 February on Sky Atlantic; Empire returns to E4 later this month.

Empire has effectively replaced American Idol


The X-Files

House Of Cards

The conspiracy show that was forever set in semi-darkness (partly to hide the shoddy sets) returns, this time for a shorter six-episode run, with Gillian Anderson (Dana Scully) and David Duchovny (Fox Mulder) no longer an item, but back together to defeat, as creator Chris Carter puts it, “the most evil conspiracy the world has ever known”. Sure, why not? Starts on Channel 5 in early February.

The plot of the fourth series is strictly under wraps, but rumour has it Kevin Spacey’s biggest problems don’t come from grandstanding Russian presidents, but an up-and-coming Washington power couple (expected to be led by Neve Campbell), hoping to take advantage of his marital problems to usurp him. Put another way: someone trying to pull a House Of Cards on him. Series four starts on 4 March on Netflix.


Daredevil The darker, broodier TV-version of Marvel on Netflix hit new heights with last year’s Jessica Jones, starring Krysten Ritter, which became the first Marvel adaptation to genuinely feel like it was made for adults, in both tone and themes, rather than for fanboys. The second series of Daredevil looks set to take that baton and run (and backflip) with it, and is expected to feature much Jessica Jones cross-pollination. Series two starts on 18 March on Netflix.


The pop production line has never had so much hidden talent, but now one of its biggest faceless stars – Sia – has stepped off the factory floor to showcase her own voice STORY BY DORIAN LYNSKEY

The hits keep coming


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This is Berry Gordy’s Motown ‘assembly line’ taken to its logical extreme

Kotecha tells the author: “A Swede will not let you down and neither do their songs.” You could come away from the book thinking of these records as musical Volvos because Seabrook’s praise for certain numbers is always undercut by the sense that he admires the craft while considering it fundamentally second-rate art. Seabrook’s examination of the song machine makes an implicit contrast between musically promiscuous pop stars and old-fashioned rock auteurs, but writing credits tell a much more complicated story. Beck is making his next one with Greg Kurstin and earnest singer-songwriter James Bay used co-writers on all but one song on Chaos And The Calm. Industrious writerproducer Ariel Rechtshaid has worked with Haim and Vampire Weekend as well as Justin Bieber and Usher, never using the same trick twice. Former indie musicians such as Joel Pott (Athlete) and Peter Svensson (The Cardigans) are thriving behind the scenes without ever having to get on a tour bus. Some people travel in both lanes simultaneously. On his Seventies throwback album Goon the soft-centred Canadian musician Tobias Jesso Jr is the epitome of the sincere auteur, pouring out his heart over the piano keys; on Adele’s 25 and This Is Acting, he’s just another labourer in the hit factory. Modern pop’s orgy of collaboration crosses genre boundaries and shakes up expectations. While it’s true that the song machine too often churns out bloodless products, it’s also full of delicious surprises. There are many ways to make a hit. Sia is in the thick of this crosstown traffic but This Is Acting, disappointingly, leaves you wishing for a little less competence. Her fixation on high-concept “victim to victory” numbers makes the formula so obvious that it threatens the listener’s suspension of disbelief. It’s acting, sure, but every role sounds the same. Transformed into the ultimate professional, Sia ends up making both herself and the hit factory seem less interesting than they really are. This Is Acting is out now.

Photographs Getty Images; Rex

ia Furler wasn’t particularly famous when she realised that fame was driving her mad. In 2005, after a few years of modest success, the Australian singer-songwriter received a career bump when her song “Breathe Me” soundtracked the final sequence of HBO’s Six Feet Under. Terrified by the prospect of celebrity, she sabotaged her big break by, for example, performing in a mask, and developed a bumper collection of substance addictions. When Sia went into rehab in 2010 she put her solo career on ice and became a “topliner”, which is industry parlance for someone who writes melodies (and often lyrics) for teams of producers. She writes fast, with a knack for “high-concept” lyrics – impactful one-word metaphors like Katy Perry’s “Firework” or Rihanna’s “Umbrella” – and what she calls “victim to victory” emotional arcs, so she did well. Hits such as “Titanium” (with David Guetta) and “Diamonds” (Rihanna) established her mastery of resilient melodrama, wounded yet triumphant: “You shoot me down but I won’t fall/I am titanium.” When she returned to the front line in 2014, she brought to her own records this new understanding of the arithmetic of hits. “Elastic Heart” and “Chandelier” (note the high-concept titles) were colossal. But she still doesn’t like to show her face. Sia’s new album, This Is Acting (RCA), pulls back the curtain on her second career. It consists of songs she originally wrote for artists including Beyoncé (“Footprints”), Adele (“Alive”) and Rihanna (“Bird Set Free”) and you can hear the Three producer spectre of the intended singer in each song. The powerhouses making (and breaking) records concept is baldly artificial, presenting Sia not as around the world an artist but as an industry pro who also sings. Sia doesn’t feature in The Song Machine: Inside The Hit Factory (Jonathan Cape, £16.99), the recent book by New Yorker writer John Seabrook, perhaps because she doesn’t fit the narrative. Seabrook concentrates on efficient back-room talents such as the mild-mannered Norwegian duo Stargate; the controversial Katy Perry hit maker Dr Luke, who is suing his former protégé Kesha over her claims he abused her; and Max Martin, the gravity-defying Swede who has had his finger glued to pop’s pulse for two decades. His 21 Billboard No1 singles, from Britney Spears’ “...Baby One More Time” in 1999 to The Weeknd’s “I Can’t Feel My Face” last year, place him behind only Lennon and McCartney. Pop music has always recognised that not every star is a great songwriter and vice versa. UK No1 singles: 13 The modern system breaks down this division Billboard No1s: 10 of labour further: a production team needs a Associated artists: topliner; a topliner who’s good with hooks might Rihanna, Beyoncé, need help with lyrics or middle-eights, and and Lionel Ritchie so on. Writers with diverse skills are brought Real names: Tor together in a stable like Cheiron, for which Max Erik Hermansen and Mikkel S Eriksen Martin wrote, or Britain’s Xenomania, or tried out in different permutations at a writing camp, Net worth: £1.5 million piecing together a hit like a jigsaw. The modern Bio: This Norwegian hit factory is Berry Gordy’s Motown “assembly duo broke into the industry in 2006 by line” taken to its logical extreme. producing “So Sick”, Seabrook portrays the process as a ruthless performed by Ne-Yo, mechanism dominated by bland Scandinavians and were awarded a with a molecular understanding of what makes Grammy in 2009 in a smash. As Martin’s American apprentice Savan the R&B category.

Hat’s off: For years, Sia wrote from the shadows but is once again ready to face the music

WHAT’S LEFT FOR LABOUR? Jeremy Corbyn may have momentum going into the local elections in May, but the party’s old faithful are looking back at what the wider movement stands to lose STORY BY MATTHEW D’ANCONA

Dr Luke UK No1 singles: 8 Billboard No1s: 20 Associated artists: Usher, Katy Perry and Britney Spears Real name: Lukasz Sebastian Gottwald Net worth: £68 million Bio: Dr Luke began his music career as a guitarist in Saturday Night Live’s house band before making a name for himself in 2004 by producing Kelly Clarkson’s “Since U Been Gone” with Max Martin. He’s won four Grammies and Billboard named him one of the top producers of the noughties.

Max Martin UK No1 singles: 7 Billboard No1s: 21 Associated artists: Backstreet Boys, Britney Spears and Kelly Clarkson

Illustration The Red Dress

Net worth: £171 million Bio: The Swedish music producer and songwriter rose to prominence in the Nineties after writing hits for Backstreet Boys and is the writer with the third-most No1 singles on the Billboard chart, behind only Paul McCartney and John Lennon.

ON 5 May, Jeremy Corbyn will face his Coalition and The Labour Representation MPs and was forced to offer them a free first serious electoral test as Labour Committee, and the internal exile to vote on airstrikes in Syria in December. leader. It still feels odd to write such a which their dissent condemned them The threat now facing MPs who defy sentence and to reflect upon the triumph during the long winter of Blair and Brown. Corbyn is deselection by their own of the hard Left dissenter in the race to But they have captured the party with no constituency parties, orchestrated by succeed Ed Miliband. less ruthlessness than the New Labour Momentum or another left-wing caucus. A year after Red Ed’s failure to dislodge group did in 1994 with the election of With the Tories planning to reduce the David Cameron from Downing Street, Tony Blair as party leader. number of MPs to 600, the opportunities Even Redder Jeremy will head Labour’s The genius of the Left caucus was to for grassroot vengeance are manifold. campaign in about 2,260 seats in spot the opportunity afforded to them This might be what the Left wanted all England, while the citizens of Bristol, by the new leadership election rules along. The party of the NHS, of Attlee and Liverpool, Salford and London elect their established by Miliband in 2014 after Gaitskell, of the welfare state, of Blair’s respective mayors. In the capital, Labour’s the Falkirk vote-rigging scandal. For three successive election victories, Sadiq Khan is up against the loping Tory only £3, anyone could become a has been reduced to a dull reality candidate, Zac Goldsmith. In Scotland, “registered supporter” and vote TV show in which an unlikely Corbyn will be relying upon Kezia in the party’s internal contests. leader seeks to control his Dugdale, Labour’s Scottish leader since Corbyn’s campaign actively parliamentary tribe, which August, to begin the fightback against the encouraged potential supporters in turn faces individual formidable SNP. Meanwhile, First Minister to join on this basis. It is true defenestration at the hands Carwyn Jones will seek to consolidate that he would have won a hefty of the mass movement. Where Labour’s grip upon Welsh government. victory anyway, without these affiliate is the nobility or idealism in that? Town hall contests notoriously attract members. But the inclusion of the £3 A healthy democracy requires at least low turnouts and are unreliable guides to supporters gave him an extra 88,449 two electable parties. At the risk of a party’s likely performance in the next votes, transforming a big win into a grotesque generalisation, there needs general election. But 5 May will at least historic moment for the party. to be one that stands, above all, for remind Labour’s members that the party’s Sensing this, the Corbynistas competence; and another that makes primary purpose is to secure office and to established Momentum, a network of social justice and redistribution its represent the interests of the great mass people “that will continue the energy and priorities. Of course, there is always of British people. enthusiasm of Jeremy’s campaign”. What political cross-dressing. New Labour This may seem like a statement of the distinguishes Momentum is its dedication made as much of its economic credibility obvious. Yet in the months since Corbyn’s to “Jeremy”, a cult of personality that is as of its compassion. David Cameron has victory, Labour has transformed itself the basis of its activism and the calls for always wanted the Conservative Party to from a party ambitious for power into an MP deselection at its meetings. Corbyn stand for social justice as well as deficit ideological movement that values purity has conspicuously failed to win over his reduction. But no single party can play of left-wing doctrine more than both roles satisfactorily. There needs office, be it in town hall or Whitehall. to be change, correction, the handing From the start, it was clear that over of the generational torch. Corbyn and his gang wanted to It is this that Corbyn threatens. colonise and control Labour much While he and his friends play their more than they dreamt of reforming introspective game, the people Britain. The priority has been rootwhom Labour historically represents and-branch transformation of the must make do with what the Tories Labour Party to the Left’s advantage. consider politically necessary to Rarely far from Corbyn is his concede. Confronted with New longtime chief of staff, Simon Labour, the Conservative Party Fletcher, a good friend of Ken had to change, become more Livingstone and stalwart of the Left. compassionate, extend its social Another close political advisor, reach. But – truthfully – what Andrew Fisher, was suspended in pressure does Labour exert upon November for allegedly supporting Cameron in 2016? Class War – a claim he denies. In Corbyn and his allies despise spite of Fisher’s many tweets Blair as a sellout and – like all their criticising senior Labour figures, opponents – a “Tory”. Yet Blair was Corbyn responded by declaring that in office for a decade and was able he had “full confidence” in his ally. to spend huge sums on education Livingstone himself, Diane Abbott, and health, enact a national John McDonnell, and a handful of minimum wage, legislate for gay others complete the line-up. unions and much, much else. What The Corbynistas are bound by will Labour in its current guise their commitment to the Left, their achieve? On 5 May, we shall get a association with groups such as sense of where the party is heading. Hung parliament: Labour’s MPs continues to flag Socialist Action, Stop The War But the worst is yet to come. up the dangerous promise of Corbyn and co


The price of freedom Total amount raised to support Republican Jeb Bush’s candidacy by super PAC Right To Rise USA – the equivalent of Labour gaining 23,596,485 “registered supporters”. MARCH 2016 G 179

THE ARTIST IN SIX EASY PIECES The elder statesman of the YBAs, Mark Wallinger, gets inside the mind of the nation’s identity crisis STORY BY SOPHIE HASTINGS

ark Wallinger’s huge north London studio is full of abstract expressionist paintings exactly his arm-span in width and double his height, which lean against the walls beneath a soaring, vaulted ceiling. The self-portraits are part of Wallinger’s inaugural show for Hauser & Wirth gallery, which he joined in 2014. “I was influenced by my habitat in a rather Darwinian way,” he laughs. “I felt the need to inhabit this incredible space so I started a kind of performative painting, my body right up against the canvas, using my fingers. They became my id paintings.” The show, also called ID, is about selfhood and selfexpression, the title referencing the UK’s surveillance culture and our Freudian drives. “I got the idea when I curated Hauser & Wirth’s stand at Frieze [in 2014]. So many of the pieces had psychoanalytic overtones, especially Christoff Büchel’s ‘Sleeping Guard’ [a real but apparently unconscious guard slumped on a chair].” Wallinger’s work has always been political but his style is so varied that, unlike many artists of his generation, he has resisted commodification. Slightly older than his fellow YBAs, he was already teaching at Goldsmiths when they arrived as BA students. He became a leading light on the emerging British art scene with works like “A Model History” (1987), a diminutive re-creation of Stonehenge in bricks that addressed property and land rights. His series of full-length portraits of the homeless, “Capital” (1991), was exhibited at the ICA alongside life-sized paintings of racehorses, all snapped up by Charles Saatchi who showed Wallinger at YBA launchpad exhibitions in 1993 and 1997. But Wallinger’s breakthrough moment was the acquisition of shares in a racehorse called A Real Work Of Art in 1994. “I’ve always loved racing and I wanted to extend the Duchampian notion that you could simply nominate something as a work of art. My version of the ready-made could exist outside the gallery. Even the smallest town has its own bookmaker and live coverage, so everyone has access.” The horse only ran once before he was injured, but “A Real Work Of Art” lead to Wallinger’s first nomination for the Turner Prize, in 1995; he was nominated again in 2007, and won. He represented Britain at the 2001 Venice Biennale, has made numerous public works, including a collaboration with the Royal Ballet and National Gallery in 2011, but he enjoys poking fun at his own success. “I photographed my hands for ‘Ego’ [another work in ID] to highlight the fantastic hubris of the artist as creator.” ID is at Hauser & Wirth, 23 Savile Row, London W1, from 26 February - 7 May.

Lost art (above): Mark Wallinger’s ‘Labyrinth’ series appears across all 270 London Underground stations

It was performative painting, my body right up against the canvas

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1 ‘ E C C E H O M O ’ (1999) The first work to inhabit the Fourth Plinth in Trafalgar Square. Wallinger wanted to make a figure of Christ that was man-sized and contemporary. “We were coming up to the Millennium, the Dome was being built, politicians were going off to Disneyland and no one wanted to mention that it was 2,000 years since the birth of Christ. The Ecce Homo moment for believers is when Christ faces up to his destiny and for nonbelievers it’s the moment when we are the lynch mob that sealed his fate. I cast a real man and he looks like a prisoner of war, with his shorn hair. We are part of a global lynch mob whether we like it or not...”

2 ‘THRESHOLD TO T H E K I N G D O M ’ (2000) “I had a fear of flying but realised that it was as much a fear of airports, of being processed. The sense of relief when you get through feels a bit like confession and resolution.” No airport was keen to be filmed, so Wallinger hid a camera behind a pot plant at City Airport and waited. “It all happened so naturally: the guard sitting by the double doors was just like St Peter, the crew came through swaggering, like well-turned-out angels, and then the public trying to get their bearings, their confusion visible under sudden strip lighting so it looked like wonder. The footage was revelatory.”


6 ‘ L A BY R I N T H ’ (2013) To celebrate the 150th anniversary of the London Underground, Wallinger created an enamel plaque with a labyrinth design for every one of the 270 tube stations. “I like the way labyrinths look forbiddingly like mazes but there’s no false trail, so if you take courage and follow your nose you’ll get to the centre and back out again. The majority of people use the tube like this, amid all the chaos, following a thread from home to work and back again.” TFL had to find space for the plaques and some are quite difficult to locate. “I like that. It’s part of the puzzle.”

Photograph Thierry Bal Images © Mark Wallinger, courtesy of the artist and Hauser & Wirth




‘ S L E E P E R ’ (2004)

‘ S TAT E B R I TA I N ’ (2007)

‘ T H E W H I T E H O R S E ’ (2013)

“I was living in Berlin and was fascinated by the alien, expat bubble you exist in if you don’t speak German. I remembered an East German TV programme on the BBC when I was a kid, The Singing Ringing Tree, in which the prince was turned into a bear. I found it very traumatic. So when I was wondering what to do in the glass-walled Neue Nationalgalerie at night, it seemed right to dress up as a bear. I was thinking of spies and double agents, the hidden scars of that city and the stupid notion of an Englishman in a very obvious disguise.” Wallinger donned his costume for ten nights and roamed about while the public mingled.

Brian Haw had been protesting outside Parliament for four years about the Iraq war, when the “Serious Organised Crime And Police Act” came in, prohibiting protest within a kilometre exclusion zone. “It was clearly an attempt to remove Brian,” says Wallinger, who brought a group of Tate curators to see Haws and discuss making a replica of his protest site. “That night, 70-odd police descended and took everything but one placard. Luckily I’d taken photographs.” The exclusion zone happened to run through Wallinger’s installation in the Duveen Hall at Tate Britain, “So I drew it round the exhibit.” “State Britain” won the Turner Prize in 2007.

Wallinger was one of five artists nominated for the Ebbsfleet Landmark Project, and his design for a 50 metre-high white horse won. “[The racehorse] Riviera Red was my model. The thoroughbred is the most beautiful animal but we’ve had a big hand in its design – 95 per cent of all throroughbreds are descended from one stallion. So they’re pretty inbred and their function is to run and amuse us. By coincidence, the rampant white horse is the symbol for Kent.” Funding collapsed and the project is on hold, but a life-size realisation stood outside the British Council on the Mall for a couple of years and is now exhibited in Dehli.

Jean Stein returns home to the city that built the 20th century STORY BY OLIVIA COLE

JEAN Stein’s Edie: American Girl (1982) remains the definitive account of those drawn into the orbit of Andy Warhol and his Factory. The style of that book – a series of transcribed interviews from key players and friends of its subject interspersed with pertinent literary quotations from the time – made Stein a pioneer of the genre of oral history. Norman Mailer termed it “the book of the Sixties that we have been waiting for”. Thirty-four years on, West Of Eden – an account of Stein’s home city, Los Angeles, where she was born in 1934 and came of age in the Fifties before moving east to study and later work at the Paris Review in its George Plimpton heyday – proves once more her gripping and stealthily emotive way of writing. Again, there’s an astonishing collection of voices, from Dennis Hopper to Lauren Bacall, Arthur Miller and David Geffen, but writing about the city that grew up as she did, Stein is also able to offer her own firstperson observations and memories of her family’s friends and neighbours in Beverly Hills and Malibu – giants such as Edward Doheny (the real-life oil tycoon who partly inspired Upton Sinclair’s Oil!, the novel on which Paul Thomas Anderson’s There Will Be Blood is based) and studio mogul Jack Warner. In telling their story, and exploring their secrets, Stein – now in her eighties – has arguably created the book LA has been waiting for. Read this, and you’ll never turn onto Doheny Drive in the sunshine again without thinking about this gilded, glittering city’s identity as a fascinating and troubled invention of the 20th century. Out now (Jonathan Cape, £20). MARCH 2016 G






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Full metal racket: The FBI brought about a Saddamstyle toppling of the Fifa president

It took a superpower to bring down Sepp Blatter’s scandalous regime – now the US has to look at itself STORY BY MARTIN SAMUEL

ifa will get a new president this month, thanks to the FBI. And, let’s face it, if we could choose how Sepp Blatter’s regime ends, what better way than a whirlwind of bans, dawn raids and the sight of disgraced officials being herded into hurry-up vans, shielded from photographers by hotel staff, literally holding up the dirty linen. “All great world-historic facts and personages appear twice,” wrote Marx paraphrasing Hegel. “The first time as tragedy, the second as farce.” And Blatter? He’s Saddam Hussein. Not the mass murder and the torture and the truly vile stuff. The downfall. He was tolerated until his behaviour was no longer useful or remotely conscionable, and then the Yanks did him in. But, first, a little history... On at least three occasions in the 20th century the people of Iraq successfully overthrew unpopular leaders. They were part of the Arab The five hopefuls Revolt during the First World War, which initially looking to reconstruct placed the region under British rule. There was a Fifa post-Blatter short-lived anti-British uprising in 1941 and the monarchy tumbled in 1958. Then the Ramadan Revolution in 1963 shifted power to the Ba’ath Party and, eventually, to one particular general. At which point, the influence of the Iraqi people became rather less effective. Sheikh Salman bin Saddam, it is fair to say, was tooled up. He Ebrahim al-Khalifa Bahraini royal, president amassed a formidable arsenal through his allies in of the Asian Football the West, who relied on him to keep neighbourConfederation. Odds: 2/1 ing Iran in check. Meanwhile, the Popular Army and the General Intelligence Department waged brutal and constant war against dissent within. Saddam’s regime killed 250,000 of his own people but Iraqis could no longer topple the government. The only people who could oust him were Prince Ali Bin the ones who afforded that power. The United Al-Hussein States gets to decide who runs the region now. Former Fifa vice-president It was the same with Blatter; it had to be the who stood against Blatter in 2015. Odds: 4/1 FBI that took him out. He was surrounded by a network of related interests and corruption so immense that individual critics and outraged federations were as good as firing pop guns at a tank. Blatter, basically, had most of the world squared off. As recently as last year, France, Spain, Russia, Turkey and all of Africa were among the landslide Gianni Infantino of votes for his re-election. In May 2011, when General secretary of Uefa since 2009, a favourite FA chairman David Bernstein called for the Fifa in the race. Odds: 6/1 election to be postponed, it was England’s motivation that was questioned. Blatter stood, on that occasion, unopposed. We now know Uefa president and potential candidate Michel Platini had received a payment of £1.3 million that February, said to be for work that took place a decade earlier. Coincidentally, Tokyo Sexwale Anti-Apartheid activist he later pulled out of the race. Few are convinced turned multimillionaire by the claims of verbal agreements or Platini’s mining tycoon. Odds: 12/1 extraordinary patience in waiting nine years for his wages and both are now appealing against substantial bans from the sport. So Bernstein was right; it was an unhealthy one-candidate election that should have been postponed. But on the day he made his speech at Fifa Congress, Jérôme Champagne he returned to his seat to near-silence from the Former football journalist, other 207 member nations and a succession of and Fifa executive 1999-2010. Odds: 16/1 speeches then denounced his stance. Up they all

Illustration Ben Jennings Photographs Getty Images, Rex

Meet the new boss...

crawled, Haiti, Congo, Benin, Cyprus, Argentina, lavishing praise on Blatter, decrying England and its media. “We always have attacks from England which are mostly lies,” said Julio Grondona of Argentina, a bent old toad and anti-Semite, who has since done world football a favour and died, “with the support of journalism which is more busy lying than telling the truth.” Grondona wasn’t even being straight about that, because just about every attack on Fifa in the British media has turned out to be justified. But it still wasn’t enough. Brilliant investigations by Andrew Jennings, Panorama broadcasts, page after page of revelations in the Sunday Times and elsewhere, none of it was working until the FBI turned up. The crooks at the top of sport are too brazen and strong now; Saddam-impregnable. The little guys, the fans, the press, even hugely successful administrators like Bernstein, can’t pick them off. They have to be taken out like Bond supervillains. We have to get inside their volcanoes and blow them up. It was the same with Lance Armstrong. He had his team around him, the shield of charity and the power to intimidate witnesses and those brave enough to question his feats. The sports writer David Walsh did heroic work unpicking Armstrong’s lies, but was getting nowhere until federal investigators and the US Anti-Doping Agency got involved. Walsh and the Sunday Times had previously lost a libel case to Armstrong. Now the spooks are gunning for the IAAF and another of sport’s big beasts: Nike, and its base at Eugene, Oregon. French authorities are investigating the awarding of the 2021 Athletics World Championships to TrackTown USA in Eugene – and new IAAF president Lord Coe has already been pressured into severing his links with Nike. It remains to be seen whether US investigators will pick up the baton when it comes to an American multinational brand worth tens of billions of dollars. And there’s the flaw. The United States were happy enough to deal with the Fifa regime of the equally disreputable João Havelange in order to secure the 1994 World Cup, while Fox were swiftly awarded uncontested broadcasting rights to the 2026 tournament after they began to protest the decision to shift Qatar's 2022 event to a less scorching November and December. Fifa is propped up by global industries, many of which originate in the United States. If America is now to assume the role of the sport’s moral police, they have to show wisdom, but also fairness. Certainly a little more wisdom and fairness than was present in post-Saddam Iraq.

Every attack in the British media turned out to be justified MARCH 2016 G



2013 by Meilyr Jones

Set your cultural compass to this month’s pole stars

exhibition mixes documentary images of Yves Klein, Yayoi Kusama and Merce Cunningham with some of the great artist/photographer collaborations including Robert Mapplethorpe and Grace Jones; Nadar and the mime of Charles Deburau; and Eikoh Hosoe and the choreographer Tatsumi Hijikata. SH

out on 26 february (moshi moshi) Former frontman of Welsh psych-pop group Race Horses goes solo with arch chamber-pop theatrics reminiscent of Belle & Sebastian, Sparks and Owen Pallett. “I’m the face of the Observer’s free magazine,” he quips knowingly on “Featured Artist”. An exhilaratingly confident new voice. DORIAN LYNSKEY

sheriff) remaining – but it then takes a satisfying turn into left-field horror with things... out there. And the result is unforgettable. STUART McGURK

rhythms, scrawly electronics, crazy-paving harmonies and – why not? – a clip from The Golden Girls. DL



The Brothers Grimsby



Quicksand by Henning Mankell

Delacroix And The Rise Of Modern Art at The National Gallery, London

Women I’ve Undressed by Orry-Kelly

out now (harvill secker)

In his own words, Henning Mankell’s posthumous memoir is “not a book about death and destruction, but about what it means to be human... a journey from my childhood to the man I am today, writing about the key events in my life and about the people who have given me new perspectives.” Although written in the final year of his life, after his diagnosis with cancer, the result is uplifting and, as a memoir, as unusual a creation as his Nordic detective, Kurt Wallander. OLIVIA COLE




Bone Tomahawk

Painting With by Animal Collective

out on 19 february

17 february - 22 may

The first UK exhibition in 50 years of this revolutionary artist, the most revered painter in Paris at the time of his death in 1863. Delacroix’s estimated 9,140 works influenced his contemporaries Courbet and Géricault, and continued through the 20th century to impact on greats such as Matisse and Kandinsky. Not to be missed. SOPHIE HASTINGS

out on 19 february (domino) The kind of film that probably won’t The quixotic US trio call their tenth be in the Oscar race but probably album their least abstract and should be, Bone Tomahawk’s most direct, albeit some setup is simple enough: distance from 2009’s we’re in a small Western B R U TA L ! mainstream-scraping town, with most of the A death scene from Bone Tomahawk caused Merriweather Post men off on a cattle a stir when it was Pavilion. A chewy drive and a smattering leaked on YouTube – concoction of jumpy (including Kurt Russell’s the clip was deemed

out now (allen & unwin)

Costume designer Orry-Kelly created the look of Hollywood’s most enduring classics, from Casablanca to Some Like It Hot. At the time of his death in 1964 he was working on a memoir, recently discovered inside a pillowcase, which gives a colourful first-hand slice of fashion history and an account of flat-sharing with Cary Grant. Aptly, the volume is introduced by another Australian designer in LA, Catherine Martin, whose work you’ll know from The Great Gatsby. OC SEE

Performing For The Camera at Tate Modern, London 18 february - 12 june

Photography is a way of capturing transience, but it can also be commandeered by artists as part of their self-expression. This

one of the most violent on-screen demises ever.

Dead and loving it: Ryan Reynolds wryly subverts the superhero genre


out on 24 february

Now that Sacha Baron Cohen (left) has finally given up making his semi-improvised films – no doubt because his level of fame now makes them impossible – we’re left with his less anarchic scripted ones. Grimsby follows a well-worn trope –the fish-out-of-water spy comedy, with Cohen as the deadbeat brother to Mark Strong’s (left) proto-007 agent who finds himself forced into the field. Probably best to watch it on a flight (fact: everything is 40 per cent funnier in the air). SM LAST CHANCE

Elisabeth Frink: The Presence Of Sculpture at Nottingham Lakeside Arts until 28 february

One of the UK’s greatest 20th-century artists, Frink produced over 400 sculptures of the male figure, animals and birds – but here the focus is on her designs for social housing and urban developments. Archives from her three studios (in London, France and Dorset) provide a fascinating insight into her life and work. SH L AKESIDE ARTS.ORG.UK


SVIIB by School Of Seven Bells out on 12 february (full time hobby)

After Benjamin Curtis’ death in 2013, surviving member Alejandra Deheza vowed to finish their fourth album. This turbulent gothic pop, crafted on a grand scale, is more celebration than elegy: in Deheza’s own words “a love letter from start to finish”. DL SEE

Drawing On Childhood at The Foundling Museum, London


Deadpool out on 4 february

Ryan Reynolds stars in what looks set to be the weirdest – and funniest – superhero movie of the year. An X-Men spin-off from 20th Century Fox, rather than from the more straight-laced Marvel superhero stable, the “other Ryan” plays a hero to whom scientific experimentation has not only granted special powers but an “unstable” mind and a “dark, twisted” sense of humour too. We’re in. SM

Inspired by poet Lemn Sissay’s 2014 commission for the museum, “Superman Was A Foundling”, this exhibition looks at famous illustrations of alternative childhoods from Roald Dahl’s James And The Giant Peach to Arthur Rackham’s Cinderella. In addition, contemporary artists Pablo Bronstein and Posy Simmonds have created new drawings for Henry Fielding’s 1749 novel, A History Of Tom Jones, A Foundling. SH FOUNDLINGMUSEUM.ORG.UK

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Photograph Eyevine; Landmark Media

until 1 may


THE SHILLA 20-21 APRIL 2016 THE MOST SIGNIFICANT CONFERENCE FOR THE INDUSTRY Curated and hosted by Suzy Menkes, International Vogue Editor, the Condé Nast International Luxury Conference will bring together 500 business and creative leaders from the global luxury and fashion industry for two days of learning, inspiration and networking in one of the world’s most dynamic cities, Seoul. Influential luxury industry speakers will discuss: the power and influence of Korea; travel retail opportunities; the younger consumer; the on-going convergence of fashion and technology; and much, much more. SPEAKERS INCLUDE:











©Damien Hirst and Science Ltd. All rights reserved, DACS 2016

DAVID BECKHAM By DAMIEN HIRST, 2015 ‘Beautiful Beckham Spin Painting’ Owning a Damien Hirst is a status symbol; appearing as his subject means you are a symbol. This 7x7ft canvas (called simply “Beautiful Beckham Spin Painting”), commissioned especially for David Beckham: The Man, is part of the long-running series of “Spin Paintings” that the former YBA has been building since 1995. “Hirst’s decision to get involved came back faster than any other artist we approached,” says Andrew Page, chief executive of the exhibition’s co-organiser Positive View. “We gave him free rein creatively – our only brief was that somewhere within the picture had to be a portrait of David.” The face was reproduced from a photograph by Inez van Lamsweerde and Vinoodh Matadin (chosen by Hirst from a selection submitted by Page), while the background was formed by pouring household gloss paint onto the canvas as it spun.


David Beckham has long been bigger than the game. Through careful control of his image, the footballing icon has become a fashion god, influential philanthropist and global businessman. This month, an exhibition of new and classic work by artists including Damien Hirst and Annie Leibovitz showcases how that image evolved – and where it’s about to take him S TO RY BY


As a recent documentary showed, it takes a trip to the depths of the Amazon rainforest to find people who don’t know Beckham’s face

By NADAV KANDER ‘David Beckham, 16 Pictures’ 2015 Beckham has written his autobiography across his flesh in more than 40 tattoos. “The ship [bottom right] is great, the strength of it cutting through water,” says Kander, who created this artwork, “David Beckham, 16 Pictures”, for Positive View’s project. “These grids are hard to make because they can look like contact sheets. I enjoy them, though, because humans think of the camera as this decisive-moment machine, whereas this format extends time.”

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avid Beckham couldn’t find 10p to feed the electricity meter. It was a snowy December evening in 1994 and he had just stepped through the front door of his house on the outskirts of Manchester with the PR maven Alan Edwards, who he had met earlier that day and invited over for dinner. Edwards supplied the change to get the lights on. “The place wasn’t exactly the Four Seasons, more like something I’d seen in a Hovis ad. It really was what footballers used to call ‘digs’,” remembers Edwards. Beckham, a shy, Londonborn son of a gas fitter, had only just started his Premier League football career with United. “He struggled with a can opener for some baked beans. That’s how basic this all was.” Twenty-one years later, Beckham, his wife, Victoria, and their four children, are estimated to be worth £470 million and counting, making the family over £130m wealthier than the Queen. A natural companion for Tony Blair and Lord Coe when the UK bid for the 2012 Olympics, Beckham now moves effortlessly as an ambassador on the global stage. His fame is so pervasive that, as a recent documentary showed, it takes a trip into the depths of the Amazon rainforest to find people who don’t know his face. And all this despite the fact that by the time he celebrated his 40th birthday last May – in the company of Tom Cruise, Guy Ritchie and Liv Tyler – he had retired from football, the career on which his stardom was built, to focus on philanthropy, business and fashion. When GQ asked the designer Tommy Hilfiger to define Beckham’s status in the industry, his answer was unequivocal: “He is the men’s fashion icon of today, undoubtedly No1.” In a world in which the post-career ambitions of even the most successful footballers rarely stretch beyond punditry, how did Beckham get here? Some clues can be found back on that Manchester night in 1994. As Edwards recalls,

“David launched into his vision for the future of football and it was mesmerising. It was one of those unusual moments that you get in a career when you realise you’re sitting in the presence of some sort of greatness.” That evening, Beckham spoke about the women’s game, about America being the next frontier and about standing up against racism and homophobia. He also asked Edwards for advice about a photo shoot. “He was going to do Sunday Times Style and wanted an Elvis look, which for a footballer was unprecedented.” Even at this early stage it was clear Beckham had a drive to do more than merely score goals, and he knew how: by using his image to transcend the game. The greatest living photographers have helped forge that image. From Annie Leibovitz to Peter Lindbergh, Inez and Vinoodh to Steven Klein, all have chronicled his changing looks in pictures that arrest, surprise and complicate. Now, for the first time, their work is being brought together for David Beckham: The Man, an exhibition that opens this month in London at Phillips Galleries followed by a gala auction. It’s a fundraising effort for 7: The David Beckham Unicef Fund, which seeks to save and change children’s lives around the world, and co-organiser Positive View Foundation, a charity that transforms the lives of young people from difficult backgrounds by involving them in photography. Positive View’s chief executive, Andrew Page, alighted upon the Beckham idea at three o’clock in the morning one day in 2013, having seen the success of a similar enterprise focusing on Kate Moss. “I always go to bed with a pad and pen nearby, and I was thinking, ‘That was the most profitable charity event – what can we do for Positive View? Who else is there?’ I could only think of David Beckham. He’s always in the papers; he’s not a model, like Kate, but he’s a media hero in a different way. And he has a history of having built an amazing relationship with the lens.” Page wrote to Beckham’s management company, XIX Entertainment, pitching the idea – and heard nothing back.

© Nadav Kander, courtesy of Flowers Gallery


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It was never quite the styling Wetherell wanted. “I wouldn’t have shot him in those clothes ideally,” he says. “I think he looks good in a T-shirt and a pair of jeans, a bit more rough and natural.” But looking back on this Wall Street Journal shoot five years on, he concedes that it made sense. “It’s more businesslike and he’s a business-minded man.” Increasingly so, though it’s testament to Beckham’s longevity as a player that this shot, from the autumn of his career, was the year his team, LA Galaxy, won the MLS Cup.

Photographs Trunk Archive



It’s not blood; it’s Worcestershire Sauce. “I wanted to rough up the jean jacket because it was brand new,” recalls Peters, who took these portraits for The Face. “So someone came up with this bottle from the lunch table. Beckham said, ‘Come on, give it to me,’ and poured it over his head. The magazine editor was like, ‘Vincent, this is going too far.’ But David was into it and I was lucky to have that support, otherwise it would just have been shots of David in front of a grey background.” MARCH 2016 G

Page decided to up the ante. He created mock posters for the exhibition then had them enlarged, framed and hand-delivered to XIX’s offices. “I thought that if the secretaries and PAs in the different departments saw them they might say, ‘Oh, this would be amazing!’” As luck would have it, Beckham was already investigating a similar philanthropic scheme. Six months later, XIX agreed to make it happen. Since then, the project has acquired a grander aim: commissioning 50 new works featuring Beckham from names such as Jeff Koons, Tracey Emin and Damien Hirst. When the show is re-exhibited in London next spring, before embarking on a two-year tour across six other countries, these will be displayed alongside the existing photographs. It will mark the next phase in Beckham’s evolution: becoming immortalised in art. ewind to a time before Beckham. Football and fashion were not regular bedfellows. George Best might have worn a few Lincroft Kilgour pieces, sure, but that was nothing compared with Beckham’s sarong or Alice band. Over his footballing career, from Manchester United to Real Madrid, Milan and finally LA Galaxy – and across his changing taste, from gender-bending experimentation to more calibrated luxury – Beckham has used fashion photography to go beyond the sport. Not only in commercial tie-ups with the likes of Armani, Police and Belstaff, but also stylish shoots for glossies such as Vanity Fair and fashion titles including W and 10 – sections of the newsstand where footballers did not usually appear as cover stars. Beckham’s enthusiasm for fashion is not a cynical concoction. He traces it to the manager of his Sunday league team, who always made the players dress up in shirts and ties ahead of cup matches so that they looked smarter than the opposition. But his interest was amplified by the people around him. Victoria, who he met in 1997 when the Spice Girls juggernaut was at full power, not only magnified his celebrity but nurtured his wardrobe. And his decision to hire Edwards – a publicist retained from 1997 to 2003 who specialised in entertainment – helped put fashion at the heart of Beckham’s image. “I look at everything on a long-term basis. I work with musicians and it’s always about the next album, the next tour, the bigger brand,” says Edwards. “But often with footballers their agent handles the PR, and then, understandably, the financial question comes first: ‘What’s the gain from doing this shoot?’ To me, that wasn’t the question. You don’t get cash for doing things like the Sunday Times but the value to the brand is incredible. Instead, I would ask, ‘Is this something we couldn’t normally have got into? Does it put David in front of a different audience?’” One such audience was the gay market. As the “biggest metrosexual in Britain” – according to Mark Simpson, the journalist who coined the term – Beckham had natural crossover


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appeal and he played on this in his shoots. In a famous instance, he oiled his chest and had his nails painted for a 2002 David LaChapelle GQ portfolio. Equally, he positioned himself as extremely female-friendly, being the first man to grace the cover of both Marie Claire and Elle. His tattoos, which have crept across most of his upper body, are mainly about his wife and children. Undoubtedly, Beckham was a fiercely able sportsman – with his swooping crosses and devastating free-kicks, he is the only English player in history to win championships in four countries – but his brand grew well beyond even his prowess. He didn’t just define hairstyle trends, he helped reshape male culture. As Jamie Redknapp, whose football career spans roughly the same timeframe as Beckham’s, told GQ, “When I first started at Liverpool, if I’d turned up with a wash bag I’d have been slaughtered by the likes of Ronnie Whelan and Steve McMahon. Now, the boys will ask, ‘Has anyone got any face wash or moisturiser?’ All credit to David Beckham, who made that happen more than anyone.” To Tommy Hilfiger, Beckham “unlocked a door for sports fans to care about fashion. A lot of men who are sports fans are not always so fashionable; David cares about fashion but still looks nonchalant.” That influence was enhanced by Beckham’s near-silence. He does do press but, as he wrote in his 2000 autobiography Beckham: My World, “I’ve learnt not to say too much in interviews.” By letting the pictures do the talking, he communicates one thing above all others: simply, his physical form. In Hilfiger’s estimation “women like to look at him, they think he’s sexy and hot, and men, generally, want to look like him” (no wonder that after Beckham renegotiated his Manchester United contract in 2002, he secured an unparalleled £20,000 a week solely in image rights). By dealing in surface, he remains a cipher with which almost anyone can engage, regardless of race, politics or religion. Yet good looks don’t automatically translate into enduring images – why are Beckham shoots so successful? Ask any of the

Beckham is an idol. In Thailand, his image actually appears alongside the Buddha at the Wat Pariwas temple in Bangkok

photographers who have collaborated with him, and they will comment on his work ethic. In the same way that he rose to the top of his game by obsessively practising kick after kick (former Manchester United manager Sir Alex Ferguson once recalled how Beckham trained “with a relentless application that the vast majority of less gifted players wouldn’t contemplate”), Beckham has also learned over the past two decades how to deliver in front of the lens. The photographer Nadav Kander recalls that, “He was much more interested in how to hold himself than I’ve ever found with a sportsman before.” He is so involved, in fact, that he practically directs his own shoots. When Vincent Peters wanted to photograph him as a soldier, the original concept was more elaborate. “I actually had a Vietnam-style metal helmet for him,” says Peters. “But Beckham said, ‘No, I think that’s pushing in the wrong direction.’ He knew exactly what he wanted.” The polish of this one-man brand is insanely marketable. In 2014, a year after retirement, Beckham netted £47.9m, more than any former athlete in the world other than Michael Jordan. Steve Martin, chief executive of M&C Saatchi Sport & Entertainment, says that Beckham’s earning power comes from a smart business move. “It’s very simple,” says Martin. “Beckham has evolved from being a sponsored individual to an equity owner. He’s been ahead of the game, which comes from very, very, very good advice from people around him.” In other words, team Beckham has leveraged his image to secure cuts of the businesses with which he is associated. Take his recent venture with British tailor Kent & Curwen; Beckham’s company, Seven Global, will take five per cent of net retail sales and ten per cent of net wholesale sales related to his involvement. The Beckham phenomenon is celebrity at its most postmodern. He is a triumph of consumer capitalism, idolised in much the same way as the gods of yore. In Bangkok, his image actually appears alongside the Buddha at the Wat Pariwas temple. So it’s fitting that David Beckham is commissioning new pieces by major visual artists, moving him, in the manner of Elvis and Marilyn Monroe, into a rarefied new sphere. Jeff Koons’ idea? A giant pair of golden balls. “We want to have new work that stretches Beckham as a person,” says Andrew Page. “We want to go the artist route, as he hasn’t done that yet. It would be great if, in two years’ time, there are a completely different set of images that move him into a different arena.” Introducing: David Beckham, art icon. David Beckham: The Man opens at Phillips Galleries, 30 Berkeley Square, London W1, on 27 February and closes with a gala VIP reception and auction on 10 March at 7pm. Auction catalogues are available for £10 from Phillips (020 7318 4010). View lots and bid at phillips. com/beckhamtheman. In support of 7: The David Beckham Unicef Fund ( and Positive View Foundation (


© Nadav Kander, courtesy of Flowers Gallery

By NADAV KANDER ‘David Beckham’, 2002 Kanders first attempt at this shoot didn’t go to plan. “Beckham was under contract with Adidas and he’d just broken his metatarsal,” recalls Kander, who took this portrait on the side while doing a commercial project. “As he couldn’t wear his Adidas boots, I wasn’t allowed to photograph him – even though I was only shooting his face. We had to postpone.” Beckham was in favour after his free-kick against Greece sent England to the World Cup finals and was constantly in the news. So Kander shook the camera to defamiliarise his face. MARCH 2016 G


This portrait captures Beckham at a crucial juncture in his life. Shot at the Municipal Bull Fighting Ring in Toledo for Vanity Fair, it shows him a year after moving from Manchester United (the club for which he had played since 1991) to Real Madrid. “I think he felt he was changing. He was on his own a lot and had time to think about where he was going to go next,” says David Beckham’s curator Kathy Adler, who notes the quantity of portraits shot during that period. In the accompanying interview Beckham remarks, “People have said, ‘Oh, you’ll never crack America,’ but it’s not something I’ve set out to do.” Three years later he would sign for LA Galaxy.

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Marc Hom didn’t want to shoot in the suite. “We were in this horrible room that looked like something out of a flashy Las Vegas business hotel – all white with a white piano,” recalls Hom, who took this picture in Madrid for an exhibition called The Fifa 100. “I said, ‘We’ve got to get out of here as quickly as possible,’ so we walked down the corridor. On the way to the kitchen they had this sign. I liked its graphicness.” But it was Beckham who came up with the overall aesthetic. “He saw a picture I had done of Johnny Depp and said, ‘I love this, can we do a black and white image?’ We all have our idols.”

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Mario Sorrenti is best known for nudes; here he brings that same sense of intimacy to Beckham, even though the lens is fixed firmly on the face. Part of a private project shot in London, it features the star’s familiar furrowed brow – a photographic manoeuvre honed across decades in front of the camera. “Throughout my footballing career,” Beckham says of the exhibition, “I’ve seen the power of photography in action.” In his case, it has allowed him to transcend the game entirely.

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Photographs Trunk Archive

David Beckham was once told by a school sports teacher that he would never play for England because he wasn’t strong enough. This photograph, from the same Vanity Fair feature as above, shows the physique that commitment built – one that has won him fans across the sexes. As he tells the interviewer, Steven Daly, “I just woke up one day and someone called to tell me I’d been voted the gay style icon of the year or whatever,” recalls Beckham. “I think it’s quite cool, actually.”

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This is Europe. The conflict in Syria has displaced over four million men, women and children who have been forced to leave their homes in search of another life. For three months last year, photographer GILES DULEY witnessed those taking the dangerous route to Europe – on the beaches of Greece and in the reception centres of Berlin – and documented their flight from the hell of civil war to a cold welcome in the West

2015 saw the return of border restrictions across Europe, which was unable or unwilling to deal with the influx of refugees, asylum seekers and migrants. By the end of the year, hastily built fences stretched across the Balkans. In November, following a decision by Macedonian authorities to shut the border, only Syrians, Iraqis and Afghans could pass. Idomeni, Greece, 28 November 2015







’m sitting having breakfast at my hotel in Lesvos, enjoying fresh fruits, watching the sea. It’s a perfect holiday setting. But, as I sit here by the terrace, a constant flow of humanity passes. For me it’s quite impossible to describe what is happening here. I thought I’d seen most things; I thought I understood the story – but I had no idea. I only arrived Sunday night, but already I have been overwhelmed. Yesterday the weather was good, so the boats came en masse. Maybe 50 boats, packed with nations. The volunteers here said it was the busiest day they’ve seen. Winter is coming – the flow should be stopping, but instead it’s increasing. Children shivering from the cold, distraught mothers passing their kids to the shore, men hugging in tears, old men lifted from boats, a disabled girl helped to land. All of humanity is here. I have not cried at work for a long time, but yesterday I lost it on more than one occasion...” That message came in an email, dated 27 October 2015, and was the beginning of my correspondence with photographer Giles Duley concerning the current refugee crisis in Europe. Giles and I met two years ago at a talk for Julia Hobsbawm’s Names Not Numbers, chaired by GQ, debating the evolution and complex role of the modern frontline journalist. Aside from the quality and power of his photography, Giles is a captivating, original presence on stage, not least as he is able to draw on his own personal experiences while working in areas of conflict: Giles stepped on an IED in Afghanistan in 2011 and as a result became a triple amputee. Even before his injuries, Giles was convinced of what he wanted to do through his work: show the consequences of conflict and to produce a lasting record of what happens to those who live on long after the bombs have fallen and the media cycle, ravenous for breaking news, has moved elsewhere. This particular assignment, just one part of a longer project for Giles called The Legacy Of War, was commissioned in conjunction with the UNHCR, the body that has a mandate to lead and co-ordinate international action to protect refugees and resolve refugee problems worldwide. Knowing the strength of his work – most significantly his ability to bring depth and dignity to complex scenarios involving those caught up in areas of vast conflict – the organisation wanted Giles to spend three months documenting the refugee crisis in Europe and the Middle East. The results of this extraordinary project can be seen here for the first time on these ten pages. From those landings on the black rocks of Lesvos and the barbed and barricaded GreeceMacedonia boarder at Idomeni, to the huge camps in Berlin, Germany, from where over a million refugees will begin chaotic resettlement programmes, Giles bore witness to a displaced people whose journeys make up only a fraction of the biggest humanitarian crisis of our times. The UNHCR’s brief for Giles was simple: take your camera and follow your heart. As a photographer, Giles prides himself on

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capturing human intimacy at a considered distance, giving those that view his work a different take on war, on injury, and, at times, even on death. For Giles, it is through capturing the seemingly banal – a simple first meal, men in conversation, a tender moment between a father and his son – where the heart of a situation might be truly illuminated. Giles’ search for that truth, the crux of what it means to be human amid all this flux, is what allows his photography to rise above the hundreds of news images already splashed on the front pages each and every day. Like Robert Capa’s work during the Second World War or the photographs Dorothea Lange took amid the Great Depression era of America, Giles’ work shown here will survive as a powerful record that will reverberate with raw emotion for years to come. Those first emails I received from Giles back in October 2015 right at the start of this project were different to any I had previously received from him. As he confirmed to me on his return, Giles was finding it hard to deal with the sheer scale of the refugee crisis – 30, 40, 50 boats a day. A tragedy unravelling right on Britain’s doorstep. Whether working in South Sudan, Afghanistan or Angola, Giles has seen war. He has witnessed and documented disaster many times throughout his career. Yet on those cold, chaotic beaches last October Giles was confronted with a crisis that was unfolding before his very eyes. Those that know Giles well, far better than myself in fact, will no doubt mention his ability to see the humanity, even humour, in desperate places where life seems to hang in the balance. He doesn’t only see a landing, or a refugee, a statistic, or a smuggler’s cargo – he sees a human being. Despite having seen so much devastation and disaster throughout his working life it was immediately clear this was unprecedented. And as such this assignment, for Giles, made the work feel even more vital. “I have never worked harder on a project, because a project has never felt more important,” he told me while editing the images for this exclusive portfolio, the captions for which he wrote himself – giving us more insight into his experiences and of those he recorded. “What I wanted to show more than anything else was that these refugees are individuals like you and me, except they have been forced to leave the countries they love.” Working with Giles, it’s easy to see how anyone could be affected. “It has changed me forever,” he explained. “My work also. And the thing to remember is, although this is a document of something that has happened, you will find the same thing going on in Europe, on those beaches, at those border crossings, right now, today. We must look, we must remember and we must act.” UNHCR, the UN Refugee Agency, is a global organisation dedicated to saving lives, protecting rights and building a better future for refugees, forcibly displaced communities and stateless people. To donate, visit

‘This has changed me and my work forever’ GILES DULEY

All captions by Giles Duley. Clockwise from top left: An inflatable boat with nearly 40 Syrian refugees on board drifts helplessly towards the cliffs after its engine stalled. From where we stood, we could hear the screams as the boat took on water from the waves that crashed against it. Lesvos, Greece, 29 October 2015 An overcrowded boat of refugees heads to the shore. Two men had fallen from the boat; they were rescued by volunteer Spanish lifeguards. Lesvos, 28 October 2015 Refugees sit on a wall in shock after landing. Lesvos, 26 October 2015 An Afghan family arrives on the beach, fear etched on their faces following their journey by boat across the Aegean. Lesvos, 26 October 2015 The Greek Red Cross treats an Afghan refugee who is suffering from hypothermia. The boat had partially sunk, leaving the survivors in the water for nearly six hours. Lesvos, 29 October 2015 After landing, a Syrian woman collapses. The boat she had been on had been drifting at sea. Lesvos, 29 October 2015 A father carries his two children from the boat. Lesvos, 26 October 2015 Survivors struggle ashore after their boat carrying Syrian refugees had capsized. Lesvos, 28 October 2015


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‘Each life jacket is a life, a story’ GILES DULEY

Above: Visiting the municipal dump near Molyvos gives a true scale of the crisis. A mountain of life jackets – each jacket represents a life and a story. Shockingly, many of the life jackets, bought in Turkey, are fake. Lesvos, 1 November 2015 Left: Mytilini cemetery, where many graves are marked only with a number. Lesvos, 9 November 2015

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Above: Struggling to find accommodation for the one million refugees and asylum seekers who have entered Germany in the past 12 months, the authorities have been using abandoned and vacant buildings across the country. The irony of refugees living in the Tempelhof, the former airport and symbol of Hitler’s “world capital” Germania, is not lost on those who are now housed there. Berlin, 23 December 2015

Below: “Refugees Welcome” graffiti at the YAAM club. While there has been much hostility, often violent, towards refugees across Europe, one of the lasting impressions I have is of the volunteers making them feel welcome. From saving lives on the beaches of Lesvos, to cooking “welcome” dinners in Berlin, everyday people have stepped up where governments have often failed. Berlin, 26 December 2015

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Clockwise from top left: When his boat lost its engine, Amer was rescued along with 40 others after drifting helplessly in the Aegean. They were mainly families from Iraq and Syria who then sat in shock by the harbour. Amer, who is a tailor from the heavily fought-over town of Kirkuk, took the time to eat his first meal in days. “I don’t understand”, he said, looking around. “They are forcing people to go through this and put their lives at risk. We have the money; why not let us travel legally? Lesvos, 5 November 2015

Many are fully prepared for the journey; others have very little idea of what lies ahead. For this group of Kurds, a tourist map was the first indication that they had landed on an island. Lesvos, 2 November 2015 Those landing by boat usually carry three things wrapped carefully in cellophane – their money, papers and phone. While his friends mock him, a Syrian refugee dries his money after forgetting to wrap his wallet. Lesvos, 30 October 2015

‘Why not let us travel legally?’ AMER, SYRIAN REFUGEE, NOVEMBER 2015

When the refugees land in Lesvos they have little with them. What possessions they had are normally thrown into the sea by the smugglers to make room for more people on the boat. Cold, wet and often in shock, they have to make the journey to the first registration points on foot, with just emergency foil blankets to protect them from the cold. Lesvos, 28 October 2015

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Clockwise from top: At a squat hosting refugees in Athens, children’s drawings cover the walls. Many, like this one drawn by an Afghan child, recall the horrors left behind. Athens, 24 November 2015 After Macedonian authorities imposed border restrictions to all except Syrians, Afghans and Iraqis, many from other nationalities found themselves stuck in limbo. In protest, some Iranians had sewn their mouths shut. Arad, a young Iranian prepares to join the protest. Idomeni, Greece, 30 November 2015 Iraq children street dance waiting at a petrol station where 2,000 refugees were stuck. Idomeni, 6 December 2015 Stuck on the border, Sara, Mohammad and Asea from Homs, Syria, try to keep warm in donated clothes as they prepare for another night without shelter. Idomeni, 3 December 2015

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Clockwise from top left: The distance from Damascus to Berlin via Lesvos is 1,790 miles, from Kabul 3,384 miles. After a journey that has taken months, dealing with smugglers, the crossing of the Aegean by boat, borders, nights without shelter and days without food, the refugees finally arrive at Schönefeld Station in Berlin. The last part of the journey is known locally as “the train of hope”. Berlin, 27 December 2015 A Syrian refugee with the wristband he had to wear to gain access to his camp. For many it’s a stigma that identifies them as refugees. Berlin, 26 December 2015 Hassan, who is just 14, is one of thousands of minors who make the perilous journey through Europe unaccompanied. Normally the family can’t afford for everybody to travel, or other family members are too weak or vulnerable. Hassan’s family were desperate for him to get an education and hoped that at least he would have a future. Berlin, 26 December 2015

On Christmas Day, at a meal organised by volunteers in Berlin, Bahjat, a Syrian refugee, shows footage he filmed when crossing by boat to Lesvos. As he filmed his journey across the Aegean, I had been on the shore photographing the boats arriving. Berlin, 25 December 2015

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Night time at the border crossing between Greece and Macedonia. Idomeni, Greece, 30 November 2015 A refugee peers from a train in Macedonia. I asked a young Syrian man why he had travelled to Europe when many of his friends and family had stayed. “It’s simple,” he replied, “I was the first to give up hope. I was the first to realise there is no more Syria.” Macedonia, 28 November 2015

‘We must remember. We must act’ GILES DULEY

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David Bowie 1947-2016





ews of David Bowie’s death whereas Bowie reconfigured his environment. He arrived like news of his surhad a voracious appetite for exciting developments prise comeback almost exactly in music, cinema, fashion, media and visual art three years ago, in the early and the strength of vision to mould these whirling hours of a bleak January influences into records that were unmistakably morning. This time, however, David Bowie. You could argue that a genius is a bulletin from Bowieworld someone whose extraordinary world-hunger is made the morning even equalled only by their capacity to harness it. bleaker and the disbelief was horrific rather than In this way, Bowie was the greatest ever ambasmagical. In our house, like so many others, it sador for pop music in all its exhilarating variety. wrenched the day out of joint. My wife burst into His pioneering gender-fluidity sprang from his tears, my oldest daughter sang “Life On Mars?” sense of the self as an entity in constant flux. and I had the same reaction as if I had lost a friend To Bowie, life, like art, was a series of successful performances. You can be whatever you say you or family member rather than a pop star: a stubborn, instinctive “No”. are, over and over again, provided you are enterIn pop terms, Bowie’s death is a hole in the sky; taining and persuasive enough. As he ricocheted a disturbance in The Force. It’s customary when a unceasingly between roles and genres and congreat musician dies to play some of their songs in tinents, he gave his dazzled fans the impression tribute but we are always listening to Bowie, and to that the possibilities were limitless. people inspired by Bowie. He’s one of the elements He was an avatar of pure liberation, demonthat constitute the air that pop music breathes. strating what a playground life could be, what The radio played “Space Oddity��� but it could have spectacular things you might achieve, how many played any of a couple of dozen peerless songs different personalities you could inhabit. Whether and they would have been no less representayou were a fellow musician or just a fan – though tive. Today, as ever, you can’t pin the man down. he always believed that there was nothing “just” Bowie may be the most powerful argument for about being a fan – he opened doors that revealed a “Great Man” theory of pop. You can talk about whole new rooms you never knew existed. Why be normal when you could be everything? broader cultural energies and inevitable trends, but music wouldn’t have changed as quickly, or Bowie knew he had cancer all the time he was as excitingly, without Bowie in the forefront, making his latest album, ★, but he withheld the driving it on with his vast, overheated imaginews. His final gift was to allow this brilliant album nation. He was often in the vanguard; at times to be received on its own merits, undistorted by a he was the vanguard. Each of his classic albums sense of finality and the sentimentality that comes presented younger artists with a toolkit, a map with it. For just three days after its release on and a message that he summed up in his generFriday 8 January, it sounded like someone racing ous, baton-passing anthem “Rebel Rebel”: “I’m forward rather than looking back and you could moving on. It’s up to you now. Looking back, you imagine that yet another new phase had begun. can hardly believe how fast he moved.” Now it transpires that he knew this would be “I can look back on a song that I’ve just written his last record, which makes its fearless strangeand it means something entirely different now ness even more impressive. He left us in mid-leap because of my new circumstances, but, theatrical to the last, perhaps he Watch that man: new this or that,” he said in 1972. Just furnished the stage for his exit. Today A selection of the image on the ★ sleeve strikes the look at him go. David BowieOn Radio 4’s Today programme, eye as an elegantly minimal memorial: related images from GQ Editor John Wilson said it was a fallacy to call a void in the shape of a star; a stark, Dylan Jones’ Bowie a chameleon because chameleimposing reminder of everything that #dailybowie Instagram updates is suddenly gone. ons blend in with their environment 208 G MARCH 2016

Photographs Brian Aris; Rob De Bank; Hayden Kays; Markus Klinko; Craig McDean; Elise Remender



Bowie opened doors to rooms you never knew existed. Why be normal when you could be everything?




BILLY WALSH Jacket by 3.1 Phillip Lim, £615.

FASHION Suit jacket, £3,890. Tie, £150. Both by Brioni. Shirt by DSquared, £240.

T he We ek n d :

Of f the wall Welcome to the beautiful, dark twisted fantasy of Abel Tesfaye. GQ celebrates the rise of a Grammy-nominated, supermodel-dating superstar who – after years of shunning fame – finally embraced his destiny to become the coolest pop writer, producer and singer in the world MARCH 2016 G

I f you’ve only just discovered emo R&B surrealist Abel Tesfaye, the 25-year-old Canadian singer who goes by the name of The Weeknd, then you could be forgiven for thinking he’s just another egocentric Michael Jackson-mimicking young pop prince looking for fame’s quick fix, a sort of nihilistic Justin Timberlake type for the navel-gazing Twilight generation. On the contrary, the man you’re looking at, and no doubt listening to, is contemporary pop music’s most exciting new star. Yet superstardom has only just begun to sit well with the young singer. In the past 12 months, having released Beauty Behind The Madness (his second studio album, which features guest appearances from the likes of Ed Sheeran and Lana Del Rey and is produced in part by Max Martin, the man largely responsible for making Taylor Swift cool beyond the school gates) Tesfaye has seen the sort of success that he once would have shuddered at. Back in 2011 – a time before Tesfaye grew out his now trademark haircut, those dreads that resemble a malfunctioning Walnut Whip – the singer wanted nothing more than to stay in the shadows and make murky music that mirrored his wild lifestyle. He made and released three mix tapes – House Of Balloons, Thursday and Echoes Of Silence – each of them darker, dirtier and danker than the previous. His sound was both erotic and menacing, the sort of music Patrick Bateman from American Psycho might make if he too grew up as the son of Ethiopian migrants in Scarborough, Toronto, with no father figure and a penchant for party drugs. Those first releases garnered some interest, not least from fellow Toronto native Drake, who would recruit Tesfaye to help him write several songs on his own record Take Care, released in 2011. Although he enjoyed such creative dalliances – his first real chunk of change and a chance to move his mother out of the tiny flat they once shared – Tesfaye wanted nothing more to do with fame (for example, building a profile) something which millennials are supposed to want almost instinctively. Even after signing to a major label (Republic) in 2012 and releasing his debut album, Kiss Land, in 2013, he shunned interviews and avoided falling out of orange Lamborghinis with supermodels. “I always hated how I looked on camera,” he commented. “I never put a face to my music, which actually made the music that much more mysterious.” Although the critics swooned at this dark angel’s cocky nonchalance, spectacular commercial success was visibly lacking. Kiss Land sold only 275,000 in the US and radio was wary of Tesfaye’s twisted, threatening lyrics and sludgy slow-mo beats. There’s no doubt he had a solid fanbase – and they came out and packed arenas for him when he toured the US – but even the singer could feel that his reach wasn’t exceeding his grasp. Towards the end of 2013 the artist swallowed his pride and sought counsel from Wendy Goldstein, the head of urban A&R at Republic. Tesfaye could sense he was underperforming and wanted a cure. “I said, ‘You wanna be the biggest in the world?’” recounts Goldstein of that pivotal meeting. “He said, ‘I absolutely wanna be the biggest in the world.’” From that moment Tesfaye dedicated himself to being more open minded about making music. Going to work on Beauty Behind The Madness with Martin in Los Angeles towards the end of 2014 seemed to unlock something within the singer that allowed him to break free of the anxious fug of his previous releases. With tracks such as “Can’t Feel My Face”, and “The Hills” Tesfaye finally realised he could make sophisticated, cool-sounding pop music that people actually want to dance to, something his hero, Michael Jackson, achieved three decades ago with Quincy Jones. There’s no doubt that 2016 will be The Weeknd’s biggest year yet. This month there are two Grammy nominations, while in June he will be touring the UK alongside Rihanna. Such high-profile appearances, combined with his relationship with rising model star and pap-friendly socialite Bella Hadid, will mean Tesfaye had better get used to all the extra attention. The Weeknd: a dark star, dragged into pop’s bright white light, with truly excellent hair.

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t he




world ’ Jacket by Jan-Jan Van Essche, £715. At Opening Ceremony.

Jacket by Bape, £750,

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He f


realised he could make sophisticated pop music people want to dance to Jacket by Blackmeans, £1,200. At Opening Ceremony. T-shirt by Cos, £49. Chain, Abel’s own






Jacket by 3.1 Phillip Lim, £615. T-shirt by Cos, £49.

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It was the music Patrick Bateman would have made if he had been the son of Ethiopian imig ra nt s

Jacket, £1,085. Trousers, £251. Both by Prada. T-shirt by Cos, £49. Chain, Abel’s own Hair Devon Brooklyn Charles Make-up Carolina Dali at The Wall Group using Tom Ford Photographer’s assistants Seth Goldfarb; Rafael Rios Stylist’s assistant Krystle Rodriguez Production Julia Reis

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How to be a


It once took two generations, but in our omni-changing world two pages suffice. From dressing to kill to Netflix and chill, the voices of GQ compile a new miscellany of manners. So pay attention, because a gentleman... Remembers to walk on the outside of the pavement. For preference, is a “switch”.*



Jonathan HEAF

Has at least two jewellers in his little black book.


Never suggests chemsex on the first date.

Must have great music (even if it is judiciously “stolen” from SoundCloud).


Has skinned up while sitting on the bonnet of a moving car, but not for ages.

Always gives money to buskers, regardless of musical quality.

Almost always tries to do pull-ups on the rail when he finds himself on an empty train carriage.

Holds doors open for men and women, but only smiles at women.

Knows the best florist in town. Is unafraid to hire people more talented than himself. Only parades his “mankles” between the months of June and September.

Never reads fiction unless facing an ocean. 2

Rebecca NEWMAN Never tells you how many times he’s changed his sheets that week. 218 G MARCH 2016


Danny WALLACE Will never, at closing time, engage in the group singing of “Wonderwall”. Will not immediately forget someone’s name the very second they told it to him. Will not wear brightly coloured socks, no matter what GQ says he should do. Will hold a door open for anyone, whatever their sex, whatever the consequences.

Shall not swipe left on instinct alone.

Always makes conversation with the Uber driver. Doesn’t know what the hell his other half’s new poncho thing is all about, but knows better than to ask.

Can broadcast a vodcast to a Chromecast without the need to show off about it.

Prefers books to newspapers. Pretends to understand the bags and shoes thing.

Doesn’t find Donald Trump funny. At all. 6

Jonathan GOODAIR Listens more than talks. Is not threatened by going Dutch with a female.

* A “switch” is someone happy to take either the dominant or submissive role within a sexual relationship. But then, you knew that.


SELF-HELP Builds flat-pack furniture with his daughter. Has a Facebook page with no content. Doesn’t do flip-flops.


Tony PARSONS Should not be afraid to own a small dog, because he is the one who bites. Should never stare at his phone when he could be staring at the face of the woman he loves. Should be prepared to die for the things he lives for. Should aim to keep his cock hard, his hair on and the fat off.

Should always refrain from self-pity and dessert. 8

Bill PRINCE Is never late. Always knows what he is drinking. Leaves his watch resting on its crown. Never uses “boss”, “mate” or “pal”.

If asked to put his career before his relationship, chooses the career.


Paul HENDERSON Uses his mobile only when he needs it, not as a social crutch. Drinks enough to have fun, but not so much as to become a figure of fun. Shouldn’t sing, cry or scratch himself in public. Doesn’t have a name for his car. Or his penis. Doesn’t just take it because it’s free.


Luke LEITCH Will never carry a bag longer than it is wide (unless it contains a suit). Does not wear a tailored jacket whose skirt ends any higher that four inches south of his coccyx. Has never confused the word “empower” with the name of an energy provider and gets that “fourth wave” is not a surfwear brand. Can articulate his admiration for a woman without it being reasonably interpreted as a form of assault.

Always reads the contract. 11

Nick CARVELL Writes thank you letters (using a fountain pen rather than a ballpoint). Doesn’t wear underwear with a brand name on the elastic. Knows that life is too short for slimline tonic. Will never, ever go for a spray-on tan.

Isn’t ashamed of owning a body trimmer. 12


Has only ever seen a selfie stick once and assumed it was a golf club.

Never mentions Jeremy Corbyn on a first date. 15

Shares his Netflix login.


Only uses the aubergine emoji to describe aubergines.

Can wear brown shoes with a black suit.

Never “ghosts” (or ends relationships by disappearing).

Wears a mechanical watch as well as a smart watch.

Has found his haircut.

Can cook a perfect pavlova.


Charlie BURTON Doesn’t question the purchase of a “spiraliser”. Is no longer on Tinder – but has just signed up for Bumble. Can explain what’s happening in an NFL game. Would never invite friends over for dinner then order from Deliveroo.

Understands the virtues of the cocktail cuff. 14

Victoria COREN MITCHELL Can watch The Bridge without needing the subtitles. Gives up their seat on the Tube for transgender women. Can dance the samba, but doesn’t.

Only sports swimming trunks he could comfortably wear in a bar.

Has a signature scent. 16

Stuart McGURK Never has more than three devices on him that need charging. Never takes the free Daily Mail on the plane. Treats anyone bad-mouthing Gary Neville as if they’ve suggested David Attenborough and the Queen are forming a terrorist sleeper cell. Knows “hoverboards” are the greatest threat to humanity, followed by Isis, Donald Trump and Josh Widdicombe.

Knows “Netflix and chill” is a state of mind. MARCH 2016 G 219

Yes, Madam President Hillary Clinton may be the most unpopular frontrunner in the history of US politics. Despite scandals, low poll ratings and the disloyalty of her own Democratic party she seems certain to claim the White House in November. So what – or who – has galvanised this coalition of the unwilling behind her? (Hint: he has mad hair...)


Photograph Getty Images

Rally round the flag: Presidential candidate Hillary Clinton speaks at the Iowa Democratic ‘Wing Ding’, 14 August 2015



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Barring the unknowable and unspeakable (more on that later), Hillary Clinton will be, in what I think is virtually every reasonable person’s estimation, the president of the United States a year from now. his near certainty and rare political foreknowledge has so far got relatively little attention because the Donald Trump show (and possible apocalypse) is so much more compelling – a circumstance that transcends mere tedious politics. And, too, because Clinton’s inevitability continues to seem like bitter medicine. It may even be fair to argue that it’s Hillary Clinton who has made Trump possible: that Donald is the last gasp of political uncertainty and thrills before a certain and cheerless Clinton takeover. She is, as polls regularly remind us, one of the most disliked and distrusted people in the United States, her name curdling good humour and milk everywhere. The US electorate, quite pointedly, did not elect her once before when the election seemed hers for the taking. If she is electable, she is, too, rejectable. It is one of the things that makes people recoil from her: she can’t take the hint. It’s stomach-turning to witness someone who is so constantly vilified. Certainly Clinton is not one of those people who carries enmity with a jaunty joie de guerre (one of the decidedly Trump virtues). To look at her is to have a pretty good idea of her pain. Enduring a public life of humiliation and hatred has rather become her calling card and leitmotif: I can take anything you can dish out. Or, really, I can survive anything you can dish out – as one might survive the cruellest torture, marked forever. It is, in the end, part of what we who admire her admire her for, however begrudgingly. She has been crucified and risen from the dead many times. For all the Republicans who curse her for not being brought down by what surely would have brought more ordinary politicians down – and who assume that she could only have survived on the strength of dastardly conspiracies and Faustian deals – there will be more Democrats who understand that by the mere fact of not being brought down, she deserves to win, or if not deserves, at least defaults to the win. You have to give it to her.

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She’s just unkillable. If on 8 November she is still standing (and beyond the unknowable and unspeakable, she seems certain to be), she wins, having exhausted everybody. She will take with her into the White House a band of retainers and loyalists who, like her, reflect a survivor’s view, which roughly translates as, “We have been sorely tried and tested and, with the greatest fortitude, have proven that we are different from other mere political mortals, so f*** you.” It is another thing that so infuriates Clinton opponents as well as the political culture in general: the Clintons function as a world apart. You are a member of the Clinton club, for which you have to prove yourself and, in some sense, be born into, or you are not. The Clintons are one of the most closed political organisations operating in America today. It is a kind of secret society. It’s a strict, if often dysfunctional, extended family: our

The family business: Joined by husband President Bill Clinton and singer Katy Perry, Hillary Clinton holds a campaign rally in Des Moines, Iowa, 24 October 2015

experience as Clinton loyalists, the most existential and embattled folk in American political life, is unlike any other, so don’t ever try to pull rank on us or to assume you can ever truly be one of us. It’s all very Mafia. One of the frustrations of the Republicans is that they have been mostly unsuccessful in equating the word Clinton with Mafia, which, to them, seems so head-smackingly obvious. The historical point can hardly be missed (although it often is), that the age of killer politics, of take-no-prisoner politics, of politics being war instead of professional calling, begins with the us-against-them fatalism of the Clintons. The fact that Hillary’s election will be a restitution of the Clinton White House, wholly subsuming impeachment, shame, excess and, to boot, vindicating Hillary Clinton’s own personal mortification and victimisation, adds further psycho-political drama to what is sure to be a powerful revenge opera. More prosaically, it is always payback time with the Clintons. he Hillary inner circle, notable not just for its loyalty to her, but her’s to its members, certainly comprises a frightening list of resentments, grudges, bitter memories, sycophantic loyalty, personal survival stories – that is, Clinton business as usual. There is Huma Abedin, whose professionalpersonal relationship with Clinton is so complex – crossing over State Department, campaign and Clinton Foundation lines – that no org chart could accurately describe the nature of the relationship or Abedin’s actual job function at any point in their long history. Perhaps most notably, Hillary and Huma are united in the weird shaming ritual of modern politics. Abedin is the wife of Anthony Weiner, the former congressman run out of office for sending penis pictures across social media. Then Cheryl Mills, whose promising career as a young lawyer began with the Clintons, and might reasonably, over the almost 20 years since she came to prominent notice, have turned her into a leading legal or business figure. Instead she has remained a Clinton functionary. Her forays into the wider professional world, in media and education, seem only to have served to draw her back to the Clinton flame. The Clintons are her one and only real client. And Sidney Blumenthal, the political journalist who found his way into the first Clinton administration, and became central to it through his access to Hillary, in particular. For more than 25 years, he’s been hatchet man, whisperer and courtier, often making almost Zelig-like appearances in the various Clinton legal messes. Christopher Hitchens accused him of perjuring himself over press leaks about Monica Lewinsky, getting him hauled before congress. Last year, hauled before congress

Photographs Getty Images; Reuters

MICHAEL WOLFF again, his emails and testimony became a prime evidentiary point in both the Benghazi (a 2012 attack on US diplomats in Libya) and the Clinton email scandals. Notably, when Hillary Clinton became secretary of state the Obama administration specifically forbade her to bring Blumenthal with her. Hence, he went on the Clinton Foundation payroll, from where he continued to advise her. The highest echelon of her campaign operatives represent the closed society of Clinton professionals: Mandy Grunwald, John Podesta, Jennifer Palmieri, Neera Tanden and several dozen more have not so much made their careers in politics, as made their careers as Clinton people. On the other hand, having spent time either in the White House or in the long-term shadow administration, they are professionals, quite a unique condition among the many White House staffs of recent years (George W Bush hired professionals such as Dick Cheney and Donald Rumsfeld, but they were so much more professional than him that it often seemed there were multiple presidents). As much as Clinton offers neither inspiration nor excitement, there is, for many, something of a secret hope that maybe, immersed in a life of political intrigue and deadly power games, she has actually learned something. We’ve made an investment in Clinton, so we might as well reap the rewards. Clintonism represents a body of experience, however low and grubby, that reflects the cold reality of American politics. There can not be, for the Clintons, many illusions left. Indeed, as the larger political parties have increasingly broken into distinctive subsets, the Clintons have come to represent a separate party within the Democratic party. The virtue, to some, is that the Clinton subset, quite different from most others, is not ideologically driven. That’s another point of critical frustration for a good part of the political world: as ideology has become the modern political driver, it is the Clintons, believing practically speaking in nothing but themselves, who prevail. Or at least keep going – and going. That view of politics as a tawdry, cynical affair, designed entirely to perpetuate itself, which has in part resulted in the counteroffensive of ideological purity, is perhaps most specifically a view of the Clintons. That’s what the Clintons are hated for, and yet, the possibility that what you see is what you get is in many ways a good alternative to Obama’s “what you got was not what you bargained for at all”.

uriously, many Democrats have acceded to Clintonism not because of their cold practicality and political professionalism, but because the Clintons are the sworn enemy of the right. The Clintons, in other words, while hardly being


The Clinton club: Hillary with her inner circle, Center For American Progress co-founder John Podesta, and the Center’s president Neera Tanden, 24 October 2015; (below) her long-time aide Huma Abedin

Clintonism represents a body of experience, however low and grubby, that reflects the cold reality of American politics

left, have been defined as the opposite of being right – the enemy of my enemy being my friend. That’s largely been true up until now – but this is where we enter the territory of the unknowable. The most characteristic aspects of the Clintons, a political couple who might otherwise largely see themselves as practicalminded centrist consensus builders, is, of course, how much personal hatred they inspire. While that has seemed to be most virulently a right-wing phenomenon, heretofore uniting the Democrats around them, Clintonhate has now emerged as a powerful emotion on the left. It’s almost a binary break – this sizeable part of the Democratic party, as much in some polls as 30 per cent, that cannot abide her. That is

one disadvantage of a virtually unchallenged campaign. There is no process for arriving at a decision to actually accept her, to weigh her virtues as greater than her failings. Rather, in a display of all the worst aspects of Clintonism, Hillary Clinton is a fait accompli. History, or the fates – aka, some deep, insidious power dynamic – has let her avoid a competitive race. What is the left to do? Bend or bolt. So far during this election, the left, first in its flirtation with Massachusetts senator and anti-Wall Streeter Elizabeth Warren, and then with socialist candidate Bernie Sanders, has headed ever more left. It almost seems that the more efforts Clinton makes to move left, the farther the left moves – just to get away from her. Hence, the left becomes more polarised in its anti-Clintonism, leaving Hillary, herself having moved with some desperation significantly left, more vulnerable. In a volatile election – to make quite an understatement – with ten months to go, and with at least six months of maximum volatility remaining, what are the chances that the left, sharpened and emboldened by its antiHillaryism, will organise an insurgent independent-party campaign against her? As bending becomes more and more distasteful and antithetical, bolting becomes more and more possible and logical. The unspeakable, and, even now, practically unimaginable, is that Donald Trump will be the Republican candidate. While the continuing assumption is that the out-ofcontrol Republican train will be brought to a safe stop, the train-wreck scenario is now equally plausible. Trump as the candidate, with his uncanny powers of embodying whatever most represents anger and negativity, becomes the ultimate Clinton hater, the antiHillary embodiment. If, on the other side, the left continues to find its raison d’être in Clinton hatred then, in an extraordinary demonstration of democracy’s weakness, Hillary’s intolerable inevitability could actually make Donald Trump president. But this could also mean that the Clintons will be able to assemble a fantastic coalition of the reasonable, fair-minded and emotionally sound, both Democrats and Republicans, that will have no choice but to turn to the Clintons as the only people who can stand in the way of national disgrace and absurdity, confirming, once again, that Clintonism is, however infuriating, the only practical and successful idea in American politics.


For these related stories, visit

‘Women. What Do I Know?’ (Michael Wolff, February 2016) Jeremy Corbyn Is A Genius (Michael Wolff, January 2016) The 140 Characters Of Rupert Murdoch (Michael Wolff, December 2015)

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t ITN’s News At Ten morning conference the no-nonsense editor Laura Holgate drives the conversation among the handful of execs, but the man on her left is unmistakably the power in the room: a presenter who offers a forceful view on almost every item on the schedule, from the release of the new Bond movie to the latest development on the refugee crisis. After 25 years at ITN – and having done almost every job in the building – Tom Bradby had a very clear idea, when his bosses came knocking, of how he thought the flagship programme needed to adapt if it was to survive the changing tide of TV news. They liked what he had to say and announced that Bradby would replace Mark Austin and Julie Etchingham to front a totally revamped bulletin. He now holds a position unprecedented in British TV news as solo anchor, reporter, analyst and co-scriptwriter. Bradby knows that if this reboot of a oncebeloved brand goes wrong, the finger of blame will be pointing in one direction only. He talks down the importance of the ratings but knows, of course, that he risks becoming TV toast if they slide significantly. As we sit in his tiny office, I ask Bradby how the nerves are holding up. “I felt pretty tense from the moment I signed the contract until about 40 minutes before I went on air for the first time,” he says, adding, “Getting the job caused a fair bit of disruption for others and I don’t enjoy that kind of thing. And people taking a view on whether they like it or you – or not – is quite stressful, but I believe in what I do and I’ve always liked a challenge.” The wider issue for Bradby and ITN is do enough people still give a monkey’s? In the multi-platform, digital world of instant rolling news, a fixed bulletin such as News At Ten – for ITV or the BBC – looks increasingly irrelevant. At its peak in the early Nineties ITN regularly drew audiences of seven million. Today it is more like two million. The suspicion is we are heading into the “and finally” era of the late-night TV news bulletin. Bradby, unsurprisingly, takes a different view and says, “I absolutely believe there’s an opportunity to provide and protect that moment. We are unashamed about the fact we


are trying to be the most thoughtful, intelligent news programme on television. “The ITN brand, when I joined, was a major part of public life. [Recently] it was still a very good programme but I don’t think anyone would say it occupied the place in public life it did in 1990. And we’d been hammered in the ratings by the BBC. We know the history of what went wrong, but the chance to try and return the News At Ten to the one I found when I arrived here – bold, innovative, insightful and thoughtful – was too good to miss.” What went wrong in 1999 was a scheduling surrender to the BBC with the result that ITN’s News At Ten now attracts less than half of the corporation’s audience. ITV bosses believed then that the 10pm slot was too commercially valuable to leave to a programme that was good for the corporate cred, not so good for the balance sheet. They replaced the news with entertainment programming but later reversed the decision after a public and political outcry. What followed was a confusing mess as ITN dipped back in and out of the 10pm slot. Meanwhile the BBC tank ploughed on, and other 24-hour news channels, including CNN and Sky, established new audiences and changed viewing habits. Doing well again, due to sound management and clever programming, ITV can now afford to reinvest in news – for the cachet if not the cash. Bradby says, “Look, in five years time we obviously would have loved to have closed the gap with the BBC. But news in an ITV context is not commercial, bluntly. ITV makes quite a lot of money, it’s very successful. News is what it does because it feels it’s an important part of a public-service broadcasting channel. ITV wants to say, ‘At the top end of the spectrum we do Broadchurch, Downton and News At Ten.’ I don’t recall a time in 25 years when we’ve had a more supportive and enthusiastic management at ITV.” Bradby and others – including culture secretary John Whittingdale – now ask if the BBC’s Ten O’Clock News should be forced to vacate the all-important slot to allow ITN to prosper once more. There are clear signs that Whittingdale’s comments – and the ITN revamp – have caused tempers to flare at the BBC. The usually unflappable Huw Edwards raised eyebrows when he rather petulantly

‘I was a bit surprised the BBC responded in the way they did. You would think they would welcome a little competition’

Anchorman 2.0

Irreverent and opinionated, TOM BRADBY is tearing up the rule book on News At Ten. GQ meets the man taking the fight to the BBC S TO RY BY





This just in: ITN’s Tom Bradby, once News At Ten’s political editor, is now its solo presenter as part of a complete revamp of the TV institution

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he new News At Ten includes an informal presenting format that allows Bradby to ad-lib – a style which has prompted Marmite-like reactions on Twitter since his first appearance as anchor in October. “We’re trying to make it one conversation with the audience from the first ‘bong’,” he says. “It’s a collegiate thing and I work with a great team, but I’m the guy reading it out and it has to be an authentic take on the world that I 100 per cent believe in and have been passionately involved in. I am being a bit more judicious about the ad-libbing now, but I think it’s good for the viewers to see the anchor is alive – and I like the jeopardy. It’s a step back; a final take on the day with intelligent thought, analysis, context; the place where it should all make sense. Combined with our greatest tradition which is visceral, on-thespot eye-witness storytelling.” Not a lot different to what the BBC already offers, one might argue. Bradby bridles at the suggestion. “I think if you look at the history of the BBC and ITN we’ve tended to be more engaging and more innovative. And led by Geoff Hill (editor of ITV Network News) we’ve seriously rethought a few things. I’ve never understood why the language has been so Fifties, so formal. We’re pushing very hard on the scripting and that’s where most of my energy goes. And we’ve changed the way we do two-ways between the anchor and the reporters... It’s completely false, so we’ve tried to redesign them in a more conversational way. I’m the conductor, but it’s all about the experts – we need to build their authority.” Another, more subtle change comes from Bradby’s view of the world. On the face of it a classic product of the establishment – the clean-cut son of naval officer Dan Bradby, a former public schoolboy – he is, in fact, a more complicated character. An only child, he was heavily influenced by his mother, Sally, who lost her battle with cancer three years ago. “My mum found the idea that I was an establishment figure very funny,” he says. “I was the most rebellious pain in the arse at school. Mum was a bit of a revolutionary socialist and was the ultimate humanist. She


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was really liberal and pretty well to the left, despised snobbery, racism and homophobia. That humanity was drilled into me and I find tribalism of any kind really weird.” One nod, or perhaps bow, to the establishment is Bradby’s friendship with Prince William – a long-standing relationship that led to him securing the only interview with William and Kate when they became engaged. “The interview was a big global thing,” Bradby says. “I’m not sure it bears great scrutiny, but I got it. I’ve always tried to build relationships without calculation – you could say, ‘Oh that’s bollocks!’ and, of course, it did occur to me that building a relationship with Prince William might be useful to the rest of my journalistic life. But I’ve tended to gravitate towards people I like, who have humanity. My mother hated that calculation and she particularly hated people who kissed arse, especially the arses of those who were powerful. I suppose that stuck with me. William has his proper friends and I am not one of them. I’m a friendly face in the media and someone he can talk to if he wants to.”

their judgement or integrity,” Bradby says. “Is it hypocritical to run those kinds of stories because others have and it’s become a talking point? Maybe. But no one here wants to go that way because we’re not selling papers or even air time. We’re here as a reputation enhancer for the channel. By definition everything you’re doing needs to fit with that rather than just trying to interest people.” What about stories involving drugs? “I don’t think people care much about whether their politicians took drugs when they were younger. George Osborne turned the question back on me once and said, ‘So have you ever done drugs?’ And I quite happily said, ‘Er, no, actually.’ I’m pretty unusual for my generation and that probably makes me a bit curious and weird. I think people aren’t that interested in a politician’s private life unless it really affects their judgement of that person.” Politicians such as Tom Watson may find it harder to get stories they break under the protection of parliamentary privilege – like the Leon Brittan affair – covered on the News At Ten. “We’re interested in what is right, what

Associated press (from left): Bradby with the prime minister for a pre-election TV portrait – Spotlight David Cameron: Tonight – 8 April, 2015; Bradby’s exclusive interview with Prince William and Kate Middleton, in which the couple announce their engagement, 16 November 2010

After ten years in the Westminster bear pit, what conclusions did he reach about our MPs? “The massive cynicism about our politicians is unwarranted and in some cases the media does more to cause that than is really right,” he says. “Fair enough to be sceptical and some things that happen are absurd to the point of being funny – for example, repeating the same phrases like ‘long-term economic plan’ over and over again. I’ve tried to take the piss out of them for it, but then I think that does their job for them. All that said, one of the real pleasures of the past ten years has been getting to know a lot of politicians, decent people overwhelmingly for the most part. Where I saw abuse that I thought was really wrong I tried to paint a different picture. But part of the job is to hold people to account and be energetic and irreverent in doing so. There’s no nose we’re afraid to get up.” Will that include coverage of a politician’s private life – jumping on the back of stories usually broken first by newspapers? “Morality is important when it causes people to question

has truth and what has integrity,” Bradby says. “To be fair to Tom Watson, he got carried away. The things that people got away with in church, schools etc were horrific. I think the question therefore is did he get carried away or was he using a genuine concern to pursue political goals? If someone is using a criminal case for politics then that’s something we would want to question.” Would Bradby have sent up a helicopter over Cliff Richard’s house if the police had tipped off ITN and not the BBC with news of the raid? “No, it was a ridiculous overreaction,” he says. “This was a criminal investigation – you don’t know where it’s going to go. Instinct tells you to treat this in a measured fashion, to not go over the top.” During his ten years as ITN’s political editor, Bradby has been accused – in part because of his public-school background – of Tory bias. “I don’t have a coherent set of political views. I’ve voted lots of different ways,” he says. “My view is sometimes you need a bit of this and sometimes you need a bit of that.”

Photographs WENN; Planet Photos

pointed out on Facebook that Bradby had “conspired” to lose millions of ITV viewers. His comments played straight into the hands of his rival who, like any underdog, stands to benefit more from a public punch-up. “I was a bit surprised they responded in the way they did,” Bradby says. “You would think as the bigger dog they would welcome a little competition. We just want to get a hearing and that seems to be happening now. Would it be helpful if the BBC moved from 10pm? Of course it would. But it’s for the politicians to decide. In my ten years in politics all parties moaned at me about BBC dominance. And I heard more of those complaints from Ed Miliband than Number Ten.”

TOM BRADBY Bradby hosted ten hours of live election coverage in May, so how does he explain the result? “I think people made their decisions around 2010 or soon after. Thoughtful Labour people believe that the day Ed Miliband ripped up the speech David Miliband would have given was the day it all went wrong. He was going to acknowledge the mistakes that Labour had made with the public finances. The unsurveyed, intelligent but not that interested public never put that doubt to rest. “If you’d followed the election on Twitter alone, you would have reached a conclusion about the result that was wrong. The truth is there are a lot of people who are not on Twitter, who do not respond to opinion polls and we don’t know what they think. Maybe half the population. As a journalist, Twitter can be very dangerous because it can give you a misleading sense of what the public are thinking. That’s especially true with politics.” Despite this view Bradby is not shy of turning to Twitter himself and did so most famously after an appalling incident last summer while on holiday in Greece. Waiting

“Claudia and the kids were very upset and I was shaking with anger. The officials around the harbour had just given up. I don’t know if it was the right thing to do, but the thought occurred to go on to Twitter. I suppose if it’s for anything it’s for ranting against officialdom. I expressed the anger we were all feeling.” It later transpired that the man had killed himself in anguish after his wife had died of cancer. “After my mother’s death, it could hardly have been more apt in some ways,” Bradby says.“It was just a shocking, frustrating and very sad thing to witness.” It was not Bradby’s first moment of drama abroad. In 1999, while covering a riot in Jakarta, he was seriously injured when a flare hit his leg – an incident that caused him to re-think his path. Bradby says, “I thought I might lose a leg but I knew that, although it was bloody agony, I wasn’t going to die. But I made the calculation, as I was recovering, that I wouldn’t take a risk like that again. That thought was around Claude and the kids. “I was neither a very competent or a very brave foreign correspondent. I did it but was

‘Part of the job is to hold people to account and be energetic and irreverent. There’s no nose we’re afraid to get up’ by the harbour wall in Rafina with his wife Claudia and three children, Bradby saw a pensioner drive his car into the water. He dived in and tried – in vain – to save the driver. Bradby says, “We were waiting for the ferry and I was almost asleep lying in the shade. There was a shout and I looked up to see a car about 15 yards from us driving towards the water. It was being chased by officials. It looked like some kind of practical joke. Then he drove off the edge and hit the water. He was sort of sitting there, the car was afloat and the windows were open, it was just really odd and I thought, ‘Shit, he’s going to drown.’” Bradby swam out to the car. “It sank really fast and it was deeper than I thought,” he says. “I dived down but only got as far as the roof before I had to come up again. I could see air bubbles pouring out of the driver’s side. I tried to calm down, took a few breaths and dived down again. I did that three or four times. But I was ineffectual. I just couldn’t stay down long enough. After two or three minutes the air bubbles stopped.

not particularly brilliant at it. I look in awe at people who put themselves on the line over and over again, and there’s a whole different complex set of discussions one can have about that, why they do it and what drives them. “I started off in journalism wanting to hang out of helicopters, but by the time I was married and had kids I couldn’t get out of my head the idea that my mother lost her father when she was four and that was a big hole in her life... I might be a good dad or I might not be a good dad, but at least the kids know me and can make the calculation.” side from News At Ten, Bradby presents the weekly current affairs show The Agenda, writes TV and movie scripts, and is the author of six novels, including Shadow Dancer, which was turned into a movie with Clive Owen. The books are a joint venture with Claudia, who used to work in publishing and now runs her own jewellery business. She acts as editor and provides characters and


storylines. Bradby says, “Talking aloud is not a skill I particularly value in myself – the broadcasting bit. Presumably I’m OK at it, otherwise I wouldn’t have got this job. The writing I’ve had to learn by graft. My agent’s notes ought to be in a museum for how cruel – but fair – someone can be. I’ve grafted just as hard to learn the craft of writing for TV.” Claudia and their children Jack, 19, Louisa, 18, and Sam, 16, have supported Bradby’s new job despite it meaning even less time spent together at home in Hampshire. “They’ve been very sweet but I’m also not taken remotely seriously in my own house. I get a lot of, ‘Evening Ron’ – as in Burgundy. Claude has always made sure I don’t take anything too seriously and I trust her judgement above everyone else. At the premiere of Shadow Dancer I was feeling pretty pleased with myself and she said, ‘Calm down, you haven’t invented penicillin, darling.’” And finally... a few quick-fire questions: AC: For a night out – Cameron or Osborne? TB: That’s a bastard question. I am not going to answer that. It would get me into so much trouble. That is a zero-sum game. AC: Corbyn or (Ronnie) Corbett? TB: Corbett. AC: Bond or Bourne? TB: Bourne. AC: Clarkson or Evans? TB: Evans. AC: Apple or Samsung? TB: Apple. AC: Uber or black cab? TB: Black cab. AC: Cycling or running? TB: Running. AC: Leave or remain? TB: What does that mean? Oh the EU... well it entirely depends on what the sodding question is. I can only give an answer to a real question and it is infuriating that we still don’t have a real question. AC: How many of the Kardashians can you name? TB: Kim. That’s it. AC: And finally, on behalf of every politician who has been caught out by this question: how much is a pint of milk? TB: Er, can I just say I have absolutely no idea. It’s a question that I’ve never asked because no one buys milk in pints anymore. AC: OK, what’s a litre? TB: We buy four litres, which I think is about £2.25.


For these related stories, visit

Essex On The Brain (Andy Coulson, February 2016) Will David Cameron Leave A Legacy? (Andy Coulson, October 2015) Blue Thunder! (Andy Coulson, May 2015)

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Beauty is attitude. Beauty is personality. Beauty is talent. Now, GQ’s Contributing Women’s Editor KATIE GRAND presents the first of a new series of peerless portfolios celebrating the most influential stars of style, fashion and music


Jasmine SANDERS It’s the doctors you have to feel sorry for. You see, if the modelling world hadn’t fallen for Jasmine Sanders, 24, if she hadn’t been so beautiful or worked so diligently, then perhaps that model scout would never have approached her mother in her home country of Germany, the then 13-year-old Sanders would never have had a meeting with the model agency and those test Polaroids would never had been sent off to Boss, with whom she booked her first gig. If none of that had happened, Sanders would have gone to college to become a registered nurse. Sad for you, docs. Bikini by Lisa Marie Fernandez, £135.

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Kendall JENNER “Oh sure, she’s like, LA famous,” they used to say, “but she hasn’t got the chops to do high fashion.” They, of course, being the naysayers, the trolls and those with more negativity than fashion sense. Having signed with power agency The Society Management in late 2013, Jenner walked for Marc Jacobs in New York, Giles Deacon in London and Givenchy in Paris the following spring. Big campaigns followed, as did the industry’s respect. Although she’d never admit it, there’s little doubt that Katie Grand, editor-in-chief of Love magazine (who shot Jenner for its August 2014 cover) had a deft hand in Jenner’s rise. Earrings by David Morris, £10,000.

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FASHION Jasmine wears: Cardigan by Fifi Chachnil, £290. Shorts by One Teaspoon, £70. At Asos.

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Cara DELEVINGNE The bacon-munching, eye-boggling, risk-taking, tongue-sticking, high-life-living, bunny-hugging, selfie-taking, rule-breaking, social-media-storming, brand-resuscitating, paparazzi-loathing, Hollywood-blitzing, industry-flipping, Dubsmash-smashing, lion-taming, in-a-bed-with-Kate-Moss-cavorting, Suicide Squadshooting, pin-up-redefining next-gen super model, turned chophoned-actor, turned whatever the hell she pleases is the best at, well, everything. And, boy, do we love her for it. Bodysuit by Bottega Veneta, £495.

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Xenia DELI OK, Xenia, here’s how it’s going to go down: wait in a motel until one of the most divisive pop stars in the world turns up. Said pop icon will knock on the door and within seconds you will make wild love. Rather than share a post-coital cigarette, however, the pop star will then get anxious, and before you can say, “Hey, where’s your hoverboard?” three men wearing masks will barge in, throw you both in the boot of a car and drive to an abandoned warehouse. You will be tied together and things won’t look promising. But what’s this? The pop star has a Zippo lighter! He burns the rope, kisses you, and you escape by jumping into… a huge skateboard, rave party thing! You’re saved. And you’ve just shot the “What Do You Mean?” video for Justin Bieber (who you were snogging, by the way) so you’re really, really famous. Bad news: hordes of Beliebers want you dead. Slip, stylist’s own.

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Rita ORA In August 2013, GQ had an encounter with Rita Ora who, back then, had seemingly glanced at Rihanna’s sassy pop crown and said, “I want a piece of that!” She took us for a drink in NYC just before we put her on our cover. She drank whisky. We ordered Jägerbombs. We suggested food but she wanted to dance. We then found ourselves in a club surrounded by a vaping Leonardo DiCaprio, Jonah Hill and too many women to mention. In the sharkinfested fug of Manhattan’s fame pool, she seemed to swim sublimely. Now look at her. On TV, first The Voice then The X Factor – blowing the competition off the screen. Our advice? Keep watching Ora’s golden aura, as her best is yet to come. T-shirt by Current/Elliott, £90. Jeans, Ora’s own.

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IRINA SHAYK You know the girl in your class who used to wear pretty floral dresses? She was a little plain, had pale skin, mousy hair and always had her head in a copy of Wuthering Heights? You used to smile coyly at one another during lunch break. She had braces. Remember? No, us neither. Thankfully Irina Shayk, 30, born in Yemanzhelinsk in Russia, is definitely not that girl. With her perfect skin, beguiling emerald eyes and athletic body that will make men (and some women) think the unthinkable, Shayk is pure fantasy. No wonder her boyfriend, Bradley Cooper, can’t stop smiling. Hat by Stephen Jones for Giles, from £2,200. Choker by Giles, from £400.


Adriana LIMA No Adriana Lima, no Victoria’s Secret. The Brazilian bombshell, 34, first walked for the lingerie giant in 1999 and has become its most-loved ambassador. Lima’s determination to stay on top – she walked the 2012 Victoria’s Secret show only two months after giving birth – has meant that she is constantly in the top three of Forbes’ top-earning model list. In 2015, she was second with a figure of £6 million. She continues to be one of the most-recognised models in the world. Dress by Atsuko Kudo, £293.

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Hannah FERGUSON The daughter of a US marine, Hannah Ferguson never really wanted to be a model. “At first, I wanted to be a figure skater,” she says. “They are so graceful.” Problem was, growing up in San Angelo, Texas meant that snow, ice or even ice rinks for that matter were in somewhat short supply for the 5ft 10in blonde-haired siren. “So I took up ballet,” she explains. “But when I was 15, I tore my meniscus playing volleyball. So then I thought, ‘Oh, I want to become a model!’” Judging by this photo, it seems the rest of us have reaped the rewards of Ferguson’s sporting misfortune. Long may she reign. Maillot by Lisa Marie Fernandez, £250.

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Gwendoline CHRISTIE Respect is the word most associated with Gwendoline Christie. In the various imaginary worlds she inhabits for some of her most famous acting roles – warrior Brienne of Tarth in Game Of Thrones and Captain Phasma in Star Wars: The Force Awakens – Christie brings a strength, touch and beauty that is as iconic as it is watchable. There is also something undeniably British about Christie. Her humour, perhaps, or the way she wears her talents lightly. Christie’s next role will see her star alongside Rafe Spall and Andrew Scott in a remake of Swallows And Amazons. Oh, and of course, her return to the land of ice and fire... Gown by Giles, from £15,000.

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Poppy DELEVINGNE If Poppy’s younger sister Cara represents the post-millennial, non-binary, social media-savvy, Minecraft-addicted generation of Corbyn-considering grafters and wannabe activists, then Poppy, 29, is the quiet rebel. Although not as much of a human tornado as her sister, Poppy manages to glide through her career being courted for her commercial work for high-street brands, while also able to keep a sharp stiletto planted firmly on high fashion’s power pedestal. Most of all, she is megawatts amounts of fun on a night out. Dress by William Wilde, £310.

Production Sally Dawson and Paula Ekenger Casting Anita Bitton Styling assistant Oliver Volquardsen Models Gwendoline Christie, Xenia Deli at the Hive, Cara Delevingne and Poppy Delevingne at Storm, Hannah Ferguson at Trump, Kendall Jenner at Elite, Adriana Lima and Jasmine Sanders at The Society Management, Rita Ora at Next, Irina Shayk at Select Hair Malcolm Edwards at Art Partner (Cara Delevingne, Jenner), Syd Hayes at Premier Hair and Make-up (Christie, Deli, Lima, Shayk), Samantha Hillerby at Streeters (Poppy Delevingne, Sanders), Make-up Lisa Eldridge at Premier Hair and Make-up (Christie) Miranda Joyce at Streeters (Poppy Delevingne, Lima, Sanders), Lucia Pieroni at Streeters (Shayk), Hiromi Ueda at Julian Watson Agency (Cara Delevingne, Deli, Jenner) Manicure Nic Hills (Shayk), Chisato Yamamoto at Terri Manduca (Christie, Cara Delevingne, Poppy Delevingne, Deli, Jenner, Lima, Sanders) Retouching Digital Light Ltd

It’s tailoring, but not as you know it. For the new season, suiting is dressed up or down and sharpened by a riot of colours, textures and patterns. Oh, and collars are optional... P H OTO G R A P H S BY





Spring / Summer . 2016

From left:

Berluti Sang wears blazer, £3,000. Shirt, £390, Trousers, £690.

Bottega Veneta Henry Kitcher wears jacket, £1,280. Shirt, £590. Trousers, £810. Scarf, £180.

Tom Ford Erik wears suit, £2,820. Shirt, £330. Tie, £140. Bag, £9,690.

Gieves & Hawkes Ben wears suit, £995. Polo shirt, £125.

Burberry Prorsum Louie wears suit, £1,490. Shirt, £550. Tie, £195.

Salvatore Ferragamo Rory wears suit, £1,925. Jumper, £1,010. Shirt, £225.

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From left:

Hermès Ben wears suit, £2,380. Shirt, £350. Tie, £127. Shoes, £690. Bag, £5,670.

Versace Victor wears blazer, £1,400. Shirt, £850. Trousers, £600. Shoes, £500.

Ralph Lauren Purple Label Kesse wears suit, £3,330. Shirt, £455. Tie, £140. Loafers, £695.

Corneliani Erik wears suit, £1,800. Shirt, £300. Sandals, £190.

Daks Louie wears suit, £695. Rollneck, £149. Bag, £750. Loafers by Crockett & Jones, £385.

DSquared2 Henry Pedro-Wright wears suit, £970. Shirt, £270. Tie, £79. Shoes, £355.

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From left:

Dolce & Gabbana Kesse wears suit. Glasses. dolcegabbana. com. Vest by Sunspel, £125.

Oliver Spencer Henry Pedro-Wright wears jacket, £345. Shorts, £120. Vest by Sunspel, £125.

Tommy Hilfiger Sang wears blazer, £320. T-shirt, £85. Bag, £95.

Michael Kors Henry Kitcher wears blazer, £420. Trousers, £175. T-shirt by Sunspel, £55.

John Varvatos Rory wears suit, £1,214. Waistcoat, £345. Vest, £150.


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From left:

Prada Erik wears coat, £1,900. Shirt, £4,070. Top, £535. Long-sleeved jersey, £260. Trousers, £590. Shoes, £540. Socks, £50. Belt, £105.

Gucci Rory wears jacket, £1,970, Shirt, £435. Trousers, £640. Loafers, £455. Glasses, £180. Bag, £2,270. Watch by Gucci, £695. At Goldsmiths.

Craig Green Louie wears kimono shirt, £416. Tracksuit bottoms, £448. At Shoes by Christian Louboutin For E Tautz.

Phillip Plein Henry Kitcher wears suit, £1,060. Shirt, £350. Tie, £120. Trainers, £630.

Ermenegildo Zegna Kesse wears jacket, £1,530. Shirt, £630. Trousers, £790, Shoes, £750.

Alexander McQueen Sang wears suit, £2,110. Shirt, £395. Shoes, £395.


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From left:

Boss Victor wears suit, £580. Shirt, £129. Shoes, £230. Glasses, £150. Bag, £850.

Louis Vuitton Henry Kitcher wears shirt, £740. Trousers, £460. Trainers, £390.

Giorgio Armani Erik wears suit, £1,690. Jumper, £630. Glasses, £190. Watch by Emporio Armani, £1,795.

E Tautz Henry Pedro-Wright wears mac, £845. T-shirt, £195. Trousers, £350. Shoes by Christian Louboutin For E Tautz.

Canali Ben wears suit, £1,230. Shirt, £210. Loafers, £1,480.

Etro Louie wears suit, £1,365. Shirt, £245. Shoes, £445.

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From left:

Dunhill Ben wears suit, £1,890. Shirt, £225. Tie, £95. Loafers, £1,190. Attaché, £3,150.

Pal Zileri Rory wears suit, £1,182. Shirt, £283. Sandals, £410. Belt, £150.

Dior Homme Kesse wears suit, £1,830. Shirt, £350. Tie, £125. Watch, £4,500, Document holder, £2,400. Loafers by Crockett & Jones, £360. Photographer’s assistants Tom Ayerst; Christian Bragg Digital technician Oskar Gyllensward Styling assistants Sophie Clarke, Ben Schofield Hair Ben Jones at Jed Root Make-up Emma Williams Casting Paul Isaac Models Rory Cooper at FM Agency; Erik Van Gils at Next; Kesse Donkor and Louie Johnson at Premier; Ben Allen, Henry Pedro Wright and Sang Woo Kim at Select; Victor Norlander at Supa; Henry Kitcher at Tomorrow Is Another Day

Brioni Henry Pedro-Wright wears suit, £30,440. Crewneck, £3,150. Shoes, £900.

Paul Smith Sang wears suit, £988. Shirt, £310. Boots, £370.

Brunello Cucinelli Victor wears suit, £2,600 Shirt, £310. Trainers, £460.

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Return of the jean genius

Photographs Ben Riggott; Full Stop Photography Grooming Chloe Botting using Kiehl’s Model Hamish Gardener at FM London

G-Star celebrates the 20th anniversary of its game-changing 3-D denim THERE are few people who know more about denim than long-time G-Star creative director Pierre Morisset. After all, the Elwood 5620 jean he created 20 years ago was the first “3-D” jean and it revolutionised the market (and became the second-bestselling jean in history after the Levi’s 501). To celebrate the anniversary this year, there will be a new limited-edition Elwood released on the 20th of each month, including special collaborations by artists and designers. Morisset was inspired to create the design when he was looking at a motorcyclist and was struck by how his jeans had been sculpted to his body after hours spent in the saddle in all weathers. Effectively, the jeans had become an extension of the man. From that moment he began to work on a “3-D” pair of jeans that would re-create this worn-in look from day one. So he cut a pattern that followed the movement of the body rather than simply falling straight to the ground. It had five distinct features: oval knee patches, horizontal stitching at the backs of the knees, stitching running from the hip to the crotch, a saddle pad and heel guards. The result was a revelation and has had an enormous influence on denim design ever since, spurring a flurry of innovation not seen since Mr Strauss had the idea of using copper rivets. RJ


Trainers by G-Star, £110.

Jacket, £140. T-shirt, £25. Jeans, £80. All by G-Star.

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Follow Style Shrink on Instagram @roberttjohnston

LETTER of the MONTH I have had the same leather wallet for years and it’s now looking pretty tattered. I’m looking to invest in a new piece, something smart for all occasions. Any ideas? Also are coin compartments a no-go? Sav, via email

Few things are more pleasing than a smart new wallet – the smell of the leather, the flawless finish making you feel just a little bit richer. Alas, nothing lasts forever and, let’s face it, anything that spends its life crammed in the back pocket of your jeans is going to have a limited life span. When it comes to buying a new wallet you have to decide what you want it for. I now favour a simple billfold with a separate cardholder to hold debit cards and my work pass. This also reduces the likelihood of me losing all my cards in one fell swoop – and, believe me, that has happened many a time. If you are a lover of colour then you can’t do much better than Valextra, available at Harrods. I am also a big fan of Aspinal Of London and Coach. For a very professional work wallet I would recommend Montblanc. And if you are looking for a piece that will get better with age despite close proximity to your buttocks, you can’t go wrong with a classic Bottega Veneta woven intrecciato number. This is also available in a chest-pocket style, though personally it makes me feel as if I am packing a piece. I am going to stick my neck out here and say that while I am not a big fan of bulk-adding coin compartments in wallets, I love a separate coin purse. The one I use comes from a little shop just off the Piazza Santa Maria Novella in Florence called Cellerini and you should definitely pop in if you are ever passing. But, let’s face it, one does wonder if soon the only people left who will demand payment in cash will be black-cab drivers and drug dealers – the former are busy ensuring they go the same way as the great auk so won’t be around for much longer.

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Could you please give me a rundown on the best way to iron a business shirt so that it stays crisp? Clint A, via email This is the exhaustive Style Shrink guide to ironing. If right-handed, stand so that the wide end of the board is to your right and at around waist level. If the shirt is very wrinkled, spray it with a little water then roll it up in a towel for a few minutes so that it is evenly damp all over. It may sound obvious, but set the iron’s temperature to the correct setting – linen requires more heat than cotton. When the iron is hot, turn on the steam feature. For a crisper finish, use spray starch – sparingly. And keep the water spray handy to undo any unintentional creases. Start with the underside of the collar, pressing from the points towards the middle of the neck. Turn over and press the top side in the same fashion. Collars may have an “ease” so that it will sit smoothly when wrapped around the neck. If you notice this “ease” in the

fabric, just let it run in front of your iron to the centre of the collar without creasing. You may want to fold the collar down and lightly press it so that the fold is crisper and lies flatter against your neck. Next, pull the shirt on to the tapered end of the board so that the back yoke is flat and the board extends a little into one sleeve. Press half of the yoke. Turn the shirt around and place it so that the un-ironed half of the yoke is on the board. Smooth the yoke out with your hands so that it is flat and then press it. If the entire yoke will lie flat, you can iron it without changing its position. Next, sleeves: take your time and smooth the fabric with your hand so that there are no big wrinkles before you begin. Start by ironing one cuff then lay the sleeve flat along the seam and try to match up the previous crease. Start at the top and work down to the cuff. Turn over and iron the other side then repeat on the other sleeve. Now, place the left side of the shirt on the board. Turn the shirt slightly so that the Shirt by Gant, £80.

Collar stiffeners by Dunhill, £55.

tapered part of the ironing board slips into the sleeve a little. Iron around the collar carefully. Pull the shirt flat on the board again then iron the placket (the material reinforcing the buttonholes) and the rest of the front left side. Rotate the shirt toward you so that half of the back is on the ironing board. Smooth it out with your hands and iron it. Keep rotating, smoothing, and ironing until you come to the right front of the shirt. Iron top section first. Now put it on a hanger (and remember what Mommie Dearest taught us: “No wire hangers, ever.”). Make sure it is hanging straight and that the sleeves are flat and folded softly toward the front. Buttoning the collar button and the first button or two will help the shirt keep its shape. And obviously don’t cram it into your wardrobe or you will undo all your good work.

I go to a public boarding school, at which we are given a certain amount of stylistic freedom. I now need a new overcoat. I’d like something that preferably didn’t make me look like a banker. William, via email I find that a very heavy coat is too warm for the sort of weather we enjoy these days. My new favourite coat is a cape from a collaboration between Mackintosh and cool Japanese label Hyke, which is just the thing for taking the dog for a walk on Winchelsea Beach in the

Photographs Full Stop Photography

Wallet, £250. Credit card holder, £180. Both by Valextra. At Harrods.

driving rain. It is basically a poncho, almost completely rectangular, and in a high wind it makes me look like a slice of toast that is in danger of taking off, but I love it. And I can say with confidence that it won’t make anyone look like a banker. Perhaps a safer bet is the Ventile raincoat by Private White VC. Ventile is a trademarked woven cotton fabric that was developed in Didsbury in Greater Manchester – not far from where the Private White VC range is manufactured today. It is so densely woven that it is waterproof without needing to be coated, so it is still very wearable. I am a big fan of the whole Private White VC range and this is a great piece that looks as good with, dare I say, a school uniform as it does with jeans.

Mac by Private White VC, £575. private

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The author of our Letter Of The Month will receive a stylish black and rhodium Townsend fountain pen worth £190 from Cross. Cross is the maker of quality writing instruments and has a range of distinctive lifestyle accessories.

Twenty-first-century joy (from left): Dover sole in the dining room of Mark’s Club; the revamped India Room; the Garden Room

Club culture’s new high Mark’s could always be counted on to provide respite from an ever-changing world, but even Nick Foulkes applauds its latest reinvention I always shudder when I am told that something is being brought into the 21st century. So when hearing that Mark’s Club had been modernised, I was unsettled. Mark’s Club is to me what Mark Birley’s Mayfair was all about: comfort, elegance and luxury behind a discreet façade. I admired Mark: tall, beautifully dressed, laconic and stylish. He was truly gifted. If living well is an art then he was a Leonardo da Vinci. If I had had my way Mark’s would have been preserved for the nation as a museum of mid- to late-20th century elegance. However, it is not a museum but a club and a business, which was of late not performing particularly spectacularly as either. When I first went to Mark’s, as a guest of its then proprietor in about 1992, the place had a powerful effect on me. I actually felt as if weight was lifted from my mind and the less agreeable realities of life were kept politely, but firmly, from entering with me. I became addicted to the place. You met interesting people there. The last time I saw the Queen Mother it was in Mark’s Club – Bruno, the maître d’, used to bring flowers from his own garden for her table. When she stood up to leave the whole club would do the same, as was correct. I have to admit that in recent years I have not been there. Life seemed to speed up and Mark’s just kept slowing down. Richard Caring, owner of Soho House and Caprice Holdings, had bought the Birley clubs and was clearly proud of the place, but it had begun to suffer. When a club or restaurant is busy one does not notice the effects of time, but at Mark’s the patchy attendance only drew attention to the increasingly threadbare feel. And it was this that came to upset member Peter Dubens.

A partner at Oakley Capital, Dubens had, like me, come to Mark’s Club in the early Nineties and been seduced by it; but as a friend of Caring he actually was in a position to do something to halt its decline. He, Howard Barclay and Chas Price, son of a former US ambassador to Britain, approached Caring with a plan. Over the summer, everything was updated with the aim of it looking more or less the same and there is indeed a warm sense of familiarity about Tino Zervudachi’s part restoration, part redesign of the place. Zervudachi (inset) learnt from the great David Mlinaric, and with Mark’s he has shown a particularly sure hand. The result has brought the club into the 21st century without wrecking it. He is to be saluted for hanging onto the “Tardis” – the glazed cubicle reminiscent of the porter’s lodge at an Oxford college. He has kept the visual signatures of the place, such as the crimson Fortuny wall covering in the main dining room and the William Morris wallpaper on the stairs. To these he has added a touch of sumptuous modernity, with white velvet lining the walls of the first floor drawing room, which leads out onto the cigar terrace – one of the finest in London. The back dining room, no longer the Siberia it was, has become a snug yet airy room; the upper floors of offices, bathrooms and a half-hearted private dining room have been transformed into a suite of attractive private rooms and a small whisky bar. While there are one or two old faces, on the whole the team is new and needs a bit of time to settle in – but the feel is the thing. It may be just across Berkeley Square from Sexy Fish (another Caring establishment) but it is a world apart.

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Invest in some thinking time Jim Chapman’s advice if you plan to splash out? Be honest with yourself...

LAST month I wrote about my New Year’s resolutions: getting in the best shape I can by the time I turn 30, being on time for things and really thinking about the investments I make when it comes to wardrobe additions. So far I’m cautiously happy with my success. I have yet to be on time to one appointment, but I am working out harder than ever and my wardrobe is coming on nicely. Two out of three ain’t bad. I’ve always been quite a meticulous dresser, but the fact is that putting more time in at the gym is actually giving me even more pride in what I wear. I’m becoming more conscious of creating a capsule wardrobe. I see this as multiple uniforms within my closet – for both winter and summer – compiled of items that I will wear year after year. Once you have your personal style sorted, it becomes increasingly easy to spot gaps that need filling. I’m an advertiser’s dream; I’m so easily sold to and I want to look like all of the guys on the pages of GQ, and as a result I went through a rather ugly period of trial and definite errors. I don’t regret it, though. In fact, I think

I was lucky that I got through it. The experimentation taught me a lot, and I learnt what I like, what looks good on me and what I should most definitely avoid. What I’ve discovered is that my style is pretty classic and very British. I love tailoring, a slim, masculine silhouette and luxury fabrics. I’m still easily sold to, but now I’m much more focused. I know what I want and I will look online for that specific item. When I find it I will be much more willing to invest. Right now, I’m looking for a brown double-breasted overcoat. But I won’t pull the trigger on the purchase until I’ve posed and answered three questions. First, does it fill a gap in my wardrobe? Over the past few years I have collected overcoats in a few colours, yet I still find myself reaching for a brown one that I don’t have. Secondly, will it last? I want to know what it’s made of and what kind of upkeep it will take, so that providing I treat it well, time will be kind. And, lastly, does it work with the rest of my wardrobe? Choosing clothes with a certain look means that items that don’t belong will stand out like a sore thumb and I probably won’t wear them again. Asking myself these questions means that I’m much less likely to buy something on a whim. If they are answered satisfactorily, the chances are that I will be wearing this brown coat for years to come. As a result, I’ve become a big fan of the phrase “cost per wear”. Once I’ve invested the time and I’m confident that I’ve found the coat for me, I’ll be willing to invest more money, too. Overall, paying more for something and wearing it for years has a better return on investment than having to buy a new one every season because you didn’t get it right in the first place. Watch Jim Chapman’s everyday grooming routine at gqrecommends Shoes by Tom Ford, £1,150.

Coat by Brunello Cucinelli, £4,680.

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A purity ring with sex appeal ORIGINALLY from London, brother and sister Meena and Paul Khera have spent the past few years on their dream project of building Khera Retreat & Spa in Dharamsala in the Indian Himalayas, to be opened next year. While working in situ the duo were so impressed by the skills of local craftsmen that they also started a jewellery business – called, appropriately enough, Kherings. Design consultant Paul has created a range of gold and silver rings crafted locally with gems such as peridot and tourmaline set on the inside, touching the skin, in line with ancient local beliefs that these can help the wearer find clarity, love and wisdom. The stones themselves are washed from the mountains by the Himalayan rivers, and each finished Khering will spend a night in the water before it finishes its final journey to its owner. RJ Prices start from £200, from Tann Rokka.

Ground control to Major Tom WHEN they made Major Tom Harrisson they definitely broke the mould. Born in 1911, he was the ultimate polymath – explorer, anthropologist, archaeologist, soldier, guerilla, film-maker and conservationist. He spent much of his life in Borneo before dying in a road accident in Thailand in 1976. Now he is the inspiration behind Christopher Raeburn’s new collection of shoes for Clarks this spring. We can’t promise you that they will make you the man he was, but they should at least give you some incentive. RJ

Jacket, £125. Trousers, £55. Belt, £25. All by Lou Dalton X River Island. T-shirt, stylist’s own

Trainers by Christopher Raeburn X Clarks, £90.

Jumper, £45. Belt, £25. Both by Lou Dalton X River Island.

Montblanc bags it IN its efforts to turn itself into a 360-degree global luxury brand, Montblanc may have been a victim of its own success. After all, if you completely dominate the writing instruments to the extent that for many people you are a synonym for fountain pens then it is no surprise that most people tend to associate you with writing tools. But all this is changing fast. Montblanc is now becoming equally known for its high-end watches. And we are very impressed by its leather bags. From briefcases to this indulgently minimal backpack, these are pieces that are worth writing home about. RJ

Photographs Charlie Surbey; Full Stop Photography

Rucksack by Montblanc, £510.

Hoodies that have heart Lou Dalton brings a cool new style to her first River Island capsule collection ONE of the reasons that the UK is such a mecca for young fashion talent is the commitment by so many of the biggest names on the high street to support upcoming talent. River Island’s Design Forum has seen the retailer team up with James Long, Christopher Shannon and Katie Eary to create limited-edition capsule collections. The latest designer on board is the very talented Lou Dalton – one of the stars of London Collections Men. Dalton, a native of rural Shropshire, has always been inspired by nostalgic working-class culture and this River Island collection is no exception, drawing on Perry Ogden’s photographs of Dublin street children and the Glasgow-set film Ratcatcher. The result, however, is far from depressing and the 13-piece collection includes bright modern sportswear and slogan tees. So hurry up and check it out while you still can. RJ

Jacket by Lou Dalton X River Island, £50. T-shirt, stylist’s own

The best of British by Luke Leitch In the second of his columns shining a light on home-grown talent, GQ’s new Contributing Fashion Editor talks to the dynamic duo behind Thom Sweeney

Photograph Jamie Smith

THE old Italian greasy spoon opposite Thom Sweeney’s bespoke tailoring shop in Weighhouse Street, London, used to serve an almighty fry-up (plus tea, too) for barely north of a fiver. Now it’s ciao: when I visit Thom Whiddett and Luke Sweeney, Cafe Bosini is boarded up. “It’s going to reopen as AMI,” says Whiddett (the clean-shaven, paler-haired one). “It’s all changing around here,” adds Sweeney (his stubblier, darker-haired compadre). It sure is: as well as Alexandre Mattiussi’s new AMI outpost, there’s a recently opened E Tautz and Private White VC just around the corner on Duke Street. North Mayfair is upping, and this particular slice of it is being refashioned as a cluster of quality, contemporary luxury menswear marques. Thom Sweeney was well ahead of that curve. Whiddett and Sweeney started their business on this street back in 2007, from a single tiny upstairs room. “We had around 15 to 20 clients,” says Sweeney: “We were doing one, maybe two suits a week – we kept it tight. Thom was cutting and I was measuring.” Today, Thom Sweeney’s reputation is higher than the cholesterol level in Bosini’s late, lamented full English.

Suits the occasion: Thom Sweeney’s shop in Bruton Place, Mayfair, sells its sought-after ready-to-wear range

subtle compared with the seasonal lurches typical of most fashion brands. Which is just how the pair like it. Sweeney says: “It’s very important in our business not to be too ‘in fashion’.” This was a lesson learnt courtesy of Edward Sexton, in whose workroom the two first met. Following a dismal experiment in retail on the floor at Burton in Hornchurch – “I used to fall asleep leaning on the clothes-rails” – Sweeney had gone to work for Sexton after accompanying his father, an agent for a button, lining and canvas manufacturer, on visits to clients, including Richard James, fired an urge to get into it, too. Whiddett joined him as an apprentice at Sexton after visiting while on work experience for a magazine. “I saw the place and fell in love with it,” says Whiddett. “The ethos, the atmosphere, everything. And I knew I wanted to own suits like that but the only way I could afford it was if I made them myself.” Bradley Cooper, Luke Evans, David Beyond the expertise, one key Gandy, Michael Fassbender, David factor in Thom Sweeney’s success is Beckham (most notably in that its founders’ youth. This gives them speedboat at London 2012), Matt an intuitive feel for how to update Smith and Dermot O’Leary are just some of the great masculine a few who, every time they wear it, paradigms of tailoring. And they are inspire more men to become Sweeneyambitious, citing Paul Smith, Ralph curious. It’s got some high-rolling Lauren and Brunello Cucinelli as clients – such as the fellow who inspirations, yet extremely careful left his new, £22,000 coat in Loro not to overstep. “We want to Piana vicuña on a chartered jet in grow naturally,” says Whiddett. Miami and instantly commissioned The bespoke shop remains the a replacement – but its bespoke soul of the business, but in 2014 suits start at a competitive (for they opened a second shop bespoke) £2,295. not half a mile south on The defining characteristics of Bruton Place to sell their Thom Sweeney’s are as follows; small but much-agonisedit favours a lightly canvassed, over Italian-made, ergonomically waisted jacket ready-to-wear selection. with a high armhole and an Each season they add only unobtrusively true-to-body one key piece to it, such shoulder that is roped for just as this winter’s cashmere a speck of extra definition. peacoat. They plan to open The fit reflects its clientele, a new shop in Manhattan which tends to share the within a year or so. same median age as the As well as consulting clients, label’s founders – mid Whiddett says they choose thirties – and be in a what to develop by trusting physical fettle fine enough to their own taste. “We’re want clothes that reflect that. thinking of stuff that we’d Thus its suits run close (but want to wear: it’s ‘what have never tight). It’s a formula I seen that’s nice’ and ‘what defined as “grown-up but do I want to get my hands modern”, and it works: on that I can’t?’” Finding over the past nine years Suit, £1,850. Shirt, excellent answers to these this silhouette has barely £235. Tie, £140. All changed – “although perhaps by Thom Sweeney. basic questions sounds simple but isn’t: that’s what’s our jackets run a little longer thomsweeney. Shoes by made Thom Sweeney the now”, says Sweeney. These John Lobb, £890. tailor of its generation. changes seem preposterously MARCH 2016 G

A glance at the music of time Raymond Weil is on song with its latest collection of timepieces inspired by rock, swing and opera

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Maestro, £950

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Photograph Arthur Woodcroft

WATCH brands tend to be fairly conservative when it comes to their associations. The automotive industry has always ticked the boxes since Abraham-Louis Breguet perfected a shockproof movement for his carriage clock. Ditto the world of aviation, from the moment Louis Blériot climbed into his monoplane in Calais sporting a Zenith wristwatch. And, of course, some watch brands have always been keen to hook up with the biggest teams involved in the beautiful game, though this tends to appeal more to a supporter’s tribal mentality than a strictly horological one. Raymond Weil, however, has always been associated with music, ever since Weil founded the company in 1976. He may have had a pilot’s licence but his great passion was always music. One of the most important families of watches in its collection is the Nabucco, named after the Verdi opera about King Nebuchadnezzar II, but at the other end of the spectrum Raymond Weil also celebrates Ol’ Blue Eyes with its Sinatra watches. There is also its eleventh year as a sponsor of the Brit Awards, an occasion that sees nominees, presenters and performers given a limitededition Raymond Weil timepiece. A more recent collaboration has been with legendary American guitar maker Gibson, with “Nabucco”, inspired by the famous self-tuning Gibson SG Standard. But then it all makes perfect sense – after all, you won’t make beautiful music unless you can keep perfect time. RJ

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Photograph by Sophie Pycroft, Art Direction Owain Proctor CNC Diploma Graduate, Model Josh Rowley at Models One



The blue note club


Photograph Mitch Payne

Make some waves with Acqua di Parma’s Blu Mediterraneo Italian Resort skincare range

RUMOUR has it that Cary Grant wore the original Acqua di Parma Colonia. We think the enhanced Blu Mediterraneo Italian Resort skincare collection would pique Mr Grant’s interest too, if he were around today. Devised by in-house experts, the additional products include cleansing cream, purifying tonic, moisturising lotion, UV protection and a restorative mask that has a multitude of uses. So far, we’ve used it as an overnight anti-ageing treatment, to calm razor burn, pep up hangover skin and – we suspect – it might even make an excellent thirst quencher after a long day in the sun. Powered by extracts of achillea (yarrow), fig, dog rose and the brand’s own mysterious Mediterranean Re-Activating Complex (which harnesses sea minerals and hardy Sicilian maritime pine), the products can be used individually or together as a daily regime, or just when your skin needs a boost. Use the tonic after cleansing to increase the absorption and overall efficacy of your moisturiser or serum. What does Acqua di Parma say of its skincare collection? “It allows you to feel as if on holiday at a resort overlooking the Italian Mediterranean Sea.” An optimistic claim if ever there was one. But then, who wouldn’t enjoy starting the day in Taormina? JP





1 Blu Mediterraneo Italian Resort Purifying Tonic, £46 for 200ml. 2 Moisturizing Lotion, £54 for 200ml. 3 UV Protection 50+, £54 for 30ml. 4 Cleansing Cream, £37 for 125ml. 5

5 Restoring Mask, £90 for 50ml. All by Acqua di Parma.

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Is my skincare dangerous? Carcinogens, hormone disrupters and pollutants... GQ examines the risks linked to some grooming products and the growth of natural alternatives

Illustration Peter Crowther. *Source: Mintel Men’s Toiletries UK, October 2014



THE skin is the body’s biggest organ. Not only that, it absorbs 60 per cent of any topically applied products. As a society we are becoming ever more conscious of what we put in our bodies, so perhaps it is only logical that this would extend to what we put on it, especially when sales of toiletries are now worth an estimated £7.1 billion annually to the UK economy. And men are powering the growth – grooming sales are projected to exceed £1 billion by 2018. Recently there has been a list of chemicals that have been subject to bad press: parabens, sulphates, phthalates, PEGs, oxybenzone and triclosan – all of which are used across the market, from the most deluxe face creams to budget shower gels. We have been using chemicals in our toiletries for a long time: the first synthetic material used in fragrance, benzyl acetate, was discovered in 1855 – but we are also living longer than ever. So should we be worried? “Most scare stories originate with a lack of understanding between the two distinct concepts of hazard and risk,” says the CTPA (Cosmetic, Toiletry & Perfumery Association). “Many substances possess an inherent hazard but may be used safely because they present no risk when used in specific and controlled ways. This comes down to exposure, dose or concentration. Alcohol can lead to liver toxicity but the risk from excess drinking is very different from a dab of fine fragrance on your wrist.” And Europhiles can rejoice: we also have strict regulations. All grooming products must comply with the EU Cosmetics Regulation (No.1223/2009) before they are brought to market. This takes into account the toxicological profile of a product, chemical structure and level of exposure per ingredient. Research comes from a variety of sources: from the SCCS (Scientific Committee On Consumer Safety) to independent academic research, environmental groups and even the big chemical manufacturers and cosmetic companies themselves.

Colin Sanders, a cosmetic scientist with more than 30 years’ experience, says, “I think the level of regulation was about right up until 2013. Now, if anything, the regulations are over-restrictive and work to prevent innovation and make it harder for smaller companies to break into the market.” Safety is something that the industry takes very seriously. Unilever, the biggest cosmetics manufacturer in the UK (Lynx, Dove,Vaseline, Sure), even has an internal division called SEAC (Safety & Environmental Assurance Centre) responsible for monitoring its own products and procedures. Negative media attention is not enough to take a product off the shelves, nor should it be: for an ingredient to be withdrawn from the UK it needs to be taken – along with new scientific evidence – to the European Commission, who would refer to the SCCS

NO SCRUBS One in ten men is concerned that the chemical ingredients in their personal care products might be harmful to them.*

Media attention is not enough to take a product off the shelves MARCH 2016 G


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‘There’s no reason to suppose that sulphates are dangerous’ was founded, as Susan Curtis, natural health director, explains: “What you put on your skin ends up in your body – that’s why we believe it’s really important to know exactly what’s in the products you use on your skin.” However, there are brands that promote a “natural” image, while still using the same chemicals as the non-naturals. Curtis agrees that the “natural” label can be a big misnomer. “Unlike food there’s currently no legislation that regulates natural and organic products within the cosmetics industry,” she says. “Some products may be labelled ‘organic’ even if they only contain one per cent of organic ingredients. The best way to know is to look for certification from an independent body such as the Soil Association. In Europe, the Cosmetics Organic Standard [Cosmos] will be live soon and this will represent a globally recognised organic

standard. According to Cosmos rules, even natural certified products will have to contain a certain amount of organic ingredients. This will leave no room for brands who don’t take natural/organic claims seriously.” Why do so many brands keep the chemicals in formulas if there are natural alternatives out there? Cost is a clear factor, but it is also worth remembering that chemicals create the textures and experiences that we, the consumer, demand from certain products. Bringing us back to the headlines, Sanders points out that, “There is always a vested interest in any angle.” The headlines push us towards choices that often come with a higher price tag, so there is profit to be made somewhere: the fact is we will often pay more for something we think is pure and the production practices are responsible. Eco-friendly products used to be considered niche but the sector is rapidly becoming mainstream with the global market expected to reach £8.7bn by 2018. The good news is that there are plenty of brands championing a cleaner, greener approach to skin and hair care – so you don’t have to give up looking and feeling your best. And if you want to stick to those tried and trusted brands, the real risk to your health, if not always the planet, remains small.

ALWAYS READ THE LABEL a breakdown of the grooming ingredients hitting the headlines



sulphates (sls)


Used as preservatives to extend shelf life, parabens can mimic the female hormone oestrogen. Studies have linked them to interference with male reproductive function.

Used as an abrasive in scrubs; some brands now use biodegradable beads but there is no evidence that these break down safely. Alternatives are natural: salt, sugar and jojoba.

These harsh detergents act as foaming agents to create lather. We associate lather with cleanliness but it has no benefit. Detergents compromise the skin’s barrier function.

A hormone disrupter found in sunscreens. Some research links it to coral damage; the best approach is to forego sunscreen if you intend to snorkel or swim and wear a rash vest instead.


palm oil

peg s


An antibacterial agent found in toothpaste, deodorant and soaps. It is linked to the increase in antibiotic-resistant bacteria. Some studies show a correlation with infertility.

Used in 70 per cent of cosmetic products. Choose brands that are committed to a sustainable source; Rainforest Foundation (rainforestfoundationuk. org) has a list.

Petroleum-based compounds often used in cream bases that may contain ethylene oxide and 1,4 dioxane, a known carcinogen and possible carcinogen respectively.

Found in fragrance; fragrances are trade secrets so manufacturers are not required to reveal the ingredients. Phthalates are toxic to aquatic life and may impair fertility.

Photographs Rex

to review all the available data and pass new legislation accordingly. So, if companies choose to remove certain ingredients, is this because they pose a hazard or just to reassure a nervous consumer base? Michael Gordon, the founder of Hairstory, sulphate-free hair care, says, “Detergent renders hair dry, unmanageable and overly cleanses to the point of making it imbalanced. It is bad for skin, hair and scalp, and it actually creates the need for conditioner and styling aids.” It’s clear that detergent can be an irritant to certain skin types, but poisonous? Hardly. “I don’t see any strong evidence that parabens, phthalates or sulphates can cause any harm,” says Sanders. “With sulphates there is literally no reason at all to suppose them to be dangerous. I have been exposed to much higher levels of these chemicals than the average person.” Per product the dosage of these chemicals is very low and – in the context of showering or washing – only on the skin for a brief time. However, these products are used across populations (for scale, Unilever has 43 million customers in the UK alone), so what effect does this have on the environment? There is evidence that microbeads (the tiny plastic beads used in scrubs) accumulate in the environment and end up in the food chain. “There is a genuine problem with microbeads persisting in fish,” says Sanders. There are plenty of biodegradable alternatives and there is commitment from the industry – in some places – to stop using them. In January Barack Obama backed a bill to ban microbeads in the US and now the wait is on to see if the UK follows suit. Is there enough testing before products are brought to market? Triclosan is an antibacterial agent that has fallen out of favour but is still in Colgate Total toothpaste. Triclosan is known to accumulate in watertreatment plants; it disturbs bacterial activity in sewage sludge – later used as fertiliser – and affects algae when released in surface water, although Colgate-Palmolive states it is satisfied that triclosan is safe at low levels. On the other hand, not all natural ingredients are harmless: palm oil is in everything from toothpaste to shower gel. Palm oil is an incredibly efficient source of the long carbon chains that chemists need, but its production is also responsible for devastating deforestation. “It’s a huge environmental problem and a result of the economy on the environment,” says Sanders. Unilever has an ambitious plan to deliver zero net deforestation from palm oil production by 2020 – hopefully this will encourage the rest of the market to commit to a sustainable supply chain. Neal’s Yard Remedies is a pioneer of chemical-free cosmetics and is as committed to being natural as it was 35 years ago when it

GQ Bar Dubai JW Marriott Marquis Hotel Sheikh Zayed Road, Dubai |








50 days and 50 nights This spring, award-winning chef Albert Adrià begins a 50-day residency at London's Café Royal. Having worked for 23 years alongside his brother Ferran at the famous elBulli restaurant in Barcelona, Adrià has since gone on to set up a series of Michelin-starred restaurants specialising in a combination of Catalan and Spanish cuisine. So if you’re a foodie, “50 Days by Albert Adrià” is definitely one for the diary.

Summer knits It may well be spring, but there is definitely still a chill in the air, so keep warm with a delightful sweater by the original kings of knitwear Pringle Of Scotland. £295.

Colour code While previous years have been awash with bold block colours, spring/summer 2016 is all about a chic, classic palate – and nothing is as chic as navy blue. American casualwear brand Lands’ End has nailed the look by pairing a classic lightweight, navy blazer with navy chinos and a printed navy shirt. Blazer, £180. Chinos, £100. Shirt, £50.

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Sneaking around Cut in soft brown leather with rainbow-stripe detailing, Dsquared’s Seventies-inspired trainers are the perfect addition to your spring wardrobe. £268.


Team work This season, Japanese brand Uniqlo has collaborated with Lemaire to create an exclusive capsule collection. This light-blue denim, button-down, shirt-style jacket is our must-have pick. £69.90.

Keeping it classic When it comes to shirting, sticking to the basics never fails. Always buy pure cotton and always go for stark white or clean blue like this version by Brooks Brothers. £105.

Smart stuff If you are in need of a new smartphone that promises to tick all the important boxes – super-advanced camera, latest screen technology, powerful processing system – then the Samsung Galaxy S6 Edge is it. £699.

Linked up With a chic, stainless-steel bracelet strap, a black dial and elongated Roman numerals, the new Bloomsbury Chronograph by Links Of London has got sophistication down to a T. Wear with a well-pressed white shirt and a grey suit for work and with a navy cashmere sweater and jeans on the weekend. £350.

Forever camo The camo trend came back on the scene a few seasons ago and thankfully it is here to stay. Wear this leather camo rucksack by Coach with a black bomber jacket, black jeans and trainers. £525.

So fresh & so clean Inspired by the scents of a Chinese garden, Hermès’ Le Jardin De Monsieur Li fragrance combines floral and fruity notes including jasmine, mint and kumquat to achieve a scent that is beautifully crisp and fresh. £84. At MARCH 2016 G



GERALDINE HAMILTON Hamilton’s organs-on-chips could end testing on lab animals

GEOFFREY RAISMAN His work repairing spinal injuries is allowing paralysed patients to walk

JO MOUNTFORD Trialling lab-grown blood, which could cut the need for donations and save many lives

LUCY MCRAE An artist, McRae’s work includes speculating on the health needs of interstellar humans

JOHN HARDY An award-winning Alzheimer’s specialist, Hardy’s work is crucial to developing a cure

JEN HYATT Hyatt’s Big White Wall delivers online support, tips and therapy for mental health patients



H E A LT H | M O N E Y | 2 0 1 6 | N E X T G E N | R E TA I L | S E C U R I T Y | E N E R G Y

CHANGE GEAR Ride the fast track to fitness with 2016’s most stylish kit and the best routes to a new you E D I T E D BY

Photograph Charlie Surbey


Easy rider: Your new bike – in this case a Pinarello Lungavita – can be as fresh as your wardrobe


HEALTH WHEN your social diary looks like an electrical circuit wiring diagram and your all-but-nonexistent “down time” is spent Skyping or Tindering, then, convention holds, you must be a successful, go-getting alpha male. But is there perhaps some advantage in not just being able to, but learning to enjoy some time alone? An ongoing Harvard study suggests that spending time on our own can have a positive impact on our mental and physical health. The research shows that embracing a moderate amount of solitude can increase our empathy for others, increase the power of our memory and that our social life actually improves if we can “block off” some time for ourselves. One issue is that men often find being alone problematic. “We tend to spend much of our time either regretting things about our past or ruminating about our future”, says NHS psychologist Dr Sam Thompson. “But spending time alone just with your thoughts, even if it’s just for 15 minutes a day at first, is a great way to learn to stop our standard thought patterns and embrace the moment.” It’s easy to balk at suggestions such as Thompson’s. Associations with hippie-esque meditation and the power of the “om” can seem incongruous with modern urban life. Yet mindfulness, seen by many as a

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secular form of meditation, is becoming hugely popular with men who would never consider wearing love beads or owning anything made from hemp. “There’s evidence that mindfulness can have a beneficial impact on psoriasis, fibromyalgia, type 2 diabetes, rheumatoid arthritis, chronic lower back pain, attention-deficit/ hyperactivity disorder and insomnia”, says Dr David Cox, chief medical officer at Headspace, a digital health 1

Ommmm... Three other apps to take you into the mindfulness zone




The Mindfulness App

Simply Being

Offers a huge range of guided meditations. Pick the right one for your mood and for your stress level. Free. Available on iPhone and Android.

Meditations by such masters of the art as Eckhart Tolle, Pema Chödrön and Sharon Salzberg. £2.29. Available on iPhone and Android.

An easy-to-use app for those new to mindfulness. Offers meditations from five to 30 minutes. £1.49. Available on iPhone and Android.

Illustration iStock; Matt Murphy

Successful but stressed? Follow the solitary path to greater happiness


Me, myself and I

The number of people currently registered with Headspace

Headspace Consider this your mindfulness primer in ten-minute daily sessions. Available on iPhone and Android. Free to download. From £3.74 a month.

platform, providing guided meditation sessions and mindfulness training. “There are also many studies showing significant quality of life improvements in people suffering with a wide range of conditions from cancer to long-term physical issues, not to mention conditions such as dementia and psychoses.” But how can you shoe-horn some “me time” into a packed work and social schedule? For Thompson, there’s really no secret to it. “Think about creating a window in your diary for some alone time in the same way that you’d schedule a meeting.” And finding the time is just a case of boiling it down to raw stats. “Ten minutes is just one per cent of your day, and it can have a really positive effect on the other 99 per cent,” says Thompson. “My suggestion would be you try that for ten days and see if you like the results. There are apps now which mean that you can do it on the train, on a park bench, in a quiet corner of a cafe, or even in a toilet cubicle. Really, you’re learning a skill, and like any skill it takes practice.” Despite the sage words of Drs Thompson and Cox, it seems that taking the time to be more comfortable with your own thoughts bears little comparison with meeting a deadline or making it to a party on the other side of town. Nobody is going to pressure you or tell you to do it. “An exercise analogy is a good one,” Dr Thompson concludes. “Being able to up your alone time from 15 minutes to half an hour over a period is basically training your brain to get away from the normal cycle of worries. It means that, when a genuine crisis or difficult decision making process comes up, you can use your experience of solitary time to help you through those moments – just like how your hours at the gym are really only going to be noticeable once you actually run a marathon for the first time.” Rob Crossan


Magic Flute pump by Portland Design Works

Trucker jacket by Levi’s Commuter £170.


Pack ’n Pedal commuter backpack by Thule Chinos by Rapha



T-shirt by Le Coq Sportif £35.

M21 multi-tool by Brooks £40.

Top by Café du Cycliste

Bike lock by Kryptonite £82.15.


Lights by Brooks £15.

Elements Phone Pocket Plus by Bellroy

Photographs Charles Surbey Grooming Desmond Grundy at Carol Hayes using Info Coming Model Jesse Fox at FM London


Leather mitts by Dromarti £130.

Hardcourt shoes by Quoc Pham £139.

Bike by Pinarello Lungavita £675.


Saddle up!

Get everything you need to be the coolest thing on two wheels

Folding helmet by Carrera £100.

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Old man vs Superman REMEMBER when you felt immortal? For most of us, the days we feel like a superhero are few and far between. Age is our Kryptonite and we are all showing the stresses of life. We haven’t yet cracked the code of immortality, but science is vaulting onward and you can now cheat your way to sustained “youth”. Cuttingedge developments can improve the quality of your DNA strands, reducing some cancer risks and enhancing life expectancy. London’s Omniya Clinic is devoted to optimising the bien-être of its clients, who include international sportsmen and royalty. Here, its specialists spill their secrets. (And if some of these life hacks are whizzy and, let’s be honest, expensive, some of them cost nothing at all...)

Sun stars: Using factor-50 sunscreen may help protect your DNA from oxidative stress

hack # 1

Defy old age The problem: You may be 28; sadly the mirror suggests otherwise.

chronological age compares with your biological age.

The solution: Have your telomere length tested at Omniya. If each strand of DNA in your body is a shoelace, telomeres are like the nylon end-caps: they stop the DNA from fraying. As we age, they shorten and eventually vanish. By testing, you can see how your

What you need: Telomerase, taken as a capsule called TA-65, is an enzyme that can increase your telomere length, reversing cell age. When given to fruit flies, it doubled their life expectancy; when given to elderly, grey-haired mice, they became

brown-haired again. In humans, it reduces the risk bowel cancer by 30 per cent. What else you can do: To protect your DNA from oxidative stress, wear a factor-50 sunscreen every day. The ZO Skin Health range contains melanin, which encourages the natural pigment in your skin.

hack # 2

Baldness and prostate cancer The problem: Thin on top? Is there prostate cancer in the family? The solution: Block two aromatase enzyme processes. There are two enzymatic processes which take the testosterone you have made (interesting how it all comes back to the big T) and convert it either to oestrogen or dihydrotestosterone – which leads to male baldness and prostate cancer, as well as man boobs, erectile dysfunction and infertility. What you need: To block both processes. Here’s the “bad news”: 1 Less booze. Alcohol is an aromatising chemical, with hops (beer) being particularly bad. This is the single most important change. 2 Harder, shorter exercise. Stress and endurance exercise can also drive aromatisation; HIIT and strength

training are fantastically good for testosterone and HGH production. 3 Less sugar. I hate to be the bearer of bad tidings n’all, but stay away. 4 Be aware of plastics. Plastics used in the food industry may have an effect that mimics oestrogen; especially bad is food heated in a plastic container. And here’s the good news: More than 300 foods are aromatase inhibitors and help prevent testosterone being converted to oestrogen. Think olive oil, coconut oil, avocado, kale, cabbage, cress, white button mushrooms and rosemary. What else you can do: Go to bed earlier. A reduction from nine hours to under six hours sleep a night halves testosterone levels, which puts you very much on the wrong foot before the day’s begun.

Photographs Alamy; Getty Images

Drop kick: Help combat baldness by including olive oil in your diet

LIFE hack # 3


Energise your life

The problem: You live on tuna steak; you work out; you can’t fit into your trousers.

The solution: Vitamin D and magnesium. Half of the UK are vitamin D deficient, and it is the No1 cause of chronic fatigue and tiredness. Some kinds of depression, and certainly the seasonal affective disorder (SAD) blues, relate to this. Known as the sunshine vitamin, Vitamin D is synthesised during periods of bright light – but only when the sun is at least 45

The solution: Human Growth Hormone (HGH). Last year everyone was excited as they recognised the damage sugar can do. Now the great topic du jour is hormones and their importance in anything from body shape to wrinkles to depression. Levels of HGH peak in our twenties, then decline, often with alarming rapidity. Low HGH relates to a catabolic state, in which your body is breaking tissue down in order to release energy. However, your body first cannibalises your muscle tissue, rather than the fat in your spare tyre. This state can be triggered by not getting enough sleep. Or even by getting enough sleep, but of the wrong kind. (If you go to bed stressed you may not drop into the deep REM state in which HGH is manufactured.)

illustrations John Devolle at Folio

hack # 4

What you need: The ideal solution would clearly be to move to Umbria and live with the rhythms of the sun. Alternatively, have HGH injections. The Omniya Clinic notes that clients who have these have found that they have lost up to a third of their body fat with no other lifestyle changes. What’s more, restoring your HGH levels will slow down ageing and enhance your immune system. What else you can do: Take high-quality supplements of vitamin C, Omega 3 and vitamin B5.

The problem: You used to be high octane. Now you’d like to curl up with a book.

degrees in the sky. Without sufficient light (you live in Britain!), it’s better taken as a supplement or in fat-rich foods, including oily fish, eggs and butter. Magnesium deficiency relates to muscle fatigue, weakness and a feeling of tiredness. It is found in nuts and seeds, and leafy green vegetables and pulses should be eaten daily. What you need: HGH is central to the zip, pizzazz and general vigour you feel on waking up. Fasting for 24 hours at least

once a week raises HGH production. Good foods include grass-fed beef, tuna, lamb and walnuts. To raise your HGH, at least 40 per cent of total daily calories should come from protein. What else you can do: Start early. To prevent energy crashes you want balanced blood sugar levels; for most men this means having a high-protein breakfast within 45 minutes of rising.

A moo’s boost: Grass-fed beef can raise HGH and help to increase your energy levels

hack # 5

You’ve lost your mojo The problem: It isn’t so much you can’t get it up, as you really don’t want to. The solution: Extra testosterone. This might seem obvious, but bear with us. If you are tired and your diet is poor, your body may not manufacture adequate amounts. So, you aren’t being unmanly – rather, your testosterone just isn’t there. What you need: Combat “cortisol steal”. If the body is stressed over a long period of time, it may produce too much cortisol. The body “steals” the resources that would otherwise go into making the hormones DHEA and testosterone. Take testosterone in a topical cream, as a sublingual capsule or in an injection. Heroes in a half shell: Oysters are rich in zinc – perfect for boosting flagging testosterone levels

Live forever tip sheet

What else you can do: Take zinc; it is often as effective as a testosterone injection. Oysters are known as aphrodisiacs for their high zinc levels and so are shellfish, oily fish, lamb and nuts. Rebecca Newman Thanks to Omniya Clinic, London SW7.




To slow your mind down at the end of the day, to help you stay calm and centred; even ten minutes a day will show results.

Free and fantastically beneficial. If you can’t face 24 hours, go for the 5:2 option.

So many crucial micronutrients are not digested if you don’t break down your food.

Eat a varied diet To maximise your micronutrients, eat as many different meats and vegetables as possible.

Make love In case we need an excuse, sexual activity increases testosterone and lowers cortisol levels.

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Tool up, tie down and flame on! GQ’s rope-swinging firestarter Bear Grylls sorts the men from the boys with two simple survival skills

K N OT S Too few men know even the simplest of knots. There are thousands of different kinds, but you can do pretty much everything you’re ever likely to need to – in the wild, in the house or on adventures – with just three simple, effective knots: the overhand knot, the clove hitch and the bowline.




THE rugby World Cup winner Mike Tindall was on my ITV show, Mission Survive, last year. As we were sitting round the campfire one night, he told me that although everyone thought of him as being a “man’s man”, he felt he didn’t have the skills to back up this image off the pitch. He was not alone in thinking that way. Now, in order to be successful as a man, you have to be a complete package. So what does that mean? Do you have to be awesome at whatever you turn your hand to? Do you have to be that guy who can build anything and fix everything? No. I was once talking to an old ranger in Africa about general survival techniques and he said to me, “Good enough is good enough.” That’s always stuck with me. Likewise, for most man-skills you don’t have to be totally meticulous, measuring everything ten times with a spirit level and filling your shed with all the swankiest power tools. Most of the time, good enough is good enough. So in that spirit, here are two skills every man should have a basic working knowledge of. Learn these two and you’ll be light years ahead of most guys you know.






Clove hitch This is a great knot to attach a rope to a pole or post. That makes it the perfect roofrack knot. Easy to tie and, crucially, untie.





Bowline The bowline is used to form a loop at the end of a piece of rope. It’s a common sailing knot, but also the ultimate survival knot, since it can be used to tie round someone’s waist if you need to drag them out of a hole or up a cliff face. So there you go: two simple skills that just might save your life – or at least save your man-pride in a moment of crisis!

Photograph Alamy; Steve Neaves




This is the simplest knot there is and probably the most useful. Let’s say you want to drag something out of a ditch and you’ve got two lengths of rope that aren’t long enough. Use this knot to connect the two. It will lock them absolutely drumtight together. But beware: it will be hard to undo. If you need to undo the two ropes quickly, try two bowlines tied together instead (see below).


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Men’s fire-lighting skills are most often tested at the barbecue, rather When it comes to starting a fire than in the wild, but the same principles the most important thing you hold. You need plenty of fuel – get more need to remember is the fire triangle. There charcoal in than you think you need. If are three ingredients necessary for a fire: you’re using fire lighters, that’s OK. Again, fuel, heat and oxygen. Remove one, and start small and light it well ahead of time so your fire will go out. Make sure all three are the heat can gradually increase to a decent present and you’ve got yourself a blaze. temperature and start burning all that fuel Your fuel may be wood, coal or charcoal. properly. Don’t smother it – that barbie Whatever it is, if you want a flame you need needs oxygen to burn just like any other to provide enough heat to transform that fire. When you come to cook, the flames solid fuel into a gas. It’s this gas, mixed should have died down and the coals with oxygen, that causes a flame. should be a mix of glowing and grey. You need to start with very small Remember, nobody likes a pieces of fuel. As they burn, they barbecue nerd. I’ve been to will gradually produce more heat, barbecues where the guy in which will be sufficient for larger charge refused to cook without pieces of fuel. While you’re exactly the right type of cedar doing this, you must make FUEL wood. Guys like that need sure you’re not packing the to get out more – literally. fuel in too tightly, because I’ve lost count of the meals I’ve cooked on this will stop the flow of oxygen. In short: makeshift fires constructed from whatever look after a fire when it’s small and it will fuel I had to hand, but every single one was look after you when it’s big. Above all with more enjoyable than these cheffy uberfires, preparation is key: have enough dry barbecues. Good enough is good enough. tinder, kindling and larger fuel all ready to At the end of the day, it is about having go before you begin. It’s much easier to get fun, staying safe and being effective. That’s it right first time than burn through all your man-skills lesson one! good tinder in a failed first attempt.

Simple overhand knot



Reboot your work-out

Photograph Ben Riggott Grooming Alice Howlett using YSL Beauté Model Altor Manuel Alonso at W Athletic. Shorts, £22. Boots, £85. Both by Adidas. Socks by Nike, £12.

Football is a combination of speed, power, strength, acceleration and agility, plus the technical skills, of course. Strength training should be an essential part of any footballer’s training schedule. Players who strengthen their bodies in the gym will be stronger on the pitch and less prone to injury. The bulk of strength training should be done in the off-season, three times per week, reducing to once or twice a week in the season, depending on fixtures.

The plan Exercise 1

Exercise 2

Exercise 3

Romanian deadlifts

Single leg butt kick

Stability ball jackknifes

Stand feet shoulderwidth apart with an overhand, shoulderwidth grip on barbell. Bend knees slightly and move hips back while slowly lowering bar to floor. Go as low as you can and then return while still maintaining flat lower back and straight arms.

On hands and knees, hands in line with shoulders, knees in line with hips, back flat with abdominals supporting. As you breathe out, lift left leg back and up until thigh is parallel to floor. Return to start position under control, change legs and repeat.

In press-up position with feet resting on Swiss ball and shoulders wide and in line with hands, draw knees to chest. Keep back straight and pull ball forward with shins until knees are slightly in front of hips. Return to start position, ending with hips no lower than shoulders.

Perform 4 sets of 10 reps with 60 seconds rest between.

Perform 3 sets of 15 reps each leg with 60 seconds rest between.

Perform 3 sets of 15 reps with 60 seconds rest between.

Post-exercise energy blast Give your NutriBullet a work-out. Ingredients O30g spinach (raw) O1 banana O1 tbsp almond butter O2 tbsp Greek yogurt O1 tsp honey O350ml coconut water Method Add the ingredients to a tall cup, blend for 30 seconds until smooth. Jonathan Goodair

NutriBullet, £99.99. At MARCH 2016 G


Where the Wildlings are The Game Of Thrones phenomenon has coaxed cosplay out of the expo centre and into the bedroom. Lou Stoppard laces up a corset to investigate how a sex-and-swords epic has injected a new dimension of fantasy into everyday encounters

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Naked ambition: Daenerys Targaryen (Emilia Clarke) unwinds between battles with Khal Drogo (Jason Momoa) and ‘bedslave’ Doreah (Roxanne McKee, above)

two prostitutes maim one another; Alfie Allen (as Theon Greyjoy) cavorting with a harem of naked women shortly before falling prey to a merciless castration; or the on-off sex affair between two siblings that produces three children and ends in a dramatic tomb-top rape – just one of many scenes to spark claims that the show is pointlessly controversial. Game Of Thrones may be freaky, but it’s mainstream. You can discuss it in the office or catch up with reruns on the tube without getting glared at like some kind of deviant. It’s the acceptable perversion – a fetish masquerading as fun TV. In fact, if you’re looking to introduce porn into the bedroom, then Game Of Thrones is a good place to start. Your girlfriend isn’t likely to accuse you of being disgusting, but you can get off with the help of the characters. “It’s definitely a good lead-up to foreplay,” muses 29-year-old lawyer Thomas, who’s a committed fan alongside his girlfriend. “It can really get you in the mood.” As we gear up for the sixth series of Game Of Thrones, many – like me – are taking their enthusiasm beyond the screen. Cosplay used to be a niche pastime, something for people with multiple hard drives and rare skin conditions. Today, Comic Con is like some kind of sci-fi Woodstock – sexy, adventurous,

subversive and full of hot people gratuitously posing together. MCM London Comic Con, the biggest UK gathering of aspiring superheroes and warlords, attracts over 130,000 visitors. “Now, if you wanted to, you could go to a cosplay event every month – in the summer, probably once a week,” explains 26-year-old Serena Dyer. She has a penchant for Disney get-ups and even founded a cosplay costume company with her boyfriend thanks to the growing public enthusiasm for dressing-up. “The events and meet-ups are everywhere, from huge conventions to picnics in the park.”

Photographs Getty Images, Rex, Darren Nana

IT’S a Wednesday night and I’m in a corset. Sadly it’s not 1699, or even 1999, and I’m not playing a supporting role in Cruel Intentions or trying to make it in a girl band. It’s 2015 and I’m wearing a corset for sex. Many women before me have turned to lacing for similar reasons – an ill-advised burlesque class or a “steamy” amateur photo shoot. But I’m not accessorising mine with lingerie or some godawful feather boa. In fact mine’s actually more of a corset belt, fastening at the back with a gold metallic ribbon. I bought it from Etsy, a place where you’re more likely to find home-made dreamcatchers and hemp soap than vibrators and sensual oils. I’m wearing it with a flowing blue tunic dress, also purchased online, from a specialist cosplay website (cosplay – a portmanteau of “costume play” – is the act of wearing carefully selected costumes and accessories to represent a specific character). Tonight, I’m not Lou, but Daenerys. I’m bringing Game Of Thrones into the bedroom. I’m not alone. Since the books’ popularity boomed and the fantasy programme debuted in 2011, it’s acquired a ferociously committed fanbase. A fair few couples have got married in costume, there’s ample fan literature and the network, HBO, has had to clamp down on the licensing legality of screening parties in bars and clubs – such is the mass hysteria. I don’t invite a partner to my first late-night cosplay session, but text a vaguely erotic picture to a guy who’s obsessed with the show. It’s hard to duck-face effectively while dressed like a slutty Tudor, but I feel I do a good job. “Aroused but scared,” he replies. That’s a good tag line for Game Of Thrones, a show that’s garnered 83 Emmy Award nominations, but will probably go down in history as a festival of “fighting and f***ing”, to quote one fetish site I stumbled across during my corset quest. Your parents and colleagues probably claim they watch the show for the writing, costumes and plot twists – they’re lying. It’s like people who pretend they follow beach volleyball for the love of the game. Really they, and the eight million other viewers out there, are more interested in seeing a manic teen-king make


‘The sex on the show isn’t just gratuitous, it’s often quite surprising’ Dyer thinks that Game Of Thrones outfits are for amateurs and wannabes – dabblers like myself. “Daenerys isn’t one of my favourites because so many people do her. She, Harley Quinn and Elsa from Frozen are everywhere at cons,” she sighs. It was this desire to avoid being just one dream girl in a sea of identical cosplayers which led UK cosplayer Georgia Humphrey to set up a more professional outfit. Along with her boyfriend, she’s recruited a motley crew of Game Of Thrones obsessives – 56 in total – each with their own role and costume. As far as she’s aware they’re the biggest group in the world. She plays Ygritte, while her boyfriend portrays Ygritte’s on-screen lover, Jon Snow. While the group is committed, breaking character isn’t forbidden. “There are some groups where you have to be acting all the time; certain Star Wars ones operate like that. We’re not that strict – it’s great if people want to be in character, especially because there’s so much murder and sex and lots of excitement in Game Of Thrones – but it’s more about hanging out and getting good photos.” While Humphrey and her boyfriend relish playing lovers, other cosplayers have different tastes. “Some people will only cosplay their character’s partners. But that said, our Rob Stark and our Catelyn Stark are a couple – which is weird as they are mother and son in the story. Also, I do sometimes play Lyanna Stark, who is largely considered to be my boyfriend’s character’s mother,

which leads to some very awkward situations! But it is nicer when it is your partner – you can do more intimate photos and you don’t have to fake any chemistry.” Solo cosplayers should capitalise on the dating opportunities, she says. “If you come into a group as big and diverse as ours single, it’s easy to find someone with similar interests,” she says. Speak to many cosplayers and they’ll tell you it’s innocent fun – a love of the craft required to bring the costumes to life. “The range of skills some cosplayers have is astonishing. One day you’re sewing, next you’re moulding thermoplastic and using a Dremel,” says Dyer. The web tells a different story, showing sex toys as opposed to glue guns. PornHub has a whole section dedicated to the show, with some videos lifted straight from the episodes themselves and numerous bespoke parody pieces. Writer Anna Klassen, who’s been reporting on Game Of Thrones’ dirty moments since the show began, argues that, like porn, the show gives people licence to fantasise and offers up odd scenarios they can re-create in the bedroom. “The sex on the show isn’t just gratuitous, it’s often quite surprising,” she muses. “I’ve written a few pieces imagining what it would be like to sleep with the different men of the Seven Kingdoms – if you watch the show you can’t help wonder what it would be like to get in a hot spring with Jon Snow or see what Petyr Baelish could really do with his ‘little finger’.” Game Of Thrones devotees bringing scenes into the bedroom is nothing new in the eyes of Charlotte Hellicar, who works at Torture Garden in London, Europe’s largest fetish club. She’s seen plenty of cinema-inspired sex over the years. “There have been some film releases over the years that have led costume trends from – The Matrix, Moulin Rouge!, Eyes Wide Shut... Additionally, Eyes Wide Shut and Secretary definitely helped a wider audience to be less embarrassed to talk about BDSM and kink and we saw an influx of people coming to the club to try out some public role-playing for the first time.” But Game Of Thrones isn’t just for committed

Con artists (from left): Joffrey Baratheon and Daenerys dress-alikes try on the Iron Throne for size at a Game Of Thrones expo, London; another Daenerys at San Diego’s Comic-Con International; a third and her fiancé, dressed as Jon Snow, marry in costume after winning a competition

fetishists; the role-play and dressing up isn’t just taking place in the backrooms of clubs, but out and about on the streets and in ordinary bedrooms. Whether you’d be up for donning mythic garb or not, you can’t help but admire the production and effort that goes into the show. Battle scenes can take weeks to film, and much of the action is created with painstaking special effects. That’s not dissimilar to sex in 2015 – it’s all performance. Tinder has also rendered hook-ups into a movie production, a sexual casting call conducted via left and right swipes as final and cruel as a director with a power complex. Given sex is becoming so fantastical, it would only be so long before someone added an award-winning narrative into the mix. So while my Daenerys costume actually requires too much unlacing and unwrapping for a particularly passionate, impulsive kind of affair, I enjoy being able to fall back on preconceived dialogue and crowdpleasing clichés rather than inventing pillow talk. Plus, there’s a certain frisson to having a sword in the bedroom...

Don’t hate the cosplayas…

MCM London Comic Con The mother of all dress-ups takes place from 27-29 May 2016. Over 130,000 wannabe Doctor Whos and Daeneryses assemble to show off.

True Believers If you’re a dedicated geek and sick of others dipping their toe into your world, then this festival in Cheltenham on 6 February is for you.

The World Cosplay Summit This event – in Japan from 30 July 7 August – is now in its 14th year and features teams and groups from Korea, Italy, Thailand and Australia. MARCH 2016 G

Stockists March 2016


David Morris




Diesel Black Gold



AG Jeans

Dior Homme


Alexander McQueen

Dolce & Gabbana



Mont Blanc



Hardy Amies





Atsuko Kudo


Harvey Nichols





Hugo Boss


Audemars Piguet


Emporio Armani

Ben Sherman

Ermenegildo Zegna


E Tautz



Bottega Veneta

Ettore Bugatti

Brooks Brothers Burberry Prorsum


Calvin Klein Collection






J Crew

Fifi Chachnil

Jimmy Choo


John Smedley


John Varvatos




Gieves & Hawkes





Giorgio Armani

Kurt Geiger

Craig Green

Giuseppe Zanotti

Crockett &Jones





Daks 10 Old Bond Street, London W1. 020 7409 4040



Lanvin Links Lisa Marie Fernandez Loake Louis Vuitton


Marks & Spencer

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Oliver Peoples oliverpeoples.ocm Oliver Spencer Omega Orlebar Brown


Paul Smith Philipp Plein Prada Pringle


Ralph Lauren Ray-Ban

Paul Smith 9 Albemarle Street, London W1. 020 7493 4565

Skagen Smythson Sunspel


TAG Heuer Tateossian Taylor Morris Thomas Sabo Tiger Of Sweden Tod’s Tom Ford Tommy Hillfiger Topman Turnbull and Asser





Raymond Weil




Richard James

Vivienne Westwood

Russell & Bromley





William Wilde





Salvatore Ferragamo










The Penthouse Collection – only 4 remaining For those looking for the ultimate city lifestyle, The Penthouse Collection in the Carrara Tower meets every expectation. 2 and 3 bedroom penthouses available from £2,525,000 Call 020 3393 3649 to register your interest or email 250 City Road Sales & Marketing Suite – 250 City Road, London EC1V 2QQ. Open 7 days a week 10am – 6pm (Until 8pm on Wednesdays and 4pm on Sundays). Details correct at time of going to press and subject to availability. Computer generated images of 250 City Road and a penthouse terrace and view at 250 City Road pending on planning, indicative only. Proud to be a member of the Berkeley Group of companies


The majestic 170m tower rises 50 storeys high and is only moments from the River Thames, occupying a privileged position at the heart of fashionable South Bank. A choice of Studios, 1, 2, 3 & 4 bedroom apartments are available each boasting luxurious, spacious interiors and exceptional views over the inspiring capital. Dedicated Harrods Estates Concierge • Valet Parking • Health Club with Spa, Swimming Pool & Gym Private Screening Room • Wine Cellar • 32nd Floor Executive Lounge

Prices from £1,150,000* 020 3411 2692 |

Proud to be a member of the Berkeley Group of companies

*Price and details correct at time of going to print. Computer enhanced image depicts One Blackfriars and is indicative only.

Cresswell House Chelsea SW10 Cresswell House embraces classical grace and splendour and is undoubtedly one of the ďŹ nest luxury family homes to come on to the Chelsea market for many years. Situated at the heart of The Boltons conservation area, this beautifully designed and exceptionally spacious house offers an abundance of light, impressive proportions and unrivalled family accommodation. Master bedroom suite with 2 dressing rooms, en suite bathroom and shower room 4 further bedroom suites | Sitting area/bedroom 6 Entrance hall | Drawing room with bar Dining room | Kitchen/dining room | Sitting room | Study Cinema room | 2 guest cloakrooms | Gym Swimming pool, Jacuzzi and relaxation area | Sauna Shower rooms | Self-contained staff area | Garage with lift for 2 large cars | Courtyard garden 48ft south west facing garden Approximately 1,027 sq m (11,062 sq ft) | EPC: B



020 7349 4300

Paul Finch

James Pace

Elegant living in the heart of Cheltenham from £190,000 Regency Place is a distinctive collection of contemporary homes and apartments that offers everything for the discerning buyer. From low maintenance living without comprising on style, to an array of attractions all on your doorstep. The town centre of Cheltenham is close by and offers cultural living with fine dining restaurants and exclusive bars. Step away from the hustle and bustle of town centre life with the cotswolds only a short distance away.

1 & 2 bedroom apartments from £190,000 3 & 4 bedroom houses from £395,000 01242 504922 Internal images contain optional upgrades at additional cost.

Visit our Marketing Suite or call us to arrange a viewing of our newly launched Show Home at: 37 – 39 Winchcombe Street, open Thursday to Monday 10am to 5pm Show Home photography. Digital illustration is indicative only. Pricing correct at time of going to press.

Established and picturesque wine estate KINGSCOTE, WEST SUSSEX East Grinstead: 3.6 miles, Haywards Heath: 10 miles, Central London: 32.4 miles Grade II listed 5 bedroom farmhouse, established vineyard, visitor’s barn, winery, shop and office, holiday let and equestrian facilities.

Chris Spofforth Savills Haywards Heath

01444 616131 Alex Lawson Savills London Country Department

020 3092 0992 About 152 acres I Excess £4.5 million


The medieval village of Poggio Santa Cecilia, in the foothills between Arezzo and Siena




The view from Villa Dâ&#x20AC;&#x2122;Este


Villa Annetta







MARINE LIFE For the ultimate getaway, explore the world of luxury yachting â&#x20AC;&#x201C; a nautical adventure that leaves traditional villa vacations in its wake. Cecil Wright arranges bespoke yacht charters that will take you deep into your comfort zone.

SIREN for sale exclusively through Cecil Wright. Contact Chris Cecil-Wright:









SHOW APARTMENT NOW OPEN A unique blend of new build apartments & mews houses; some sympathetically crafted around the retained façade of a former bakery. › Located in a conservation area › Nestled around a secluded courtyard garden › Easy commute to the legal quarter, The City of London, Canary Wharf & the West End › Conveniently located for elite universities, LSE & Kings College › Concierge Service › 250 year leasehold › Completions from summer 2016 Southwark Stn.

The Cut

OldVic Theatre

Waterloo Stn.

4 minutes

4 minutes

4 minutes

5 minutes

Blackfriars Bridge 11 minutes

Borough Market

St. Paul’s

17 minutes

22 minutes

Book your appointment to visit 0800 883 0193 | | 1 beds from £735,000 | 2 beds from £965,000 | 3 beds from £1,175,000 | 3 bed mews houses from £2,195,000 Development Address 1-19 Valentine Place, London, SE1 8QH Digital illustration is indicative only. Pricing correct at time of going to press. Times and distances taken from Google Maps.



To the manor born




No other magazine combines fashion, style, beauty and culture in such an inspiring way print + FREE iPad & iPhone access VOGUE features the top photographers, the most glamorous models and the most talented writers to create a very lively and entertaining read. Names like Mario Testino, Kate Moss and Nick Knight give us the most arresting fashion pages to be found in a UK glossy magazine.


3 I S S U E S O N LY £ 3 * Try VOGUE for only £3 and enjoy 3 copies of the magazine with the best in fashion, style, beauty and culture. After your exclusive trial offer, contact us to stop receiving the magazine or let your subscription start automatically. When your subscription starts, you will receive a FREE WELCOME GIFT and the next 12 issues for only £29.90 â&#x20AC;&#x201C; thatâ&#x20AC;&#x2122;s 38% free. Plus print subscribers can now access VOGUEâ&#x20AC;&#x2122;s interactive iPad & iPhone editions FREE, worth £35.88 as part of their subscription â&#x20AC;&#x201C; all you need is your subscriber number. The iPad & iPhone editions deliver everything you get from the print magazine and more, through interactive graphics, galleries and video, adding value to the VOGUE experience.

CALL 0844 848 5202 REF KVO15141 OR VISIT WWW.VOGUE.CO.UK/SUBSCRIBE/KVO15141 (BT landline calls to 0844 numbers will cost no more than 5p per minute; calls made from mobiles usually cost more) *Offer limited to new subscribers at UK addresses and to direct debit payments only until 31/03/2016. For privacy policy and permission details, log on to

The Goodman Penthouse Launch at Goodman’s Fields Thursday 4th February, 6pm – 9pm

Enjoy the pinnacle of London living at The Goodman Penthouse. Just over 3,800 square feet set over the top three floors of Satin House with exquisite interiors and breathtaking views towards the City and Canary Wharf. The Goodman Penthouse priced at £5,000,000 - ready to move in by March 2016. Call 020 3051 3760 or email Sales & Marketing Suite open 7 days a week 10am – 6pm (Open until 8pm on Wednesdays and 4pm on Sundays) 39 Leman Street, London, E1 8EY. Price and details correct at time of going to press and subject to availability. Computer generated image depicts Goodman’s Fields and is indicative only. Proud to be a member of the Berkeley Group of companies


THE WORLD AT YOUR FINGERTIPS FROM CORNWALL TO THE CARIBBEAN Inside every issue the world’s best travel writers and specialists share their secrets and offer new and authentic experiences. Features on new destinations, or well-loved classics and ideas for achieving holidays in places you’ve only dreamed of – Condé Nast Traveller will take you there.

EXCLUSIVE TRIAL OFFER 3 I S S U E S O N LY £ 3 * Try Condé Nast Traveller for only £3 and enjoy 3 copies of the magazine. After your exclusive trial offer, contact us to stop receiving the magazine or let your subscription start automatically. When your subscription starts, you will receive a FREE WELCOME GIFT and 1 year of print and digital editions for only £24 – that’s 73% free. Also as a subscriber you will automatically qualify for FREE membership to the Members Club.


call 0844 848 5202 (REF KCT15139)


*Offer is limited to new subscribers at UK addresses and to direct debit payments only until 10/04/2016. BT landline calls to 0844 numbers will cost no more than 5p per minute – calls made from mobiles usually cost more.


A unique selection of highly desirable West London residences

Computer generated images

Brackenbury Grove offers a unique collection of 2 bedroom mews houses, 3 bedroom townhouses and a selection of 1, 2, 3 & 4 bedroom apartments. These exclusive homes combine refined living with contemporary flair and luxury. Featuring a premium specification throughout with private courtyards, balconies or terraces, secure underground parking*and a concierge service.

Coming early 2016 To register your interest and be one of the first to view this exceptional development please contact our sales team

0344 809 2016

* Selected 1 bedroom apartments do not benefit from parking


...with NOEL GALLAGHER GQ talks Adele, the 20th anniversary of Knebworth and lunatic fans over champagne and chips at J Sheekey I L LU S T R AT I O N BY

JOHN ROYLE he exact moment Noel Gallagher struts into J Sheekey, a seafood restaurant off Charing Cross Road famous for its thespy connections and exquisite oysters, two things happen in quick succession: he orders champagne and then he begins machine-gunning the first of about a thousand riotous anecdotes. We haven’t even considered opening our menus and arguably Britain’s Last Great Rock Star, sort of a Mancunian Elton John for the Britpop generation (adored, uncompromising, unapologetically blunt and really, really rich), is telling me how he and his absurdly beautiful wife, Sara, were round at Mark Ronson’s house recently after an industry awards knees-up and something nigh-on cataclysmic occurred... “We were on about the 15th hour of a 17-hour bender,” Noel explains, chuckling, those eyebrows going off like a couple of mating Ewoks in a Zumba class, “and on the way to his gaff – we were coming from the Chiltern Firehouse, naturally – Mark tries to jump out of the taxi on the Westway. We had to grab him to stop him from being run over. Eventually, and alive, we make it back to his place and then he goes, ‘So, does anyone want to hear the new Adele album?’ Before anyone could say, ‘No thanks, Mark, not at ten to five in the morning,’ he sticks it on. Continuously. I kept saying, ‘I thought you were a bloody DJ? No one wants this, not now!’ The lesson of the story: nothing good happens between the hours of 4am and 6am. Nothing. Lovely lad, though, Mark. Adele? I’m not a fan. She always comes on the radio when I’m having my cornflakes: ‘Hello?’ No, f*** off!” As anyone who has spent any time with the man will tell you, Noel Gallagher is superb, dangerous company, not least because the High Flying Birds frontman has an opinion on absolutely everything, which this afternoon ranges from writing his autobiography – “Yes, I’ll do one. No, I won’t do a Wayne Rooney and write six” – to the absurdities of


what he calls “Heston Blumenthal’s barbed-wire-flavoured ice cream”. We spend the afternoon talking, drinking champagne and – for me at least – laughing so much my face turns to clay. We cover, and scorch, a lot of earth. Topics discussed before our food arrives – which, incidentally, is haddock and chips (£18.25) cooked about as perfectly as is possible – include the new Star Wars film: “I went on set and discovered the Millennium Falcon is made out of bubble wrap and tons of Lego sprayed silver.” Noel’s fallibility when faced with an oven: “That’s how I imagine I will die. Sara will go away and I’ll accidentally undercook a piece of chicken.” Vegetarians: “I open the fridge sometimes and think, ‘What I call food lives on this.’” Saturday night television: “I’ve been offered the X Factor twice and – right after I left Oasis – Strictly Come Dancing. Just ee-f***ingmagine.” The lunacy of some fans: “I signed a dry-cleaning receipt for someone’s son once. I asked, ‘Don’t you need this to go and get your washing?’” And, of course, someone Noel once described as “a man with a fork in a world full of soup”: “I saw Liam at a Man City game recently and we were all right. Bless him, he’s going through a bit of a tough time – you live by the sword, you get divorced by the sword...” Once done with our battered fish, we contemplate what will be Noel’s next significant Oasis announcement. No, not Glastonbury 2016, sadly, but a documentary, directed by Asif Kapadia – the man behind Amy and Senna – celebrating the 20th anniversary of the band’s monumental two nights at Knebworth in 1996. “We have all this footage from behind the scenes leading up to the gigs, most of which can’t be used as there’s just monstrous drug taking. We shot the gigs using 16 cameras and we forgot about it. It feels like the last great gathering before the internet; youth culture’s last great stand. A sort of ‘you had to be there’ moment. Nothing will ever happen like that again.” And he’s right. It won’t. Just like this meal. And with that we order two coffees and two more glasses of champagne. Remember: “Live Forever” kids, if only in your own lunchtime. J Sheekey, 28-32 St Martin’s Court, London WC2. 0207 240 2565.

VERDICT Cigarettes & Alcohol ★★★✩✩ My Big Mouth ★★★✩✩ Rock’n’Roll Star ★★★★★ F***in’ In The Bushes ✩✩✩✩✩ Overall ★★★★★

Portrait Zohar Lazar

‘Nothing good happens between 4am and 6am’

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AQUARACER CALIBRE 16 AUTOMATIC CHRONOGRAPH Hard work. Resilience. Dedication. These are Florent Troilletâ&#x20AC;&#x2122;s mottos. His physical and mental strength make him a fierce competitor in the challenging world of ski mountaineering, and enabled him to win the most prestigious competitions. Like TAG Heuer, he is an overachiever and never cracks under pressure.

Gq march 2016