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LEGENDS ARE FOREVER

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HERITAGE I PILOT Ton-Up


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GQ . STYLE . ISSUE . 23

51 The Front All the names, shops and looks to know now, plus backstage trends from the shows, luscious still lifes and hero buys

142 The Sartorialists The story behind Dolce & Gabbana’s Alta Sartoria and Alta Moda extravaganza in Naples – with glitz, glamour and guest of honour Sophia Loren. Text Dylan Jones

152 Future Perfect To celebrate MCM’s 40th anniversary this year, we trace the brand’s story and reveal its future plans. Text Jennifer Piejko

159 Welcome to Pleinland The ritzy designer shows us around his even ritzier Cannes home. Text Anders Christian Madsen

168 Watches Invest in a modern classic. Photography Toby McFarlan Pond, styling Sophie Clark, text Robert Johnston

186 About Time The young entrepreneurs rocking the business world – and some damn fine Tifany watches. Photography Benjamin Lennox, styling Luke Day, text Dean Kissick

198 Time Management Tifany & Co’s Nicola Andreatta on leading the brand back to watchmaking glory. Interview Dean Kissick

202 Jake Gyllenhaal The actor interviewed by Tom Ford, director of his latest film. Photography Matthew Brookes, styling Jay Massacret

Painted denim shirt and jeans and rose-buckle belt by JAMES LONG AW16, photographed by Hazel Gaskin


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On the cover Jake Gyllenhaal photographed by Matthew Brookes, styled by Jay Massacret. White T-shirt by GUCCI AW16

S UK £6.50 I N T E R N AT I O N A L £7.20

The

. STYLE . ISSUE GQ GQ . STYLE . ISSUE . 23. 23

Ultimate Guide To

220

Men’ s

The Best Get your kicks with fashion inspired by Seventies footballers. Photography Matthew Brookes, styling Luke Day

Fa shion AUTUMN WINTER 2016/17

Jake

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Jake Gyllenhaal Photographed wearing Gucci AW16 by Matthew Brookes

Interviewed by

TOM FORD

The Collector Celebrating Kim Jones’ five years at Louis Vuitton with the archive reimagined. Photography David Hughes, styling Elgar Johnson, text Jo-Ann Furniss

248 Dominic West The star of The Afair talks sex scenes and serial killers. Photography Blair Getz Mezibov, styling Luke Day, text Ben Cobb

256 Dior or Die Kris Van Assche marks ten years at the helm of Dior Homme. Photography Mark Mattock, styling Judy Blame, text Anders Christian Madsen

268 King Content The future of publishing, by GQ Style’s Editor-in-Chief. Artworks Mariano Peccinetti, text Dylan Jones

274 Brother Introducing Manchester’s cool new model agency. Photography Tom Sloan, styling Elgar Johnson

286 Social Climber Reach the summit of style in technical sportswear. Photography Laurence Ellis, styling Gary Armstrong

300 Bled Right N True The knockout British boxers who are more than ready to rumble. Photography Mark Lebon, styling Elgar Johnson, text Paul Henderson

GQ STYLE IS A MEMBER OF THE INDEPENDENT PRESS STANDARDS ORGANISATION (WHICH REGULATES THE UK’S MAGAZINE AND NEWSPAPER INDUSTRY). WE ABIDE BY THE EDITORS’ CODE OF PRACTICE [WWW.IPSO. CO.UK/EDITORS-CODE-OF-PRACTICE] AND ARE COMMITTED TO UPHOLDING THE HIGHEST STANDARDS OF JOURNALISM. IF YOU THINK THAT WE HAVE NOT MET THOSE STANDARDS AND WANT TO MAKE A COMPLAINT PLEASE SEE OUR EDITORIAL COMPLAINTS POLICY ON THE CONTACT US PAGE OF OUR WEBSITE OR CONTACT US AT COMPLAINTS@CONDENAST.CO.UK OR BY POST TO COMPLAINTS, EDITORIAL BUSINESS DEPARTMENT, THE CONDÉ NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU. IF WE ARE UNABLE TO RESOLVE YOUR COMPLAINT, OR IF YOU WOULD LIKE MORE INFORMATION ABOUT IPSO OR THE EDITORS’ CODE, CONTACT IPSO ON 0300 123 2220 OR VISIT WWW.IPSO.CO.UK

Damier vintage trunk by LOUIS VUITTON, photographed by David Hughes, styled by Elgar Johnson


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EDITOR-IN-CHIEF

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PA TO EDITOR-IN-CHIEF LOTTIE STANNERS / PA TO PUBLISHER EMMA COX MARKETING DIRECTOR JEAN FAULKNER / ASSOCIATE RESEARCH DIRECTOR GARY READ / ASSOCIATE DIRECTOR, DIGITAL MARKETING SUSIE BROWN DIRECTOR OF PRESS AND PUBLICITY NICKY EATON / CIRCULATION DIRECTOR RICHARD KINGERLEE / PRODUCTION DIRECTOR SARAH JENSON COMMERCIAL PRODUCTION MANAGER XENIA DILNOT / COMMERCIAL SENIOR PRODUCTION CONTROLLER LOUISE LAWSON CONTROLLERS MARIE RHYS-EVANS, EMMA STOREY / DIRECTOR OF EDITORIAL ADMINISTRATION AND RIGHTS HARRIET WILSON EDITORIAL BUSINESS AND RIGHTS EXECUTIVE STEPHANIE CHRISOSTOMOU / SYNDICATION SYNDICATION@CONDENAST.CO.UK / FINANCE DIRECTOR PAM RAYNOR

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PUBLISHED TWICE A YEAR BY THE CONDÉ NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU (020 7499 9080; FAX: 0870 242 9498; TELEX: 27338 VOLON). © 2016 THE CONDÉ NAST PUBLICATIONS LTD. DIRECTORS: JONATHAN NEWHOUSE, NICHOLAS COLERIDGE, STEPHEN QUINN, ANNIE HOLCROFT, PAM RAYNOR, JAMIE BILL, JEAN FAULKNER, SHELAGH CROFTS, ALBERT READ, PATRICIA STEVENSON. PRINTED IN THE UK BY WYNDEHAM GROUP.  COLOUR ORIGINATION BY WILLIAMSLEATAG. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT WRITTEN PERMISSION IS STRICTLY PROHIBITED. ALL PRICES CORRECT AT TIME OF GOING TO PRESS, BUT SUBJECT TO CHANGE 

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MAN OF TODAY BOSS BOTTLED INTENSE THE NEW EAU DE PARFUM

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Tom Ford

Tom Ford not only directed Jake Gyllenhaal in his forthcoming film Nocturnal Animals, he also interviewed him exclusively for us. Together they discuss the art of screenwriting, the representation of masculinity in contemporary cinema, and how to get in shape for the red carpet.

C O N T R I B U T O R S GQ . STYLE . ISSUE . 23


PLEIN.COM 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 RY – LO W E R G R O U N D F LO O R


PLEIN.COM 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 RY – LO W E R G R O U N D F LO O R


C O N T R I B U T O R S GQ . STYLE . ISSUE . 23

IN THE USA: CondĂŠ Nast Chairman Emeritus: S.I. Newhouse, Jr. Chairman: Charles H. Townsend President & CEO: Robert A. Sauerberg, Jr. Artistic Director: Anna Wintour IN OTHER COUNTRIES: CondĂŠ Nast International Chairman and Chief Executive: Jonathan Newhouse President: Nicholas Coleridge Vice Presidents: Giampaolo Grandi, James Woolhouse, Moritz von Laffert, Elizabeth Schimel &KLHI'LJLWDO2IĂ€FHU Wolfgang Blau 3UHVLGHQW$VLD3DFLĂ€F James Woolhouse President, New Markets and Editorial Director, Brand Development: Karina Dobrotvorskaya Director of Acquisitions and Investments: Moritz von Laffert

Ben Cobb

I interviewed the actor Dominic West for this issue. We met in his local pub in Shepherd’s Bush (or ‘Nappy Valley’, as he likes to call it). It was fun. There was a lot of laughing and some outrageous – sadly unprintable – stories.

Matthew Brookes

I shot the Footballer story and also the Jake Gyllenhaal cover story. Both fantastic! Jake brought his German Shepard dog called Leo on set who relaxed him – he’s quite shy. He was also really down to earth and interesting to talk to.

GLOBAL: President, CondÊ Nast E-commerce: Franck Zayan Executive Director, CondÊ Nast Global Development: Jamie Bill THE CONDÉ NAST GROUP OF BRANDS INCLUDES: US Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, The New Yorker, CondÊ Nast Traveler, Allure, Architectural Digest, Bon AppÊtit, Epicurious, Wired, W, Golf Digest, Teen Vogue, Ars Technica, CondÊ Nast Entertainment, The Scene, Pitchfork

RUSSIA Vogue, GQ, AD, Glamour, GQ Style, Tatler, CondĂŠ Nast Traveller, Allure

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BULGARIA Glamour

FRANCE Vogue, Vogue Hommes International, AD, Glamour, Vogue Collections, GQ, AD Collector, Vanity Fair, Vogue Travel in France, GQ Le Manuel du Style, Glamour Style

Anna Burns

I did the set for the Kim Jones/ Louis Vuitton special. The shoot day was brilliant. We had a lot of fun coming up with set-ups. It’s always a privilege to work with archive pieces and see a whole body of work together in the flesh.

Mark Lebon

I shot the British boxers in Manchester. It totally restored my faith in England and the joys of photography and their ability to focus on a way in and out of darkness. And I had the best bacon bap ever in Manchester.

ITALY Vogue, L’Uomo Vogue, Vogue Bambini, Glamour, Vogue Sposa, AD, CondÊ Nast Traveller, GQ, Vanity Fair, Wired, Vogue Accessory, La Cucina Italiana, CNLive GERMANY Vogue, GQ, AD, Glamour, GQ Style, Myself, Wired SPAIN Vogue, GQ, Vogue Novias, Vogue Niùos, CondÊ Nast Traveler, Vogue Colecciones, Vogue Belleza, Glamour, AD, Vanity Fair JAPAN Vogue, GQ, Vogue Girl, Wired, Vogue Wedding TAIWAN Vogue, GQ MEXICO AND LATIN AMERICA Vogue Mexico and Latin America, Glamour Mexico and Latin America, AD Mexico, GQ Mexico and Latin America, Vanity Fair Mexico

Tom Sloan

Dr Michael Prager

I shot the amazing lads (and girl) from Brother models in Manchester under the beautiful grey skies. On the morning of the shoot my razor ran out, so I turned up to set with half a beard! Luckily the hair stylist sorted me out! We laughed all day.

Whilst writing the copy for the jaw sculpting feature, I injected myself with three syringes of dermal filler and some botulinum toxin in the lower face and neck in front of our mirror glass microwave oven in the kitchen. I felt inspired!

PUBLISHED UNDER LICENSE OR COPYRIGHT COOPERATION: AUSTRALIA Vogue, Vogue Living, GQ

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INDIA Vogue, GQ, CondĂŠ Nast Traveller, AD

THAILAND Vogue, GQ, Vogue Lounge Bangkok

PUBLISHED UNDER JOINT VENTURE: BRAZIL Vogue, Casa Vogue, GQ, Glamour, GQ Style

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7KHSDSHUXVHGIRUWKLVSXEOLFDWLRQLVEDVHGRQUHQHZDEOHZRRGÀEUH7KHZRRGWKHVHÀEUHV are derived from is sourced from sustainably managed forests and controlled sources. The producing mills are EMAS registered and operate according to highest environmental and health and safety standards. This magazine is fully recyclable – please log on to www.recyclenow.com for your local recycling options for paper and board.


GQ . STYLE . ISSUE . 23

Time to zip your embroidered tracksuit halfway up, change into a lighter shade of sunglasses, and look upon… the greatest season of the year. It’s a jungle out there and here comes everything you’ll want to shop for, talk about, lust after, obsess over. Ready?

The Front. Photography Hazel Gaskin

Yard velvet embroidered tracksuit by GUCCI AW16


Invest

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Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

What’s in your private bag, with all its hidden pockets and compartments? A gentleman never tells. It might be full of secrets: forbidden books, incriminating photographs, strangers’ underpants, vibrating toys, some really weird things. But when your private bag looks this elegant – Giorgio Armani, luxurious brown crocodile, centimetre-thick hand-painted piping – then your public self will be absolutely irresistible.


HERMÈS BY NATURE


PH. JACKIE NICKERSON

WOOLRICH SINCE 1830 AMERICA'S OLDEST OUTDOOR CLOTHING COMPANY WOOLRICH RESERVOIR, PENNSYLVANIA

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Trends

THE G A L L E RY Collage a patchwork cardigan with some paintsplashed jeans, draw over your white trainers – to become a work of art you must let everything go. But with expressive brushwork across your loins, howling open mouth on your shoes and this ghostly seated pose, you’ll look like you’ve been painted by Francis Bacon.

Groomer’s assistants Eoin Whelan and Ryan Macgregor Casting director Paul Isaac Prop stylist Louis Gibson Production KO Productions

Groomer Jody Taylor at Premier Hair and Makeup Model Nikolai at Next Model Management Photo assistant Terry Graham Stylist’s assistant Lily Watts

Photography Filip y Kito Styling Sophie Clark

ATT EN DA N T Nikolai wears multicoloured Shetland wool cardigan and green knit gilet (worn underneath), both by PRADA; white trainers by CONVERSE customised by ALEX MULLINS; painted overall from COSTUME STUDIO


Backstage

Put your back into it Bowie is gone but never forgotten. Wear your heart on your sleeve and your modern love all over

Black wool knit cardigan with patches by GUCCI AW16

Photography Hazel Gaskin


margarethowell.co.uk


Handbook

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Robert Mapplethorpe Edited by Holly Roberts 1. Black leather Chelsea boots, £220, by LOAKE 2. Printed shirt, £189, by SPO 3. Red flower-print shirt, £95, by PRETTY GREEN 4. Zebra-print shirt, £95, by PRETTY GREEN 5. Black tassel loafers, £125, by GH BASS & CO 6. Black leather billfold wallet, £170, by ETTINGER 7. Shearling-collar leather bomber jacket, £1,005, and chain-print shirt, £155, both by SANDRO 8. Bracelets, from £19.95, all by MASSIMO DUTTI 9. Black leather backpack with patches, £1,965, by MCM 10. Black satin calf-leather belt, £225, by HARRYS OF LONDON 11. Blue jeans, £260, by JACOB COHËN 12. Black leather bomber jacket, £590, by DIESEL 13. Black rabbit-fur felt fedora hat, £285, by LOCK & CO HATTERS 14. White granddad-collar T-shirt, £55, by RON DORFF 15. Brown polka-dot-print scarf, £44.95, by MASSIMO DUTTI

Photos Jody Todd, Getty Images

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suit up

James Rodriguez, Footballer


am a player

James Rodriguez, Footballer


gievesandhawkes.com


Inform

Church’s Take me to Church’s Founded in 1873, British footwear brand Church’s has long been a byword for the holy trinity of luxury, quality and elegance. And the apparition of this sleek and stylish oxblood leather brogue in the new collection proves that no matter how much you’ve sinned (or coveted your neighbour’s house, or his wife, or his donkey) lately, you can still be saved by great, richly coloured shoes. (Warning: wearing these will cause pride and envy.) church-footwear.com

Clinique Wet wet wet

Photography Jessie Lily Adams Styling Gary Armstrong Groomer Jody Taylor at Premier Hair and Makeup Model Bradley Phillips at Milk Management Photo assistant Roy J Baron Stylist’s assistant Angelo Mitakos Grooming assistant Eoin Whelan Production KO Productions Lighting 123 Lighting Location KO Studio N1

Black and burgundy leather brogues, £500, CHURCH’S

News & shoes Text Laura Eddy

Red 125mm leather sneakers, £572, by BUSCEMI

Buscemi Sneakers, pimped Since 2013, US design house Buscemi has been the go-to brand for discerning sneaker fans. Its elegant, Italian-made pieces combine a street-style aesthetic with high-end, artisan quality and attention to detail. The result? A collection that’s cool, covetable and insanely wearable. The limited-edition styles are crafted from the finest leather and boast luxury embellishments such as 18k gold locks and hand-painted edges, so forget sneaking – with a pair of these on your feet, only a swagger will do. They’re classic, they’re sweet, they’re an absolute treat. buscemi.com

With nods to Seventies-era Roxy Music and just the right amount of sleaze, this wet-look, brushed-back style is the slickest way to wear collar-length hair right now (or style out an overdue haircut) with a soaking of gel, glycerin, avocado oil, or even just bottles and bottles of Evian. But – and this is the really important part – you’ll need a clean shave to accompany your wet-look hair. Use Clinique’s vibrating Sonic System Cleansing Brush to prep, and aloe-rich Post-Shave Soother to finish. clinique.co.uk


Music

Written in the Stars It’s 2016 and there’s a lot going on. Let Vic Mensa tell you all about it Text Dean Kissick Photography Luc Coifait

Photo assistant William Mathieu Styling assistant Gregory Davalos Producer Mike Stacey Production assistant Damian Sanchez With thanks to Amanda Mescudi at Milk Studios LA

Styling Zoe Costello

Vic wears ‘Impossible True Love’ printed ponge shirt by PRADA; reworked high-rise denim jeans by VETEMENTS from MATCHESFASHION. COM; bracelets from CHROME HEARTS; rings from THE GREAT FROG LONDON

V

ic Mensa straddles the confluence of pop stardom, political activism and fashion icon like nobody else in the world. A rapper from the South Side of Chicago (that’s why he has ‘South Side’ tattooed on his neck), Vic was born in 1993 and has nearly died twice (that’s why he has ‘1993’ and ‘Still Alive’ tattooed on his chest), and is managed by Scooter Braun (that’s why he’s just come of a tour of Europe with Justin Bieber) and Jay-Z’s Roc Nation (that’s why he has ‘Roc Nation’ tattooed on his neck also). He’s a man who wears his heart on his sleeve. He has a red Trump hat that says ‘Make Racists Afraid Again’ and a pair of jeans with the slogan ‘Burn The Trump’ repeated over and over. On his homepage the first thing you’ll find is an honest and heartfelt letter about drug abuse, depression and anxiety, racism in America, pollution in the water, environmental collapse, and how we should care about us and not about him. He postponed our shoot because he wanted to fly home and join the Black Lives Matter protests. ‘Yesterday doesn’t define you,’ he writes, ‘it doesn’t define US. We are God. We hold the power in our hands.’ His album’s coming soon and we can’t wait to hear what he has to say. Vic Mensa’s EP ‘There’s Alot Going On’ is out now


TIGEROFSWEDEN.COM 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, LONDON W1J 9HL


Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Invest

The HAT Photography Toby McFarlan Pond Styling Sophie Clark Pied de poule felt baseball cap with earflaps, £260, by GUCCI

Gucci’s take on the baseball cap will keep those ears toasty and that nose to the ground. Mixing pied de poule (that’s French for houndstooth) with heavyset herringbone (that’s arête de hareng) and poodle pom-poms with deerstalker flaps, it’s what Sherlock Holmes would wear out and about on Bond Street: the must-have hat for every Gucci detective and fashion policeman.


Inform

Gladstone London Leaders of the pack

Smoke/Shark Grey G9 gym bag, £750, by GLADSTONE LONDON

Cool pop-up alert: premium British accessory label Gladstone will be opening a pop-up store in the lobby of one of London’s most iconic hotels, the COMO Metropolitan on Park Lane, selling all the soft calfskin leather messenger bags, backpacks and unisex clutches a sophisticated traveller could ever need. Now you can pick up a perfect carry-on from Gladstone, some cod cheek

Libreria

tempura from Nobu, and celebrate with a dirty martini from the Met Bar – all without ever having to leave your hotel.

No wi-fi, no cry

19 Old Park Lane, London W1

Top of the Shops Text Laura Eddy

Breuer & Dawson We do like to buy beside the seaside If you’re in the market for a slice of vintage style, then this gem on the Kent coast is a must-visit. With 20 years’ experience at Portobello and Camden, Paul Breuer, Matt Dawson and Catherine Dawson chose the vintage Mecca of Margate for their store – and it’s the perfect excuse for a trip to the seaside. Rummage through this treasure trove and you’ll come away with a cashmere knit, a Thin Lizzy T-shirt or a rare US army jacket. Beats sunburn and a Kiss Me Quick hat any day. 7 King Street, Margate, Kent

Calling all bibliophiles: there’s a new kind of book shop in town – and it comes with a digital detox. The brainchild of Rohan Silva and Sam Aldenton, the partnership behind Second Home (the buzzing east London co-working space), Libreria has floor-to-ceiling books, a focus on independent publishers – and more style than you can shake a hardback at. And since no reading experience is ever improved by pings, vibrations or quirky ringtones, the store has a no-phone policy – leaving you free to browse unplugged. This is how book stores should be. 65 Hanbury Street, London E1


27 LOWNDES STREET LONDON SW1X 9HY +44 20 78387719

OPENING SOON 46 CONDUIT STREET LONDON W1S 2YW

shop at giuseppezanottidesign.com


Collect

Want that booty Quick! Without counting – how many black military boots can you see on this page?

Clockwise from top: 1. Black leather zip boots, £250, by BOSS 2. Black and grey wool brogue boots, £670, by GIORGIO ARMANI 3. Black velvet commando boots, £713.50, by GIVENCHY BY RICCARDO TISCI 4. Black leather combat boot, £485, by DSQUARED2 5. Black ponyskin boots, £670, by PAL ZILERI 6. Black leather boots with monogram detail, £800, by LOUIS VUITTON 7. Black leather guard boots, £240, by G-STAR RAW

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Photography Toby McFarlan Pond Styling Sophie Clark


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Kenzo x H&M

The Eye Of The Tiger Humberto Leon, one half of Kenzo’s creative directorship, rifs on his Britpop nights with Chloë Sevigny and why he has his shopper head on first and his design shoes on second Text Harriet Verney Photography Filip y Kito Styling Sophie Clark

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t was when Kenzo Takada came to Paris in 1969, after touring 11 diferent countries, that he felt he had finally landed. Armed with an international perspective and an idea to paint an imitation of Henri Rousseau’s infamous tiger (the big cat that would later be used as the Kenzo logo and become synonymous with the brand), he opened up shop and began his mission to create clothes for ‘everyday people’. Those ‘everyday people’ just so happened to be best friends Grace Jones and Jerry Hall, who began donning his denim jackets and zebra-print all-in-ones, and those said ‘everyday people’ would walk into fittings at Chanel and Yves Saint Laurent championing the young Japanese designer. Chimes of ‘Who is this Kenzo guy?’ followed and it wasn’t long before that Kenzo guy was being credited for revolutionising ready-to-wear on the catwalk, with bigger fashion houses promptly following suit. Or so the story goes. Fast-forward to 2016 and in Takada’s place at the helm of Kenzo stands Humberto Leon (one half of Kenzo’s creative director partnership with Carol Lim). ‘You’d have to live in that time to really know the truth of how it happened,’ says Humberto of Takada’s Parisian legend, ‘but many people point to him as being the person who started this idea that we can make clothes you wear in day-to-day life special.’ As Humberto talks of his predecessor, with cappuccinoto-go in one hand and the other fondling a worn-down, polo-shaped jade pendant that hangs round his neck for luck, the 5ft 7in Peruvian/Chinese designer-cum-businessman is slowly moving through rails upon rails of his latest collaboration: Kenzo and high-street giant H&M. ‘I came and really had the same philosophy,’ he says of his relationship with the legacy of Kenzo Takada, ‘which was

Right: Filip wears black reversible polyamide bomber jacket, black cotton jeans and black and green leather boots, all by KENZO X H&M Left: Filip y Kito both wear green tiger-print polyester jacket, black cotton jeans and black and green leather boots, all by KENZO X H&M


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The idea behind Opening Ceremony was to ultimately make shopping fun. Something which screams at you when you see the Kenzo x H&M collaboration, which has been two years in the making. The collection is a punch of Seventies zebra prints in colours that resemble ice lollies that would turn your tongue strange and additive-enhanced colours. There’s faux fur in raspberry blues and prints from the archive, blown up, manipulated and brilliantly warped. Baggy boiler suits and denim emblazoned with the Rousseau-meets-Kenzo tiger. Zips coming at you left, right and centre and a price point that won’t stop the fun that Leon so carefully preserves. Is there a line between making fun clothing and something that is too comedic to be taken out any other night than Halloween? ‘I really think about the consumer,’ Humberto says. ‘I love fun, but you can only wear fun so many times, and if you are going to buy fun, you want it priced at a fun price so you don’t have to think about it. There is a ceiling. I don’t know if other designers work like this, but I always

is first recollection of Kenzo was while he was at college and thriftstore shopping with friend, fellow Californian and other half of Kenzo, Carol Lim: ‘We were at the Salvation Army and I bought this amazing off-the-shoulder ruffle piece for her. It was $3 and we didn’t know what Kenzo was. This was pre-Internet.’ A similar piece now appears in the womenswear collaboration with H&M. He may have the hands and eyes of a designer, but Humberto has a firmly screwed-on head that is closer to that of a shopper. Which makes it more obvious why his first business, the cult store Opening Ceremony (after a stint working in what he described as a ‘corporate job’ as design director at Gap, then Burberry) that he started ‘I love fun, but you with Carol (formerly a can only wear fun so management consultant) in 2001 with just $5,000, many times, and if you did so well. They were the are going to buy fun, first to bring brands such you want it priced at a as Topshop, Havaianas and fun price so you don’t Proenza Schouler to the US market and put them all have to think about it’ under one roof – you could spend $1,500 on a suit or $1 on a sticker. Opening Ceremony now has two stores in New York and a flagship in Tokyo, not to mention its various pop-up shops which spring up all around the globe more often than a Kardashian does on social media. After studying psychology for a year – ‘I wanted to be a psychologist because I loved this TV show in America called Who’s The Boss?, then I realised it was more boring than I thought’ – Humberto switched his course to a more art-based curriculum. After growing up in the suburbs of LA with his tight-knit family, Humberto is now a New Yorker all over. Well-versed and well-rehearsed on his brand’s speak, he drops the word ah-may-zing at any given moment and, he tells me, throws monthly Britpop club nights, with himself and his Opening Ceremony muse Chloë Sevigny DJ-ing, called ‘Pre-tunes’. Get it? Before iTunes. I have to stop him at this point. What does a New Yorker, who heads up a Parisian label, DJ-ing at a Britpop club night in Manhattan, wear exactly? ‘Streetwear, like anorak parka vibes, with crazy glasses and an almost lesbianhair-for-guys vibe, with the spit curl. Really into it.’ Oh, right, okay.

ask, “What price is this going to end up as? Is the customer going to be shocked at the price or excited by it?” That’s important to me.’ Kenzo’s head honchos were initially worried when Carol and Humberto pushed putting sweaters onto the catwalk. ‘It’s funny because when we introduced – this is so silly and I’m embarrassed to say it – sweatshirts onto the runway, at that time, five years ago, it was not a thing. In fact, we were really told not to. Really told, “Don’t do it, it’s going to devalue the brand.”’ And now? ‘Who doesn’t show a sweatshirt on the runway now?’ At the end of the day, he says, he is a shopper first, a designer second. ‘It’s important to see it through the eyes of the customer. In the end, they’re the ones that matter. I’m moving with humanity, I’m constantly reinventing. I think that’s important.’ They say the customer is always right, and in this case, that’s Humberto; and the hordes of fans that will probably camp outside H&M overnight to get their mitts on his new collection. Kenzo x H&M will launch in shops on 3 November 2016

Kito wears green tigerprint cotton jumpsuit and black and green leather boots, both by KENZO X H&M

Casting director Paul Isaac Prop stylist Louis Gibson Production KO Productions

that we can make clothes for everyday occasions. That is what this brand represents. It’s not like I’m designing couture. We’re designing T-shirts and jeans. We didn’t feel the need to say, “Hey, we are a modern luxury brand, so our T-shirts are €300.” A T-shirt is a T-shirt, and I think a T-shirt should be the price of a T-shirt.’

Groomer Jody Taylor at Premier Hair and Makeup Photo assistant Terry Graham Stylist’s assistant Lily Watts Groomer’s assistants Eoin Whelan and Ryan Macgregor

Kenzo x H&M


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Jack Kerouac Edited by Holly Roberts 1. Brown field jacket, £240, by G-STAR RAW 2. Navy and white grid-print shirt, £60, by ORIGINAL PENGUIN 3. Navy speckled button-down shirt, £40, by NATIVE YOUTH 4. Green desert boots, £95, by CLARKS 5. Grey wool cotton blazer, £229, by WOOLRICH; blue fine end-on-end big pocket shirt, £295, by MARGARET HOWELL 6. Grey wool cardigan, £256, by BLUEMINT 7. Brown leather belt, £90, by THE BRITISH BELT COMPANY 8. Blue jeans, £390, by JACOB COHËN 9. Grey long-sleeve jumper, £60, by G-STAR RAW 10. Brown leather briefcase, £1,490, by WILLIAM & SON 11. Grey and white stripe shirt, £60, by ORIGINAL PENGUIN

Photos Jody Todd, Getty Images

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Backstage

Main image: KENZO AW16 Clockwise from top: PAUL SMITH AW16 MSGM AW16 NEIL BARRETT AW16 GUCCI AW16

Photography Hazel Gaskin

Get red-y Get set, go Scarlet Pimpernel, Red Baron, King Crimson, Cherry Blossom Boy, Strawberry Letter 23!


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The Biggest Splash David Hockney’s paintings have defined the modern age and now, on the eve of his 80th birthday, Tate Britain is celebrating with his largest retrospective to date

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n July 2017, David Hockney will join the octogenarian club, so there is no better time to look back at his incredible career. A painter, photographer, conscientious objector, printmaker, videographer, set designer and eccentric fashion icon (Christopher Bailey cited him as inspiration behind Burberry’s SS05 and SS14 menswear collections, and he was voted as one of GQ’s top 50 most stylish men of the past 50 years), there are few cultural figures who can boast such a consistent yet diverse oeuvre. And to further solidify Hockney’s position as a seminal figure of British contemporary art,

Tate Britain – the site where David first saw the 1960 Picasso exhibition that so enthralled him as a student – has announced the world’s most extensive retrospective of his art, presenting a body of work that spans six decades. Andrew Wilson, co-curator of the exhibition, believes that this retrospective is set to ‘reveal Hockney as an artist who has never stopped exploring what it means to render the world of three and four dimensions. He continues to change how we see the world.’ Born in Bradford and later studying at the Royal College of Art with such influential

Photo Getty Images. With thanks to Tate Britain

Text Hannah Tindle


David Hockney

This retrospective is set to ‘reveal Hockney as an artist who has never stopped exploring what it means to render the world of three and four dimensions. He continues to change how we see the world’

figures as Peter Blake and RB Kitaj, Hockney soon escaped the grey murkiness of London town for Sixties Los Angeles, where he could fulfil his ambition of living a truly free life. Hockney views the world through the lens of synaesthesia, meaning he can visualise colours through musical stimuli, so it is not diicult to imagine why this change of scenery opened up such possibilities for his art. Azure swimming pools and modernist architecture reflecting the California sun became the subject matter and stylistic influence for some of his most enduring works. Starring in the Tate’s show will be ‘Domestic Scene, Los Angeles’ (1963), a depiction of two men in a shower – a work which exemplifies Hockney’s view of LA as a symbol for freedom of expression. This painting, alongside works such as ‘Model With Unfinished Self-Portrait’ (1977), which

Clockwise from opposite page, top: ‘Portrait Of An Artist (Pool With Two Figures)’ (1972); ‘Model With Unfinished Self-Portrait’ (1977); ‘A Bigger Splash’ (1967); ‘Mr And Mrs Clark And Percy’ (1970-1971); Hockney at work in his studio, circa 1967

will also be featured in the Tate’s show, also typifies Hockney’s depiction of normalised and domestic same-sex relationships, at a time when the practice of homosexual love was illegal. Hockney, who is openly gay himself, continually used his work to speak out as an advocate for gay rights, overriding the more traditionally masculine tropes of his contemporaries with the camp and the homoerotic. It is important to note that this retrospective also coincides with another show at Tate Britain, beginning in April, that focuses exclusively on queer British art and marks 50 years since male homosexuality was decriminalised. Featuring further contributions from Hockney, this feels like a watershed moment. David Hockney has always been an impressive creator of pictures that stand for a certain mood and time, and to keep up with cultural fluctuations he has consistently challenged the conventions of image-making. The Tate exhibition will celebrate the diversity of his practice, from his early use of photography in the assemblage work ‘Pearblossom Hwy, 11-18th April 1986’, to his video works and his recent use of the iPad as both a tool and a canvas – which exemplifies his embrace of digital technology and changes in the production of art. As for exhibition highlights, it’s a difficult one to call. Andrew Wilson notes that his personal highlight is ‘the fact of the retrospective itself. That it offers the chance not only for a new generation, but for everybody to appreciate and explore the scope and wide range of Hockney’s achievement.’ David Hockney opens at Tate Britain on 9 February 2017


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The SHOE

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

What really sets this Prada shoe apart is its many interesting, unusual details: the thick golden buckle, tongue-fringing held down by a single black shoelace, those four lanes of parallel stitching that parabola around the tip, the softer hints of tan at its extremities. It’s a masterpiece of details. It’s many weird shoes combined into one Milanese symphony.

Photography Toby McFarlan Pond Styling Sophie Clark Black brushed leather shoes with gold buckle, £725, by PRADA


THE BROGUE COLLECTION A L I F E T I M E O F R E F I N E M E N T . The discreet brogue motif epitomises a peerless marriage of modern design and timeless panache. The exquisite detail made possible by new craft, piercing the deep, rich tones of our Bridle Hide leather to reveal the brilliant London Tan calf beneath. To us, excellence is an endeavour without end. E T TI N G E R . TO E ACH TH EIR OWN .

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Culture

‘Awake’

Groomer Jody Taylor at Premier Hair And Makeup Photo assistant Roy J Baron Stylist’s assistant Angelo Mitakos Grooming assistant Eoin Whelan Production KO Productions Lighting 123 Lighting Location KO Studio N1

I had a dream in which another man and i kissed twisted tongues, bit our lips hands up shirts hips on hips and i didn’t resist pull back or quit until i was hit misjudged punched kicked in the back of my head stamped on till i was dead but now i’m awake and now i’m straight back to reality

Hail the New Massiah Meet the poet and musician who’s preaching to the converted Text Hannah Tindle Photography Jessie Lily Adams Styling Gary Armstrong

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Brown leather and shearling jacket by NEIL BARRETT; white cotton T-shirt by GUCCI

ondon-born poet James Massiah had a love of language instilled in him from an early age. As a young Christian attending church in Balham, he was encouraged to memorise Bible verses and write sermons. Meanwhile, older friends were taping UK garage sets from pirate radio, which James would listen to with great intent and then head back to the playground to perform. It’s not diicult to see both of these influences in his work today, alongside the likes of Dave Chappelle, Albert Camus, Arthur Russell, Dean Blunt and Wiley, who James cites as inspiration. From Massiah’s project The A and The E (a platform for discussing arts and philosophy through performances, words and visuals) to a recent collaboration with Liam Hodges for Selfridges (a collection to commemorate the 400th anniversary of Shakespeare’s death, ornamented with lines from Massiah’s poetry), the work of this literary lyricist encompasses a great deal. When asked what the future holds, Massiah mentions that he is currently in discussions with music producers and is working on a new body of writing. He also muses, ‘Life is filled with an infinite number of possibilities, and despite my own private dreams and personal aspirations, I’d just like to be open to whatever life may bring; both the good and the bad, in the knowledge that nothing truly is.’ We certainly believe in him.


Trends

A brushed velvet suit, of course, is the very height of decadence. It should sag just a little and drag – on those rare occasions that one puts down one’s glass of brandy and strolls languorously into the next room – along the floor in shades of dark emerald and fallen-leaf brown that are the epitome of English loucheness.

THE AESTHETE

Danny wears dark brown double-breasted crushed velvet suit and burgundy Devoré shirt, both by TOPMAN DESIGN

Stylist’s assistant Lily Watts Groomer’s assistants Eoin Whelan and Ryan Macgregor Casting director Paul Isaac Prop stylist Louis Gibson Production KO Productions

Callum wears dark canard double-breasted velvet suit and nero cashmere and silk knitted shirt, both by BOTTEGA VENETA; black and white frilled shirt (worn underneath) by XANDER ZHOU

Groomer Jody Taylor at Premier Hair and Makeup Models Callum Ball at Supa Model Management and Danny K at The Squad Management Photo assistant Terry Graham

Photography Filip y Kito Styling Sophie Clark


NEW VINTAGE AÉRONAVALE COLLECTION The VINTAGE AÉRONAVALE chronograph is a time measuring instrument that marries functionality and elegance. The blue and gold colours, evoking the uniform worn by naval officers, make the VINTAGE AÉRONAVALE an exceptional timepiece. Bell & Ross UK: +44(0) 2076 291 558 · Boutique: Units 48 - 49 Burlington Arcade - W1J 0QJ - London · e-Boutique: www.bellross.com


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Rough Trade

Clockwise from top: The original Rough Trade store in London’s Ladbroke Grove; label boss Geoff Travis in the early days; Rough Trade star Jarvis Cocker; Geoff and co-owner Jeannette Lee today

Rough Diamonds Iconic record label Rough Trade celebrates 40 years at the heart of independent music Text Milly McMahon

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usic is exciting to us. We never came at this from the point of view of, “How do we construct a business?” It wasn’t about having success, it was more, “What do we want to do today that is interesting?” If we found an artist that we loved and no one else would like, we would still sign them,’ ofers former drama teacher Geof Travis, who opened the first Rough Trade store in Ladbroke Grove in 1976 and founded the label (and independent British music institution) Rough Trade Records in 1978. Today he is accompanied by label co-owner Jeannette Lee at their discreet and minimalistic West London headquarters, and the pair are apologetic about their dislike of interviews, but their roster speaks for itself: Jarvis Cocker, The Libertines, The Smiths, The Strokes, Warpaint and Micachu, to name a few. Born of passion and an ambition to champion mind-expanding soundscapes, Geoff and Jeannette kindle a genuinely deep affection for their artists and seek to connect audience and musician for love, not

money. A bona fide national treasure adored by Vivienne Westwood, Alex Turner, the late, great John Peel and Amy Winehouse, Rough Trade has been essential to the evolution of good music. We caught up with the reassuringly humble label chiefs Geof and Jeannette to find out why they store little value in reflecting upon their past 40 years of accomplishments, preferring to look instead to fresh, future opportunities.


Rough Trade

Geoff: We nearly left the Rough Trade name behind, we felt it was done. Then we went to a 25-year anniversary party for Rough Trade at the V&A. Jeannette: People were asking about the label a lot that night, and it motivated us to get it back on track.

Geoff, right from Rough Trade’s initial conception, you had your unique tastes and strong ideas. What made you want to bring Jeannette on board? Geoff: It’s not much fun living a life alone, working by yourself, ‘We never stopped doing and it’s quite rare to find someone what we loved, but there was who shares your tastes and can recognise great talent and qualities a short period when it all that are important before anyone went pear-shaped and then else picks up on them. It’s very easy we got it back on track’ to follow everybody else, you must have an open mind to recognise something original, and Jeannette was just a rare person who could. We were both Londoners and that had something to do with it as well. We were introduced by a mutual friend. Jeannette: We were moving in similar musical circles at the same time, we were young, we realised we had the same influences and we liked the same things. Everyone likes music, but there are certain things that make you feel like you are on the same wavelength and talking the same language, and that’s really how our relationship works. Geoff: It’s strange how rare that is, though. The idea of doing something you’re passionate about when living your life is really key to what we do. We would both stop this in a heartbeat if we lost that passion and were doing this to just keep a business going. We would do something else. So we feel lucky. What happened in the interim between the first and second incarnations of the business? Geoff: There have been two bankruptcies – one of which we were part of and one of which we weren’t. The first was going broke through distribution. The second was when Jeannette and I had a deal with Sanctuary and they went bankrupt. Jeannette: We did have another small label on the side for a period. We never stopped doing what we loved, but there was a short period when it all went pear-shaped and then we got it back on track. During that time we carried on doing what we loved, but maybe not under the same name.

Do you maintain tight relationships with your artists on a personal basis? Jeannette: Yeah, definitely. We talk all the time, we have opinions on what they are doing, we tell them if they are making a mistake, we have strong A&R opinions. Part of the whole thing is to have good relationships. That’s really what we want. In a small label like this, it’s easier to do. We have a direct impact on the records that we put out and the people we work with. Geoff: If we do have a bad relationship with people that we work with, we are pretty devastated. That’s usually because a third party, like the manager, can sometimes intervene and cause problems and be paranoid that we are talking too much to their artist; we find that ridiculous, because we are not trying to top their interest. But that’s what makes it worthwhile, that we have respect for the people we are working with, that we can provide a safe haven for them. We like to think the fact that our roster is so good is what makes people up their game. You have to do your best and be good. You can’t do anything less, otherwise it doesn’t work. The public is very unforgiving.

From top: The cover photograph from ‘Time For Heroes: The Best Of The Libertines’ (2007); Rough Trade duo Josienne Clarke and Ben Walker


Collect

Fair isles for miles Jump in some wool, go on the pull: you’re fit but my God don’t you know knit?

Top to bottom: 1. Grey Carville crew neck, £90, by PRETTY GREEN 2. Navy and beige V-neck, £99, by BROOKS BROTHERS 3. Blue and tan braid jumper, £450, by MONCLER 4. Cream and brown zig zag jumper, £35, by RIVER ISLAND 5. Multicoloured Steeple Chase jumper, £870, by HERMÈS 6. White, red and black ‘Dior Fair Isle’ turtleneck, £620, by DIOR HOMME

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Photography Toby McFarlan Pond Styling Sophie Clark


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Edited by Holly Roberts 1. Brown suede Chelsea boots, £129.99, by SEBAGO 2. Blue herringbone button-down shirt, £105, by SUNSPEL 3. Grey marl shirt, £50, by NATIVE YOUTH 4. Green corduroy shirt, £80, by PRETTY GREEN 5. Brown rabbit-fur felt trilby hat, £185, by LOCK & CO HATTERS 6. Burgundy leather backpack, £1,190, by BUSCEMI 7. Navy shearling-collar wool peacoat, £795, and white brushed cotton shirt, £175, both by PRIVATE WHITE VC 8. Grey jeans, £54.95, by MASSIMO DUTTI 9. Nylon faux-fur collar down vest, £255, by PARAJUMPERS 10. Grey jumper, £12, by BOOHOOMAN 11. Urban Light glasses, £200, by SILHOUETTE 12. Burgundy knitted sweater, £70, by ORIGINAL PENGUIN

Photos Jody Todd, Eyevine

Joseph Beuys


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Grooming

Take It On The Chin A strong, masculine jawline isn’t just for Hollywood actors. Make yours Oscar-worthy with these face-scultping tips Artwork James Davison Text Dr Michael Prager

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xtraordinarily, the male patient is still rather rare and most of us practitioners are still learning what makes a man look more manly and attractive. The science of beauty has evolved to a point where we now measure and divide up the face into proportions. For instance, a man’s chin width should be similar to the width of the lips. We use a 3D camera to show deficits and excess – one would add or subtract where necessary to achieve the perfect proportions. Just as you can work out your body, you can also work out your face. Below I have worked on explaining how to treat the male face with the best possible non-invasive options for enhancing and sculpting the chin and jaw line for a more masculine and attractive look. This takes place on a daily basis in my surgery in Wimpole Street, London.

HOW TO CHISEL THE JAWLINE

Chew gum This widens and contours the jaw by increasing the size of the chewing muscles (masseters). Try Botox To relax the muscles to the front of the masseters, preventing sagging. Dermal filler To chisel the jaw and chin area. Exercise your face Do sit-ups while looking at the ceiling – this lengthens and tightens the muscles underneath the chin. Avoid ‘phone chin’ Constantly looking down at your phone impairs the look of the area by shortening the angle. To combat this, do one sit-up for every five minutes spent looking down at your screen.


A New Dawn

As London Collections Men becomes London Fashion Week Men’s, we go backstage for a special preview of the SS17 collections from three of our favourites: Liam Hodges, Alex Mullins and Craig Green

Photography Hazel Gaskin Text Elgar Johnson

Liam Hodges What’s good, Liam? YO! Who is the Liam Hodges man, where does he hang out? What does he drink? The lads we used in the show are him, and I think anyone who can see a bit of themselves or relate to something in the casting is our guy. He’s a bit off-key – I don’t see it being about one type of guy or a perfect image, but a range of characters, and you see it come to life backstage. All these lads we got together through Troy and Mischa (TM Casting). Some know each other, some don’t, some of ’em have never walked a catwalk show before, but they all hyped backstage, having fun, dancing around. Once it’s over, straight to the pub for a couple of pints and then on to The Alibi for karaoke and tequila. Ha! Not too fancy, like. Is Liam Hodges OK? I saw the T-shirt with ‘IM OK’ on it, along with an X-ray of what some have said are your teeth… Yeah, we’re OK! Pushing ourselves out of the comfort zone we’ve known for the last few seasons was challenging and we wanted to celebrate the fact that we were OK with it. Haha, and yeah, that X-ray was my teeth, first visit to the dentist since I lost my tooth. Luckily he was an old school friend, but I don’t think his assistant knew what to do when I hopped into the chair!

This page: Various looks from backstage at the Liam Hodges SS17 show at LFWM


Alex Mullins

LFWM

Hello Craig, what was the inspiration behind the collection? The SS17 collection all started from the idea of flags and signals. We also focused heavily on developing different fabric processes, through the reworking and hand-bleaching of textiles, shown in both their desaturated and saturated versions. Workwear and uniform is always at the core of the collections and is a continued source of inspiration. For SS17, the reassembling and deconstructing of traditional menswear garments and military uniforms were the starting point for a lot of the looks. How do you feel the music behind the show complemented the collection? Fortunately I had the incredible opportunity of working with Frédéric Sanchez for the first time this season – he completely understood the collection and created an amazing soundtrack for the show. Music in general has always played a massive role in my collections and is so important in conveying the right emotion and energy. Many celebrities have worn your clothes in the past, but who would you most like to see wearing them? It’s always flattering when someone you admire, such as Rihanna or Drake, chooses to wear something from the collection. However, what motivates me the most is seeing each person’s individual style and how different people interpret the clothes, regardless of them being in the public eye or not.

Who is the Alex Mullins man, where does he hang out? What does he drink? The Alex Mullins man drinks almost anything, apart from Malibu, Archers, white rum, but preferably beer, wine and shots (any). He is ambitious and a creative thinker. He likes his clothes to feel easy and translatable: from important meeting, to work event, to eating chips in the pub. Ranging from chic to scruffy, style defined by context. In one outfit he would most commonly wear only one Alex Mullins piece with an old pair of jeans and a white T-shirt or simple cashmere jumper. Who would you most like to see wearing your clothes? There are only a few well-known people I love stylistically, but usually it’s real artists doing amazing work – success and creativity are very attractive. I love the more old-school guys, a bit how famous people used to be: like a young Keanu Reeves, Johnny Depp or Leo, a bit scruffy but well put together. Not sure if that exists now in celebrity culture, but I’m more interested in some guy who is doing something interesting with his life, who needs cool stuff to wear. That’s who I want to see in my clothes.

Craig Green

Above: Models gearing up to hit the runway at the Alex Mullins SS17 show at LFWM

Above and right: It was all about hoods, studs and zips backstage at the Craig Green SS17 show


AXEL 軸 ARIGATO 19-23 BROADWICK STREET LONDON


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The BACKPACK

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

This Obsédia backpack for men takes its exotic name and jumping-of point from a classic Givenchy handbag – the compact, black-and-metal Obsédia – which it twists into a gender-fluid design with a gorgeous, futuristic kinkiness over everything. Its leather is black and smooth, its studding and aglets are bronze and industrial, its plastic fastenings are modernist-architectural fetishes. This is a bag of great beauty.

Photography Toby McFarlan Pond Styling Sophie Clark Black leather Obsédia studded bag, £2310, by GIVENCHY BY RICCARDO TISCI


Trends

THE RETRO In deep synthetic brown and midnight-blue satin, this slick piece of Neil Barrett is the love child of a tracksuit and a tuxedo. Like a vision of the future from the past, its glowing racing stripes come from a bright tomorrow where driverless cars ferry us from the ballroom to the Italian menswear emporium and then seamlessly back again.

Jaydon wears brown and blue neoprene tracktop, tuxedo gabardine trousers and brown suede trainers, all by NEIL BARRETT; socks by FALKE

Groomer’s assistants Eoin Whelan and Ryan Macgregor Casting director Paul Isaac Prop stylist Louis Gibson Production KO Productions

MODERNIST

Groomer Jody Taylor at Premier Hair and Makeup Model Jaydon at Established Photo assistant Terry Graham Stylist’s assistant Lily Watts

Photography Filip y Kito Styling Sophie Clark


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Collect

Swashbuckling belts Don’t be a waist-man: the bigger the buckle, the faster you can drop those trousers

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Photography Toby McFarlan Pond Styling Sophie Clark

Clockwise from top: 1. Rose gold and tan rock buckle studded belt, £2175, by GIVENCHY BY RICCARDO TISCI 2. Navy and malt palladium buckle belt, £420, by DIOR HOMME 3. Dark brown peace buckle belt, £120, by PAUL SMITH 4. Brown leather Leo clamp belt, £275, by TOD’S 5. Gold and cognac Claus reversible belt, £225, by MCM 6. Blue alligator and nappa belt, £1400, with python ‘EB’ buckle, £110, both by BUGATTI


Pretty Green

Photography Jessie Lily Adams Styling Gary Armstrong

Bradley wears multicoloured jersey T-shirt by PRETTY GREEN X JIMI HENDRIX

Text Dean Kissick

Liam Gallagher’s Pretty Green label pays homage to his idol Hendrix for AW16

Guitar hero

Groomer Jody Taylor at Premier Hair and Makeup Model Bradley Phillips at Milk Management Photo assistant Roy J Baron Stylist’s assistant Angelo Mitakos Grooming assistant Eoin Whelan Production KO Productions Lighting 123 Lighting Location KO Studio N1

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imi Hendrix has long been one of Liam Gallagher’s idols, so it’s very fitting that Pretty Green should release a line dedicated to him. But then Liam’s not the only British rock star to have been wowed by one of the greatest guitarists ever. On 23 September 1966 – exactly 50 years ago – a more-or-less unknown Jimi Hendrix jumped on a plane to London with an electric guitar, $40 (borrowed on the way to the airport), some clothes, some acne medication and his hair curlers. He landed the morning after, he jammed blues with the house band at rock’n’roll hangout Scotch of St James that night, word of his extraordinary talent, not to mention sex appeal, got around and within a few weeks he had formed a band: The Jimi Hendrix Experience. On 13 October they played their first gig at the Novelty cinema in Evreux, Normandy, invited by French rock’n’roll superstar Johnny Hallyday. Hendrix received his first ever review in the local paper: ‘He was a singer and guitar player with bushy hair, a bad cocktail of James Brown and Chuck Berry who writhed onstage for a good quarter of an hour and sometimes played the guitar with his teeth. After he ended, there was a long pause.’ But the Experience’s first show in London, back at the Scotch on 25 October, was better received, and Hendrix would take the money from early shows and go shopping for his favourite paisleys and flowery shirts on Swinging Sixties Carnaby Street – right where Pretty Green opened its first store six years ago. As for this suitably psychedelic T-shirt showing Hendrix and his bandmates (and elephants, tigers, cobras) as the many-headed god Vishnu in a searing palette of safron and pinks, it was taken from the cover art of their second album, Axis: Bold As Love, which Jimi actually hated, complaining that its use of Hindu imagery had nothing to do with him or his band. Also – warning – don’t wear this on your holidays to Malaysia, because the Home Ministry there banned this artwork two years ago in case it caused ofence. We think it looks pretty great, though!


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Copy That Taking inspiration from Oscar Wilde’s maxim that ‘talent borrows, genius steals’, south London-based brand OiBoy is bringing the sharpest satirical edge to fashion’s bootlegging trend. The brainchild of George Langham and Dylan Hartigan, the label’s arch re-workings of household names on tees, such as its geezer-chic ‘Darling’ play on the Carling lager logo and its ‘Brokelads’ anagram of Ladbrokes, are beautifully clever yet simple and stark. ‘Without trying to sound too cliché, growing up in south London around opportunists in all senses of the word, with sadly not much opportunity or sense, but with humour and a healthy competitiveness, looking back it’s the logical and natural path that we’ve found ourselves bootlegging with, hopefully, a humorous twist,’ says Langham of OiBoy’s gift for iconographic riing. It’s fitting, then, that these postmodern pastiche pieces are thriving thanks to fashion’s magpie-like regram culture on Instagram, having been championed by sports luxe fan Christopher Shannon, style editors and bloggers alike. Imitation that deserves the highest form of flattery. oiboy.club

Insta Brands Text Mark Russell

Sex Appeal The skate brand on everyone’s lips The relationship between skateboarding and fashion shows no sign of cooling of – think Philipp Plein’s quilted decks, Jimmy Choo’s Sporting Club skatepark show, Ashish’s catwalk models on four wheels – but new brand Sex Skateboards takes the love afair to a new level. What started as a small batch of hand-made T-shirt designs has, thanks to a combination of bold, original art direction and rapidly booming social-media exposure, grown into a skate label that’s about to drop its first major collection. ‘I had some old T-shirts lying around and I spray-painted the “Sex” logo on them, not even thinking about

a brand or anything,’ says founder Louis Slater of its humble origins. ‘Then I posted it on Instagram and it turned into a company somehow!’ The new range is brilliantly ambitious, going way beyond skatewear staples such as hoodies and tees, with everything from denim jackets and track pants to underwear and condoms. ‘There’s a yellow velour tracksuit that is incredible,’ adds Slater. ‘I don’t think I’ve ever even touched velour, it’s great. Very Sex.’ Then there is the skate hardwear itself, with beautifully worked boards (including a burly 9in model), some of which are hand-painted by Slater himself – a man who knows his stuf, having left school at 16 to live the skater dream hitting the spots of Huntington Beach, California, before moving back to Sheffield. The real genius, though, might just be in the name and the instantly identifiable lips logo, which bring standout subversion to streetwear. ‘The very word

“sex” does something to people; it gets a reaction, like a good piece of art,’ says Slater. ‘Whether they love or hate it, it’s a reaction, it makes people think. I want Sex to be unlike any other skateboard company that’s ever existed.’ sexskateboards.bigcartel.com

Photography Jessie Lily Adams Styling Gary Armstrong Groomer Jody Taylor at Premier Hair and Makeup Model Bradley Phillips at Milk Management Photo assistant Roy J Baron Stylist’s assistant Angelo Mitakos Grooming assistant Eoin Whelan Production KO Productions Lighting 123 Lighting Location KO Studio N1

A witty retake on iconic brands? Logo on, then


Backstage

Main image: DIESEL BLACK GOLD AW16 Clockwise from top right: PHILIPP PLEIN AW16 VIVIENNE WESTWOOD AW16 LANVIN AW16 GIORGIO ARMANI AW16 NEIL BARRETT AW16

Photography Hazel Gaskin

Get leathered Set free your inner easy rider/crocodile Goth/football manager/rock star/whatever you want to be…


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David Attenborough Edited by Holly Roberts 1. Blue textured tie, £12, by RIVER ISLAND 2. Grey wool-silk mix houndstooth-print tie, £35, by REMUS UOMO 3. Mustard and navy cashmere silk double-face tie, £95, by MARGARET HOWELL 4. Grey slim-fit wool suit (sold as three-piece suit), £279, by REMUS UOMO; grey waistcoat, £173, by SAND; white cotton shirt, £25, by RIVER ISLAND; olive green and navy merino wool matelot striped tie, £70, by MARGARET HOWELL; Urban Fusion glasses, £210, by SILHOUETTE 5. Brown leather messenger bag, £625, by GLADSTONE LONDON 6. Black and burgundy leather brogues, £500, by CHURCH’S 7. Grey check Railroad vest, £165, by WOOLRICH 8. Green leather belt, £15, by RIVER ISLAND 9. Brown Langdale flask, £35, by THE BRITISH BELT COMPANY 10. White Oxford shirt, £80, by BLUEMINT 11. Green Hunter’s flask, £185, by ETTINGER

Photos Jody Todd, Getty Images

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Trends

THE WOL F IN

SHEEP’S CLOTHING

Danny wears (left) tan shearling Teddy bear reefer coat and (right) natural rabbit Chesterfield coat, both by MICHAEL KORS; black leather lace-up shoe with metal toe cap by ALEXANDER MCQUEEN; black leather lace-up shoe by DRIES VAN NOTEN; cotton socks both by FALKE

Groomer’s assistants Eoin Whelan and Ryan Macgregor Casting director Paul Isaac Prop stylist Louis Gibson Production KO Productions

Photography Filip y Kito Styling Sophie Clark

Groomer Jody Taylor at Premier Hair and Makeup Model Danny K at The Squad Management Photo assistant Terry Graham Stylist’s assistant Lily Watts

This is a grandiose look – a luxurious, sensuous look and one with many sides too: you’ll feel half like Anita Pallenberg in big fur coat and no knickers, and half like Tudor king Henry VIII, back from the hunt and berating Cromwell in his ermine stole.


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Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Invest

The SNEAKER You’ll have noticed Tod’s pebbled Gommino motif on the loafer heels of dark and mysterious continental strangers at all the most glamorous places: yachts and nightclubs, café terraces the mornings after. It’s a pattern that screams money, speed and success like nothing else you’ll find on the bottom of a shoe and now – finally – it’s available on this perfect pair of sneakers.

Photography Toby McFarlan Pond Styling Sophie Clark Brown leather Gommino trainers, £430, by TOD’S


NATIVE-YOUTH.COM MANCHESTER | NEW YORK | TOKYO | SEOUL | PARIS | ANTWERP


Backstage

Main image: BOTTEGA VENETA AW16 Centre: MSGM AW16 Bottom: PAUL SMITH AW16

Sol wears coats Ugh. You wait ages for Sol Goss in a long colourful coat, then three turn up at once Photography Hazel Gaskin


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Hugo Boss Prize

Eyes on the prize

Text Dean Kissick

Laura Owens She lives in LA and runs the 356 Mission exhibition and project space close to downtown, but Laura Owens is best known for her colourful silkscreen prints and canvases, which are huge and full of huge gestures, and often daubed with childlike scribbles and swirls as though they were made by a gigantic robotic painting baby. Modern paintings for a modern world. Odds of winning: 10/3. These works are bright and beautiful.

It’s the 20th anniversary and 11th edition of the HUGO BOSS Prize – judged on excellence and nothing else – and one of these six artists will receive $100,000 cash and a victory-lap exhibition around the spiral atrium of the Guggenheim, New York. So in case you fancy a flutter before the winner is announced in October, here’s our guide to the contenders and our odds on them winning.

Anicka Yi A New Yorker originally from Seoul, Anicka Yi makes worlds within worlds out of strange materials you’ll want to snif, or lick or even try on: black tea, kombucha scoby leather, dried shrimp, beeswax, hydrogel beads, socks. With her turquoise hair, she looks like a mad scientist making pop-biological experiments inside bubbles, glass boxes and giant cooking pots. Odds of winning: 5/2 favourite. The show’s in her hometown and she’s having a moment.

Wael Shawky Full disclosure: Wael Shawky from Egypt is one of my favourite artists ever (my mum’s, too) and last time I was in New York I trekked out to Queens, twice, in the snow, to work through the five-or-so hours of his Cabaret Crusades trilogy; feature-length films with a cast of hundreds (of beautiful handmade puppets) that tell the history of the Medieval Crusades in the Middle East. Odds of winning: 9/1. Surely it’s too early for Shawky to have another massive show in New York.

Mark Leckey Mark Leckey from Birkenhead is a great British romantic, a man with a pearl in his ear and a burning passion for everyday culture in his heart. We love him. He first found acclaim for a film about raving, Fiorucci Made Me Hardcore, and his latest, Dream English Kid 1964-1999AD – a video love letter to growing up – is on show at the Liverpool Biennial until 16 October and can also be watched on Mark’s Vimeo. Watch it now, it’s brilliant! Odds of winning: 11/2. Leckey won the Turner Prize in 2008, maybe this is his year for Hugo Boss.

Ralph Lemon Originally from Cincinnati, now living in New York, Ralph Lemon is a master of expression through movement, known for his use of performance and choreography to tell stories about our bodies and identities, about collisions of cultures, about political histories. All that Ralph needs to make a powerful artwork is himself, some space, and some time to begin. Odds of winning: 28/1 outsider. He’s marvellous, but maybe a little too obscure.

Tania Bruguera While always known for her intensely political performance art – holding a gun to her head; hanging a lamb carcass from her neck; eating dirt mixed with water – Tania Bruguera came to wider attention when she was arrested and detained three times over 2014-15 for organising an illicit public performance of her work Tatlin’s Whisper #6 (a previous incarnation of which was shown at Tate Modern) at the Plaza de la Revolución in Havana, the city where she was born. Odds of winning: 6/1. Her work is very timely, but also very controversial.

Photos Anicka Yi, 7,070,430K of Digital Spit at Kunsthalle Basel, 2015. Wael Shawky, Cabaret Crusades: The Path To Cairo, 2012. Mark Leckey, Dream English Kid, 1964-1999 AD, 2015. Ralph Lemon, Come Home Charley Patton at Krannert Center for the Performing Arts, 2004. Laura Owens, Untitled, 2014. Tania Bruguera, Tatlin’s Whisper #5 at Tate Modern, 2008.

Our inside track on the six artists shortlisted for the HUGO BOSS Prize


The finale of the Alta Sartoria show by Dolce & Gabbana, held at the Castel dell’Ovo in Naples, July 2016

Neapolitan 007, if you will. Or, in the words of Stefano Gabbana, ‘Salvatore Bond’


Dolce & Gabbana

The Sartorialists

Exquisite fashion is what Dolce & Gabbana’s glamorous Alta Sartoria shows always deliver, but this year’s extravaganza in Naples beat them all, with a castle, a Bond theme – and the presence of Sophia Loren Text Dylan Jones


B From top: Dolce & Gabbana seated muse Sophia Loren on a velvet throne (what else?) at the Alta Moda show; a 007 moment at the men’s Alta Sartoria show; a Forties Loren-inspired ensemble at the Alta Moda show

y dint of its very nature, fashion doesn’t just have a sense of impermanence, it has built-in obsolescence. However, the very fact that it is in a constant state of flux offers some kind of security, so while it is ever changing, the fashion world is a byword for stability and a bivouac for those who like their revolutions to be completely manageable. We like novelty, but we put our trust in brands. At the moment, though, the industry as we know it is going through a serious period of disruption, one it has never known before. Why? Well, the process of showing clothes to the industry and then the consumer used to be quite simple, and until recently was thought to be inviolable. A designer showed their wares to a clique of so-called experts (press, buyers), who would then interpret their creations for the great unwashed by either featuring the clothes in magazines or buying them for their stores. But in an effort to shorten the time and distance between their products and consumers, and to try and deal with a world now largely controlled by social media, as well as a way to amplify their brands in a climate where the white noise of said social media has made it diicult to know what is real and what is merely virtual, the fashion world has decided, in a randomly ad hoc fashion, to throw all its cards up in the air and see where they land. To wit: some brands (Burberry, Tom Ford, Tommy Hilfiger etc) have decided that ‘show and sell’ is the best way to move forward, meaning their clothes will be available to buy – in stores, online – as soon as


Dolce & Gabbana

While it is ever changing, the fashion world is a byword for stability

Sequins are forever‌ If James Bond was going dancing at Studio 54, this embellished tux is what he’d wear


NEW FREEDOM SINCE 1966


Dolce & Gabbana

From top: Eveningwear meets biker leathers (and fireworks, of course); poolside style, the Dolce & Gabbana way

their models leave the runway. Then there are those brands who have decided – either for cost purposes or more amorphous creative reasons – to show their men’s and women’s collections together at the same time. Then there are others who have decided that they are going to show their clothes in diferent cities (for instance, London has managed to attract a lot of restless designers from Paris, Milan and New York recently), while some of the bigger brands, in spite of all this activity (or indeed because of it), have accepted the status quo and made a decision not to change at all. On top of this, there are those who have broken free of the fashion circus completely, by creating their own individual circuses, by moving out of the traditional fashion show schedule by showing their collections out of season, in such far flung places as Rio, Havana, Los Angeles, Palm Springs, Honolulu and Seoul. The rationale appears to be: build it and they (press, buyers, celebs) will come (particularly if you pick up their club-class air ticket and put them up in a fancy hotel). All of this activity has not only created a genuine sense of change in the industry, it is also starting to create real and increased engagement with the public, who now look upon the fashion world as a world that is embracing change rather than trying to put a velvet rope around it. Exciting times, in other words. The Italian mavericks Dolce & Gabbana have added to this disruption too, and for the last five years have held their extravagant Alta Moda (haute couture for women, joined in 2015 by Alta Sartoria for men) post-collection jamborees in such exotic locations as Portofino, Venice and, most recently, Naples. When Domenico Dolce and Stefano Gabbana launched their first

They fused two strong Italian themes, mixing a veneration of history with a deliberately unironic celebration of 20th-century glamour


Dolce & Gabbana

‘When we saw the castle we just knew we had to have a James Bond theme’

From top: From high shine at the Sartoria show to papal chic at the Moda show, it was pure Dolce & Gabbana glamour

Alta Moda collection in Sicily in 2012, it was a relatively small afair, in front of a hundred invited guests, hoping that they would buy enough clothes to fund the event. This July, over 300 guests (roughly 250 valued clients and 50 members of the press) were invited to Naples, to watch two fashion shows (one for women, one for men), to dine, to party, and to spend quality time with the guest of honour, Sophia Loren. And yes, like their previous Alta Moda and Sartoria events, it was actually quite extraordinary. In an environment which has seen fashion shows held on the Great Wall of China and in the Trevi Fountain in Rome – where the models actually walked on water – what could D&G do this time to raise the bar a little higher? Well, for the men’s show on the Saturday night they fused two strong Italian themes, mixing a veneration of history with a deliberately unironic celebration of 20th-century glamour, in the shape of James Bond. Neapolitan 007, if you will. Or, in the words of Stefano Gabbana, ‘Salvatore Bond’. On the site of one of the city’s most-loved symbols, the Castel dell’Ovo, or Egg Castle, right in the harbour in Naples, the guests were treated to a cavalcade of 95 models wearing beautiful eveningwear, and each and every one of them looking like a James Bond body double.

‘When we saw the castle we just knew we had to have a James Bond theme as the place looks so much like a Bond villain’s headquarters,’ says Domenico Dolce. ‘The castle is a perfect venue for a fashion show as it represents the Dolce & Gabbana mix of anticipation and glamour.’ As did the clothes themselves, obviously – because what is designer fashion if it isn’t all about anticipation and glamour? Alta Moda is not just high fashion, it is amplified elegance, hard-wired regalia. Or, as The New Yorker put it, ‘Alta Moda consists of one-of-a-kind, madeto-measure pieces: virtuoso demonstrations of what can be achieved sartorially when the imagination of a designer and the spending power of his patron are given unconstrained expression.’ After the models had paraded up and down the makeshift runway one more time, hugging the castle ramparts while posing for pictures with some of the less restrained guests, the dinner started on the terrace next door, where the assembled throng were treated to artisanal cheeses, robust local pasta and the kind of elegant mini steaks you only find on the terraces of 15th-century Italian castles after one hundred handsomely groomed James Bond lookalikes have secured the premises.


Boot camp Introducing Undandy – a new website that lets you design your very own customised and bespoke shoes Text Kevin Perry

Above: Jules boot, £181, by UNDANDY.COM 150

e all know the feeling: you’re searching for the perfect pair of shoes and you can picture exactly what you want yet no matter where you go you, no matter how many shops you try, you just can’t find exactly what you’re looking for. Perhaps you want a pair of brogues that exactly correspond to the details of a suit, or some Chelsea boots that reflect some unique facet of your individual style. Finally, a solution may be at hand. It’s an answer to the prayers of men of rarefied and highly specific taste and it’s called Undandy, a new bespoke handmade footwear brand for men which has recently launched in the UK. The world is full of men trying to find a tribe, or a quiet place to fit in. Undandy is for the man who doesn’t feel the need to belong to anything or anyone but himself. The genius of the Undandy website is that it allows you to design exactly the shoes you want to buy for yourself, with classic styles including Oxfords, loafers, boots and even sneakers. Every element of the shoe can be customised, including colours and fabrics and there is even the opportunity to add a personalised engraving. Undandy also offers patinated finishings, an effect created by hand painting over leather where each stroke guarantees a unique identity for every shoe. The website is well-designed and easy-to-use, with a simple interface so you can spin your shoe and look at it from every angle as you design it. As you move through the design process you can observe each part of the shoe in turn, choosing between calf leather, patent

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GQ Style Partnership

The website allows you to design exactly the shoes you want to buy for yourself, with classic styles including Oxfords, loafers, boots and even sneakers

leather, suede and canvas and from the varied colour palette. The opportunity for customisation extends even to the colour of the laces and the eyelets as well as the sole and the stitching. Every single design element is bespoke. That’s why Undandy shoes are perfect for the independent man. When you’ve designed your masterpiece it will be sent off to a third generation workshop in São João da Madeira in Portugal. A small town not far from Porto, it is close to the famous Douro vineyards and is known as ‘The Capital of Footwear’ because of its long-standing tradition of excellence in the shoe industry. São João da Madeira is home to some of the best shoemakers in the world, so it’s no surprise that it’s trusted by all the major luxury brands. These artisans will make your creation a reality by hand using the Blake method. A standard in the Italian shoe industry because of the elegant finishing it produces, it consists of directly stitching the outer sole to the insole. Undandy will then deliver your shoes to you anywhere in Europe or the US. Undandy prides itself on a speedy turnaround for your shoes, so despite being handmade to order the process from online design and purchase through to delivery takes just a couple of weeks. If you find yourself stuck for ideas, it also stocks ‘The Essentials’ ready-to-wear line which can be shipped in just three days. If you’re not happy with any of the shoes when they arrive, Undandy offers free collection and a refund or exchange. Prices for Undandy shoes start from £140, with matching belts also available, priced at £49, so now there’s really no excuse to settle for a look that isn’t every bit as unique as you are. There’s no need to put yourself in anyone else’s shoes if you have your own. Look down – are those shoes really exactly what you were looking for?

Clockwise from top: Geerts Derby shoes, £140; Alejandro Chukka boot, £181; Cerrone Derby shoe, £140; Ines Oxford shoe, £140; Essential Collection shoe, £120; Samuel Oxford shoe, £140; Dalton monkstrap shoe, £140; all by UNDANDY.COM 151


Black leather backpack with patches from MCM’s AW16 collection

Although MCM’s inroads into cool, youthful clothing are relatively new, you’ll have seen its bags all over the world for decades: black initials (MCM now stands for Modern Creation München, the city where it was founded) over a simple half-wreath of laurel leaves, stamped on tan leather, and cut into sharp-cornered suitcases and trunks capped with brass brackets, or studded drawstring purses and backpacks. The label’s original golden age came during the Eighties’ flamboyant stretch: Cindy Crawford posed nude for Herb Ritts in the company’s ad campaigns and Joan Collins travelled with a tower of MCM suitcases in Dynasty – a touchstone for lavish lifestyle and excess at the time. Munich has more recently positioned itself as a financial centre, and before that as a hub for tech and engineering companies, but in the dico decade that gave birth to MCM it was a jetsetter’s stopover and maintained a pulsing nightlife. The city was a hub for Krautrock and, at the same time, Italian music producer Giorgio Moroder established his legendary Musicland Studios in the basement of the ArabellaHochhaus skyscraper. Queen, Deep Purple, The Rolling Stones, Electric Light Orchestra and Amanda Lear all passed through, recording at Musicland and settling in to let loose at clubs such as P1, a decadent lair hidden underneath the Haus der Kunst. Donna Summer came to play Sheila in the city’s production of the musical Hair and stayed a while, finding work as a model and back-up singer and even singing in German. It was while she was recording a session at the studio that her and Moroder’s paths finally crossed, and together they collaborated on hits such as the 17-minute-long Love to Love You Baby, in 1975, and I Feel Love released in 1976.

The label’s original golden age came during the Eighties: Cindy Crawford posed nude for Herb Ritts in the company’s ad campaigns


MCM

Future Perfect Celebrating its 40th anniversary this year, MCM has come a long way since launching in the glamour-days of Seventies Munich. Now one of Asia’s biggest brands, it has just shown a brilliant capsule collection in London, has another shop opening here in the autumn, and wide-reaching future plans

Photo Hazel Gaskin

Text Jennifer Piejko

Backstage at the MCM SS17 show


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o the glittering night-time celebrities and cellar stages made Munich a new capital of pleasure, lending a smoky charisma to the city – and this small window of time cleared the room for other areas of creativity and fashionable society to bloom. In 1976, while Summer and Moroder were inventing the sort of electronic 4/4 disco that would lead to house, MCM founder Michael Cromer was introducing a small collection of smart matching suitcases and bags for Munich’s glamorous visitors to travel with, and thus the MCM phenomenon began (initially, the initials represented Michael Cromer München). The brand’s message of travelling in style proved to be infectious and it eventually opened more than 200 boutiques worldwide. But over the years, as it passed through a variety of owners, it seemed to lose its way – until, in 2005, it was bought and revived by the Seoul-based Sungjoo Group. However, Sung-Joo Kim – Mrs Kim as she

is universally known – the head of the dynamic fashion retail group, was always more interested in the future, in exploring uncharted territories than just recycling the brand’s glory days. First she began to look east in search of the new and exciting, expanding MCM into Asian centres in quick succession, especially to South Korea, where MCM is second only to Louis Vuitton in annual travel retail sales. Over half of MCM’s sales are in Asia, with most of the rest in Europe, and now it is actively expanding in the US. The company is on track to bring in $2 billion in annual worldwide sales before the end of the decade. In order to achieve that, it has turned its attention to London, which has long championed modern fashion for everyone, regardless of gender, age or size. Democratising design has kept London’s fashion world future-facing, which is just how Mrs Kim (one of Korea’s most high-profile business leaders, as well as the head of the nation’s Red Cross) likes it. This autumn she’s opening a new concept boutique on Conduit

Mrs Kim was always more interested in the future, exploring uncharted territories From top: The redoubtable Mrs Kim heads up the Sungjoo Group which has breathed new life into MCM; Cindy Crawford shot by Herb Ritts for the brand’s 1996 ad campaign

Street in Mayfair, the brand’s second outpost in London. This summer she threw a spectacular fashion show here to announce MCM’s arrival with a futuristic and thrilling capsule collection. To make that, the company needed a creative partner, one who would understand the needs and tastes of the international globetrotter, and who could collaborate on a collection of resilient, malleable and modern essentials. It found an ideal partner in designer Christopher Raeburn – a Londoner who is best known for repurposing used materials such as parachutes and military uniforms, for designing adaptively and imaginatively, and for his mastery of both men’s and womenswear – and together they presented a SS17 capsule collection that also doubled as the label’s 40-anniversary collection, at London Fashion Week Men’s.

Photo Herb Ritts (courtesy of MCM)

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he show, at the Grand Connaught Rooms in Covent Garden, wowed the guests. Experiential design studio Universal Everything – whose past projects include covering the surface of the Sydney Opera House with projections of hand-drawn animations, and building PolyFauna, an interactive app and musical release with Radiohead – created a 360-degree screen for the circular runway and covered it in digital projections: shooting luminous blue electrocardiogram wave-like lightning bolts, purple vapour, and acid-coloured rainstorms bouncing around the raven-hued room, and over and through the screen, all set to an atmospheric soundtrack of minimal techno beats and ambient thunder by London duo Raime. It was a fashion superstorm. A diverse cast of models took their place in formation,


MCM

It’s all about being adaptable and sustainable, and oriented towards a brighter future for all

Clockwise from top: Backstage at the SS17 show; the black Weekender and cognac luggage bags from the Nomad Collection SS16; Siegfried and Roy and tiger cubs with a suite of MCM bags

Photos Hazel Gaskin (backstage); other images courtesy of MCM

surrounding the circle stage where a starry cast of Chaelin ‘CL’ Lee, Lucky Blue Smith, will.i.am and Winnie Harlow sat front row. These days MCM designs its collections for exactly these kinds of ‘global nomads’ – a minimalist, design-oriented individual frequently on the move, who has high expectations of sustainability and flexibility in their approach to luxury goods. Somebody that’s techsavvy, eco-conscious, and always ready to go. That was particularly visible with this new collection as it unfolded on the runway, and was simultaneously delivered live on MCM’s social media, the Korean app V-Live and its Chinese counterpart, Xiandanjia. It was a show of all-weather unisex sportswear in a futuristic camouflage inspired by the brand’s classic Visetos monogram, here rendered in sunny yellow, cement grey and sapphire-hued fragments. These gender-neutral garments were rendered in sophisticated highperformance materials including Schoeller four-way stretch, ofering UV protection, and Ecoalf nylon composed of recycled plastic bottles and decorated with abstract wireframe drawings suggesting a sonic notation or perhaps monsters in space. Then there were the accessories: graphic, oversized travel bags and backpacks stacked with detachable exterior pouches that make for a free-flowing, modular approach to fashion and enable an easy transition between trips and destinations. It’s all about being adaptable and sustainable, and oriented towards a brighter future for all. Forty years have passed and, to paraphrase Donna Summer, we still feel love. MCM anticipates its entire production line being fully sustainable by as early as 2020, and has also entered a ten-year-long, $10 million commitment to support the work of (RED) and the Global Fund, two organisations dedicated to eradicating AIDS worldwide within the next several years. If that’s what Ms Kim and her fashion house has planned for the next decade, just think where they’ll be in another four.


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Welcome to Pleinland Bigger is better for Philipp Plein, fashion’s multi-millionaire mystery man, who lives and breathes his ritzy brand – both in the boardroom and in the bedroom Text Anders Christian Madsen

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his is where the magic happens,’ says Philipp Plein as we step into his downstairs kitchen, echoing the immortal catchphrase of MTV’s Cribs. Sure, he was meant to save it for the boudoir, but in a mansion where slogans such as ‘Kiss me like you love me! Fuck me like you hate me!’ are casually embedded in the poolside walls, what diference does it make? This is La Jungle du Roi, the illustrious designer’s sprawling world-withinthe-world nestled in the hills of Cannes, a dream house for a workaholic hedonist. When he takes up residence, he imports his entire design team from Lugano and puts them up there, with daily massages and candlelight suppers. By the pool, his pin-up girlfriend is soaking up the sun in a skimpy bikini. Sometimes he doesn’t leave for

days. This is his Neverland. ‘Um, it’s Pleinland,’ he says, and you stand corrected. ‘Bonjour, Monsieur,’ Plein’s personal chef greets him from the industrial stove, and he reminisces about how the kitchen resembles that of his grandmother’s hotel when he was just a boy growing up in Munich. Those teenage years – as with any big showman – would prove to be his most formative, but before we get to that there’s a garage to tour. ‘We have big fridges so we can put people inside,’ he quips drily and wanders of. The monster trucks and motocross bikes that have come to epitomise 38-year-old Plein’s Olympic-scale fashion shows in Milan are nowhere to be seen behind the glass door to his garage, which houses a Lamborghini Aventador and one of two Rolls-Royce Dawns he’s

From top: Greeted by Mickey Mouse in the hallway, watched over by zebras in the living room… Philipp Plein (above) is as happy to make a statement in his home as in his collections


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recently purchased. The other one lives in the garage of his Upper East Side townhouse on 71st Street in New York, while an older model was shipped of to the Lugano abode (there’s also a Bentley GT in the driveway, but he doesn’t seem particularly interested in it, so let’s not dwell). ‘I like toys. I like to have fun. I don’t like to grow up,’ Plein says. By the looks of his home, he’s right. The pool bar is packed with ice cream and Champagne (only), there’s a glass cabinet in his guesthouse filled with Moët & Chandon, and he bought the neighbouring villa just because the main house didn’t have room for a cinema. Rather than childlike, however, his personality is that of an astute businessman. As Cribs-centric as our tour of the property is, there’s no bragging, no pretence. He’s a nice guy. Between his life coach-y airmations (‘The secret to success is simplicity’) and his German severity – Doctor Evil accent in tow – emerges a man who’s more of a financial wunderkind than a flashy fashion designer.

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ou wouldn’t know it from the image his brand projects, or perhaps you really would. Since Plein first started showing his ritzy men’s and women’s urbanwear in 2008, the productions have reached stadiumconcert proportions. Next to mechanical hardware such as trucks, bikes and water scooters, his meticulously themed spectacles have seen performances by Snoop Dogg, Chris Brown and, most recently, Busta Rhymes, who rapped as the Harlem Globetrotters played basketball – the concept for the SS17 men’s collection. Amongst the fashion press, the same question always presents itself post-show: how does he aford it? ‘When people come and say, “I cannot believe it, how do you do it?” I say, it’s very easy – it’s because we are performing,’ Plein explains, slipping into business mode. ‘We are one of the most profitable companies in this industry. We are still self-financed. We have never used one euro from an investor, or from the bank. We don’t even have credit from the bank. My aim is to stay independent in the future.’ It’s always been like that, since he first quit law school in 1998 to travel the world’s furniture fairs selling a €2,000 dog bed. These days, his company boasts an annual ‘€200-250 million turnover’. Plein now travels too much to keep a pet – so much so that he no longer packs but simply pops into one of his 80 stores worldwide upon arrival. But his 14-year-old Labradorcross is still going strong at his parents’ house in Munich.

From top, left to right: A Richard Orlinski gorilla statue reigns supreme in the garden; looks from Philipp Plein’s SS15, AW15 and AW16 catwalk shows

His pin-up girlfriend is soaking up the sun in a skimpy bikini. Sometimes he doesn’t leave for days. This is his Neverland


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From top: Plein’s sumptuous living room is fit for a design king, with regal lions in the fireplace, rows of magnum candles and mirrored walls; they don’t call him the God of Chandeliers for nothing…

‘We have never used one euro from an investor… We don’t even have credit from the bank’

Nearly 20 years ago, his mother’s three newly adopted puppies had just destroyed their Burberry tartan cushions when Plein had an idea. After reading an article on the commercial stability of the pet-supply industry, he designed a Le Corbusier-inspired dog bed in stainless steel and put a patent on it (he was a law student, after all). ‘I thought, if I sell one thousand dog beds, I’ve made a million – straight in my pocket. And it took me two years to sell them.’ His first million down, Plein soon expanded to sticking rhinestone skull motifs on €3 army surplus jackets and selling them at €350. After a year, he’d made another €2 million. It cemented Philipp Plein, the brand that had carried his name since he got it tattooed on his right arm in Los Angeles at age 22 – in the typeface that’s still the label’s logo. ‘I am my customer!’ Plein asserts. ‘I am designing for myself. What would I wear, or what would I like my girlfriend to wear? This is the only thing I knew. I wanted to do something for me, myself and I, to make myself feel better. I was not focusing on any target or customer category.’

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hat fact certainly rings true for his brand today. There we are, in a lounge area of his guesthouse that most of all resembles a glitzy nightclub, living the Philipp Plein dream to which his consumers aspire. ‘We have very loyal customers. You can even say “fans”,’ he insists. Plein is big with the Russian, Middle-Eastern and Asian buying powers. The brand’s ultimate poster boy, he’s hunky and generously tanned in a dangerously low-cut T-shirt – cleavage from here to Mexico, as Destiny’s Child would have it. He wears Plein logo trainers and tight grey jeans. His short hair is partially slicked back, revealing a chiselled, expressive face and intense eyes. The room is covered in mirrors. In a glass case stands Simba, an enormous stufed lion that lived in a circus and now ices the cake

on the villa’s jungle theme for all eternity. ‘In New York they call me the God of Chandeliers,’ he smiles. In Cannes, spiky spiral versions hover over silver-swirled black baroque tables with marble tops and Champagne coolers full of Red Bull, the ‘jungle juice’ of choice for Plein, who never drinks or smokes, but keeps ashtrays for the guests he also loves to ply with Champlein, his royal court cocktail: half Champagne, half Red Bull. At one point, he uses his iPhone to turn down the rap music that throbs from hidden speakers all over the house, at all times. Plein’s universe is an unapologetic nouveauriche haven, like something out of a rapper’s bling music video, or indeed the hallowed halls of Cribs. That show was born out of MTV’s Nineties pop-culture gold for the first Internet generation, an era that would form the worldview of a teenager in Munich, high on the entrancing Americanisation that flooded Europe at the time. Plein is living the American dream, not just in Cannes but in Bel-Air, where he’s currently building a 25-bedroom mansion to join what he calls his house collection. One of those teenage influences was Beverly Hills, 90210, although he admits his West Coast residence won’t have a gift-wrapping room to rival the one Aaron Spelling’s wife, Candy, installed in their infamous Bel-Air mansion, now the home of Petra Ecclestone. ‘But I will have a flight simulator,’ he adds reassuringly. Plein first visited Beverly Hills aged 16, in 1994, on a trip with his cardiologist father, who would bring him to America whenever he was attending heart conventions. When Miss California 1994, who featured on billboards around town, started hitting on him in a supermarket, young Plein ended up having a night out he’d never forget, only to return to classmates in Munich, who didn’t believe him.


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‘I had so much fun creating this house, I couldn’t even have sex without thinking about it’ ‘Of course these experiences have influenced me – it was the place where dreams came true,’ he says. ‘I thought, one day I will buy a house in Bel-Air.’ Plein flicks through his iPhone to find a picture of his 14-year-old self, posing in front of Bergdorf Goodman, beautiful and Nick Carterhaired in a roomy denim jacket. “My Mutter – my mother – sent me this picture on my birthday because I was celebrating in New York.’ Little did she know his New York oice is now located in the building next door. Plein was a teenage model, who frequently graced the glossy pages – and once a cover – of the bibles of all adolescent Germans in the Nineties, Bravo and Bravo Girl!. ‘I was very beautiful, I have to say,’ he smirks, before his tune changes to something more sombre. ‘My mother got divorced when I was three years old. She was a young mother with a son, alone. And life is never easy. You have to move.’ The rest is blurry, but until she met the man he now calls ‘Dad’, Plein’s upbringing was defined by constant uprooting. ‘I was pretty much a rebel. I was more or less by myself. I was never part of a group or a gang,’ he says.

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was always the new person. You know, when you enter a classroom after the big holidays, you enter a community. And when you’re new, you are always an outsider. You can be the most beautiful, the most charming, the most intelligent, the most funny – whatever. You’ll always be the new guy. Ok?’ He likes to finish on an adamant question mark, his German rigour now at fully automatic discharge. ‘This is very similar to when you enter the fashion industry,’ he reflects, volunteering the psychoanalysis. ‘The classroom will say, “What do his parents do? Look at his hair, look how he dresses.”’ Plein’s thunderous entry onto the fashion scene – the flashy mega shows, the logo-heavy clothes, the unapologetic self-glorification – didn’t get him of to the smoothest start with the more elitist parts of the industry, who don’t easily accept newcomers, let alone the showy kind. A product of the Instagram culture, Plein says the success of brands like his, Yeezy and Of-White is founded in the anti-censorship of the social-media era. ‘Nowadays you no longer have to convince an editor-in-chief that you’re the best brand – you can reach out directly. That’s a big game changer. The big editors-in-chief are like dinosaurs.

They’re still living on the influence they had back in the day. It’s like a queen without a country.’ Over a veal-and-fusilli lunch with his team around a grand dining table in the main house laid with tropics-themed glassware and the words La Jungle du Roi splashed across it, Plein talks about his newest ventures: Billionaire Couture, the swanky tailoring company he recently took over, and Plein Sport, the high-end sportswear line he’s launching this season after recognising a gap in the high-end market. He frequently refers to the New and Old Economies, how fashion belongs to the latter and has to ‘perform’, while industries like ad tech ‘don’t even make profit, they don’t even perform, but their value is blown up at the stock market. People are investing in the future.’ Hardly a surprise, he’s a big fan of Tesla founder Elon Musk (‘I really look up to this gentleman’), but no fan of the fashion conglomerates, which ‘control the industry, and don’t let a lot of newcomers enter. I feel like David against Goliath. We are still the small one. These are monsters.’ Back at the table, his Romanian girlfriend of just a few months, Andreea Sasu, flashes her extended eyelashes at him as he likens classic fashion houses to ‘old ladies who’ve had a lot of plastic surgery done.’ Cue the analogy of the year: ‘When you get old, no one wants to fuck you any more. Right now, we’re the young girl everyone wants to fuck,’ – girlfriend giggling from the side. ‘Do you remember when Guns N’ Roses were on top? Every model wanted to date a rock star. Everything was influenced by rock. Now, hip-hop has taken over and it’s a new culture,’ he says, some rap track still at it in the background. Next to the table is a large silver frame with a Mario

Testino picture of Kate Moss in it. ‘I should change it, it was in there when I bought it.’ After lunch, Cribs continues: the massage room, the sauna, the gym where Plein only does cardio. Every room has a name – he likes the way it sounds when you say it: ‘I’m staying in Love, I’m staying in Lust.’ In the black-and-white sitting room, white leather Barcelona chairs coexist with eggshell sofas draped in blankets made of fur. It’s very Kris Jenner’s house. A cushion adorned with crystals reads, ‘Rich girls will take your heart, bitch girls will take your money’. Two zebra heads are mounted on the wall next to a fireplace filled with magnum Baobab candles. ‘No, I don’t hunt,’ he says, already on his way to the next room. ‘Only women. And I’m good at it!’ Guiding us through the house, he switches between décor notes and fashionindustry observations on a constant Red Bull-fuelled stream of consciousness. Intense as it is, Pleinland is far from hostile. What eventually strikes you as you wander around this showroom-like home, with framed nightlife pictures of Plein with friends at Jimmy’z and Les Caves du Roy, entire walls covered in stucco antlers, fencing masks and drinking horns scattered here and there, and a huge red gorilla by Richard Orlinski in the garden, is an all-important dismissal of self-irony. If Plein approached his world with the sense of humour you’d somehow expect, all things considered, the illusion would collapse – and so would his dreamy reality. ‘I had so much fun creating this house, I couldn’t even have sex without thinking of it,’ he admits. ‘In German we say, Der Weg ist das Ziel’ – the journey is the reward. ‘The dream is always more beautiful than the reality. The second you realise your dream, you’ve destroyed it. A person without dreams has no reason to be alive.’ Go on, hashtag it.

The ‘Club Tropicana’ video has nothing on Plein’s fairy-lit and fabulous swimming pool, where visitors can take a dip before enjoying a glass of ‘Champlein’…


B Court shoes, £840 and Site boots, £880, both by BUSCEMI.COM


GQ Style Partnership

Court of appeal s a young man in Long Island in the early Eighties, sneaker designer Jon Buscemi found himself with a front row seat to a cultural revolution. ‘I was really lucky to grow up in a suburb of New York City where you really had worlds colliding in the art scene, the graiti scene and the hip-hop and punk rock music scenes,’ he says. ‘Every culture had their sneakers, from the head-bangers and the rockers to the reggae guys and the hip-hop girls. I was influenced by not only street fashion but also the luxury side too. We had a local Army Navy store and then we also had a Gucci shop. There was this meeting of high and low, but the most important piece of your outfit, always, was your shoes.’ The idea of combining iconic New York design with high-end luxury standards is all over Buscemi’s latest creation, the B-Court Shoe. It’s a classic basketball sneaker with a hand-stitched upper and hand-painted edges, and includes the 18-carat gold lock that comes as standard with all Buscemi shoes. ‘Most sneakers and sneaker companies have heritage in basketball,’ explains Buscemi. ‘I wanted to take it back to our roots. Our first shoe was a basketball shoe so we wanted to up the ante. That meant taking my favourite basketball shoes of all time, either old or modern, and melding them and molding them the way I wanted them to be. That’s why when you look at the B-Court you’ll see influences and cues from “famous” basketball shoes of today and yesterday.’ Like all Buscemi sneakers, the B-Court Shoe is hand-crafted in Civitanova in Italy, a place which has carved out a niche for itself as the world’s luxury shoe capital and is used by many of the world’s leading brands. ‘I didn’t pick it, it kind of picked me,’ says Buscemi of his decision to have his shoes made there. ‘When we created the

Photos Renee McMahon

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Buscemi’s new B-Court Shoe, which combines streetwear cool with luxury chic, promises to be the most in-demand sneaker of the year

brand I could have gone to a travel agent, picked a country and said: “I’ll make my shoes there.” The reason we picked Italy is because that’s where the finest sneakers in the world are made.’ Since founding his eponymous brand in 2013, Buscemi has seen his company grow in leaps and bounds to the point where he will soon be opening their first flagship store in New York’s Soho. ‘Our store is really an ode to art galleries and the art scene,’ he says. ‘We actually took over the old Team Gallery, which housed work by the likes of Ryan McGinley and Dan Colen. The front of the space is actually an art gallery, so when you walk in the store there’s nothing really there for you to buy. You have to walk around this 20ft wall. It’s cool that we can have an exhibition space out front and then in the back is where we will feature our seasonal collection.’ For Buscemi himself, the short hop from Long Island to Soho has been a journey that’s shown him all sides of the shoe business and left him uniquely placed to design the sneaker game’s new MVP. ‘I’ve literally been designing things since I was eight years old,’ he says. ‘Even when I was working for DC Shoes, back when they were a cool skateboard brand in the late Nineties, I was still pushing this quote-unquote “luxury take” on sneakers. Now we’ve created something that the likes of LeBron James and John Wall will wear off the court. I like to see someone who actually wears basketball shoes to work wearing them after work too.’ Buscemi.com


Watches

HyperChrome Automatic stainless steel watch, £2,680, by RADO

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Watches

Modern classics From reimagined heritage pieces to instant icons, choose a watch that tells a story as well as the time PHOTOGRAPHY

Toby McFarlan Pond STYLING Sophie Clark

BR 123 Officer Black, £2,100, by BELL & ROSS

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Watches

Royal Oak Double Balance Wheel Openworked in steel, £32,200, by AUDEMARS PIGUET


A watch with a truly global perspective, the C8 UTC Worldtimer is able to tell the time in three timezones at once. Designed in England, and built at our atelier in Switzerland, its self-winding ETA 2893-2 movement also boasts a power reserve of 42 hours. Steel 44mm ÂŁ899

Swiss movement English heart

Discover the new breed of watchmaker...

christopherward.co.uk


Watches

Left to right: Trainmaster Worldtime, £2,000, by BALL Max Bill Chronoscope, £1,550, by JUNGHANS Evo Giant, £198, by MONDAINE The Genesis, £170, by NIXON Premier Kinetic watch, £529, by SEIKO


Watches

Day-Date 36 mother-of-pearl watch, £47,350, by ROLEX


Simply Elegant Unmistakable face. Distinctive hands. Undeniably Swiss. The renowned Official Swiss Railways Clock skillfully reproduced as a watch.

Available from John Lewis and selected watch specialists nationwide. For an illustrated catalogue and details of your nearest stockist telephone 0116 234 4656 or email info@bml-watches.com

Lucerne


Watches

Hammered stainless steel watch from the Pilot Edition, £250, by BOSS WATCHES


Explore the Energy of Creation

LOCK BRACELET AND SOS ALLIANCE BANGLE White Diamonds, Cognac Diamonds, Marble, 18K Yellow Gold

WWW.SHAMBALLAJEWELS.COM


Watches

CT60™ 3-Hand 40mm watch in stainless steel with a grey soleil dial, £4,275, by TIFFANY & CO


Left to right: Metro 38 Datum, £2,200, by NOMOS GLASHÜTTE Lugano 40mm with polished stainless steel casing, £215, by LARSSON & JENNINGS  Eclipse watch in silver, £395, by TATEOSSIAN MBII in white, £3,595, by BREMONT Rebel Urban, £250, by THOMAS SABO

Photo assistant Hannah Rose Digital technicians Paul Allister and Andy Mackie Set designer Thomas Petherick at CLM Prop assistants Sylvie Macmillan and Josh Thompson Production KO Productions

Watches


Let’s get lost. The Timberline Valley Collection The Timberline Valley Collection brings the deep, mossy colors of the forest to life on our favorite timepieces with brushed metals, smokey green dials and rich Horween leather.

nixon.com


Watches TEXT

9. Rolex

Robert Johnston

1. Rado

The HyperChrome range was inspired by vintage Rado models and now comes in over 70 models. For us, less is more and we love this pared-back ceramic and steel version.

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9.

10. Boss Watches

Blue dials are on-trend, so Boss has produced a new version of its Pilot Edition range. The hammered stainless steel case is pleasingly tactile, while the dial is stylishly easy to read.

2. Bell & Ross

For a brand steeped in the history of flying, it is fitting that the Vintage BR range by Bell & Ross is modelled on aviator watches of the Forties, when the sky was the limit for design.

2.

10. 11. Tiffany & Co

3. Audemars Piguet

The Royal Oak has always pushed the design envelope, but this new double-balance wheel version is just as impressive technically. Indeed, it’s a world first and the openworked face means the beauty is more than skin deep.

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The Eclipse features a display that tells you the position of the sun or the moon in the sky according the day of the month. And if there is no moon, the raised numbers glow in the dark, so you won’t be stumped time-wise. 6.

14. 15. Bremont

7. Nixon

If you are someone who doesn’t need everything planned down to the last minute, the Genesis is perfect. Boasting the crown at noon, a single hand and 24-hour indices, it is a cool but casual take on timekeeping.

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15.

8. Seiko

Launched by Seiko, Kinetic is a fusion of automatic and quartz mechanisms, where a pendulum provides power to run a crystal to tell the time. The main benefit is the lack of need for batteries, with no loss of accuracy.

A British brand with a Swedish sensibility plus Swiss watchmaking expertise, Larsson & Jennings was founded in London in 2012 and has rapidly become a firm favourite of black-collar creatives. 14. Tateossian

6. Mondaine

Remove everything but the time-telling essentials, and if it’s still easy to read and beautiful, it’s the Evo Giant. And when you learn that the inspiration for the piece dates back to 1944, you know good design is timeless.

The Metro 38 Datum by minimalist German watchmaker Nomos is inspired by Bauhaus, the art school that more or less invented much of what we consider modern. We love the subtle flashes of baby blue and red. 13. Larsson & Jennings

5. Junghans

A true Renaissance man, Max Bill was an architect, artist, painter, typographer, graphic designer – and one of the 20th-century greats. He also created this collection of watches for Junghans and it still looks ultra modern today.

The New York jeweller is back with a bang in the serious watch industry, thanks to the CT60™ collection, named after founder Charles Lewis Tifany. This version, with a sunburst dial plus gold poudré numerals, is an Audrey Hepburn-worthy elegant man’s watch. 12. Nomos

4. Ball

The Trainmaster series is based on Ball’s history as a standard timekeeper for the US railroad. But, just as the company relocated to Switzerland, the Worldtime model looks way beyond its origins in 19th-century Ohio.

Launched in 1956, the Oyster Perpetual was the first watch to display the date and day in full. This white-gold model boasts an intricate mother-of-pearl dial set with ten diamonds.

The MBII is named after Martin-Baker, the British firm responsible for supplying 70 per cent of the world’s fighter ejection-seat technology. The original MBI was only available to pilots who had actually ejected thanks to a Martin-Baker seat – this model demands rather less risk. 16. Thomas Sabo

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With its croc leather strap, the stainless steel Rebel Urban Chronograph works as well for day or night. We like that the date function is at an angle between four and five o’clock.


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Whether in London or LA, these young entrepreneurs are taking care of business – on their own terms. From sourcing flowers to finding new faces, they are seizing the moment and making every second count IN ASSOCIATION WITH

Dean Kissick PHOTOGRAPHY Benjamin Lennox STYLING Luke Day TEXT

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Entrepreneurs

The ring leaders Darren Barker, 34, and Ryan Pickard, 30, gym owners Darren and Ryan met in the East End’s renowned Repton Boxing Club as kids, became sparring partners, and fought for club and country; Darren became world champion (now retired) and Ryan is club captain of Repton. Now they’re opening two London gyms, 12x3, to teach the circuit-training techniques boxers use to get incredibly fit. ‘There’s a Repton slogan we’re going to use,’ says Ryan. “‘No guts no glory”. If you don’t have the courage to try, you’ll never succeed.’

Darren wears white wool coat, black cotton trousers, white cotton shirt and black silk tie, all by SANDRO; CT60™ Chronograph 42mm men’s watch in stainless steel by TIFFANY & CO Ryan wears white bonded cotton sports jacket and black tech yarn long johns, both by CALVIN KLEIN; stretch cotton poplin shirt by DIOR HOMME; black silk tie stylist’s own; CT60™ Chronograph 42mm men’s watch in stainless steel by TIFFANY & CO


The visionary Michael Mayren, 31, model agent and photographer

Michael wears red and black micro-check wool T-shirt by DIOR HOMME; East West® 3-Hand 46.5 x 27.5mm watch in stainless steel by TIFFANY & CO

Since he set up his model agency, Brother (which represents all the men – and one woman – in our tailoring shoot this issue), in Manchester this spring, Michael Mayren has been doing everything himself: the test shoots, the scouting, the contracts, the website, everything. ‘It’s been hectic,’ he says, ‘but even though it’s been every hour of the day, it doesn’t feel like I’ve been working a lot because I’ve enjoyed it so much.’ Michael’s been finding the kind of people he likes – real lads with a unique look – since he started shooting for magazines five or six years ago, and now he’s built this platform for them. ‘I want it to grow, I want the boys to do well,’ he says. ‘I love that I’m giving people an opportunity.’


Entrepreneurs


The elevator Arnie Sriskandarajah, 28, fund manager ‘I’m not particularly agile, but you learn agility when you’re in that kind of entrepreneurial environment,’ says Arnie Sriskandarajah. ‘Definitely my risk appetite has changed significantly, to the point that I’m risking my own money on new ideas on a regular basis now.’ Included in Forbes’ 2016 ‘30 under 30 in Europe: Finance’, and named by Wired magazine as one of the 100 most influential people in tech in 2015, Arnie does not just risk his own money, he also runs The Collective Elevator, a small seed fund making investments of up to £250,000 in early-stage technology businesses, and a soon-to-be-announced, larger fund that will make investments of up to £2.5 million – and he’s only 28. Want to follow him into the risk business? ‘It’s a mixture of getting going and taking a bit of a risk – you’ll look back in 18 months and say, “You know what, I didn’t have much to lose, so it’s worth taking the risk.”’

Arnie wears camel superfine camel-hair coat by GIEVES & HAWKES; black jeans by AG; CT60™ Chronograph 42mm men’s watch in 18k rose gold by TIFFANY & CO


Entrepreneurs Adam wears maroon double-collared wool suit by BERLUTI; black wool roll neck by DSQUARED2; black tasselled loafers by LOUIS LEEMAN; black socks by FALKE; East West® 3-Hand 46.5 x 27.5mm watch in 18k rose gold by TIFFANY & CO

The disruptor Adam Wilkie, 34, flower retailer While working at Tom Ford together, Adam Wilkie and Whitney Bromberg Hawkings noticed how hard it was to source quality single-variety flowers. Fast-forward to spring 2015 and they were launching their own cut-flower delivery company, Flowerbx, with an astoundingly quick supply chain straight from the Netherlandish flower markets to your doorstep in Central London (and soon beyond). ‘You really do have to take a leap of faith and just think positively that it’s going to work,’ says Adam, ‘otherwise you’ll talk yourself out of it. It’s incredibly empowering when you’re starting your own business, because there’s no facet of it that you don’t have to know about, and you challenge yourself in ways that you never would working for someone else.’


The kingmaker Lewis Alexander, 35, consultant At the age of 29, talent consultant Lewis Alexander decided to combine his industry experience and his love of fashion and the arts into a company of his own, a particularly forward-thinking one: Lewis Alexander Executive Search. On his first day, he received a call from then-creative director of Lanvin, Alber Elbaz, who was looking to build his team and wanted some help – and the rest is history. Now 35, Lewis lives in Los Angeles and travels between there and his other oices in London, New York and Tokyo, placing some of today’s most creative people in some of the most demanding jobs, and helping them grow their careers. What’s the most useful lesson that Lewis has learnt along the way? ‘Change always starts from within.’


Entrepreneurs

Lewis wears red Lodenwool notched-lapel doublebreasted overcoat, black wool suit and white cotton poplin shirt, all by DIOR HOMME; black silk tie stylist’s own; CT60™ 3-Hand 40mm men’s watch in stainless steel by TIFFANY & CO


Billal wears margarine vintage wool retro slim jacket and bootcut trousers, zest fine rib cashmere knit turtle neck and metal rings, all by GUCCI; CT60™ 3-Hand 40mm men’s watch in stainless steel by TIFFANY & CO

The ambassador Billal Taright, 32, photographer ‘Be polite and work hard,’ says Billal Taright. ‘In order to survive, you have to listen to yourself. You have to follow your own instinct and your guts, and always make sure that your voice is heard and your work is worth something.’ After working as an assistant to John Galliano at Christian Dior, and then as an art director for Mario Testino, Billal decided to take the plunge and concentrate on his own portrait, still life and lifestyle photography around three years ago. Now that that’s going well in London, he’s also collaborating on a perfume company called J A N V S with his good friend Luke Brown in New York, for which Billal will be both art director and ambassador.


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The man of steel Craig Pirie, 29, architect ‘I get up at half past four in the morning, every morning, go to the gym at six, finish at eight, straight to work, work ’til half past five. In the evenings I divide my time between the cleaning business and the architecture business, and I work a lot on the weekends as well,’ says Craig Pirie, explaining how he is able to work full time in the technical delivery department of PLP Architecture, run his own smaller, technology-orientated architecture practice, CPA Create, and also manage his booming domestic cleaning company – which now employs over a hundred people – in order to pay for everything. ‘People say to me, “Well, you do work a lot,” but I love working, I love what I’m doing.’ So how does he manage his time? ‘Strictly!’

Craig wears black tech yarn long johns by CALVIN KLEIN COLLECTION; CT60™ Chronograph 42mm men’s watch in stainless steel by TIFFANY & CO


This page: Aaron wears silver silk shirt and trousers, both by TOPMAN DESIGN; white leather low-top trainers by LOUIS LEEMAN; CT60™ Chronograph 42mm men’s watch in 18k rose gold by TIFFANY & CO Opposite: Aaron wears black double-knit coat, black nero cashmere trousers, black cashmere and silk shirt and rib knit shirt, all by BOTTEGA VENETA; black leather shoes by TOD’S; CT60™ Chronograph 42mm men’s watch in 18k rose gold by TIFFANY & CO


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The pop star Aaron Sillis, 33, choreographer

Groomer Ben Jones using Bumble and bumble, Sisley Paris Photo assistants Jori Komulainen and Jacob McFadden Stylist’s assistant Emily Tighe Movement director for Aaron Sillis Pat Boguslawski Nail technician Chisato Yamamoto at Terri Manduca using Burberry Beauty Digital technicians Jonathan Rose at DigiBoutique and Freddy Lee Groomer’s assistants Freddie Leubner and Chloe Alice Frieda Production KO Productions Lighting 123 Lighting Location Shoreditch Studios Retouching Upper Studio

‘What I always loved about dancing was I could express feelings that I couldn’t vocalise. That was a massive outlet for me, because as a child I was bullied at school,’ says Aaron Sillis, one of the world’s leading choreographers. ‘I put all my energy into being obsessed with pop culture, and I think that’s what Madonna and Michael Jackson gave me, that kind of escapism of you can be anything you want, you can always look badass on stage, and I thought that would be me one day – and in a way I have something similar now, because now I get to make these pieces for pop stars.’ Recently Aaron has been the creative director of Nike’s first-ever choreographed workout in London, as well as working with FKA twigs on the short film for her EP M3LL155X – which was nominated for an MTV Video Music Award for Best Choreography this year.


Time Management A successful entrepreneur who hails from three generations of watchmakers, Nicola Andreatta is the man now leading Tiffany & Co’s triumphant return to horology

INTERVIEW

Dean Kissick

N

icola Andreatta, 43, is not afraid of a challenge. When, in 2013, he became the vice president and general manager of Tiffany & Co’s watch division – lured away from NOA, the watch company he himself founded in 2004 – he took on one of the most prestigious roles in the industry, and also one of its biggest challenges: relaunching Tiffany watchmaking and restoring its golden age, which dates back 169 years to a decade after the company was founded in 1837. So far, he has explored the company’s extraordinarily rich archives outside New York, opened an all-new watchmaking headquarters in Ticino, in the sunniest part of Switzerland, flown around the world many, many times, and launched three brilliant men’s collections (available only in Tiffany & Co’s 310 stores worldwide and nowhere else), with a muchanticipated women’s collection coming next year – and he’s done it all with a bold, passionate and youthful entrepreneurial spirit. So what’s the secret of his success? Over to Mr Andreatta…

‘I was born in Como, Italy. My mother is Swiss and my father is Italian. My family has been into watchmaking for three generations. We actually had factories manufacturing components for pretty much all the big brands in Switzerland: factories in Italy, component factories in Italy and in Switzerland. While I was going to school, I also enjoyed the possibility of going to the factory almost every day to see how they were working, and manufacturing components and cases and bracelets and so on. I really enjoyed the watchmaking world. I wanted to create my own watch since I was very young, so in my father’s factory I would modify existing cases and pieces to make my own watch. Actually I couldn’t find these watches in my parents’ house, but I’m sure they are somewhere. What I do remember is that I was spending a lot of time trying to… not even design, but to modify, and rework, and refurbish, and polish, and brush them to make a unique case only for me. A unique product that I would wear. Many years later I started my own brand, in 2004. I guess you know about NOA.’


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Of course, but how did that begin? I decided to invest everything in my own brand. That’s how NOA was born. I patented the dial, which was pretty unusual for that time: it was this unusual style with a 3D dial. The numerals were raised over the dial. It was immediately a pretty good success, I would say, especially in some markets. It was great fun for many years, but when Tiffany approached me I decided to leave NOA and join immediately, given the opportunity. I started talking to Tiffany at the beginning of 2013. Were you prepared for their approach? Clearly, I knew what was going on at Tiffany. The big story was with this other company in Switzerland – I don’t even want to mention that name – but there was this partnership which failed, and so I knew everything about that. Watchmaking is a pretty small world, so everybody knows everybody. When I started talking to Tiffany and they told me that they had the idea of relaunching the watch business, basically I told them what I would do if I was at Tiffany. They liked the idea, they liked my strategy, so I got an offer in a pretty short time.

So what was this winning strategy that you proposed? The fact is that Tiffany is very well known for jewellery, and very few people know that Tiffany had a very significant history in the world of watchmaking. So I was going back to find out more about the history of watchmaking at Tiffany, trying to realise what kind of innovations and novelties it had introduced in 169 years of history. That was the key part of re-establishing the brand in the proper watchmaking world: going back to our past, making sure there was consistency between what we were doing with jewellery and watches, also making sure we could find a point of differentiation, because we can enjoy the luxury of having an American company but also having done work in Switzerland for many years. Going back to Switzerland was another key point for me. The only place where we could manufacture our watches would be Switzerland, and they immediately understood that, that’s why we established new operations and a new entity in Switzerland. Watchmaking really is a culture, it’s a different way of thinking. While the business model between watches and jewellery is very similar, the approach to watches has to be very different, and involves hiring professionals who have been breathing and living watches since they were born. Luckily they embraced this idea, and the strategy, and here we are. What makes watchmaking culture so different to jewellery-making culture? Well, thinking about jewellery, everything is about aesthetics, right? It’s design mainly. It’s

the way it appears. Watches you are working inside, so it’s functional too. That’s the main difference. Designing a watch is a completely different thing than designing a piece of jewellery. Starting from that everything is different, to the suppliers, and the industrial operations that you need to manufacture a watch: jewellery works mainly with casting, while with watches you work mainly with manufacturing, and you are milling, and having very complex machines and very little tolerances that often in jewellery you don’t even care about. That’s probably the main difference in approaching these two categories. Tiffany has a long and illustrious history – can you describe what the archives are actually like? Without romancing too much, our archives are in New Jersey, where we have part of our operations. It’s clearly a very secure location, with plenty of guards and everything to make sure it’s protected in the right way. I don’t really know what exactly we have there because it is almost impossible to see everything. Every time I go there, I find out something new. You can go on and research probably for years, because with 169 years of history you can – between books and records and objects there are plenty of things. We have more than 400 watches, for example, in our archive, and we keep on buying old stuff because we want to reference our past while working on our future. How was your first day at the company? Where did you begin? Well, it was a real start-up, in the sense that we had to create everything. When you ask me where I was on day one, I was probably in the middle of the road looking for an office. Everything started from scratch, which means that we had to find the premises, we had to find new people. I started really as number one in the sense that I was the first employee of this new entity. Now we have many people, and everything we need, but it was quite a rush. In three years – not even in three years, because we started late – we had to launch a new collection and actually create a company to hire staff, to establish relationships with the suppliers and with the network of stakeholders. All that had to be created, and it’s been really a step-by-step approach. I’ve been an entrepreneur for many years, and I think that helped a lot in having a vision that wouldn’t involve a huge investment on day one, but doing things step by step while the company and the business were growing. Can we talk about entrepreneurship – what makes a successful entrepreneur? Well, it’s easy, and it’s pretty much an answer you will get from many people. I think it’s passion. Unless you are passionate about what you do,

you are going to fail. You have to transform your job into your hobby. To me that’s really the secret. If you don’t enjoy what you’re doing, and it’s not just the objective – because many people live for the objective, and that could be being famous, making money or establishing a company, whatever – but it’s the day to day. You have to enjoy what you are doing every day, otherwise it’s never going to work. That’s the way I see it, at least. And what makes an unsuccessful one? Well, I’m pretty sure that most of the people who want to be or become an entrepreneur do not understand how diicult it is. Out of one successful company there are hundreds or thousands that fail every day. Not everybody is ready to accept that, so it’s about perseverance and fighting. It’s a key part of your personality. It has to be a key part of your personality. Nobody is going to give you anything for free. You’re going to have to decide every single inch that you want to conquer.

As an entrepreneur who started his own company, what were the biggest challenges for you in moving from there to Tiffany, one of the industry’s largest companies? That’s a good question. NOA was my own creation. It really incorporated all my values, the way I see things, and even from a design standpoint I could really say whatever I wanted. Here I joined a much bigger thing in the sense that this company, as I mentioned, has been there forever, and so it was more about finding the right spot, and finding the right reference in redesigning or in designing the timepieces than really expressing my own personality. That was, in a way, one of the biggest challenges. The second difference is probably that of joining a much bigger operation in a corporate world, which is much bigger at least than my own company; learning how to work in the corporate world has been tough, I would say. Finally, watchmaking is an incredibly competitive market. What sets Tiffany apart from the rest? Well, as I mentioned before, we are actually the only brand in the world that can enjoy New York and Swiss-made on the same dial. We have this duality in our brand: we were born in New York, we are a New York company, and at the same time all our watches are manufactured in Switzerland. There is this DNA which is a key part of our brand, which is American, which gives us this different sensibility in terms of design that not every Swiss watch brand has, and at the same time we wanted to make sure that everything was up to the best standards in the world and that’s why we decided to come back to Switzerland to manufacture. That’s the point of differentiation today.


GQ . STYLE . ISSUE . 23

The Well.

This season’s man is handsome and powerful, he’s intelligent and grown-up, he’s ready for any challenge the world might throw at him. He’s a Hollywood titan, a footballing legend, a boxing champion, an explorer, a powerhouse designer, an entrepreneur; here’s how he got there, and here’s what he wears.

Photography Matthew Brookes Styling Jay Massacret Ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN


Jake Gyllenhaal

Cypress cotton Dearborn canvas jacket by CARHARTT WIP; ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN; chain Jake’s own 202


INTERVIEW

Tom Ford

Jake Gyllenhaal is not just an Oscar-nominated actor with a legendary work ethic and a drop-dead smile. He is also a Jewish boy from LA, a Swedish nobleman, godson of Paul Newman, has studied Buddhism at Columbia with Robert Thurman, and is known for transforming himself physically and emotionally for his roles. Tom Ford is not just a fashion designer and film director, he is a 21st-century Renaissance man. After revolutionising fashion, he moved effortlessly into film with unprecedented success: his first film, ‘A Single Man’, was nominated for a raft of awards including the Best Actor Oscar nomination for lead Colin Firth. Now the two have teamed up for Mr Ford’s sophomore feature, ‘Nocturnal Animals’, with Jake Gyllenhaal taking the dual role of Edward Sheffield, a writer, and Tony Hastings, the main character from Edward’s book who suffers an unfortunate fate with his family while going on their summer holidays. Here, in an exclusive transatlantic telephone conversation, Mr Ford interviews Mr Gyllenhaal about the art of making movies, writing screenplays and being vulnerable. PHOTOGRAPHY

Matthew Brookes STYLING

Jay Massacret

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Jake Gyllenhaal

White stone-washed cotton jersey T-shirt by GUCCI; check trousers by SALVATORE FERRAGAMO; vintage trainers by NIKE


JAKE GYLLENHAAL: Hello Mr Ford. TOM FORD: Hello Mr Gyllenhaal. How are you? Where are you? JG: I’m in New York. I’m good. I’m just finishing this film here. I was in Korea, and then I came back here to do a week’s work, and then I’m off to London. Are you in London? TF: No, I’m in Los Angeles. I was in London until three days ago, and I’m here for a week and then I’m going to Santa Fe, where I go every summer. JG: Ah. TF: …I’m going to be living in LA for the year and I’m kind of freaking out about it. I’ve had a house here for long time, and I’ve thought for a few years now that we should move to LA for a year and see how we actually like it. Now of course I’m panicking that we should go running back to London! It is such a great city and I miss it already. JG: I feel the same way about London. I was just there, and in just one week I had so many interesting conversations and saw so many interesting things that I thought it’s the place to be. TF: I’m curious about your next movie. What will you be working on in London? JG: As it is with all, all films, I feel like you never really know what you’re getting yourself into until you’re there, but it’s this movie about an alien life form that attacks the International Space Station. It’s all really kind of a figment of everyone’s imagination in an interesting way as the creature exists based on how you respond to it, so it’s really a psychological thriller up in space. TF: You said when you take on a film that you don’t know what you’re getting into. When you got into Nocturnal Animals, was it what you thought it would be? JG: No. I mean it never is. As an actor you are trying to interpret something that comes from someone else’s mind, interpret someone else’s words and vision. I’ve known you for a while but not really known you, and I had not spent a lot of creative time with you before that, and so I was very curious and honestly intimidated and unsure of what it was going to be like. You’re a very strong person from afar and also from very close-up. But at the same time, I think because of the script you wrote, I was just shocked at how vulnerable and intimate the relationship became and what you were trying to say with the film, and that was a surprise to me. Not that I didn’t think you were vulnerable, but I was really moved by what you wanted to say with the movie. The story was about intimacy, relationships. I was really

pleasantly surprised that you were down to go anywhere and not many people want to do that. TF: Isn’t it interesting how people’s perception of you is often so different than what you think it is? Because I have actually had people say to me, ‘Oh, my God. You know, I saw your first movie, and I didn’t realise you had that depth!’ It is so interesting the way people have a… a perception of someone well-known that is often far from who they really are. What do you think would be something that most people wouldn’t think about you? JG: Wow. What am I really like? TF: Yeah. Well, what people would not know about you necessarily from your public image? What do you think people would be surprised to know about you? JG: The interesting thing over years of being in movies and people seeing you and having their own idea of who you are is that early in your career like when I was in my twenties, or even younger I was so desperately worried about what people thought of me. Now, I think the desperation is gone, and I think as an artist, I’ve become more interested in the audience and I feel a responsibility to them. I want to make movies that are always challenging the audience. But, in terms of my personality I’d be fascinated by what you would say, Tom, because I know you’re, like, so compassionate, like ruthlessly compassionate. I’d love to hear what you say about what I’m like. TF: You are a solid, honest, sensitive person. That is what I would say. But what I love most about you professionally is your commitment and perfectionism. I loved that you emailed me a few weeks ago about that scene that you weren’t happy with. I was incredibly impressed because it pushed me to go back in and really look at it. I love the fact that you are so serious about what you do, and reflective about it and it gave me an even greater respect for you as an actor. JG: Thank you. Well, I mean the creation of anything is a very sensitive thing. And I feel like I’ve had enough experience somewhere knowing that when you make a comment as an actor to a filmmaker you have to be thoughtful enough to know all of the steps that have been taken before you’ve criticised [laughs] your own performance because I of course have my own response, which is my own irrational, weird response! [laughs]

TF: Oh, God. Of course, because you’re watching yourself! I mean, how can you not have a response? JG: Yeah. TF: I think all of you have the worst job in the world, actors. I just can’t even imagine how you do that. It’s… it’s incredible.

JG: It’s so weird [laughs]. TF: It’s really weird, and then you’re… putting yourself in someone else’s hands because then they can take your work and cut it into ways that make it either what you intended or not what you intended at all. As an actor you’re vulnerable with your performance, and then you’re vulnerable with what someone does with your performance. You would make a good director by the way. Is directing something that you would like to do? JG: I hope so, yes. TF: Because I know you have your own production company now. JG: Yes. Just started really gearing it up last year, and we’ve just finished a film that we produced this fall. TF: Which is called? JG: It is called Stronger. It will come out next year. It’s about a man called Jeff Bauman, who lost his legs in the Boston bombings, but it’s really about his love story with his now wife and his family. It’s a beautiful story, so we’ve done that. We’re at director’s cut now so we should be finished like at the end of August… TF: ‘Director’s cut’? So you’re going to take over after that and recut it into the ‘Producer’s cut’! JG: No, no, no! David Gordon Green directed the movie, and it’s been a really interesting process. The thing about Nocturnal Animals is that it’s fictional, so as a… result your creation is actually coming from you, whereas, in this non-fictional world, you have this sense that you have to stay true to the thing that existed. The event itself, the bombing, is so devastating, and it’s still so alive in many people’s minds that it was an interesting journey just to go through, a very interesting one. TF: What attracts you to a role, when you decide to take a part? I mean you read, I’m sure, many, many scripts and how do you choose?

JG: Let me use your script as an example.When I read your script I remember feeling the vibrations of the story. It sort of rocked me in that it really messed with my mind in a way that I loved. I’m looking to explore feelings, to have the story elicit feelings or a script elicit feelings in me that I am not used to or that I’m afraid of in myself. And then I go, ‘Oh, wow. That’s something to explore. Like, that’s a new territory.’ TF: Masculinity, the idea of masculinity is quite present in this film, and your character Tony/Edward is someone I relate to because at first look he’s not the traditional strong and powerful masculine stereotype yet in the end, he is the strongest character of all. He wins. In the novel he finally tracks down the killer, and in life he’s the winner as well because he


Jake Gyllenhaal

persevered and finally prevailed. What was perceived of as weakness was a kind of strength that was stronger than physical strength. How did you interpret that as an actor? JG: Well, I guess I would say that this was an exploration into my questions in myself about what it means to be a man, a lover, or a father. Over the past few years a big part of the journey for me is asking myself those questions creatively or giving myself a fictional face-to-face to ask those questions. And so it’s interesting because coming off of a movie like a boxing film where I was in my body, and I was physical, and I was able to express this sense of protection through a physical sense, and my fear of being physical. I had to ask myself those questions and I had the opportunity to answer them in Southpaw. And when I came to your film it was so interesting to ask myself where real protection comes from and what is physical or emotional vulnerability? Both of the characters that I play in Nocturnal Animals put themselves in positions where they’re incredibly vulnerable. And then, and in the case of Tony, the character in the novel, he has a very hard time physically protecting his family, which was a really tough thing for me. I have to say I really struggled with it especially in that big, long, scary scene you have at the beginning of the film. I didn’t know what to do, because you didn’t allow me to do much physically except to get hit [laughs]. TF: Which worked out perfectly for me as a director because the character is supposed to freeze and just not… quite know what to do. JG: Like a deer in headlights. TF: Exactly. JG: And literally in headlights! We talked about it when we were shooting, but, you know, I constantly needed to find things outside of the work in order to kind of express myself. As you know I was running all the time. I was trying to physically put myself in a place where I had some sort of expression. I didn’t even realise until looking back at it that I was desperate to feel like I had some sort of strength, and what I realised was that the strength of the character came in his expression emotionally. He didn’t really hide his feelings about what had happened to him. TF: It’s true. JG: They were right there. And that was very helpful… for me and… TF: …perfect for the role, I have to say. It was a subtle thing to express and I thought you played it beautifully. JG: Thanks. TF: I want to ask you about theatre. I recently read that you are going to do Burn This by Lanford Wilson on Broadway. JG: Yes. TF: Which I saw originally in the Eighties.

JG: Oh, wow. TF: With John Malkovich and Joan Allen. She won a Tony award for it. Yeah, I’m old [laughing]. JG: There are a lot of people around in the Eighties who didn’t see Burn This, so I was just more excited that you’d seen it. TF: Theatre acting versus film acting: what is the difference for you? Which do you prefer? JG: I do love acting on stage, probably the most, but at the same time, I feel like it’s just a different medium, you know. The theatre is really a writer’s medium and I feel film is a director’s medium. With theatre, as an actor, I think you do have the live exchange. And I think the ability to sort of ride the waves of whatever comes at you in those moments is more of a learning ground. What I love about the theatre is that you make choices. You’ve had your rehearsal time. You’ve created a character over a long period of time alone in a… in a sometimes windowless room… TF: Right. JG: …Um, very much the way you would write something. And then you really get to bring it out, and every night you have this endurance run of a story that you have some sort of power over. I would be remiss though in not saying that I have seen other casts do plays that I have done thinking that it was me that got the laugh, but when I’ve seen the cast [laughs] right after me do it, they get the laugh at exactly the same place, and I realise, ‘Oh, it’s really a writer’s medium.’ [laughs] TF: Have you ever… written anything? I mean a play or a screenplay. JG: Yeah, screenplay. You know I’m the spawn of a screenwriter, and so I… like, I’ve written things badly, yes, um, which really only makes me admire people who do it well like… like you. I mean, you write so incredibly well. I think that’s something a lot of people wouldn’t necessarily assume about you. Particularly in the medium of in film, like, you’re an incredible screenwriter. TF: Thank you. JG: Honestly. I mean, there are like three or four different screenplays that I would go that I’ve worked on, that I’ve made and that I am very proud to have been a part of, that I’ve been able, been proud to interpret, and, like, Brokeback Mountain is one or, Nightcrawler is one of them, and, and Nocturnal Animals is another. I mean it’s just an incredible screenplay. TF: Thank you. JG: But does anybody know the secret food that you eat… in order to create? TF: What secret food? JG: Oreo Thins! My character was created by you eating that one secret food that people don’t know about!

TF: Yeah well, they haven’t exactly made me ‘thin’! It’s true. I live on sugar. And, you know, I just had a handful of Oreo Thins before I called you. JG: [laughs]

TF: …but I have to stop. I gained ten pounds making this film and I have to be in shape to be on a red carpet soon next to you, one of the most handsome men in the world. JG: Oh, please. TF: Now I’m going to ask you a question that we’re both going to have to answer. [laughs] JG: Oh, ok.

TF: Would you work with me again? JG: Absolutely. Are these one-word answers or do I keep going? TF: You can elaborate. JG: Yes, but the only thing is I would doubt is if it’s possible for you to write something and create something as well as you have this. It’s going to be hard to match, but absolutely. You know, I’ve rarely had an experience like this one. I think that it is because of who you are. And the talent and the people that you have around you is extraordinary, and so you have this incredible crew and this incredible group of people working with you, which is an inspiration. And then also, one on one, again, like I said, I had no idea how much you would love your actors, and how much you would love the process of working with us, and how fearless you were with us. So often I feel like directors don’t understand the weird creature that an actor is, and you just do. I mean, I remember when you acted out the scene for me! And I thought, ‘Fuck, he’s a good actor!’ It was a really emotional scene, and you got on the ground, and you were screaming and crying in this scene. The only two people who have ever done that for me are you and Jim Sheridan. And it was incredible. So the answer to that is yes, absolutely. I mean, as long as maybe you want to act too in it? [laughing]

TF: I think I’ll stay on the other side of the camera but I would love the chance to work with you again. I thought you were absolutely brilliant and I loved every minute of it. ‘Nocturnal Animals’ will be in cinemas November 2016


Ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN


Jake Gyllenhaal


Jake Gyllenhaal

This page: Cypress cotton Dearborn canvas jacket by CARHARTT WIP; ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN Opposite: Ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN; black wool narrow trousers by DIOR HOMME; leather vintage boots from 10 FT SINGLE BY STELLA DALLAS


‘I would say that this was an exploration into my questions in myself about what it means to be a man, a lover, or a father. Over the past few years a big part of the journey for me is asking myself those questions’

Olive cotton T-shirt by APC; cotton trousers by CARHARTT WIP; leather vintage boots from 10FT SINGLE BY STELLA DALLAS 212


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White stone-washed cotton jersey T-shirt by GUCCI

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Jake Gyllenhaal Olive cotton T-shirt by APC; cotton trousers by CARHARTT WIP

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Jake Gyllenhaal

Cypress cotton Dearborn canvas jacket by CARHARTT WIP; ivory cotton vintage T-shirt by LOOP & WEFT from BLUE IN GREEN


White stone-washed cotton jersey T-shirt by GUCCI; check trousers by SALVATORE FERRAGAMO; vintage trainers by NIKE


‘I feel the same way about London. I was just there, and in just one week I had so many interesting conversations and saw so many interesting things that I thought it’s the place to be’

Black leather jacket by LOUIS W for APC; white stone-washed cotton jersey T-shirt by GUCCI Groomer Losi at Honey Artists Photo assistants Eduardo Silva and Niko Margaros Stylist’s assistant Olivia Julia Kozlowski Digital technician Philipp Paulus On-set production Madeleine Kiersztan at Ms4 Production KO Productions Lighting Milk Studios Location Hudson Mercantile With thanks to CLM

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The

PHOTOGRAPHY

Matthew Brookes STYLING

Luke Day

Best


This page: Yellow-brown bicolour wool knit crew neck and sky blue fine rib cashmere knit turtle neck, both by GUCCI; vintage shorts stylist’s own; metal cross necklace by ROBERTO CAVALLI; Maestro watch with silver galvanic dial with delicate entrap decoration by RAYMOND WEIL; square silver ring by BUNNEY; gold and onyx small signet ring by PAUL SMITH; gold and onyx large signet ring, gold bracelet and cushion signet ring all by H SAMUEL (all worn throughout) Opposite: White Venezia leather football by BERLUTI; black football boots by ADIDAS; socks stylist’s own


Tan shearling coat by TIGER OF SWEDEN; multi-stripe wool roll neck, tan wool flared trousers by ROBERTO CAVALLI; watch and jewellery as before


Yellow zip cotton cardigan by COACH; vintage shorts from CARLO MANZI; jewellery as before


Dark grey canvas pinstripe three-piece suit, stripe cotton shirt, knit tie, silk pattern scarf, gold waistcoat chain, silver tie pin and cufflinks all by TOM FORD; watch and jewellery as before


Grey check double-breasted wool overcoat by HUGO; vintage football shirt and shorts from CARLO MANZI; white Venezia leather football by BERLUTI; football boots by ADIDAS; socks stylist’s own; jewellery as before


Brown cotton roll neck by WOOYOUNGMI; vintage shorts stylist own; watch and jewellery as before


Vintage Adidas shirt from CARLO MANZI; vintage Wrangler jeans from STARRY STARRY NIGHT; brown leather boots by PAUL SMITH; watch and jewellery as before


Rust wool bomber jacket with knit details and brown wool trousers by GIVENCHY BY RICCARDO TISCI; brown wool roll neck by ROBERTO CAVALLI; watch and jewellery as before


Black-and-white check wool coat with shearling collar by SALVATORE FERRAGAMO; grey stripe wool suit by BERLUTI; brown cotton shirt by TIGER OF SWEDEN; white silk tie by HAWES AND CURTIS; watch and jewellery as before Groomer Matt Mulhall at Streeters Model Jack Tyerman at IMG Photo assistants Teddy Park and Lewis Hayward Stylist’s assistants Emily Tighe and Emily Tredinnick Digital technician Philipp Paulus Production KO Productions Casting Paul Issac Lighting 123 Lighting Location Margate With thanks to Thanet Council and Margate FC


THE COLLECTOR As Kim Jones celebrates five years at the helm of Louis Vuitton Men’s Ready-to-Wear, we look back at the artistic director’s archive. With half a decade of Zeitgeist-capturing, pop culture-defining moments to plunder, the devil is always in the detail PHOTOGRAPHY

David Hughes

STYLING

Elgar Johnson

TEXT

Jo-Ann Furniss


Louis Vuitton

Monogram vintage trunk by LOUIS VUITTON


Louis Vuitton


This page: Max wears Karakoram wool plaid by LOUIS VUITTON AW12 Opposite: Red and blue Masai merino wool plaid by LOUIS VUITTON SS12


Theo wears white cotton and linen doublebreasted suit by LOUIS VUITTON SS13


Louis Vuitton

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Jones often sets himself the task in his designs of making the silly into the sublime, and vice versa. He delights in puncturing the sense of French haut-bourgeois luxury to be found at Vuitton with a certain English punk attitude

very passion borders on the chaotic,’ said Walter Benjamin. ‘But the collector’s passion borders on the chaos of memories.’ Looking around the interior of Kim Jones’ Paris apartment, never was that statement more accurate. Carefully organised and yet temporally in disarray, this place, just off the storied Place des Victoires, betrays an alternate history – and a particularly British one at that. In the designer’s bedroom hang rare McLaren and Westwood Anarchy Shirts from 1976 – ‘The Revolutionaries Are Pretty’ reads one; ‘Only Anarchists Are Pretty’ says another in a seeming clothing argument and, as if in riposte, there are portraits of Karl Marx aggressively patched over it. Alongside are draped luxurious Louis Vuitton silk foulards with carefully folded blankets from SS16. These are just some of the ‘souvenirs’ of Kim Jones’ past five years at Louis Vuitton. Jones was appointed Men’s Style Director, working under the artistic direction of Marc Jacobs in 2011, and since Jacobs’ departure in 2013 he has become the sole Artistic Director of Men’s Ready-to-Wear. An Omega Workshops screen from 1913 is the dramatic backdrop to all of these portentous knick-knacks. On it there is a Provençal landscape painted by Roger Fry; it is a high point of the Bloomsbury Group’s visual output. ‘That screen is mentioned at the beginning of Brideshead Revisited,’ says Kim Jones. ‘Bryan Ferry told me it was coming up for sale. He collects Bloomsbury too.’ Jones had the singer’s blessing to buy the thing; they first met when Ferry was fitted for a Louis Vuitton suit. In Brideshead Revisited, this is the screen that Charles Ryder proudly displays when he first arrives at Oxford and then feels slightly embarrassed by once he makes the acquaintance of the aristocratic Sebastian Flyte. He detects ‘a jejune air that had not irked me before. What was wrong? Nothing except the golden daffodils seemed to be real. Was it the screen? I turned it face to the wall. That was better.’ Jones clearly has no such shame, never fearing ‘the jejune.’ In fact, he frequently embraces a certain spirit of immaturity in life and in his designs – including his output for Louis Vuitton. That sizable silk scarf over the screen, in muted pink and lemon with ‘Vuitton’ writ large in cursive script, is not that far away from a tourist sarong he once bought. ‘Look at this!’ he proclaimed while laughing, a few years ago, as he unfurled an aggressively pink and yellow nylon monstrosity that said in large black capitals ‘Tiësto’ on one side and ‘Diplo’ on the other. He had picked it up on one of his many far-flung voyages, frequently undertaken as research trips for Louis Vuitton’s men’s collections. It was in Madagascar, of all places – so if you think Madagascar is an unspoilt island paradise, full of odd animals and untouched by superstar DJ Tiësto, think again.

It is this contrast that Kim Jones relishes. He often sets himself the task in his designs of making the silly into the sublime, and vice versa. Jones delights in puncturing the sense of French haut-bourgeois luxury to be found at Vuitton with a certain English punk attitude. And while that Louis Vuitton foulard is infinitely different in craftsmanship, materials and ultimately taste, it too has its origins as a souvenir; its graphics were inspired by the silks brought back by American GIs from their postings in the Far East of the Forties. As in much of the work at Vuitton, the devil – and the subversion – is in the detail.

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ollecting and travel have always been leitmotifs in Kim Jones’ own life, so it is unsurprising that he has made them the focus of his years at Louis Vuitton. ‘My father was a hydrologist, and we travelled everywhere,’ he explains. ‘We were always going backwards and forwards to Africa from Britain, over and over again. I was lucky in that I have lots of childhood memories from Britain as well – British TV, stuff like that – so I never felt so completely alien to it. But it was always Africa that had that big draw for me.’ And there is something of the ‘neo-colonialist’ about Jones; always travelling, belonging everywhere and nowhere, in turns homesick for Britain and then homesick for Africa, influencing a global aesthetic through luxury goods. He’s even named after Rudyard Kipling’s Kim. His startling curatorial approach to the collections at Louis Vuitton has brought travel to the fore of the men’s side of the house – luggage is the very foundation of Vuitton, after all. And while Jones’ collections embrace an ‘internationalism’ in their conception, with a focus on places as varied as America (SS14), Bhutan (AW13), Paris and Tokyo (AW12), and the subject he turns to again and again, Africa (his debut collection for SS12 and his latest SS17 collection), nevertheless, he admits that what unites so much of what he does and what he is interested in is ‘the history of English style.’ And that’s why the Bloomsbury Group, Malcolm McLaren and Vivienne Westwood, Christopher Nemeth, Bryan Ferry, Judy Blame, Jake and Dinos Chapman, David Bowie, Trojan and Leigh Bowery all stake a place and appear compatible within this Parisian apartment; they all impart an influence on his Louis Vuitton collections. It’s also why, weirdly, there is a proliferation of pictures of Pam Hogg on the kitchen fridge – Jones is not a stalker, rather he’s an acolyte. Granted, Leigh Bowery and Pam Hogg are Australian and Scottish respectively, but it is more what they became in the nightclubs of London – that self-realisation – that interests Jones. As Judy Blame once said, ‘Nightclubs. I think everyone has to go to nightclubs to really learn about anything. I think nightclubs are


Louis Vuitton

This page: Chapman Brothers black shaved mink embroidered evening slippers by LOUIS VUITTON AW13 Opposite: Theo wears Chapman Brothers silk jacquard dressing gown, white cotton voile and piquĂŠ evening shirt and Chapman Brothers black silk jacquard bow tie, all by LOUIS VUITTON AW13


Louis Vuitton

This page: Stephanie holds silver mirrored Damier calf travel messenger bag by LOUIS VUITTON AW14 Opposite: Theo wears bandanaprint oversize cotton shirt by LOUIS VUITTON SS14


Max wears Indian Pink silk twill jumpsuit by LOUIS VUITTON SS15


Louis Vuitton Below: Theo wears flocked Nemeth rope-check trousers by LOUIS VUITTON AW15


Max wears blue printed reversible silk plaid by LOUIS VUITTON SS16

XXX


Louis Vuitton

Navy and grey Satapara pressed flannel coat by LOUIS VUITTON AW16


more important than school, really.’ Alongside the Central Saint Martins Fashion MA, it would be London clubs such as Trade that gave Jones his educational grounding and a certain appreciation of music – although as he hastens to add today, two days after his SS17 show, ‘I haven’t been to a club for ten years, so please don’t call me a club kid.’ He is no longer a kid, so he does get somewhat irked by that epithet nowadays. At the same time, the DJ Mark Moore had provided all the music for the latest show (he is one of Jones’ teenage heroes), live mixing to accompany the clothes. Nile Rodgers and Giorgio Moroder had been on similar duties for Vuitton shows in the past, so it would be inaccurate to dismiss the influence of clubs out of hand. It is perhaps a lesser-known fact that the juvenile Jones also repeatedly worked in the bar at Glyndebourne, so there is an appreciation of opera, too – if a somewhat drunken one. Of course, all those elements are typically Kim Jones: high, low, avant-garde, trash, refined and just plain WTF.

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nsurprisingly, ‘Warholian’ is how Jones defines his concept of fashion for Louis Vuitton; needless to say, he also dabbles in collecting Warhol’s artwork. It is this mixture of art and commerce, democracy and elitism that really drives the designer, where he is anxious to provide luxury for all. ‘Vuitton is a luxury brand, but it is also one of the first brands people go to when they initially get a bit of money,’ he explains. ‘It’s like the Rolex a man buys with his first really big pay check, that first indulgence in a luxury watch. Similarly, Vuitton is usually the first stop for a guy to get a bag, the Keepall. So it’s nice to think of it in that way. All the people who come to Vuitton, from 16 to 60, we try and cover in the collections. It’s simply good to see all sorts of people wearing things that we make. Seeing somebody in the street wearing something that originated in our studio, that is the ultimate driving force for me.’ For people who grew up with sportswear, the Nike Swoosh is not a million miles away from the LV Monogram. And being part of that generation, with an emotional attachment to street and sportswear brands – things that he still wears today, mixed together with Vuitton menswear, of course – Jones is acutely aware of the legacy he is creating at LV as well as outside of it. ‘Everyone is doing the street thing now in high fashion, but that was what my MA graduate collection was about,’ he sniffs. That was some 15 years ago, in 2001. ‘I always think of it as street style rather than sportswear. That’s why Nemeth and Westwood, all that stuff that also started on the street, has equal weight for me alongside Nike, Supreme and A Bathing Ape.’ ‘Collaborations don’t seem that heartfelt

a lot of the time,’ he adds, ‘But mine are!’ At this point it is late June and his personal Kim Jones x NikeLab collaboration is about to launch in July. ‘I did the Nike one because I bloody love Nike. It’s the LWP – lightweight performance – and Air Max 95 that are key. All the things we did are based on Air Max colours, from Air Max 1 to 95.’ And here the collector in him comes out again: ‘The Air Max 95 is a design classic from the last century. And if I had to choose a hundred things as design classics from the 20th century, that would be one of them. I think a lot of other people would do the same. That shoe is the height of wonderful product design.’

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imilarly, Jones has never seen the street and the salon as being mutually exclusive at Louis Vuitton. But it is perhaps with the latest SS17 collection that this sentiment is expressed to its fullest extent. ‘I wanted to do something special to mark my tenth show and fifth year at Louis Vuitton,’ explains the designer. ‘I am always inspired by youth culture and the ideas of fashion movements throughout the world, from London punk to Cape Town Zef. It is that do-it-yourself and create-it-yourself mentality I have grown up with, from Africa to Britain – something that I always try to recognise. In a sense, I wanted to celebrate the first generation to have grown up entirely without apartheid in South Africa; the new youth culture and creativity that has emerged, as well as the menswear traditions and ideas of Africa that are subverted. So here there is an idea of ‘afro punk’ hand-crafted to the very highest Parisian level – the subversion of the salon by the street, and vice versa.’ The latest collection could be seen as a uniting of many collected passions and memories of Kim Jones. Playfully disrupting ideas of Africa, safari, and hyper-luxe utilitarian clothing, it is punk, the homespun, the handmade and the hyperreal that are utilised and united to undercut the more conservative notions of default chic. Jake and Dinos Chapman’s drawings of fauna and flora – Jones has an encyclopaedic knowledge of the animal kingdom as well as of street style – creep throughout the collection and accessories; bondage suiting appears in some of its most luxurious incarnations; the Maasai check, so memorably utilised by Kim Jones in his debut collection for the house, is echoed throughout in the use of plaid from shirting, to suits, to bags. It provides the linking thread between the Maasai people, punk provocateurs and the Parisian Vuitton princelings, that all form part of Kim Jones’ inclusive yet high-flown world. Ultimately, it points to Kim Jones’ intense sense of fashion, no matter where it comes from, and revels in an anniversary where the street definitively entered the house.

‘I am always inspired by youth culture and the ideas of fashion movements throughout the world, from London punk to Cape Town Zef. It is that do-it-yourself and create-it-yourself mentality I have grown up with, from Africa to Britain’


Louis Vuitton

Max wears transparent dot-todot Chapman Brothers animals trenchcoat, trousers and choker, all by LOUIS VUITTON SS17 Groomer Michael Harding Models Max Fieschi at Elite Model Management, Theo Neilson at Select Model Management and Stephanie Lawley Photo assistant Denis Pannier at Direct Photographic Paris Stylist’s assistant Oliver Sharp Digital technician Rob Jarvis at Raw Capture Set designer Anna Burns at Lalaland Artists Casting director Shelley Durkan Production KO Productions Retoucher Tablet Retouch Lighting Direct Photographic Paris Location Paris With thanks to Louis Vuitton UK and Paris press offices and the Louis Vuitton Patrimoine team


Better known for complicated on-screen sex positions than as a devoted father to five kids, Britain’s most versatile actor prefers the school gate to the red carpet and combats London life by keeping bees in his back garden. Whether baring his bottom to Jodie Foster, nailing the perfect Baltimore accent or channelling Richard Burton, it can only be Dominic West PHOTOGRAPHY

Blair Getz Mezibov

STYLING

Luke Day

TEXT

Ben Cobb


Dominic West Sand cashmere knit jumper by GIEVES & HAWKES; CT60â„¢ Chronograph 42mm stainless steel watch by TIFFANY & CO


‘I know the Kama Sutra backwards. I’ve gotten very good at the technical names. We’ve done it up against the wall, we’ve done it against every piece of furniture, we’ve done it upside down…’

ominic West seems to be in the mood for confessions. ‘I know the Kama Sutra backwards,’ he says. ‘I’ve gotten very good at all the technical names.’ Just to clarify: the 46-year-old actor is not boasting about his bedroom prowess; he’s reeling off the Herculean tally of positions he’s filmed for the hit US series The Affair. ‘It’s got ludicrous now,’ he continues, ‘we shout for suggestions from members of the crew. I remember last season we shouted out, “We’ve done it up against the wall, we’ve done it against every piece of furniture, we’ve done it upside down…” and someone shouted out, “Reverse cowgirl!” Reverse cowgirl? I mean, what the fuck is that? Do you know what a reverse cowgirl is?’ Yes. ‘You ever done it?’ Umm, yes. ‘Have you? Good man!’ he booms. ‘I don’t think I’ve done it… Oh, wait – actually, I think that was in season one. Or maybe it was cut? It might have been replaced by a pile driver!’ West arrives in high spirits straight from the photo shoot – ‘they usually put me in tight Italian knitwear, but today was great’ – he has now changed into a crumpled shirt and scruffy chinos, his ‘downtime uniform’. He takes a seat in a quiet corner of his local Shepherd’s Bush pub and apologetically orders a pot of Assam tea – it is only 4:30pm and he’s on kid duties in an hour. ‘My work involves being away so much that I love doing the school run and things like that,’ he says. ‘My main thing at the moment is to hang out with my kids while they’re at an age where they still want to hang out with me.’ West has five children. Four with his landscape-designer wife Catherine Fitzgerald, who he first dated as an English student at Trinity College Dublin: a nine, eight, seven and two-yearold. ‘Well, that’s what happens when you don’t understand contraception,’ he laughs, ‘I’m Catholic and presumed my wife had taken care of it.’ He also has a 17-year-old daughter with his previous partner Polly Astor. Catherine and the brood will join him for the holidays once filming is underway on the third season of The Affair. A quick update for the uninitiated: West stars as Noah Solloway, a happily married father of four and high school English teacher who, while struggling to write his second novel, falls in love with a Long Island waitress, played by fellow Brit Ruth Wilson. ‘Noah is a good dad and I think he tries to do the right thing,’ reasons West, ‘but he also does really stupid things! You know, people do really dumb, reckless things when they’re in a passionate affair.’ If the Golden Globe-winning first season saw Noah skidding out of control, rupturing his family and comfortable Brownstone lifestyle, then the second season has him in a head-on bloody collision with fame, hedonism and self-destruction (with, of course, lots of sex thrown in). ‘Yeah, I think it really hit its stride in the second season,’ he nods.

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est takes a gulp of tea, his hand the size of a shovel around the cup. In the flesh, he’s handsome in a lived-in way, somewhere between rakish and rugged. His broad build and six-foot height give him a tough, imposing presence, helped by a deep and authoritative voice. There’s a don’tgive-a-fuck confidence that only comes from being truly comfortable in your own skin. Throughout our encounter, he laughs a lot, mainly at himself, and loudly – every time, exposing an impressive set of teeth and a mischievous, schoolboy nature. Like the best raconteurs, he’s bawdy and unguarded, a killer combination that makes for great company and copy. Case in point, on the subject of what it was like to be directed by Jodie Foster in this year’s hostage drama Money Monster, playing a corrupt hedge funder alongside George Clooney and Julia Roberts, he casually offers up this gem: ‘I mean, she’s amazing, a real hero of mine. I don’t get star struck but I certainly was meeting her. Unfortunately the first scene I did for her was a sex scene: it was me and Caitriona Balfe, me on top as usual, which is always the fight because if you get to be on the bottom, you get to keep your clothes on. And Jodie said to me, “Listen darl, don’t worry, we got you – you’re lying on the sofa and Caitriona’s underneath, you’re on top and the camera’s over there so we’ll be quite close, it’s really just your heads, we won’t see your arse, but do get your arse out…” And I’m like, “Ugh, do I have to get my trousers off ?” Yes, I have to. So, we did the scene and, sure enough, the camera was right there, and then I looked behind me and there was the entire crew and Jodie Foster with the monitor, looking right down my arsehole! I don’t know how much lower you could get in front of your hero.’ After all that, the scene didn’t make the final cut. It’s not all romping, though. West is best known for playing the hard-drinking Irish detective Jimmy McNulty in The Wire, the gritty cop saga that aired quietly on HBO between 2002 and 2008 before growing into a cult phenomenon on DVD and, in the process, putting Baltimore on the map for more than just John Waters and Divine, and transforming West and co-star Idris Elba into coverboys for British talent (the two were reunited this year as sea lions in Pixar’s Finding Dory). ‘The Wire is the gift that keeps on giving because people are still coming to it, even now, after almost ten years,’ he explains. ‘It’s a classic because it still holds up. People come up to me who have just started watching it, as if to say, “I’ve joined the club” – it’s nice because it’s always a select group, interesting people.’ He’s fondest of lower-profile work or, as he delicately puts it, ‘the jobs no one even noticed’, like critically acclaimed productions of Othello, in 2011, and the following year’s My Fair Lady, both staged at The Crucible in his native Sheield. West grew up just outside the city in rural Fox House, ‘the gate to the Peak District’; his father manufactured vandal-proof bus shelters and his mother belonged to a local theatre group, which is where young Dominic first trod the boards. ‘She put me in a production of The Winslow Boy, as the Winslow boy, I must have been nine years old,’ he recalls. ‘I remember my dad brushing away a tear on opening night and I thought, “This is for me!” I was always a bit of a show off in the family, probably due to the fact that I was number six out of seven children.’


Dominic West Oversized check wool coat by DAKS; navy roll neck by BOTTEGA VENETA; black cotton trousers by MARGARET HOWELL


Black and white houndstooth wool overcoat by PAUL SMITH; off-white wool cotton mix polo shirt and black raised drill chinos, both by MARGARET HOWELL; CT60â„¢ Chronograph 42mm stainless steel watch by TIFFANY & CO


Dominic West

Off-white wool cotton mix polo shirt by MARGARET HOWELL; CT60â„¢ Chronograph 42mm stainless steel watch by TIFFANY & CO


Yorkshire was also where he developed a lifelong love for the countryside. ‘I could walk out the house and be on the moors, and I’ve always needed that sort of landscape and open spaces,’ he says. ‘I find Shepherd’s Bush quite hard going, to be honest, and New York even worse.’ In an effort to feel closer to nature, he’s recently taken up beekeeping in his back garden: ‘I caught a swarm two weeks ago, which is a really big deal,’ he says excitedly, ‘so now I have a proper hive and by September I’ll have loads of honey.’ And, when the opportunities arise, he’s up for extreme outdoor challenges like a 2013 trek to the South Pole in -30 conditions with Prince Harry for the charity Walking With The Wounded. ‘They put you on a diet of butter and yoghurt to build up lots of fat, which I loved,’ he grins. ‘There was this very cool ex-Special Forces soldier who said, “So, Dom, what training have you been doing for the trek?” I said, “Well, I’ve been doing a bit of yoga and quite a lot of disco dancing actually” – I’d been doing it for the film Pride. He thought I was a right fucking idiot but hard disco dancing worked really well!’

‘I looked behind me and there was the entire crew and Jodie Foster with the monitor, looking right down my arsehole! I don’t know how much lower you could get in front of your hero’

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ven the yoga eventually paid off when, in 2015, he followed his dreadlocked childhood friend Sir James Mallinson on a pilgrimage to the Kumbh Mela festival in northern India to meet the guru Babaji. The hilarious results – ‘it wasn’t exactly an enlightening experience, we mainly sat on the ground for three weeks, gossiping round the fire’ – can be seen in the BBC4 documentary West Meets East. Up next, the pair plan to return to India and climb the 20,000-foot holy mountain Deo Tibba and be the first to paraglide from its summit. Nearer to home, he’s less gung-ho but always active; he’s done triathlons, run the London Marathon and, like Noah in The Affair, swims lengths. He’s had a few knocks and scrapes along the way: smashed a knee riding his Triumph Bonneville motorbike; discovered he’s not good at fighting on a couple of occasions (‘I usually fall over, when I don’t panic and run.’); and at 17, while at Eton College, was forced to give up playing rugby when his right shoulder kept dislocating following a collarbone break (he still has a scar where the bone was pinned). Luckily for him, he had the school drama department to focus his energies on. It was here that Damian Lewis, in the year below, saw a 16-year-old Dominic play Hamlet and… ‘What was it Damian said? I can’t remember what he said?’ asks West, feigning memory loss. Damian Lewis, the multi-award-winning star of Homeland, has said that it was this performance that made him want to act. ‘Yep! That’s the one,’ he gasps, punching the air. ‘I turned him on to acting and the boy is doing very well. I’m proud of him.’ They both went on to the Guildhall School of Music and Drama, and remain close friends. Over his 20-year career, West has established himself as a go-to man for complex, flawed but likeable characters: from the macho giant of American literature Ernest Hemingway in the 2016 film Genius and smarmy TV anchor man Hector Madden in the BBC period piece The Hour (his first Golden Globe nomination) to last year’s barnstorming turn at the Donmar Warehouse as Valmont, the next-level philanderer in Les Liaisons Dangereuses, a role immortalised by John Malkovich in the 1988 film adaptation. ‘Valmont’s a huge bastard,’ he roars, ‘but so funny and so despicable that you’re fascinated by him. I’ve played a lot of characters like that, but they’re always the interesting ones: the villains, the nasty guys, the evil ones.’ Playing serial killer Fred West really put his skills to the test. A two-part drama, 2011’s Appropriate Adult examined

the harrowing case of Fred and Rose West, the married couple who, between 1973 and 1987, tortured, raped and murdered at least ten girls, some their own daughters, at the family home on Cromwell Street, Gloucester. The story focuses on Janet Leach, a 42-year-old mother of five who volunteered to be the ‘appropriate adult’, sitting in on Fred’s police interviews as an independent safeguard. ‘In truth, he was not a very complex character,’ frowns West, leaning forward. ‘Real evil isn’t, it’s very simple. It’s incredibly banal and boring and unimaginative and dead and negative. What made Fred interesting was that people liked him; they thought he was an affable idiot, a fool, and he played up to that. Whereas Rose was never liked: she was always sadistic and psychotic. He was too, but he could pretend to be compassionate… so, it was all there, all I did was listen to his interviews and copy him. They’re all on YouTube.’ The reaction to Appropriate Adult was heated, with Fred West’s daughter Anne Marie Davis condemning ITV for cashing-in on the grief of the victims’ families and Dominic for saying he felt ‘sullied’ by the experience. ‘The only way I survived – because almost everyone involved with Fred or who wrote a book about him had a breakdown – was that we shot it very quickly, in three weeks in Manchester. Towards the end I started dreaming about him and I was very conscious I wasn’t going to let him get to me, and fortunately I was able to come home after three weeks and hang out with my kids and never thought about him again. And that’s what you have to do, because it can get to you.’ Chilling and nuanced, it was a tour-de-force performance and earned him a BAFTA. The mood lightens as talk turns to another part that needed careful consideration before accepting: that of the actor’s actor, Richard Burton in the BBC4 film Burton & Taylor, alongside Helena Bonham-Carter as screen goddess Elizabeth Taylor (or ‘lumps’ as Burton affectionately nicknamed her). West winces, remembering the first script read-through and the immortal directions: ‘And from behind the curtain we hear the most mellifluous, beautiful, deep voice the world has ever known.’ No pressure, then. He braved all-night smoking and boozing sessions in a desperate bid to get the right cadence, before saying to himself: ‘Oh fuck this! You know you can’t possibly live up to that.’ In the event, he turned in a BAFTAnominated act, and the film stands as a stirring portrait of one of the great romances. ‘In Burton and Taylor’s case, an inevitable part of their romance is that it’s doomed,’ he explains. ‘There has to be an element of failure in romance. Sadness and ruin are very romantic because ultimately we lose people we love. That’s the nature of life and love: the beauty and wonder of love carries with it the horrible risk of loss. That’s really what romance is, isn’t it? It’s against all odds and knowing that you’re going to lose it all but that there is still beauty, however fleeting.’

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e might be a self-proclaimed diehard romantic – ‘in every way, in my idealistic shortsightedness, my whole outlook is romantic’ – but West readily admits to forgetting Valentine’s Day. ‘Oh, yeah, constantly,’ he laughs heartily. ‘But my wife thinks remembering things like that and birthdays is such a boring thing to do. She doesn’t sweat the small stuff. She’s great.’ So, what relationship advice would he give to The Affair’s Noah? He straightens up, gathering his thoughts for a second. ‘The secret is don’t have high expectations, just relax and everything will be fine. And if it’s not fine, then it wasn’t meant to be… Anyway, it’s easy for me to say because I’m happy.’


Dominic West

Navy micro-check wool coat by PAUL SMITH; navy roll neck by BOTTEGA VENETA; CT60™ 3-Hand 40mm stainless steel by TIFFANY & CO Hair stylist Mari Ohashi at LGA Photo assistant Lixx Diaz Stylist’s assistant Emily Tighe Make up assistant Lucinda Worth Digital technician Adam Corbett Production KO Productions Lighting 123 Lighting Location KO Studio


Black crew neck cotton knit top (worn as scarf), black oversized wool serge trousers, black leather belt, all by DIOR HOMME SS17

PHOTOGRAPHY

STYLING

Mark Mattock

Judy Blame

When Kris Van Assche joined Dior Homme ten years ago, he covered the studio in portraits of Christian Dior. On his anniversary as artistic director, the designer finally visits the place where it all began


Dior Homme Black eyelet embroidered two-button wool suit jacket by DIOR HOMME SS17; necklace stylist’s own


Nude sleeveless nylon trench coat and black narrow wool serge trousers, both by DIOR HOMME SS17; gloves stylist’s own


Dior Homme Black two-button wool serge jacket, oversized trousers and black calfskin derby boots, all by DIOR HOMME SS17; fishnet vest and chains stylist’s own


TEXT

Anders Christian Madsen

On the veranda of Christian Dior’s childhood home atop a cliff in Granville, Kris Van Assche is scrupulously studying an antique hemp sack. Unlike the founder of the fashion house he fronts, he’s just insisted he’s not superstitious – but now something’s got him. The relic belonged to the fertiliser company that made Dior’s father rich at the turn of the century and bears their eminent French surname alongside a crest of lions with the words, ‘L’Union fait la force’ – the motto of Kris’s native Belgium. ‘I have a sign now! That I cannot believe,’ he erupts, mystified. ‘It’s the Belgian flag and lion. I’m starting to get superstitious. Ask me if I ever found a million dollars!’ In his 14 years at Dior Homme – four on the design team, ten as artistic director – it’s Kris’s first time at Les Rhumbs, the Dior family’s coastal house in Normandy named for its position akin to the rhumb lines of a compass. Clad in dressy hiking boots and the sporty tailoring that’s become this 40-year-old designer’s trademark at Dior Homme, he’s been wandering ceremoniously through the gardens that inspired a fashion empire. This is where the young Christian Dior first dreamed up dresses in the shapes of the flowers his mother adored, where he captured the silver sky that became his Dior Grège and

immortalised the pink walls of his childhood home in his Rose Dior. ‘It’s very John Galliano,’ Kris says, looking at the hemp sack, nodding at an old colleague’s love of hessian. Since he took over from Hedi Slimane in 2007, Kris has outlasted both Galliano and Raf Simons’ tenures in the women’s ateliers on 30, avenue Montaigne, while heading up Dior Homme from 44, rue Francois 1er. (In July, Maria Grazia Chiuri became his newest counterpart, but true to company structure they’ll remain in separate buildings.) When he moved into his oice ten years ago, he put pictures of Mr Dior up around the ateliers, ‘to remind people whose house this is.’ He read the founder’s autobiography in his early twenties, and has never looked for heritage references beyond the first ten years of the Dior archives – from its establishment in 1946 to Mr Dior’s death in 1957. ‘It was never about just reusing a pocket – it’s not the way it works. The clothes are so feminine that if you want the brand to remain masculine, that’s not what you’re going to do,’ Kris explains. ‘It’s more about the spirit.’ Coming out of a pergola, he suddenly stands face to face with a bust of Mr Dior; looks him deep in the eyes. Does he feel a responsibility? ‘I mean, that didn’t start this morning, eh?’ Would Mr Dior have liked what he does? ‘Well,’ he pauses. ‘Maybe not all, but I’d like to think so.’ In January 2014, he showed a collection based on Mr Dior himself, from the Savile Row suits that filled his wardrobe to the lily of the valley that filled his superstitions. Back on the veranda, he’s elated when the holy grail of those lucky charms materialises behind the lid of a box: the rose de vents, a wheel cap in the shape of a compass rose once attached to a calèche, found on the street by Mr Dior as he was about to launch his fashion house. He considered it a sign and hung it on the wall of his oice. Today it’s a Dior trademark. Kris’s counterpart is a Tiffany’s necklace his boyfriend gave him just before he took the helm

‘In the beginning I was trying to please everyone, which was an impossible thing to do. People didn’t want me to change anything. On the other hand, no one wanted me to do the same thing either. My situation was totally impossible’

at Dior Homme. It never comes off. His right arm is adorned with tulips tattooed by a Mexican gangster in LA, his left in orchids. ‘I have the flowers of the north and the south,’ he muses, and put to the test in these hallowed gardens (‘Kris, what’s this flower called?’), he actually knows his botany. Over dinner after his SS17 show – surrounded by Dior Homme campaign boys A$AP Rocky, Robert Pattinson and Larry Clark – the designer came up with a genius idea. Two weeks later we find ourselves flying over the baroque gardens of Versailles, en route to where Dior began. Kris is a chopper virgin, and although he braved a hot air balloon on a recent trip to Burma, this flight isn’t without its nerves. Not that you could easily tell behind the elephant skin that comes with ten years of stoicism. He’s fiddling with the brightness and contrast of an Inkwell-filtered helicopter selfie of us, which he’s about to post to some 130k followers on his personal Instagram, and I’m wondering what scary comments my made-forMicrosoft-Word face might spawn next to his perfectly preened visage. A decade after Kris succeeded Hedi Slimane at Dior Homme, his predecessor’s diehard fans still troll him. ‘Bring Hedi back!’ they say. ‘Even, “Bring Raf back,”’ he chuckles, referring to Simons, who never had anything to do with Dior Homme. Like our lift to Granville, Kris’s first years as head of the house were a bumpy ride. In Slimane, he wasn’t just replacing a designer, but a pop cultural phenomenon credited with the retro revolution of svelte rock‘n’roll that hit menswear in the 2000s, and with reintroducing the skinny jean to the mass market. Kris was there with him from day one – and beyond. After earning a BA from Antwerp’s prestigious Royal Academy in 1998, he served as studio assistant at Yves Saint Laurent Rive Gauche under the creative direction of Slimane, and when Slimane went to Dior in 2000 Kris joined him as first assistant. In 2004, he left the house to launch his own label, styled KRISVANASSCHE, but the Dior Homme he came back to as artistic director in 2007 had a ghost in the corridors. ‘In the beginning I was trying to please everyone, which was an impossible thing to do. People didn’t want me to change anything,’ Kris told me in 2011. ‘On the other hand, no one wanted me to do the same thing either. My situation was totally impossible.’ Discouraged, he became the quiet rebel, subtly powering on with the vision he believed in. If some thought he’d been brought back to generate trainer and jeans sales in Slimane’s shadow, the behindthe-scenes strategy couldn’t have been more different. ‘That was before me. After it became mine, we wanted to be a business brand so we did made-to-measure, tailoring, briefcases and nice classic shoes and shirts. The balance was a little bit of fashion and a lot of business – that was the direction,’ Kris explains.


Dior Homme Black jacquard Lonely Dreamer motif two-button linen and cotton suit, black crew neck cotton knit top, black calfskin boots, all by DIOR HOMME SS17; chains stylist’s own


Black notched collar techno wool serge blouson by DIOR HOMME SS17; necklace stylist’s own


Dior Homme

Black two-button wool serge two-button jacket and oversized trousers, black leather belt all by DIOR HOMME SS17; nude corset, pins and bracelet stylist’s own


Black stripe cotton poplin shirt by DIOR HOMME SS17; hat by STEPHEN JONES


Dior Homme

Sales were strong, but the expectations of the brand’s original audience didn’t make things easier for a designer of a decorous disposition. ‘Does anybody care for a complicated eating experience?’ he asks, faced with the whole langoustines he’s ordered at a terrace restaurant in the port of Granville.

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etting shellfish everywhere wouldn’t be very Kris Van Assche. In fact, his prim and polished Dior Homme is an absolute reflection of his own world: measured, restrained and reserved. I first interviewed him in 2011, on a thunder-stormy day in Paris that saw me dripping through the echoing palatial hall of 44, rue Francois 1er. Escorted into a stark ballroom covered in that chilly Dior Grège, Kris emerged from another door like some ceremonial Madonna concert entrance, all ironed and immaculate – a daunting contrast to my windswept scruff. He grew up in the Flemish province of Londerzeel, idealising a posh grandmother, who never forgot the virtues of the Belgian bourgeoisie she came from, even though her family had lost their wealth when she was a young girl. It was a contrast to his own down-to-earth upbringing, the son of a secretary mother and a father in the car industry. ‘When I came along, I got her eye for detail and longing for a certain heritage and love of beautiful details that make all the difference in life,’ he told me in 2015. When Kris was 16 the same grandmother made him his first pair of pinstriped trousers. Why? ‘Because everyone else was wearing jeans,’ he quips. It was his first formal rebellion. Sitting in the garden behind Les Rhumbs, he brings her up. ‘My grandmother had a house very similar to this, with a park. When I was eight or ten they had to sell it,’ he sombrely recalls. ‘Her husband was a school principal. When I was a kid my grandmother still lived in that school, because it was no longer in use. I always picture her in this very oicial school building.’ Were they kind of strict and formal, then? He breaks out in laughter. ‘They were! You would have guessed, right?’ It’s a self-irony he’s grown into over his ten years in the spotlight – an againstall-odds tour de force that’s created a much more casual, self-assured designer than the one who strode into that grey ballroom in 2011. In March, he invited me to his home, a grand appartement in the swanky 17th arrondissement by the Arc de Triomphe, where parquet flooring and stucco friezes coexist with French mid-century minimalism, contemporary ceramics, and ‘the luckiest cats in Paris’, two Burmese felines named Frida and Diego – after Kahlo and Rivera.

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ris says they recently changed personalities according to their masters. ‘The one that was all over you, she used to be really

anti-social. So that was me, of course,’ he winks. ‘And the other one was much nicer and plain cuter, so he, obviously, was Mauricio.’ Kris co-parents with his Swiss-Italian stylist boyfriend, Mauricio Nardi, who texts him a succession of red heart emojis when our helicopter lands in Granville after an hour and a half in the air. They’re also celebrating their tenth anniversary, both romantically and at Dior Homme where Nardi serves as a consultant. ‘We met at Club Sandwich,’ Kris bashfully recalls, referring to the camp Parisian gay club, and in the beginning he used Nardi as a sounding board for his work at Dior Homme. ‘Then it grew and he started consulting.’ His boyfriend, who has a successful styling career of his own, is one of the few people to inhabit the designer’s virtually impenetrable inner-circle. ‘I still have the friends I had before fashion,’ Kris vows. Over the years it’s grown to include his personal trainer (three times a week; skipped today for Granville) and Dior Homme’s communications director, Valeriane van der Noordaa – his informal counterpart with whom he keeps a sarcastic ping-pong going throughout our daytrip. On a rare sunny Norman day, there’s a serenity to Mr Dior’s rosy villa and blooming gardens, the deep blue surf quietly rolling in on the beach below the cliff. ‘I can relate,’ Kris says. ‘It’s the idea of getting out of Paris and going to a house like this. And not getting on a yacht in Ibiza.’ This summer he’s going to Formentera, then Amalfi, but not to join the fashion holiday circus. Like his work, his life in the fashion industry has been an acclimatisation process, which hasn’t just resulted in a private life that doesn’t make room for poseurs and posses, but a much more genuine and personal approach to his work than in his younger collections. Kris isn’t one for fussy excess. ‘Because I don’t go all the way in my references, people feel like I’m holding back,’

he says. ‘That’s my frustration with the critique I get, because I’m not out to replicate a reference. I want to rework it, otherwise what’s the point? I try to avoid things becoming too literal.’ Since he put his eponymous label, KRISVANASSCHE, on hiatus in 2015 due to time constraints – ‘after 15 years you don’t want to be freaking out if you have shoes for your show’ – his shows for Dior Homme have rapidly become grander and far more fanciful than the optical white sets of his earlier days. Suddenly, he started opening up and letting us in with a punkish SS16 collection rooted in the New Wave he grew up with in the Eighties, and a raw and ravey AW16 collection based on the dodgy fun fairs he’d hang out at as a provincial Flemish teenager, epic rollercoaster set in tow. It’s a far cry from the business-centric Dior Homme once envisioned for him. ‘And that totally changed,’ he tells me. ‘I mean, it’s still going to be about business because it’s Dior, but there’s been a major return on the fashion focus, which occurred – happily, for me – right at the moment when I started having trouble with my own label. Thank God for having a place to put my ideas.’ What has emerged is a Kris Van Assche not so neat and Belgian as he once portrayed himself, but the teenager who idolised Jean Paul Gaultier and Thierry Mugler, and totally fanboyed over Madonna (his favourite album is Ray of Light, his lyrical reference game strong.) Rather than embracing his star designer status from the get-go, Kris has eased into the enormous fashion platform he controls at Dior Homme and slowly evolved his métier – that fusion of classic and contemporary men’s uniforms – into a long-lasting commercial success in a fashion age where longevity is rare. In doing so, he’s inadvertently become a custodian of the men’s fashion industry in a time when fashion’s gender-fluid waves are seeing brands merge their men’s and women’s shows into co-ed presentations.

‘Why would I be worried? Menswear has grown so much that, for me, today it’s as important as womenswear. Today there are so many different types of fashion structures that there’s not one general rule’

ut Kris isn’t concerned. ‘Why would I be worried? Menswear has grown so much that, for me, today it’s as important as womenswear. Today there are so many different types of fashion structures that there’s not one general rule. Whatever they seem to proclaim as their new thing is probably their new thing. But it shouldn’t become the new thing. There’s no way it’s going to end.’ Remember that stoicism that comes with ten years at the steering wheel? It’s created a pretty level-headed designer. Walking through an exhibition in Mr Dior’s house, we’re told Princess Diana had every Lady Dior handbag under the sun. Does Kris have one? ‘My mum does. I got some for my grandmother, too, and she loved them. But I don’t get to just take them off the shelf,’ he points out. Surely there’s room for that in a future contract? ‘No Lady Dior,’ he laughs, ‘no Kris Van Assche!’

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Black eyelet embroidered two-button wool suit, black calfskin derby boots, both by DIOR HOMME SS17; badges stylist’s own


Dior Homme

Black stripe cotton poplin shirt by DIOR HOMME; hat by STEPHEN JONES Hair stylist Mark Francome Painter using Bumble and bumble Make up Sharon Dowsett at CLM using Mac Pro Model Kit Butler at Next Model Management Photo assistant Maxwell Anderson Stylist coordinator Karlie Shelley Stylist assistant Ibrahim Kamara Production KO Productions Lighting Film Plus Location Loft Studios


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The Future of Publishing

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It was 30 years ago, almost to the day. I had been hired by one of those advertising agencies that are meant to

to sprinkle some fairy dust over a project they were creating for a big US beer brand who were having a push in the UK. The first meeting went fairly well, as they appeared to be in thrall to the particular part of the creative sector I was representing. By which I mean that they seemed as though they were taking me seriously. I was editing a not-uninfluential style magazine at the time, and I had already lost count of the number of chancers from the advertising industry who had turned up at my door wanting what they perceived to be a short cut into the hearts and minds – and, more importantly – wallets of the 18-30 year olds who consumed our brand. This mob were different, though. As they didn’t expect their request to be a fait acompli, the money they were offering was fairly substantial, and they looked as though they were being respectful of my apparent ability to conjure up some willing consumers for them. So we sat around a gigantic oval oice in their Covent Garden oices – isn’t it funny to cast yourself back to the Eighties and think about Covent Garden, which was the Shoreditch of its time, a postcode that almost guaranteed cachet – and started discussing the project. Which in their minds was obviously The Project. It was actually quite simple, and largely went like this: ‘So, here’s the deal,’ said the rather blousy account director from the agency. ‘The client is coming into the UK for the first time and has asked us to come up with something that sparks the interest of opinion formers, something that might filter down to your man on the street, you know, your basic civilians.’ So far, so good. ‘And they like the idea of some type of guide to what’s going on, something that tells you what’s trendy about London. Something that tells you what’s really going on. That kind of thing.’ Their idea – which must have taken as much time to formulate as it did to pick up the phone from the client – was to produce a 48-page ‘style guide’ to our fashionable city, an A5 brochure of cool that could be distributed in style magazines – including

mine – as well as through various cool bars and gyms around London. The agency bod carried on for another 20 minutes, trying to make the idea sound a bit more complicated than it actually was, before looking me straight in the eyes, dropping her chin a little, and then dropping her voice an octave or two before saying, ‘And we’d like to give it some fairy dust.’ These days, that fairy dust is called content. For the past six years or so, all anyone in our related industries can talk about is content. Actually I should probably dignify it by capping it up: Content. Doesn’t matter what business you’re in, at some point in the not too distant future you’re going to be wanting some Content. If you’ve got a website, you’ll be needing some Content; if you’ve got any kind of social network presence, you’ll be in the market for some Content; if you’ve got a video platform then you’ll be in the business for some Content. Yada yada yada. In fact, if you’re involved in any transactional website, you have probably been doing this for a good few years now. Or at least someone in your company will be starting to become evangelical about it. Of course you might work for one of those increasingly rare luxury goods companies who are still – seriously? – trying to put a velvet rope around the Internet, and if you are, I feel rather sorry for you. Content has become such a buzzword that, like my fairy dust experience 30 years ago, people don’t really know what it is they’re asking for, they just know that they need some. Why? Because people keep telling them they do, that’s why. Instead of PR companies offering ‘bespoke solutions’ (er, PR, basically), they’ll be offering ‘bespoke Content’ (notice how respectful I’m being?); instead of advertising agencies offering ‘tailored product’ (ads), they’ll be suggesting ‘personalised Content’ (see, I’ve got the hang of it); and if you speak to any digital agency (who will try and sell you anything they can get away with, as though the Internet were still just thought to be some huge secondhand car market), they’ll lean over their desk (sorry, ‘communal work station’) and tell you that what you need is a ‘Fully integrated, 360, digital Content-rich experience that fully engages the customer as well as appealing to those free spirits who don’t wish to knowingly engage with anyone.’ Like I said, fairy dust. Sorry: Fairy Dust.


The Future of Publishing

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he thing is, while none of their suggested solutions are necessarily wrong, the two fundamental problems are a) the wrong people are producing the Content, and b) the Content tends not to be very good (because the wrong people are producing it). Which makes clients very suspicious about the whole notion of Content, as so much of it is so poor. In a way, I suppose this is not so surprising. Traditionally, ad agencies have employed as many people to sell product as they have employed to come up with ideas, although these days it appears to be the salespeople who are doing the talking and promising the Content (Content they have no idea about how to successfully generate). And if you do end up in a room with one of the advertising creatives, it’s a good bet that their idea of ‘Content’ is simply making a REALLY EXPENSIVE FILM. Wave a cheque in front of an advertising creative and they’ll start jumping up and down about this film idea they’ve had for ages, and interestingly the idea is perfect for your product. Odd, huh? In the newspaper, print and website world, the situation might even be worse. Why? Well, Content in old-fashioned layman’s terms could be classified simply under advertorial, sponsored editorial or promotions. For a while it���s been called native advertising, but it’s fundamentally the same thing. And the problem in the print business (or the print+ business, which is basically the term for old-school print companies with a digital component) is that the people who have traditionally been charged with looking after the promotions or advertorial departments are those people who haven’t been quite good enough to work in either editorial or advertising. Whereas these days they need to be better than both, or at the very least have the capability to straddle the divide. Which is why the Content world is still a bit like the Wild West. On the one hand you have a world of clients with all of these editorial opportunities that they don’t know what to do with, and on the other you have a bunch of so-called creatives who don’t have any ideas, or who have no ainity with this new medium. In this respect it’s a perfect storm. However, this should be the easiest play in the world. Not only is there a huge growth industry out there (which is a godsend for all of those in our industry who are bellyaching about the decline in ad spend), but there is also an ever-expanding generation of consumers who are perfectly willing to accept Content. Actually, they’re not perfectly willing at all (too passive, sorry), they’re actually desperate for content. And they’re not

Content has become such a buzzword that, like my fairy dust experience 30 years ago, people don’t really know what it is they’re asking for, they just know that they need some.

that bothered who produces it, as long as it is – deep breath – VERY VERY GOOD. Simples, eh? Take my 16- and 18-year-old daughters, who for the purpose of this exercise I shall call Money Pit 1 and Money Pit 2. Like every person their age, they spend every available waking second glued to their phones. When they’re somewhere where they can’t get Wi-Fi – ‘nightmare!’ – then they’ll idly flick through a magazine or newspaper, but the rest of the time they’ll be checking their phones, surfing texts, emails (actually not emails, because they don’t use them anymore), Snapchat, Instagram, news feeds, YouTube and all the other stuff that these days is just OUT THERE. And, again like every other teenage consumer, they are actively looking to be entertained, and sold to. And because of the nature of the devices they consume this information on, and because the old co-dependent church and state relationships of editorial and advertising no longer apply in the same way, they are not especially bothered by who is responsible for the Content. It doesn’t really matter to them if the Content they are watching/reading is produced by a magazine company, a newspaper company or a car company. It could be LVMH, it could be ASOS, could be Renault, Dazed or Marmite, could be The Daily Telegraph, Mini Cheddars or Harper Collins, could be Apple, Swatch or Kellogg’s. They don’t really care who produces it as long as the Content is VERY VERY good. They don’t really care about provenance, don’t really care if it’s editorial or advertising, don’t really care if it’s produced in London or Belgium; all they care about is its quality, and its ability to engage with them immediately. Which is one hell of an opportunity.

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n top of this, because they have been brought up in a world where they expect to be buying everything at the touch of a button, not only do they expect this material (sorry, Content) to be very very good, in an ideal world they’d like to be able to buy whatever it is, too. So if they are watching a film containing a great piece of music, a great pair of shoes and possibly a great destination, they’d ideally like to be able to buy in to all three immediately (hey, their father can afford it!). Which for clients, for advertisers, for people with money looking to engage with new and existing customers, is an even bigger opportunity. Possibly the biggest opportunity there’s ever been. But the industry needs to hurry up and get engaged, as the consumer is running out the door. I seem to have been saying this for four years now, and I’m beginning to bore myself. I rev up during lunch meetings and start giving


my spiel and I can see people’s eyes glaze over. They’ve probably heard me say it before, although a lot of people still don’t want to hear it. Their disinterest was interrupted when ad-blocking started to become such a big deal, but even then this appears to have simply caused people to lobby for legislation.

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journalist discussing this problem a while ago said that the biggest issue with ad-blocking was that nobody had yet managed to find a way to produce effective ads on the small screens of mobile devices. Well, this is obviously not true, as most people who own mobile still engage with advertising – and most do so willingly. However, the bigger problem is that advertisers haven’t looked at the problem from the point of view of the consumer. Because if they did, they would see that all the consumer wants to do is be entertained. Which is what we have always expected from our advertising. Yes, we’d like to be watching something that has some bearing on our consumer habits, and no, we don’t want to be lied to. But we’re here, ready, willing and able to engage with whatever it is you’re about to show us. Could be advertising, could be Content, but we’re here. We won’t be here forever, as frankly we’ve got better things to do (we’re busy people), but we’re here. Some people have already given up. “For digital publishers it is an existential threat,” says Sarah Wood, the co-founder of Unruly, a company which advises other companies on video ads, “and digital publications are experimenting with new monetisation strategies as a matter of urgency.” But this again ignores the issue. Consumers are perfectly prepared to engage with advertising, and Content, as long as you make it interesting, relevant and entertaining. People (consumers, us, ‘we’) don’t hate advertising – far from it, when advertising is good and relevant and informative and smart and funny and entertaining and cool and and and... we like it. Love it. The display ads in a magazine have always been as important as the editorial, as they are part and parcel of the same experience, they are part of the same world. Some have advocated legislation, which to me seems farcical: seriously, you want to force people to watch advertising, as though they were being brainwashed in A Clockwork Orange? No, ad-blocking is just another challenge that has been thrown at the ad industry, in the same way the Internet initially proved to be a challenge. But every challenge is also an opportunity, and as we all know, most of us are perfectly happy to consume advertising as long as it’s on our terms. Many years ago, I became the editor of one of the first British men’s magazines, a title that has long since turned to dust. My first issue happened to coincide with Christmas, and so I took a copy home with me when our family had

There are also far too many media ‘experts’ running around like headless chickens, proclaiming the death of print, as though their world was nearing its

its annual celebration. On Christmas Eve, as I was washing up with my brother in my mother’s East Anglian kitchen, he asked what I was up to. So I showed him the first issue of the magazine that I was responsible for. No word of a lie, he then proceeded to flick through the magazine, saying things like, ‘Oh, that looks like a good car’… ‘I’ve heard of that record’... ‘I’ve seen that film’... ‘Are Lloyds really any good? I’ve been having problems with my bank for ages’... Etc etc. That’s right, he was looking at the ads. I was a bit miffed as for him the editorial was on a par with the commercial segments of the magazine. And it’s a story I’ve been telling advertisers (and potential advertisers – after all, everyone’s a potential advertiser) ever since. And these days, exactly the same thing applies to Content. If it’s good, if it’s relevant, and if it’s entertaining and sold in the right way, it works. Seriously, what could be simpler?

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here are also far too many media ‘experts’ running around like headless chickens, proclaiming the death of print, as though their world was nearing its end. Well, it’s a universal

truth that those who foresee their own death are usually proved right, although there are just as many in the industry who understand that the world has simply moved on, and the changes are here to be embraced rather than ignored. There has been a revolution, and like in any revolution, there will be winners and losers. You only have to look at the bi-annual market to see how the print world has changed, and in some ways grown. If you walk into the WHSmith in Selfridges in Oxford Street, you’ll see dozens and dozens of beautiful fashion magazines, all produced on lovely paper, full of extravagant fashion stories, contrary art pieces and quite probably a profile of an esoteric but largely forgotten film icon from the Sixties or Seventies. Sure, these magazines are not selling in the hundreds of thousands, but they appeal to an increasingly discerning audience, one that doesn’t like being pandered to by the reductive forces of the Internet. These magazines thrive on good old-fashioned ingenuity and creativity. Content, in other words. It doesn’t matter which form it comes in, as long as it comes with some regularity. So, who’s got some fairy dust?


The Future of Publishing


Brother

PHOTOGRAPHY

STYLING

Tom Sloan

Elgar Johnson

The brainchild of photographer Michael Mayren, Brother is the model agency turning the casting industry on its head and proving there is no stronger bond than family

Michael wears black twobutton chalk stripe wool suit by HERMĂˆS; white collarless cotton shirt by PAL ZILERI; multicoloured silk pocket square by ETRO; black Oxford leather shoes by LOAKE and black cotton socks by FALKE 274


Ben wears navy notch lapel wool jacket by DIOR HOMME; white cotton shirt by MICHAEL KORS; blue and pink paisley silk tie by ETRO; multicoloured floral silk pocket square by BROOKS BROTHERS 275


Lyndon wears navy single-breasted wool blend suit and black leopardprint pony skin belt, both by PAL ZILERI; dark red knit merino wool sweater by HUGO


From left: Josh wears blue three-button wool jacket and blue slim military wool trousers, both by LOUIS VUITTON; white cotton shirt by GIEVES & HAWKES; purple silk tie by BROOKS BROTHERS; navy sneakers by HERMÈS Alex wears navy Edworth cotton and wool jacket by OLIVER SPENCER; grey utility wool trousers by MICHAEL KORS; white cotton shirt by BROOKS BROTHERS; multicoloured silk tie by ETRO


Ayoub wears navy puffer coat by MONCLER; blue-grey double-breasted wool suit and white cotton shirt all by GIORGIO ARMANI; grey silk tie by GANT DIAMOND G; scarf stylist’s own


Daz wears black one-button wool jacket, black formal wool trousers and red knit cashmere polo shirt all by GIVENCHY BY RICCARDO TISCI


Danny wears dark petrol MA1 patched nylon Pilot jacket by ALPHA INDUSTRIES; navy horizontal stripe wool suit and white cotton shirt, both by VIVIENNE WESTWOOD MAN; blue, red and grey silk tie by HERMÈS; dark shadow chukka leather boots by ROCKPORT


Rae wears silver denim cut neoprene jacket by ASTRID ANDERSEN; grey wool suit by Z ZENGA; white classic cotton shirt and grey striped silk tie, both by DIOR HOMME


Tim wears navy three-button check wool suit by CANALI; off-white matt twill dress shirt by MARGARET HOWELL; tartan tie by BROOKS BROTHERS; burgundy and navy leather belt by PAUL SMITH; black leather shoes by TRICKERS FOR MARGARET HOWELL; bag stylist’s own


Sam wears copper roll neck knit jumper by BERLUTI; black zip cashmere and silk blouson by HERMÈS; purple double-breasted silk blazer by BALLY; rings model’s own


Sy wears brown singlebreasted suit, white cotton shirt and silk tie all by DSQUARED2; black leather backpack by MCM


Rueben wears green Prince of Wales cashmere and silk suit by BOGLIOLI; medium grey cotton mix shirt by HUGO BOSS; dark grey leather belt by PAUL SMITH; shoes model’s own Groomer Michael Harding Models Lyndon, Samuel, Danny, Ayoub, Daniel, Ruben, JP, Sy, Josh, Tim, Ben, Alex and Rae at Brother Models, Photo assistant Willow Williams Stylist’s assistant Ollie Sharp Groomer’s assistant Sammie Kerr Digital technician Robert Billington, Production KO Productions Videographer Ben Rose Lighting Photolink Studios and 123 Lighting Location Photolink Studios With thanks to Brother Model Agency


l a i c o S

Karlis wears laminated gold parka by CALVIN KLEIN COLLECTION; red buffalo check Catskill hoodie and trousers, both by WOOLRICH; red wool jersey zip-up polo shirt (worn underneath) by LANVIN; white rubber flip-flops by HAVAIANAS; grey cotton socks by PANTHERELLA; orange flash exterior black metal and rubber visor sunglasses by GIVENCHY BY RICCARDO TISCI; maroon screwgate carabiner (multiple sizes worn as necklace) by NORTH RIDGE


r e b m i l C

Felix wears red puffa jacket by PENFIELD; black mesh and virgin wool sleeveless T-shirt and black virgin wool trousers, both by LANVIN; red The Shark leather trainers by GIUSEPPE ZANOTTI DESIGN; black wool socks by FALKE; red Ophir harness by MAMMUT; red bandana by TOPMAN; aluminum bottle by HI GEAR (both worn on harness); choker stylist’s own

PHOTOGRAPHY

STYLING

Laurence Ellis

Gary Armstrong


Karlis wears mustard jacquard argyle cotton top and trousers, both by KENZO; Nugget Gold goose-down nylon jacket by TIMBERLAND; Galaxy Superdry climbing rope (worn around neck) by MAMMUT


Karlis wears blue and brown tech knit track top by NEIL BARRETT; dark navy and black contrast panelled oversize down-filled coat by RAF SIMONS; black roll neck with stripe detail by PAUL SMITH; black technica knit leggings by DIESEL BLACK GOLD; grey marl socks (just seen) by RIVER ISLAND; black Envoy Max acetate sunglasses by SMITH; blue shoulder strap stylist’s own


Felix wears black leather cape by DIESEL BLACK GOLD; bleached denim jacket and bleached denim tapered jeans, both by G-STAR RAW RESEARCH; blue leather chaps by MARTINE ROSE; navy and white print twill silk scarf by HERMÈS; black leather high boots by KENZO; choker and blue climbing rope stylist’s own


Karlis wears Manga-print puffa jacket with oversize pockets by DSQUARED2; black long-sleeve T-shirt and black Softy trousers both by PHILIPP PLEIN; black EVZero polarised sunglasses by OAKLEY; choker stylist’s own

  Felix wears teal parka by VICTORINOX; black leather jacket by BOSS; multicoloured trousers by MARTINE ROSE; black leather high boots by KENZO; Perfect Alpine rope by EDELRID


Karlis wears black asymmetric long puffa jacket by MARQUES’ALMEIDA; red wool rib sleeveless sweater, multicoloured tartan silk trousers and red and black tartan fringed scarf, all by MSGM; red cashmere jersey mittens by DIOR HOMME; burgundy Marges leather hiking shoes by CAMPER; orange cotton socks by NEW LOOK; red rope and carabiner (worn as belt) stylist’s own


Felix wears print technical jersey jacket with embroidered patches, print technical jersey trousers, Snoopy-print mesh tank top, red leather choker with metal detail and red silk pleat scarf, all by GUCCI; black iridium EVZero lens sunglasses by OAKLEY; blue harness by CLIMB X; key lock carabiner by MAMMUT


Felix wears olive green rubber goggle jacket with detachable hood by CP COMPANY; green hooded silk jacket by CRAIG GREEN


Karlis wears black glossy zippered-down coat with shearling-lined hood, black wool and cashmere jersey peak-front bobble hat and black leather boots, all by DIOR HOMME; black raglan crew sweatshirt and jet black velour joggers, both by LUKE 1977; brown cotton socks by FALKE; yellow Karma climbing rope (worn as shoulder harness) by BEAL; red Ophir harness by MAMMUT; black choker necklace stylist’s own


Felix wears silver laminated jacket with patent leather details and silver laminated wool ski trousers, both by EMPORIO ARMANI; black reversible bivy down vest (worn underneath) by PATAGONIA; mid-grey brushed twill placket shirt by MARGARET HOWELL; black lana wool beanie by CP COMPANY; yellow Karma climbing rope by BEAL; Crag HMS screw gate carabiner (worn as necklace) by MAMMUT


Karlis wears black Mussola Gommata dungarees by STONE ISLAND; orange blend oversize wool jumper by PRINGLE OF SCOTLAND; Cusco Orange down shirt (worn underneath) by PATAGONIA; black suede Trigenic boots by CLARKS; orange ribbed beanie by TOPMAN; red Diamonds wool-knit beanie (worn underneath) by VIVIENNE WESTWOOD; orange cotton socks by NEW LOOK; purple clip by NORTH FACE worn on choker (stylist’s own); Quark ice axe with hammer by PETZL; grey and orange harness by BLACK DIAMOND


Felix wears red, green and yellow cotton panelled parka coat and green cotton geo-printed trousers, both by ICEBERG; green silk blanket by CRAIG GREEN


Felix wears white fleece O coat by MONCLER O; black logo pullover by SANKUANZ; white sweater in brushed cotton by STONE ISLAND; bandana from a selection at TOPMAN; choker stylist’s own Groomer Louis Ghewy at The Book Agency Models Felix Sueur at 16 Men and Karlis Leiboms at Bro Models Photo assistant Jim Tobias Johnston Stylist’s assistant Angelo Mitakos Set designer William Farr Casting director Shelley Durkan Production KO Productions Set designer’s assistant Jack Appleyard Lighting Film Plus Locations 63 Sun Studio N1 and Powerscroft Studio E5


Tony Bellew, 33 Cruiserweight Fights 30, KOs 17


Boxers

Meet the Knockout Kings of boxing who are leading Britain into an unprecedented golden era of world domination PHOTOGRAPHY

Mark Lebon

BLED RIGHT N TRUE STYLING

Elgar Johnson

This page: Tony wears true white cotton crew neck T-shirt by AG Opposite: Tony wears olive green hooded gilet by MONCLER; white shirt and knitted tie, both by SIGNATURE BESPOKE


Callum Smith, 26 Super middleweight Fights 20, KOs 15


Boxers

This page: Callum wears black and white cotton sailor T-shirt with button details by THE KOOPLES Opposite: Callum wears green soft shell with PrimaLoft Technology jacket by STONE ISLAND; light grey cotton hooded jumper by BRUNELLO CUCINELLI; black cotton T-shirt by LES BENJAMINS; black wool hat by DSQUARED2; watch (just seen) by CARTIER; red boxing gloves model’s own


Anthony Crolla, 29 Lightweight Fights 38, KOs 13 Anthony wears claymore colourway dart collar denim jacket (with detachable shearling collar) by AG; navy polyester and elastane Keegan tracksuit top by LUKE 1977; blue cotton T-shirt by FILA


Boxers

Anthony wears navy polyester and elastane Keegan tracksuit top by LUKE 1977


Kell Brook, 30 Welterweight Fights 36, KOs 25 Kell wears tan suede leather shearling jacket by JAEGER; navy Merino wool roll neck and Glen Canyon wash denim L’Homme Straight jeans by FRAME


Boxers

Kell wears ivy cotton T-shirt by FRED PERRY


Luke Campbell, 28 Lightweight Fights 15, KOs 11 Luke wears navy Markham jacket by FARAH; red knit wool polo shirt by FRED PERRY X RAF SIMONS


Boxers

Luke wears grey cotton hoodie by OFF WHITE X MONCLER Groomer Michael Harding Photo assistants Rory Cole and Liam Hart Stylist’s assistant Oliver Sharp Grooming assistant Sammie Kerr Production KO Productions Location Photolink Studios Manchester With thanks to Ross Garritty at Matchroom Sport


Callum Smith

Tony Bellew

Boxers

Boxers

Tony Bellew, 33 Cruiserweight Fights 30, KOs 17

Meet the Knockout Kings of boxing who are leading Britain into an unprecedented golden era of world domination Mark Lebon

TEXT

BLED RIGHT N TRUE

Callum Smith, 26 Super middleweight Fights 20, KOs 15

Elgar Johnson

Paul Henderson

Britain’s top professional boxers are no strangers to drama – inside and outside the ring. Unstoppable in the face of defeat, disappointment or danger, they’ve fought their way to gold medals, world titles and a call from Hollywood. And that’s just the warm-up. With new fights to win, titles to defend and reputations to seal, these hard hitters are ready for the next round – and the gloves are coming off

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on’t talk to Tony Bellew about life imitating art. The 33-yearold quick-witted, fast-talking Liverpool Lip has been there, seen it, done it, appeared in the movie, and got the belt to prove it. ‘If you had told me how my life would have changed over the last few years, I would never have believed you,’ he says. ‘I am just a normal bloke, a proud Scouser, who likes having a fight. It’s as simple as that.’ Having turned to boxing when he finally accepted that his dream of playing for his beloved Everton football club would not come true – ‘It took me until I was 15 to realise it, but by then I was probably 15 stone, so I had to accept it’ – Bellew learned the amateur fight game from legendary coach Jimmy Albertina at the Rotunda Club. He was young, outspoken and so heavy-handed that he earned the nickname the ‘Bomber’. As a pro, he fought at light-heavyweight, twice falling short in world-title fights (including getting knocked out by Adonis Stevenson, an experience that he describes as ‘utterly devastating. I was just so ashamed, I didn’t want to leave my house for months’). As a result, he moved up to cruiserweight and has never looked back. A winning run took him to the brink of a third world-title challenge and, even more surprisingly, prompted Sylvester Stallone to cast him as ‘Pretty’ Ricky Conlan in the Rocky spin-off movie, Creed. In the movie, Bellew fights Apollo Creed’s son for the world title in a fight at Goodison Park (home to Everton). Five months on from the film’s release, Bellew returned to the stadium for real to fight the formidable Ilunga Makabu, and knocked him out in three rounds to win the WBC title. ‘It was the greatest night of my career,’ he says mischievously. ‘I’d tell you it was the greatest night of my life, but I think she [my wife] would kill me if I said that! But I do know this: no matter what else I achieve in my professional career, nothing will compare to it. That was my night.’ Bellew maintains that he still has more to achieve in boxing, but as Hollywood endings go, it doesn’t get any better than that.

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s hot prospects go, Callum Smith is currently simmering away at something approaching thermonuclear. The 26-yearold super middleweight from Liverpool is undefeated, has knocked out 15 of his 20 opponents and is currently the number-one challenger for the WBC title. He is a tough, tall (6ft 3in), hard-hitting fighter who throws punches with what Mike Tyson liked to describe as ‘bad intentions’. And if that doesn’t strike fear into his opponents, surely his nickname will. ‘Mundo’ takes up the story… ‘You know what, in Spanish, “Mundo” means world and that’s pretty cool for a boxer,’ he explains with a snigger. ‘But that’s not really where I got it. The truth is, it came from my dad, because when I was a kid I was into the Teenage Mutant Ninja Turtles and I had the backpack that looked like a shell, all that. The Turtles were called things like Michelangelo, Leonardo and Donatello… so my dad started calling me Callumundo and it just stuck.’ We’re not sure Nigel ‘The Dark Destroyer’ Benn would have approved of such a moniker back in the Nineties, but Britain’s old supermiddleweight warrior is certainly a big fan, describing Smith as ‘boxing’s next superstar’. ‘He is number one,’ Benn said recently. ‘He is like what Triple G [Gennady Golovkin] is at the middleweights. He is ferocious.’ The youngest of four fighting Smith brothers (all of whom won British titles, with two of them – Liam and Stephen – going on to win world titles), Callum has been around boxing from a young age. After an amateur career that saw him win silver at the 2010 Commonwealth Games, Mundo turned pro in 2012 and so began a relentless rise up the rankings, culminating in a first-round destruction of Hadillah Mohoumadi in April that made him the mandatory challenger for the WBC title. So, for now, Smith is waiting patiently for his shot at the world title against the winner of the proposed Badou Jack (WBC belt holder) and James DeGale (the IBF champ) unification fight. He doesn’t really care which one he gets in the ring with, because he is utterly confident that whoever it is won’t be able to cope with his Turtle Power… Cowabunga, dude!


Boxers

Anthony Crolla

Kell Brook Boxers

Luke Campbell Boxers

Boxers

Anthony Crolla, 29

Kell Brook, 30

Luke Campbell, 28

Lightweight Fights 38, KOs 13

Welterweight Fights 36, KOs 25

Lightweight Fights 15, KOs 11

or a professional boxer, Anthony Crolla has a strange admission to make: outside of the ring, he has never had a fight in all of his 29 years. Not a schoolyard scrap, not a nightclub scuffle, not even a ruck at the football watching his beloved Manchester United. For Crolla, boxing is all business. In fact, the only time he got involved in any trouble was when a pair of burglars broke into his neighbour’s house and Crolla tried to make a citizen’s arrest. After he chased them down a back alley, the thieves tried to escape over a wall. Crolla caught one of them, but the other one hit him in the head with a paving slab. ‘It was mad really, because I was supposed to be fighting for a world title in five weeks’ time,’ he says. ‘So when I got to hospital, the first thing I asked the doctor was how soon I could get back training. Then he told me that I had a broken ankle and a fractured skull. I was heartbroken.’ The ‘have-a-go hero’ story made headlines everywhere but luckily, with no bleeding on the brain, ‘Million Dollar’ Crolla’s career wasn’t over. Seven months after that devastating incident, he finally fought for the WBA lightweight title he had been due to compete for and, on an epic and emotional evening in his home town of Manchester, Crolla won the fight with a fifth-round stoppage. ‘It was incredible,’ he says now. ‘Looking back, I’d say what I went through actually helped me with the title because it gave me a new perspective. I had been given a second chance and I wasn’t about to miss it. I believed in myself more. I was stronger mentally. I was more determined than ever… and I feel I have got better with every fight since.’ After winning the title, Crolla defended it against the frighteningly powerful Ismael Barroso. Crolla entered the Manchester Arena as the underdog but out-thought and out-fought the Venezuelan. And his reward? A match-up in late September against arguably the toughest lightweight in the world, Jorge Linares. ‘On paper, it looks like it could be the hardest fight of my career,’ says Crolla with a smile. ‘But I just can’t wait. I’ve worked too hard, been through so much, that I am not going to throw it away now. Just you watch me…’

F

y the time you read this, ‘Special’ Kell Brook will either have graduated to become the greatest pound-for-pound fighter on the planet, or his perfect undefeated record will have been ruined by the fearsome and ferocious middleweight wrecking ball from Kazakhstan, Gennady Galovkin. The odds – and the scales – are heavily stacked against Brook (he is currently the IBF welterweight champion, but is taking on an unbeaten opponent who weighs nearly a full stone more), but he doesn’t see it that way. ‘Am I confident? Very much so,’ says the 30 year old, with his softly spoken Yorkshire accent. ‘I’ve never lost and I know I am going to be bringing the speed and the power up to middleweight. I’m up against it, I know that, but I feel like an animal when I’m fighting at a higher weight.’ Brook goes into the fight as the underdog, but in terms of challenges, it isn’t the toughest he has faced. In 2014, two weeks after the man from Sheield had travelled to the US to win the IBF welterweight title from Shawn Porter, he was stabbed in the leg in an unprovoked assault in Tenerife. It was so bad – Brook described the wound as looking like he’d ‘been attacked by a big shark’ – he wasn’t even sure he would walk again. It took six long months for him to get back in the ring, but since that return he has been a much-improved fighter, defending his title three times and looking – as far as his divisional rivals were concerned – a little too good in the process. As a result, the big fights against the likes of Amir Khan, Jessie Vargas and Danny Garcia have eluded him, which is why Brook jumped at the chance of fighting Galovkin. ‘I didn’t want to look back on my career and wonder, “What if…?’” he says. ‘This is my chance to achieve greatness. And I intend to grab it with both hands.’ Let’s hope he has…

B

p until December 2015, Luke Campbell looked like British boxing’s golden boy. With his male-model good looks, gentle disposition, a hugely successful amateur career that culminated in a gold medal at the 2012 Olympics and an MBE to boot, he had it all. And after turning pro in 2013, he won his first 12 fights convincingly. Then the 28 year old from Hull ran into a tough Frenchman called Yvan Mendy and the wheels came off. After getting knocked down in the fifth round, Campbell climbed off the canvas but ultimately lost on a split decision. ‘I know a lot of fighters say this, but I think losing might have been a blessing in disguise,’ Campbell says now. ‘I learned so much from that defeat. For starters, I shouldn’t have been fighting – I wasn’t fit, I had no focus, my dad was really ill [suffering from cancer], but I am a great believer that everything happens for a reason. I’m in a good place now, so it’s just a case of going back to the drawing board.’ Campbell’s resilience harks back to his very early amateur days. Having decided to take up boxing at the age of 13 – ‘No one in my family boxed, I didn’t know any boxers, I just felt it was a cool sport’ – he was by his own admission a short, tubby kid and he lost seven of his first ten fights. But he stuck with it and, after losing the puppy fat and experiencing a growth spurt, he developed into a talented and successful boxer, becoming one of the most decorated amateurs this country has ever produced. ‘I can’t really explain what I liked about boxing,’ he says, looking back. ‘It was just every single time I went in the gym, I wanted to be better. I wanted to improve every time. And I am still like that now. Even after I lost, it just made me more determined.’ Defeat prompted Campbell to reassess his career. He hired a new Miami-based trainer in Jorge Rubio – ‘it sounds a lot more glamorous than it is. It’s just train, eat, sleep, repeat’ – and quickly got back to winning ways. ‘I’m in this sport to win and it means so much to me,’ he says. ‘I want to be world champion one day and I will get there… whatever it takes.’

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GQ Style (UK) QIII 2016