ICON AMERICA - FALL WINTER 25

Light Into the

What is the role of a fashion magazine during these tumultuous times? How can it be relevant amidst the political and social chaos we are all experiencing globally?

Well, it can't. It would be delusional to say fashion can change the world. Fashion needs only to provide an escape, a safe haven from the painful noise of today. We at ICON America strongly believe this, but we also believe that a good magazine provides readers with stories that inspire.

While there is no precise formula for creating a perfect magazine, we think of it like organizing a dinner party you will cherish in your memory. Great food and wine are a must, but the key is inviting characters from all walks of life. You want a wide range and even a touch of clash between your guests. No one wants to sit through a long, boring dinner party where the most exciting topic is the weather.

For our cover series, we chose three remarkable actors from three different generations. Finn Bennet, photographed by the great Paolo Roversi, is a breakout star of tomorrow. Jake Gyllenhaal, lensed by Ryan McGinley, is an established Hollywood force with unimpeachable instincts. And Robert Pattinson (also photographed by McGinley) is a golden boy of contemporary cinema with undeniable Oscar buzz for his role in “Mickey 17.”

Our REPORTS section is packed with useful advice for the modern bon vivant: from the best approach to a skincare regimen to how to behave like a VIP in restaurants. In our fashion pages it was a privilege to invite as contributors two personal heroes of mine: Anastasia Barbieri and Robert Rabensteiner, arguably the chicest menswear stylists. And when it comes to designers, we have Brunello Cucinelli on youth, Silvia Venturini Fendi on family, and Alessandro Sartori on trends.

In VOICES, Thom Browne tells the story of his remarkable success, Mark Ronson discusses the long lost ‘90s hip-hop world, and Paul Sevigny chats about New York nightlife.

All these extraordinary guests are brave trailblazers who know how to leave a mark, but also how to enjoy the beauty of life. We hope ICON America becomes your handbook of dreams, style, and good living. Because in these times, if we lose optimism, what are we left with? It's our duty to weather the storms because no matter how dark it gets, light will always prevail. And don't forget about the most important lesson when it comes to style: the definition of luxury has nothing to do with a packed closet or a voluptuous bank account – true luxury is kindness. Practice kindness daily and you will bring the light with you.

In the end I want to dedicate this marvelous dinner party to a genius that taught me more than I will ever be able to express: Mr. Giorgio Armani. I was extremely blessed to be a part of the extensive Armani family and I will cherish all the memories and lessons forever.

Finn is wearing SAINT LAURENT BY ANTHONY VACCARELLO photography paolo roversi fashion anastasia barbieri

Photography by Sølve Sundsbø

Jake is wearing PRADA photography ryan mcginley fashion michael fisher

Robert is wearing DIOR MEN and DIOR HOMME PARFUM photography ryan mcginley fashion taylor mcneill gro curtis

Fall In Line

ICON’s insight on everything from what TV shows and films to see this season to how to dine like a VIP at your favorite restaurant.

Robsession

The spark that ignited the world’s love for Robert Pattinson flared over a decade ago, but the devotion continues to burn.

Revelations of a Post-Breakout Star

Finn Bennett is establishing himself as a superstar of the future.

Jake Gyllenhaal Knows How to Dish

The Oscar-nominated actor can make a delicious roast chicken and wants to clean up afterwards? Dream man!

The Ten Coolest Chefs Right Now, Bicoastal Edition

The chefs currently turning up the heat on the American food scene.

Let’s Play

Curated by models.com, the faces of tomorrow are ready for their close-ups.

Clasp! A Study in Attachment

The

Made by Hand

Brunello Cucinelli translates his passion for old-world tailoring into an institute of higher learning.

The Sartorial Surgeon

Alessandro Sartori’s philosophy on fashion cuts deep.

This season’s outerwear channels the discreet glamour of New York’s unsung style icon: the Upper East Side doorman.

True Calling

Brett Lloyd, legendary stylist Robert Rabensteiner steps in front of the lens.

In Suspension

Male sensitivity through the emotional unraveling of tailoring

Paul Keeps Moving

One of downtown New York’s most influential figures is also one of the most mysterious.

Giorgio Armani’s Oasis

The designer’s Pantelleria estate showcases his exquisite taste.

Run It Back

In a new memoir, legendary DJ Mark Ronson tells the story of his perfectly misspent youth.

State of the Union

The collaborative drop is gaining traction beyond the fashion sphere.

King Princess’s Corn Chowder

The musician shares a favorite family dishc.

THE NEW REFILLABLE FRAGRANCE

EDITOR-IN-CHIEF Gro Curtis

CREATIVE DIRECTOR

Alexander Wiederin , Buero New York

ART DIRECTOR Michael Ricardo , Buero New York

DEPUTY EDITOR Lizzy Goodman

BOOKINGS DIRECTOR Goran Macura

SENIOR FASHION MARKET EDITOR Carson Stannard

EDITOR-AT-LARGE Mathias Rosenzweig

SENIOR EDITOR Alex Tudela

ASSOCIATE GRAPHIC DESIGNER Giacomo Pasqualini

BEAUTY EDITOR April Long

ART EDITOR Emily McDermott

FOOD EDITOR Emily Wilson

AUTOMOTIVE EDITOR Jason Barlow

SOCIAL MEDIA EDITOR David Evan Ruff

ENTERTAINMENT EDITOR Jessica Shaw

CONTRIBUTING EDITORS

Penny Spiliotopoulos - Savannah Sobervilla

Pierre A. M’Pele - Renata Mosci Sanfourche

EDITORIAL DIRECTOR

Andrea Tenerani

CONTRIBUTING FASHION EDITORS

Anastasia Barbieri - Edoardo Caniglia - Robert Rabensteiner

Roberto Piu - Taylor McNeill - Michael Fisher - Matthew Josephs

CONTRIBUTING PHOTOGRAPHERS

Paolo Roversi - Ryan McGinley - Brett Lloyd - Campbell Addy - Blair Getz Mezibov Robin Broadbent - Sebastian Mader - Mathieu Rainaud - Takahiro Igarashi

Antonio Dicorato - Victor Demarchelier - John Balsom

BUSINESS

DIRECTOR Stéphane Haitaian

MANAGING DIRECTOR Daniela Sola

CHIEF REVENUE OFFICER Marly Graubard

SALES DIRECTOR, WATCHES & JEWELRY Cherryl Llewellyn

PUBLISHER AT LARGE Tanya Amini

SALES DIRECTOR, HOME & LUXURY Priya Nat

STRATEGIC PLANNING & ADVISORY Yulia Petrossian Boyle

INTERNATIONAL

INTERNATIONAL ADVERTISING MANAGER, REWORLD MEDIA ITALIA Sara Di Nunzio HEAD OF DIGITAL, REWORLD MEDIA ITALIA Katia Ciancaglini

MARKETING DIRECTOR, REWORLD MEDIA ITALIA Francesca Brambilla

SPECIAL THANK YOU

Anoushka Borghesi, Simona Baroni, Ck Lau, Valentina Zucchetti, Giorgiana Magnolfi, Karim Zebdji, Natalie Allen, Giovanni Alegre, Nikolas Pankau-Sirixay, Thomas Ahn, Audrey Miranda, Agathe Canivet, Megan Moss (Narrative PR), Will Ward, Brandon King (WME). Shea Spencer, Jemma Hinkly (Artist Commissions), Silvia Sini, Jeanne Schmitt (We Are The Agent), Karen Long (WYO Artists), Lottie Walsh, Veleria Rocca (Art Partner), Sam Ross, Phoebe Shardlow (New School Represents) Charlie Brierley (Total World), Steven Pranica (CXA), Carole Lambert (Lambert Lambert), Alex George, Jason Woo, Grace De Ville (The Wall Group), Christine Lavigne, Chloé Moal, Paola Corapi, Arden Napoli (Home Agency), Maddie Hoelzer (Streters) Jason Garber (United Talent Artists)

Printing by Quad; Distributed by CMG

ICON America (UPC 071435 40075 8) is published biannualy by Reworld Media US Inc. 122 East 42nd Street, 18th Floor, NY, 10168 USA. / Reworld Media US is a subsidiary of the Reworld Media Group / Icon is a trademark registered and owned by Reworld Media Italia Srl. / For further details, please write to contact@reworldmediaitalia.com / © [ 2025 ] Reworld Media Italia Srl. All rights reserved. / Published by “Reworld Media US” with the permission of Reworld Media Italia S.r.l./ Reproduction in any manner in any language in whole or in part without prior written permission is prohibited. contact@iconmagazine.us

CONTRIBUTORS

Fashion Editor, “Revelations of a Post-Breakout Star” pg. 90

Born in Croatia, raised in Italy, and now based in Paris, stylist Anastasia Barbieri has collaborated with top photographers from Juergen Teller to Mario Sorrenti. Formerly the Fashion Director at “Vogue Hommes,” she has styled major advertising campaigns for Chanel and Dior among others.

Photographer, “In Suspension” pg. 146

British-Ghanaian artist and photographer Campbell Addy draws inspiration from his culturally rich upbringing. Since graduating from Central

Photographer. “Knows How to Dish,” pg. 100; “Robsession,” pg. 78

Ryan McGinley is a New York–based photographer. For almost two decades, McGinley has road tripped throughout the United States to create work that incorporates the human body within the American landscape. McGinley frequently has solo gallery and museum exhibitions around the world and is an active advocate for Queer and LGBTQIA+ rights.

Fashion Editor, “Robsession” pg. 78

Taylor McNeill is a stylist and brand consultant known for her culturally attuned approach to fashion. Formerly the Fashion Editor of “Let’s Panic,” she works closely with talents like Timothée Chalamet, Robert Pattinson, Lorde, and Brad Pitt. She has collaborated with leading photographers such as Inez and Vinoodh, Juergen Teller, and Glen Luchford, and maintains an ongoing creative partnership with Vanessa Beecroft.

Photographer

“True Calling” pg. 134 Brett Lloyd is a British photographer and director known for his intimate, sun-drenched imagery and nuanced portrayal of masculinity. Starting his career as a stylist before moving behind the camera, Lloyd has developed a distinctive visual language rooted in sensuality, natural light, and classical composition. In 2014, he released “Scugnizzi,” a celebrated monograph documenting youth and beauty in Southern Italy.

Fashion Editor, “True Calling” pg. 134

Saint Martins in 2016, his work has earned him spots on the “Forbes” 30 Under 30 list and the British Fashion Awards. His debut monograph, “Feeling Seen: The Photographs of Campbell Addy,” was released in 2022.

Robert Rabensteiner is an Austrian stylist, editor, and creative director known for his eclectic, romantic, and impeccably tailored aesthetic. A longtime contributor to “L’Uomo Vogue,” Rabensteiner helped shape the visual identity of contemporary men’s fashion. His work spans editorial collaborations with photographers such as Peter Lindbergh, Mario Sorrenti, Paolo Roversi, and Michel Comte.

Ryan McGinely

Taylor McNeil

Robert Rabensteiner

Brett Lloyd

Anastasia Barbieri

Campbell Addy

icon REPORTS FALL IN LINE

Everything to wear, read, see, eat and buy this

season

If the dashing and discerning men featured in this issue were seated around a dinner table, the REPORTS section would be the spark for their sharpest conversations. Consider it your sensorial guide to the season ahead—highlighting two different cinematic takes on Mary Shelley’s “Frankenstein,” the most thought-provoking art shows, rising culinary stars across the country (plus tips on how to dine like a VIP,) fall’s most seductive scents, and the latest must-reads—including one from the reigning queen of domestic order, Marie Kondo. Prepare to feast your eyes, ears, noses, tastebuds, and beyond.

Less Is Morbid

Renowned filmmaker Arthur Jafa discusses his upcoming presentation at MoMA

Greenwood, Mississippi, c. 1972.

Dye transfer print, printed 1986.

20 5/8 x 13 3/4”

Artist and filmmaker Arthur Jafa investigates Black cultural politics and nationalism through a largely film-based practice. Since the 1980s, the Mississippi-born, L.A.-based artist has worked with directors like Spike Lee and musicians including Solange and Jay-Z. In the artworld, his powerful video essays Love Is the Message, The Message Is Death (2016, 7 minutes) and The White Album (2018, 30 minutes) have made waves from the first moment they were released: The former is a potent depiction of Black American experiences; the latter, a deep exploration of whiteness and racism in the U.S. For an exhibition this autumn at MoMA, Jafa has selected nearly 100 works, primarily from the museum’s collection, that reflect his own interests in reexamining history, visual art, and pop culture. Here, he sheds light on the forthcoming show and how the art world has changed over the last 50 years.

ICON: To start, what does the title of the show at MoMA, “Less Is Morbid,” mean to you?

Arthur Jafa: Once one starts to contend with Black aesthetics, and begins to understand its full breadth, some things become quickly apparent. Like, Blackness and Black expressivity as being somehow temperamentally “extra,” whether it's ballroom aesthetics, jazz music, or Michael Jordan coming down the court, doing a 360, and then dunking the ball— like, it's not figure skating, he doesn't get extra points for raising the degree of difficulty. Why do we persist in bringing more, in being more—not less? But there's another modality of Black expressivity that's quite the opposite. It's harder to put your hands on, and it's much less apparent because

it's not just about what you're doing; it's about what you're refusing to do. Charles Gaines termed it the “theater of refusal.” I like to say, on one hand there’s our tendency, our capacity, to do more. On the other hand, there’s our preternatural restraint, our hyper introspectiveness. So, with this show, my impulse was to push back against this idea of “less is more,” and “Less is Morbid” trades in the tension between these modalities.

Part of the exhibition text says the works selected “have shifted the paradigm of modern art, in particular, its relationship to Blackness, Black makers and Black life.” How do you think this paradigm has shifted in the past 10, 20, or 50 years?

It’s all interesting because I have lived it. When I was a kid, there were no Black artists in the mainstream blue-chip art world. They existed—there was Romare Bearden and Jacob Lawrence; they knew everybody and were drinking buddies with de Kooning and Rothko—but by and large, contemporary Black fine artists were outside of the exhibition structure. So as a teenager, prior to 1981, ’82, with the entrée of Basquiat, it was like being in the era of Negro baseball leagues. It was aesthetic apartheid. But at the same time, I knew contemporary Western art practice would not exist without Black aesthetics. There is no contemporary art practice as we understand it without the impact of African artifacts and aesthetics, going back to ancient Egypt and Sub-Saharan Africa.

When Basquiat happened, there was a lot of excitement, envy, and unnamable, complex, emotional responses to his success and very quick rise, but eventually he integrated the artworld. However, he was the only Black person allowed to flourish in that context, and as a Black kid from the South, I knew I didn't have whatever he had that allowed him to navigate that space. So, I operated in the film space. But then you actively entered the art world in your mid-30s, right?

I had some success in the film space primarily as a cinematographer, but I got very frustrated, even demoralized. At the same time, the terrain in the art world was starting to look a little different: You started to see Black artists popping up. I remember saying, “Fuck this film thing. I'm gonna do this art thing,” and within 12 months, I was in the Whitney Biennial [in 2000]. But then, within two years, I walked away from the art world. I was tired of showing up at gatherings where I was the only Black person. I just couldn’t do it.

Do you think the paradigm has shifted enough that you can operate freely within the art world?

Have you seen the "Dune" movies? You know how the Fremen walk in the desert? They got this weird style of walking so that they don't conjure any sandworms. I'm a person who has arrived at a Fremen walk in the art world. I move like that because I have learned, despite the apparent placid nature of the terrain, there are still sandworms around here.

Portrait courtesy of the artist, Gladstone Gallery and Sprüth Magers, Photography acquired through the generosity of the John E. Galvin Charitable Trust on behalf of the Crouse Family.

William Eggleston,

“PERFORMA”

Various venues, New York

November 1 – 23, 2025

Perhaps the world’s most anticipated performance art biennial, “Performa” takes over New York for the month of November, debuting numerous new commissions by some of today’s most established and emerging contemporary artists. Among the eight premieres this year are a musical written by French artist Camille Henrot as well as New York-based artist and writer Aria Dean’s reinterpretation of a 1923 meeting between Alain Locke and Claude McKay, two trailblazing figures of the Harlem Renaissance. Notably, Dean’s piece will take place in a virtual reconstruction of Berlin’s Tiergarten park.

“AYOUNG KIM”

MoMA PS1, New York

November 6, 2025 – March 16, 2026

Ayoung Kim uses generative AI, videogame engines, and live-action footage to narratively intertwine and interrogate geopolitics, mythologies, and technologies. In this exhibition, the South Korean artist presents the U.S. debut of her Delivery Dancer trilogy of video installations, which follow two female delivery drivers whose names are anagrams of “monster:” En Storm and Ernst Mo. Described as “pandemic fiction,” the videos center around labor within the gig economy to examine increasing capitalist pressures.

“NEW

HUMANS: MEMORIES OF THE FUTURE”

New Museum, New York Opening in the fall of 2025

Inaugurating the New Museum’s expanded building, “New Humans: Memories of the Future” showcases how more than 150 international artists, writers, scientists, architects, and filmmakers have been preoccupied with technological changes throughout the 20th and 21st centuries. With works by historical and contemporary, emerging and established voices—ranging from Francis Bacon and Salvador Dalí to Pierre Huyghe and Hito Steyerl— the exhibition features pieces that reflect on how humanity and its visions of the future have been shaped by sweeping technological and social changes.

“AN INDIGENOUS PRESENT”

ICA Boston October 9, 2025 – March 8, 2026

In 2023, artist Jeffrey Gibson and independent curator and author Jenelle Porter released their book “An Indigenous Present.” The project compiled the work of more than 60 artists active in the fields of visual art, music, literature, and more to highlight diverse approaches to Indigenous concepts, forms, and mediums. Co-curated by Gibson and Porter, this exhibition brings the eponymous book to life— and builds on it—focusing specifically on the development of abstraction as a mode to consolidate Indigenous ideas and develop experimental practices alongside community and tradition.

“MADE

IN L.A. 2025”

Hammer Museum, Los Angeles October 5, 2025 – March 1, 2026

The seventh edition of the Hammer Museum’s signature biennial “Made in L.A.” showcases the genre-spanning, boundary-pushing practices of 27 artists working in the greater Los Angeles area. This year’s curators, Essence Harden and Paulina Pobocha, bring together a multigenerational group of artists working across painting, sculpture, video, installation, music, dance, theater, and performance. “While there are as many ideas circulating through the show as there are materials, an inquiry into one’s relationship to the city of Los Angeles animates much of the work we will present,” the curators said in a statement.

SUITE TALK

“Give me the luxuries of life,” said Frank Lloyd Wright, “and I will willingly do without the necessities.” The sentiment is particularly apt when encountering the splendor of the Left Bank’s historical jewel that is the Mandarin Oriental Hotel, Lutetia, Paris. Here, Anouck Faivre, Head Concierge of the Parisian palais, reminds us why Wright’s credo still rings true.

by

ICON: What are some of the most outrageous requests you've ever received?

We've organized a helicopter ride on a day trip for some guests in order to enjoy the D-Day Landing beaches. We can privatize a museum. I've done it once for a proposal. One of our guests who was here for four months asked us to secure tickets for the Ball of Versailles. Everybody needs to be online at the same time [to secure tickets], so we were almost three, four on it in order to find the tickets for her. We privatized the apartment of Prada [no longer in Paris, but previously an apartment where top-tier shoppers could buy the latest collection] in order to shop a selection of clothes that would go to Milan after the fashion show. We learn a lot about our guests, and that's how we create something special.

When a guest wants a very exclusive experience, say a table at a fully booked restaurant or entry into the hottest club, how do you get them there?

Address: 45 Bd Raspail, 75006 Paris, France

Year established: 1910

Number of rooms: 184, including 47 suites (several of which offer champion views of the Eiffel Tower)

Signature fare: Brasserie Lutetia’s seafood bar

Most underrated amenity: the Pillow Menu (your choice of memory foam, feather, firm or soft)

For your 9 to 5: a selection of meeting spaces boasts large windows, open-air patios, and original Léon Voguet paintings

For your 5 to 9: the Bar Aristide, a stately speakeasy and the home of smooth jazz and even smoother drinks

We have some contacts thanks to the chief concierge and to all the people who worked before us. When you go to try a restaurant, when you go to an exhibit, when you walk through Paris or go into a shop, we discuss with people and make good contacts. I also have the Golden Keys. That is a big association. It means that if tomorrow, I have a guest going to Milan or New York or another city of the world, and they need help to do something special, thanks to my Cléfs d’Or, I have a book of members of all the Golden Keys concierges of all the hotels, and I can text them in order to have some help. Is there a place that you would never recommend to a tourist that you'd rather keep hidden, but would recommend to a friend?

It’s called Jeanne-Aimée. It’s more modern French.

Courtesy of Hotel Luticia

OBJECT D'LIVRE

Crack the spine on a new season of must-reads.

POEMS & PRAYERS

Author Matthew McConaughey Publisher Crown Publishing September 16, 2025

LETTER FROM JAPAN

Author Marie Kondo with Marie Iida, Publisher: Crown Publishing October 21, 2025

In Letter From Japan, Marie Kondo, joined by her longtime collaborator Marie Iida, steps beyond the declut tering craze to reveal the quiet architecture behind her phi losophy. Rooted in Japanese customs and aesthetics, this meditative book distills the va lues that shape her daily life to create a cultural memoir in mi niature. Reflecting on the en dless questions she’s received about the method behind her astonishingly orderly madness, Kondo posits an explanation grounded in the sensibilities of her native culture. crownpublishing.com

GENTLEMEN OF STYLE

Josh Sims, Laurence King October 28, 2025

Things that age well: Parmigiano Reggiano, a full-bodied Barolo, Jeff Goldblum, and men’s fashion. This book offers an unimpeded view into the latter. Featuring an array of iconic looks from 60 creatives, including Samuel L. Jackson, Johnny Cash, Fred Astaire, Pierce Brosnan, and more, this selection stands as undeniable evidence of the effortlessly cool and rousingly suave aesthetic that endures in pop culture’s most venerated men. laurenceking.com

This collection of personal poems and prayers, written by Academy Award-winner and author of the joyously witty memoir “Greenlights (2020),” Matthew McConaughey, is a soulful mix of wit, wonder, and whispered faith. In verses that sway between hilarity and hallelujah, he invites us to believe wildly, weirdly, and wisely. Part devotional, part cosmic stand-up, McConaughey’s reflections urge faith not just in God, but in gut instinct, in others, and in awe itself. Soul food for the curious, this book functions as a poetic permission slip to dream first and reason later. crownpublishing.com

Author Christine Kuehn

Publisher: Celadon Books

November 25, 2025

A 1994 letter spurred Christine Kuehn’s lengthy investigation into her family’s involvement in the bombing of Pearl Harbor. This book relays a never-before-told story regarding Nazi and Japanese espionage during WWII, and the pivotal role intricate operations played in the Pearl Harbor plot. Jumping back and forth between Kuehn’s present and her family’s clandestine past, this fast-paced account rewrites the narrative of December 7, 1941. celadonbooks.com

LA MAMOUNIA, MARRAKECH FAMILY OF SPIES

KIDS, WAIT TILL YOU HEAR THIS!

Author Liza Minnelli ,

Publisher Grand Central Publishing

March 24, 2026

As the autobiography of EGOT winner and musical legend, Liza Minnelli, this upcoming tell-all paints an intimately raw portrait of the daughter of two Hollywood legends: Vincent Minnelli and Judy Garland. As hilarious as it is heartbreaking, this riveting text delves into Minelli’s struggles with fame, substance use, mental illness, and love, all wrapped in a comically candid bow. hachettebookgroup.com

Text by Laurence Benaïm

Publisher: Assouline

September, 2025

A love letter in print, this wonderfully compiled selection captures the soul of Marrakech through the storied walls of its most iconic hotel. A century of splendor unfolds in arches and zelli -

THE END OF THE GAME

Text by Peter Beard

Publisher Taschen

October 3, 2025

They say history is written by the victors, but Peter Beard’s latest release is an enlightening reversal. A vividly historical document of Africa’s wildlife crisis, this book reveals the dysfunctio -

ge, where Churchill painted, Jacques Brel mused, and Adrien Brody found repose. With text by French journalist, Laurence Benaïm, this book traces a legacy of hospitality, art, and Moroccan craftsmanship, rendered with the same elegance that has made La Mamounia a legend of light and luxury. assouline.com

nal underbelly of a continent ravaged by compromised notions of “progress.” Featuring two decades' worth of images chronicling the elephant, rhino, and hippo populations, Beard’s photos, alongside an edifying interview with an anti-ivory trade campaigner, push us to acknowledge the dangers of our own apathetic assumptions. taschen.com

Images courtesy of Robbie Fimmano (Poems & Prayers), Celadon Books (Family of Spies), Laurence King (Gentlemen of Style), Tiffany & Co. Archives (Kids, Wait Till You Hear This), La Mamounia (La Mamounia), Crown Publishing (Letter From Japan), Getty (The End of the Game)

PLAYLIST

From cinemas to streaming: the films and series worth your screen time this season.

AFTER THE HUNT

October 10 in theaters

Julia Roberts plays a philosophy professor forced to confront a secret she’d been hiding when her brilliant student (Ayo Edibiri) levels an accusation against another professor (Andrew Garfield). Director Luca Guadagnino is no stranger to thrilling triangulations (looking at you, “Challengers”) or helming some of the year’s most talked-about moments in film. We’re already predicting Ayo slapping Julia will be one of them.

FRANKENSTEIN & THE BRIDE!

November and March 6, respectively

Mary Shelley gets double inspiration points for two adaptations this season: First, Guillermo del Toro directs a fai -

WICKED: FOR GOOD

November 21 in theaters

We’ve spent a year holding space for Part 2 of the Cynthia Erivo and Ariana Grande musical about the origins of Oz’s most famous witchy women.

thful retelling of the 1818 novel with Oscar Isaac as Victor Frankenstein and Jacob Elordi as the monster. A few months later, Maggie Gyllenhaal’s nod to “Bride of Frankenstein” stars Jessie Buckley as the title character and Christian Bale as Frankenstein’s monster.

Whether you saw the stage production 500 times or never, whether you know how the “Wizard of Oz” prequel ends or you have been living under a rock, one thing is for certain: We, like Elphaba and Glinda, have been changed for good.

JAY KELLY

Nov. 14 in theaters

December 5 on Netflix

George Clooney and Adam Sandler star in writer-director Noah Baumbach’s adult coming-of-age drama about middle-aged friends who are forced to

SPRINGSTEEN: DELIVER ME FROM NOWHERE

October 24 in theaters

Jeremy Allen White gets his Jersey boy on to play Bruce Springsteen in this biographical drama about the making of the singer’s now-iconic 1982 album “Nebraska.” The film’s supporting cast also rocks, from Jeremy Strong as Springsteen’s manager, Jon Landau, to Paul Walter Hauser as the album’s recording engineer. Purists will be happy to know the Boss himself met with White and visited the film’s set multiple times. Talk about Glory Days.

MARTY SUPREME

December 25 in theaters

Timothée Chalamet reportedly trained for months to play ping pong protégé Marty Mauser in Josh Safdie’s comedic drama. Also, Gwyneth Paltrow came out of retirement to take her first starring role in 15 years. As the instantly-viral photos from the production hinted, the two have an illicit and steamy love affair, though Paltrow’s character is married to a table tennis rival. The Goop CEO even joked to “Vanity Fair” about filming their many, many sex scenes: “I was like, ‘Okay, great. I’m 109 years old. You’re 14.’ ”

WUTHERING HEIGHTS

February 13

Margot Robbie and Jacob Elordi star as Catherine and Heathcliff in the latest adaptation of Emily Brontë’s Gothic romance. Director Emerald Fennell, who knows her way around helming a dysfunctional drama, reunites with her “Saltburn” stars Elordi and Alison Oliver, who plays Heathcliff’s wife Isabella. Sure, this film opens right around Valentine’s Day, but let’s just acknowledge Catherine and Heathcliff are not exactly #couplegoals.

grow up after a chaos-filled weekend. Not sure what goes on, but a weekend involving costars Laura Dern, Riley Keough, Patrick Wilson, Greta Gerwig, Isla Fisher, and Emily Mortimer (who also co-wrote the script) sounds pretty great to us.

NOBODY WANTS THIS

October 23 on Netflix

Our favorite sex podcaster (Kristen Bell) and hot rabbi (Adam Brody) rom-com is back for a second season to see if love can further withstand the “ick” and a basketball team named the Matzah Ballers. Brody’s real-life wife, Leighton Meester, joins the already heavenly cast (Timothy Simons! Justine Lupe!) as the one-time middle school nemesis to Bell’s Joanne. Pretty sure the Bible’s 11th commandment translates to “Thou shalt watch.”

HOW TO BEHAVE LIKE A RESTAURANT VIP

Competing for tables online is lame. Dining smarts are not.

“Is it impossible to get in?” is a question I’m often asked. You know the type of place: alluring room, excellent food, known names attached. Hot from the get-go. I’m not talking about restaurants hyped on TikTok, although there’s that, too. My answer, which may come as a surprise, is generally, “No, so long as you’re savvy…”

Reservation apps like OpenTable and Resy have (arguably) simplified access to restaurants, and as a result, getting a prime-time table can feel like a sport. Log on at midnight two weeks out, act fast, and if you fail, set a Notify in case there are cancellations. I’m here to tell you this is not the only method; if you really love restaurants and are willing to act smart, be kind, and put in some work, you could be well on your way to earning VIP status. Some tips: Pick up the phone

These days, not all restaurants have phone numbers. I get it, everyone’s on Instagram, they don’t really need one. But I do not agree with the choice. What if I want to call to let them know I’m running 15 minutes late? More importantly, there’s often more availability in a restaurant’s book when dictated by the human being who controls it. Bottom line: going analogue is always a classy move.

Or, strategically, walk in

The majority of restaurants leave room for walk-ins, especially at the bar. Sitting at the counter and getting to know the bartender, your server for the night, is one of the great joys of dining in restaurants—whether you’re alone, with a friend, or on a date. That said, be strategic; don’t expect to be seated swiftly when you walk in at 7 p.m. on a Friday night. Be flexible

Whether you call or plan to walk in, flexibility is key. Be willing to dine on a weekday during shoulder times (i.e., before 7 or after 8:30 p.m.). Otherwise, consider posing the question to yourself: Do I even care about eating at this restaurant, or am I only after a prime-time reservation for clout?

Learn the names of the staff, particularly the GM

It’s nice to be nice, and friendly behavior will make your dining experience that much better. Those who work in the front of house are in the hospitality business for a reason; they tend to be skilled at engaging with guests, and if they get to know you, it feels especially great coming back. Even better: find a way to get the general manager’s card before following up to say how much you enjoyed your meal. Then, reach out directly next time you want a table. Be self-aware

Restaurants are hard businesses to run, but if enough tables are turned, things start to look up. As you near the two-hour mark of your meal, it’s time to start thinking about asking for the check and getting up. There are few things more embarrassing than being politely asked to vacate.

Tip well

This one should be obvious: 20%, minimum. If you adored your server, 25% and up. Were you sent a dish from the kitchen on the house? Don’t forget to include that in your math.

Make another reservation before you leave

Once you’re in, you can ask the host to book you again on your way out. It’s a win-win move: you’re all set for next time, and you’ve indicated your desire to keep coming back.

Become a regular

In restaurants, the term VVIP is reserved for the highest-status guests, like celebrities and investors. But oftentimes, all it takes to become a VIP without the extra “ V ” is being a regular. When you really love a restaurant, make an effort to return again and again. Spend money. Be courteous. Repeat. You will be rewarded.

THE TEN COOLEST CHEFS

RIGHT NOW, BICOASTAL EDITION

These New York and Los Angeles chefs are turning up the heat on the American restaurant scene

ANTHONY HA AND SADIE MAE BURNS HA’S SNACK BAR

Lower East Side, N.Y.

CAROLINE LEFF STIR CRAZY

Hollywood, L.A.

Each year, food writers and editors research, dine at, and debate the best new restaurants and most promising emerging chefs within their cities and across the country. There is merit to these lists, and always bones to pick once they’re published. My angle is specific to my own expertise: the restaurant scenes of America’s two most prominent cultural tentpoles, New York and Los Angeles. And within them, the chefs who are running their kitchens with the most originality and panache. These are the leading talents shaping American restaurant culture today.

The couple behind global pop-up sensation Ha’s Ðac Biêt have finally put down roots in New York, dishing snails drowned in tamarind butter and blood pudding paired with pickled kumquats to those lucky enough to snag a spot at their tiny, 24-seat snack bar. Their food will send your brain into overdrive, awakening your senses and satiating your soul. Up next: Bistrot Ha, arriving downtown this fall.

TRAVIS LETT RVR

Venice, L.A.

LA waited with bated breath for the return of Travis Lett, the founding chef-owner of Gjelina and Gjusta, and thus the godfather of contemporary Los Angeles cuisine (read: fire-kissed, peak-season produce-centric). After selling his stake in the Venice restaurants he made famous in 2019, Lett is finally back on the scene with RVR: a spectacular comeback that blends the precise, unpretentious style of California cooking for which he excels with Japanese ingredients and techniques. Any vegetable he touches turns to gold, and his gelatos are sneakily stellar.

Stir Crazy is much more than a wine bar; it’s a small, handsome restaurant with a very good list and very good European-influenced, thoroughly Californian food. Behind the menu is Caroline Leff, a chef whose know-how for the ins and outs of the Hollywood Farmer's Market manifests on the plate with elegant finesse. Carrots swim in a bright-orange, salsa-matcha-laced sauce. Buttery Japanese turnips are camouflaged with pillowy gnudi. Sausage gets fashioned into a smiley face, with potato salad and mustard for eyes. Irrestitbly playful, undenifably sophisticated.

SUNNY LEE SUNN’S

Chinatown, N.Y.

At her tiny Dimes Square restaurant painted in green and yellow, chef

Sunny Lee cooks exceptional modern Korean fare. An array of seasonal banchan anchors her offering, followed by more substantial dishes like caramelized short rib with ssamjang and lettuce wraps, as well as chicken-and-crab dumplings showered in scallions and dill. Lee is a chef’s chef, with an insane resume (Blue Hill, Eleven Madison Park, Estela, Battersby, Insa); so her move to head up her own spot has insiders quietly (and not-so-quietly) rejoicing.

Clokcwise from top left: Photography by Jutharat 'Poupay' Pinyodoonyachet, Leena Culhane, Graydon Herriott, Michael Carnevale, Meredith Truax

GILES CLARK CAFE 2001

Arts District, L.A.

It’s difficult to describe Cafe 2001, a punk-ish all-day café in the industrial Arts District with radio jazz humming constantly from the speakers. The chef is Giles Clark, an Englishman who decamped to California, and his food is Japanese, French, British, and Californian all at once. There are katsu sandos with Turkish pickles, slabs of pork-and-pistachio terrine, scotch eggs with miso mustard, picturesque fruit tarts, matcha-lime sodas, and natural wine. One thing is clear: whatever his vision, it’s both weird and wonderful.

ZOË KANAN ELBOW BREAD

Chinatown, N.Y.

In a world where viral croissants and flower-topped layer cakes are driving America’s bakery renaissance, the baker Zoë Kanan is charting her own distinct path. At Elbow Bread, which she helms in partnership with New York sandwich kings Court Street Grocers, she folds sweet potato purée into golden-hued pretzels, bakes blueberries into crumby kolaches, and laminates challah dough into honey buns, channeling her Jewish and Texan roots into an imaginative, inherently Lower East Side pastry case.

CHRISTOPHER HANSELL CHRISSY’S

Greenpoint, N.Y.

Chris Hansell turned a passion for pizza, which he grew up eating with his dad in Queens, into a full-fledged career over the last five years. He started off as a devoted hobbyist, baking crispy, juicy pies out of an off-brand home oven in his Bushwick apartment in between gigs as the Warthog vocalist. Now, he’s got his own Greenpoint slice shop and a consistently long line of customers. Dedicated musicians morphing into obsessive chefs is not a new story, but it’s one that Hansell wears well.

SAM LAWRENCE BRIDGES

Chinatown, N.Y.

If you read our interview with Sam Lawrence in the inaugural issue of ICON, you know he’s a seasoned chef with a sharp point of view. He’s also strikingly creative and boasts a knack for layering flavor, like in a custardy comté tart topped with earthly seasonal produce and dates paired with two slices of cured tuna, one fatty, one lean. Lawrence overseeing the kitchen of Manhattan’s coolest restaurant simply makes sense.

BRIAN DUNSMOOR DUNSMOOR

Glassell Park, L.A.

Brian Dunsmoor plays by his own rules. At his eponymous Glassell Park restaurant, the principal rule is: no machines. Ribeyes are seared on an open-fire hearth, pork-and-green chili stew simmers in the wood oven, and seasonal ice creams are hand-churned. The goal? An authentic expression of American heritage cuisine. The result? Culinary excellence achieved.

RIAD NASR AND LEE HANSON

LE VEAU D’OR

Upper East Side, N.Y.

Riad Nasr and Lee Hanson are not exactly up-and-coming talents. The chef duo has over six decades of combined experience running some of New York’s most impactful restaurants: Balthazar, Minetta Tavern, Pastis, Frenchette, and Le Rock. At their latest endeavor, Le Veau d’Or, a revamp of the oldest French restaurant in town, the pair’s expertise as masterful chefs and meticulous restaurateurs is felt thoroughly. The dining experience is over-the-top, outright delicious, and extraordinarily fun, not to mention detail-oriented and seamlessly operated in a manner only they could pull off.

Clokcwise from top center: Photography by Kevin Faulkner, Antonio Diaz, Gentl + Hyers, Graydon Herriott, David Gurzhiev, Meredith Truax, Brian McGinn

THE NEW LUXURY LANGUAGE: HOW FASHION HOUSES

ARE REWRITING THE FEED

Fashion’s foundations may be physical, but its frontier is digital— where luxury houses now stage some of their most daring, disruptive work. From algorithmic saddlery to AI-generated bags, the most forward-thinking maisons are turning social media into a laboratory for visual experimentation— and a tool for narrative control. Here, we rank five houses whose digital strategies are more than just savvy; they’re artful, intentional, and redefining what luxury looks like— on and off screen.

HERMÈS THE QUIET POWER OF CRAFT, REIMAGINED

While other brands chase virality, Hermès curates serenity. The French house, founded in 1837, has never been one for digital noise. But when it does speak online, it whispers in language as supple and deliberate as its signature calfskin, connoting irresistible luxury with a tactile edge.

Take its recent Instagram series spotlighting artists María Jesús Contreras, Lee Kyutae, and Helen Ferry. Contreras reimagines the house’s equestrian codes through a surrealist lens, transforming saddles into whimsical icons within a hyper-saturated, otherworldly universe. Kyutae animates a single thread morphing into a full bridle with liquid precision, soundtracked by composer Pascal Armand. Lastly, Ferry’s paper-sculpted, stop-motion take on the Arçon bag is as intricate as it is hypnotic.

Hermès’s genius lies in resisting the algorithm’s tempo. Instead, it commissions work that lingers—artistry meant to be replayed, not just reposted. With trans Two-Spirit artist Nonamey contributing to their visual storytelling through window installations and social content, the maison signals an ongoing interest in bridging craftsmanship with contemporary expression.

JACQUEMUS SURREALISM FOR THE SOFTFOCUS SET

If Hermès is restraint and Balenciaga is calculated chaos, Jacquemus is pure visual seduction—sun-bleached, surreal, and engineered to go viral. The French label’s feed functions less like marketing and more like immersive world-building: lavender fields, citrus groves, and Bambino bags (the size of compact cars) gliding through Paris. Chief among those scenes is that now-viral clip of Bambino bags rolling through the streets—a moment that wasn’t accidental, but carefully choreographed. The AI-generated video was crafted by Bordeaux-based 3D artist Ian Padgham, founder of the studio Origiful. A former San Francisco Museum of Art and Twitter alum, Padgham has produced over 2,000 short films for brands worldwide. His work with Jacquemus fused scale, fantasy, and algorithmic savvy, producing a campaign that felt more like digital sculpture than typical, 2-dimensional content.

Simon Porte Jacquemus has built a brand that expects virality—not as a fluke, but as a function of aesthetic precision. On TikTok, the brand’s edits blend ASMR, sly humor, and sensuality into loops that feel cinematic and instinctively shareable. While other luxury houses experiment with artificial intelligence in fits and starts, Jacquemus has weaponized it, crafting a visual language that’s unmistakably its own. This is a brand that doesn’t just trend— it sets the tempo. Consistently viral, endlessly referential, and always a few frames ahead.

BALENCIAGA THE DIGITAL DYSTOPIA THAT WORKS

Balenciaga remains the only brand where a contorted avatar spinning its head 360 degrees feels on brand. Its social strategy is performance art with a post-human gloss. The house’s feed is famously wiped clean between collections—a digital cleanse that serves as both a palette reset and a provocation. Collaborations with artists like Yilmaz Sen, whose AI-bent avatars dissolve like liquid sculptures, or Anna Uddenberg, whose surrealist forms double as commentary on femininity and function, prove that Balenciaga doesn’t chase relevance—it bends it into unnatural shapes.

From Crocs-turned-cyberpunk to haunting white-noise visuals, the brand uses the feed as both runway and experiment. You may not always like what you see, but you’ll certainly look.

LOUIS VUITTON COLLABORATIONS AS CULTURAL ENGINES

No one fuses art and algorithm quite like Louis Vuitton. Before social media was even a thing, the French maison had Yayoi Kusama, Takashi Murakami, and Stephen Sprouse in its Rolodex. Now, those legacy partnerships are reimagined for an audience raised on AR filters and AI pop-ups.

The Kusama collab redux felt less like a capsule and more like a planetary alignment. Think polka-dotted buildings, CGI hallucinations, and global activation rollouts that blurred the line between gallery and grid. At Art Basel Paris, Vuitton spotlighted everything from Murakami to Olafur Eliasson, and in Shanghai, it staged a nine-day “Post Something Interesting” activation that used DeepSeek’s AI to project customer musings as digital art.

Louis Vuitton doesn’t just collaborate with artists—it functions like one itself. Each collection, pop-up, and post becomes an installation, curated not for clicks, but rather cultural permanence.

DIOR CLOSE FRIENDS, WIDE REACH

Before a single look hit the runway, Dior had already won the internet. In the lead-up to Jonathan Anderson’s much-anticipated menswear debut, the maison discreetly added select insiders to its Close Friends Story on Instagram—then dropped a cryptic trifecta: branded Andy Warhol Polaroids of Jean-Michel Basquiat and Lee Radziwill, along with a reimagined Dior Book Tote. The strategy ignited a wave of intrigue, with fashion’s most-followed voices quickly reposting the images and fueling speculation about Anderson’s vision for Dior. When the show opened, it all came full circle: Basquiat’s unkempt shirting echoed in a collision of undone prep and aristocratic poise, while Book Totes stamped with iconic literary titles like “Dracula” and “In Cold Blood” made their way down the runway. The result? Over 1 billion views, making it the most-watched show of the Spring/ Summer 2026 season. If Anderson brings the same deft hand at digital storytelling that made Loewe’s social media a leader in modern branding, Dior’s new era is poised to be as disruptive online as it is on the runway.

BOYS ON THE BRINK

This season’s new faces are ready for their close-up. Curated by models.com, the leading fashion - ind ustry model database, and with particular help from their Senior Features Editor, Rosie Daly, ICON presents young male models poised to define the future.We asked them about the films and screen legends that shaped their style. In fashion, as in cinema, great characters leave a lasting and influential impression.

What film or TV character do you look at as a style inspiration or icon, and what is it about their style that you love or loved when you were younger?

Lyle Menendez from “Monsters” on Netflix. I love the classic smart look with polos, shirts, shorts, trousers, and jumpers, with sunglasses, I think it looks very chic.

JOHN Flynn

17 Tooting Bec, South London,

What movie do you think is the most fashionable or stylish of all time, and why?

I think the most fashionable movie of all time is “The Devil Wears Prada.” This movie is not only a fashion

feast, but also a profound portrayal of life choices and personal growth. The charm of fashion is fully displayed in the film, from gorgeous costumes to exquisite accessories, from high-end fashion parties to tense fashion shows.

22 Gansu, China Ford Models Paris Longteng Models

What film or TV character do you look at as a style inspiration or icon, and what is it about their style that you love or loved when you were younger? I’ve always been drawn to the style in old films; there’s a kind of relaxed

elegance in the silhouettes that feels both refined and a little rugged. When I was younger, I used to admire my dad’s clothes a lot. He wore tailored suits and structured pieces with sharp lines. That left a big

26

MANJIN Kim

Busan, South Korea Select Paris

What movie do you think is the most fashionable or stylish of all time, and why?

It definitely isn’t the most fashionable movie of all time, but growing up, I always

thought that the old “Fast and Furious” movies were the epitome of style and coolness; the ‘90s bagginess, a street, sporty, and yet summery style. That’s what has always resonated with me.

All clothing by ZEGNA, ring CARTIER x SACAI

What movie do you think is the most fashionable or stylish of all time, and why?

I’d say “Cruella” is possibly the most fashionable and stylish movie of all

time for me because of its fearless, award-winning costume design, edgy punk aesthetic, and its portrayal of fashion as both self-expression and rebellion.

ALEX Kosi

18 Uvuru, Nigeria Premium Models

All clothing by BOGGI, necklace by CARTIER, watch by OMEGA

What film or TV character do you look at as a style inspiration or icon, and what is it about their style that you love or loved when you were younger?

Tony Soprano is definitely my style in-

spiration. There’s something effortlessly bold about his look. Those open-collar shirts, gold chains, and that mix of comfort and quiet authority. His style fits his personality perfectly: tough, confident, and not pretending to be anyone else.

17 Warsaw, Poland New Madison

All clothing by BRUNELLO CUCINELLI

What movie do you think is the most fashionable or stylish of all time, and why?

DANIEL Awaridhe

21 Lagos, Nigeria Ford Models Paris Raw Models Management

“The Great Gatsby.” The film’s over-thetop opulence and vintage looks make it visually stunning and super fashionable.

All clothing by LORO PIANA, watch by OMEGA

OLEKSANDR Kaminskyi

What movie do you think is the most fashionable or stylish of all time, and why?

For me, “The Matrix” is one of the most stylish films of all time. The sleek, minimalist black outfits, long trench

coats, and sharp sunglasses created an entire aesthetic that still feels modern decades later. It’s not just fashion— it’s attitude. That fusion of dystopian techwear with effortless cool really made an impact on how l think about style.

20 Budapest, Hungary Banana Models

LOUIS VUITTON MEN’S

What movie do you think is the most fashionable or stylish of all time, and why?

I cannot recall the most stylish film of all time because there are so many, but I would say that “Fight Club” is excellent, in my opinion, even though it is pretty standard to say that. I mean, it is “Fight Club.” It might not be the first

film that comes to mind when people think of fashion, but to me, it’s one of the most stylish. The mix of bold colours and vintage leather jackets reflected the film’s rebellious and chaotic energy, which has inspired me a lot. In particular, Tyler Durden’s wardrobe is beautiful and unforgettable, and he has a strong and loud voice and attitude.

19 Almaty, Kazakhstan IMG

Bhardwaj

What film or TV character do you look at as a style inspiration or icon, and what is it about their style that you love or loved when you were younger?

James Bond. The way he lives is pure charisma — fast cars, exotic locales, and that lethal charm that turns heads ev-

erywhere. He’s the ultimate style icon: tuxedos tailored to perfection, luxury watches ticking with quiet power, and a martini always in hand. Smooth, fearless, and impossibly cool. I think Tom Ford is James Bond behind the curtains. That man has got style!

22 Uttarakhand, India NEXT PARIS Anon Models (Mother Agency)

All clothing by BRIONI, watch by CARTIER

What movie do you think is the most fashionable or stylish of all time, and why?

Kind of a strange one, but to me, “Léon” is one of the most stylish movies of all time. Firstly, because of those two amazing characters, Léon and Matilda, with their outfits and way of living that give

a real “deadly duo” and rebellious vibe. Jean Réno also dresses so much like I would in that movie. And also the fact that they shine so much more than other characters without having to wear “fancy” pieces is really well played in this movie. They are like part of the crowd but super special at the same time.

23 Aulnay-sous-Bois, France Tomorrow Is Another Day

BILAL Bourhattas

All clothing and accessories by DOLCE & GABBANA

What movie do you think is the most fashionable or stylish of all time, and why?

“House of Gucci.” It shows how fashion, wealth, and ambition are deeply

intertwined. The styling is bold and unapologetically luxurious. Each character expresses power through what they wear. It’s one of those films that reminds you how much fashion can say without words.

18 Ibadan, Oyo State, Nigeria Premium Models

FROM LEFT:

LANCER The Method: Polish, $80, lancerskincare.com

JOANNA CZECH The Soothing Serum, $275, joannaczech.com

DIOR Sauvage Cleanser, $42, dior.com

CHANEL Boy De Chanel

Lip Balm, $38, chanel.com

BEAU DOMAINE The Cream, $99, us.beau-domaine.com

MALIN + GOETZ SPF 30

Mineral Sunscreen, $40, malinandgoetz.com

BEAUTY

STEP 1: CLEANSER

Arguably the most important step. It gets the gunk off your face so that other products will penetrate. It also clears away things like pollution and sweat, which can irritate skin.

STEP 2: TONER

Helpful for enlarged or clogged pores, and can help nip shine in the bud. “Many young men prefer a matte finish,” Czech says.

STEP 3: SERUM

Here’s where you might need more than one option. Serums are hyperconcentrated, so they can deliver the most anti-aging bang for your buck, but they can also calm skin down when it’s freaking out.

“I would recommend a soothing serum to treat irritation, a vitamin C serum for addressing dullness, and/or a vitamin A serum to treat fine lines,” says Czech. Just tread carefully with the retinol: “It can be a great texture-refining ingredient, and even prevent ingrown hairs, but it’s important to avoid using it post-shave.”

STEP 4: MOISTURIZER

Men tend to want to skip moisturizer, Czech says, but it’s an important step to protect the skin barrier. A lightweight moisturizer will feel best on skin during the day, but don’t sleep on reaching for a thicker formulation at night— it can make all the difference in how fresh your skin looks when you wake up.

STEP 5: SPF

Think of it as protecting your investment. UV damage causes 90% (90%!) of visible aging. If you want to forget everything else you’ve just read and use only one product, this is it. Look for SPF 30 at a minimum.

HOW TO BUILD A SKINCARE REGIMEN

Is a toner really necessary? How many different serums should a guy have? Stay calm, we’ll make it easy for you.

Let’s start with the good news: Thanks to trusty testosterone, men’s skin is about 20% thicker than women’s. That means that wrinkles stay at bay a little longer. But yes, they will appear in time—as will discoloration, roughness, and the whole wizened old-fisherman look.

But that’s only if you don’t take care of your skin.

Building a skincare regimen can be daunting. There are thousands of products out there vying for your attention, making wild promises that they can “Benjamin Button” your face back to what it was in your teens. They can’t. But what they can do is make you look great now—and protect your skin so that you continue looking great in the future. We tapped into the expertise of celebrity facialist Joanna Czech, whose clients include Cate Blanchett and Liam Neeson, to guide you through the essential steps (and share what you might want to be doing for extra credit).

“Men tend to prefer simplicity and speed,” she says, though she does not believe in the necessity of gender-specific skincare. Grab what you like, or steal from your partner. The Gospel of Czech: “It’s important to take care of your skin according to its needs and condition above anything else.”

SMART SCENTS

Your fall fragrance refresh starts here.

As the summer heat fades and the crisp edge of autumn sharpens the air, it’s time for more than just a wardrobe switch-up. Cooler temperatures demand a scent upgrade— a move from lightweight citruses to richer, more complex scents that align with the season’s mood. In this ICONapproved edit of the best new fall fragrances, you’ll find smoky woods, invigorating spices, and enveloping, scarfand-sweater-worthy amber. They say the clothes make the man. We’d argue that how he smells is equally important.

AMOUAGE DECISION

You need a scent to wear for that close encounter with someone you really, really want to impress. Something warm and inviting, sexy but not too serious. A fragrance that smells expensive and indulgent, like frankincense and vanilla offset with bracing juniper and pink pepper. The Decision? It’s yours. You just made a good one. $380, amouage.com

DIOR BOIS D’ARGENT ESPRIT DE PARFUM

The newest addition to Dior’s exclusive La Collection Privée lineup sees house perfumer Francis Kurkdjian reinterpreting an existing fragrance with his signature radical flair. Whereas the OG Bois D’Argent was a woody, quietly powdery scent, the Esprit de Parfum is a sweeter, more potent brew, with lashings of honey, vanilla, and iris. Consider it a confidence boost in a bottle. $480, dior.com

AESOP STEORRA

If you don’t believe that fragrance has the power to make you seem interesting and well-read, give Steorra a sniff, and think again. This is an intricate scent inspired by the night sky, and it’s ideal for when you’re feeling philosophical: an opening burst of bold pepper opens up into an expanse

Still dreaming of summer?

This is the scent for you. Inspired by the heat and rhythmic pulse of Brazil, Alto Astral starts with a surprising hit of creamy coconut and tropical fruit before mellowing into a woody, salty musk that evokes the warmth of post-beach skin. Spray it on for a vacation that never ends. $230, byredo.com

MYSLF ABSOLU

BOTTEGA VENETA HINOKI

Bottega Veneta has introduced a trio of moody new fragrances, grouped together as the “Mezzanotte” (Midnight) collection. Hinoki is a woody, grounding scent with notes of sacred hinoki wood, fir balsam, and patchouli—deep, resonant, and long-lasting. And the hand-crafted glass bottle, which rests on a black Marquina marble base, is a showstopper. $490, bottegaveneta.com

Since YSL MYSLF launched in 2023, it has become a monster hit—and with good reason. The scent’s bold floral heart sets it apart from most masculine fragrances, giving it a unique radiance that feels both edgy and addictive. Now? It just got better. The Absolu version is the original on steroids, with even more effervescent ginger and moody patchouli. Plus, it comes in a new mirrored bottle—so you can look at yrslf, and see a good-smelling man. $210, yslbeauty.com

PENHALIGON’S THE CUT

The suit? It’s Savile Row. The scent? A sophisticated fougère from one of Britain’s most historic fragrance houses. Taking its cues from the sharp tailoring of a bespoke jacket, The Cut hews to a classic gentleman’s cologne blend of lavender, sage, and vetiver, while crisp mint, cypress, and fir balsam add a modern twist. It smells fresh and barbershop clean, but not at all basic. One whiff and you’ll feel immediately pulled together $250, penhaligons.com

This scent is about as luxe as it gets— but it still smells dirty, in the best possible way. A potent opening hit of musk merges with earthy patchouli, then deepens into a smoky blend of vanilla and amber. It was inspired by a wild fox under a full moon, and you’ll definitely feel ready to prowl when you wear it (howling optional). $280, gucci.com

HERE’S LOOKING AT YOU

There are some who claim eye creams are a con. Let’s set the record straight.

Do you really need a different moisturizer for your eyes than the one you’re using on your face? It can be a surprisingly divisive question. Some maintain that skin is skin and all creams do the same thing; others insist that you should be using a highly specialized product to keep under-eye baggage and wrinkles at bay.

And guess what? The second group has got it right. “The eye area is often the first place to show signs of aging, due to the skin being thinner and more fragile than the rest of the face,” says Yannis Alexandrides, M.D., cosmetic surgeon and the founder of 111Skin skincare. It is also subject to the wear-and-tear of daily movement—squinting, smiling, winking, wincing—and more prone to irritation from active ingredients, sunscreens, and fragrances. This is why products that are formulated specifically for the sensitive areas above and below your eyes exist, and why they need to be both gentle and extremely hardworking.

According to Alexandrides, you should start using an eye cream by your 30s if you haven’t already begun. “That’s when crow’s feet, puffiness, and dark circles tend to appear more prominently,” he says. “If you’ve been using something lighter, I would advise transitioning to a more targeted, richer formulation.” Select key ingredients according to your desired benefit. If you wake up looking like a couple of airbags have inflated under your eyes while you slept, try a cream with caffeine. If dark circles are bringing you down, vitamin C can shift pigmentation and brighten skin. And if you’re starting to get a roadmap of creases, retinol will be your best friend.

So no, eye creams aren’t a scam—they should be an essential in your anti-aging toolkit. Because nothing says “I’m on top of my game” like fooling everyone into thinking you actually got eight hours of sleep.

FRAGRANCE FOCUS: RENAUD SALMON OF AMOUAGE

He may operate largely behind the scenes, but Renaud Salmon is one of the most influential creative forces in scents today.

Since stepping into the role of Chief Creative Officer at the Oman luxury perfume house Amouage in 2019, Renaud Salmon has ushered the brand into a bold new era—expanding its reach exponentially and drawing rave reviews from fragrance connoisseurs around the world.

Founded in 1983 at the behest of the Sultan of Oman, Amouage built a quiet but formidable reputation for its exceptional raw materials and fearless olfactory storytelling. Salmon brought with him from previous positions at luxury brands (including Louis Vuitton) both a reverence for quality and a contemporary sensibility. Here, he shares the creative evolution of one of the world’s most intriguing perfume houses.

ICON: What struck you as special about Amouage when you first joined?

I was blown away by the quality of the ingredients and the fact that the scents are handmade in Oman. There’s a rare sense of creative freedom.

What did you most want to bring to life in the brand?

Luxury is evolving. People want something more meaningful. For me, that meant leaning into authenticity: highlighting the roots of Oman, being transparent about how things are made, and letting the values of the country—its generosity, and quiet pride—shine through in the fragrances.

How would you describe the scents?

Amouage isn’t defined by a single style or category. It’s more about a philosophy of tasteful refinement.

Many people feel disappointed by expensive scents that don’t last or don’t get noticed. Amouage is the answer to that. Our scents have real presence, they last, and they turn heads—without being over the top.

What’s your creative process like?

It usually starts with something personal. I remember looking at a juniper tree. These trees get struck by lightning, but they keep growing outward. That image became a metaphor of resilience and transformation. It inspired the concept behind the fragrance Decision. When you are struck by lightning in life—are you going to choose to give up or keep growing?

That’s an example of starting with something very specific, and then I work with our team to extrapolate the idea into a scent.

Do you have personal favorites from the collection?

I wear Reflection 45 often. It’s an exceptional extrait—45% pure perfume. It’s my idea of a chic barbershop scent: neroli, lavender, musks, woods..

I also love Guidance, which has had a huge impact. Internally, we say it changed the destiny of Amouage. I created it with perfumer Quentin Bisch two years ago, and it’s become a runaway success—especially with women, who tell us people stop them in the street to ask what they’re wearing. What do you envision for the future?

We want to keep sharing how we do things—both the artistry and the technical side. There’s a real appetite for quality and knowledge, especially among younger customers. We want to meet that with honesty, creativity, and craft. Courtesy of

CLASP! A STUDY IN ATTACHMENT

More than a strap, the bracelet defines a watch’s identity – and its intimate relationship to the wearer.

WA TCHES

Reverso Tribute

Monoface Small Seconds

JAEGER-LECOULTRE

In pink gold with a Milanese mesh bracelet, the newest Reverso turns Art Deco geometry into soft, sensual seduction.

A seamless fusion of timepiece and bracelet, this emblem of ’80s glamour returns in luminous, sculptural white gold.

PIAGET Polo79

TIFFANY & CO.

Atlas 2-Hand

Inspired by the House’s 19th-century clock heritage, bold Roman numerals trace the faceted dial, drawing the wearer into a graphic reverie of another age.

CARTIER

Cartier de Santos Small

Exposed screws and a square case –hallmarks of industrial bravado – are now scaled down into a refined, indestructible harmony around the wrist.

B orn on the rails, this tool watch revives its utilitarian origins with interplaying finishes and the quiet confidence of magnetic precision.

Omega Seamaster Railmaster

PATEK PHILIPPE

Cubitus 7128/1G

Not a rebound, but a true partner: its soft square edges and sporty elegance signal a new kind of fidelity – less about status, more about staying power.

ROLEX Land-Dweller

A honeycombed face, fluted bezel, and slimmed Jubilee links – merging dial, case, and bracelet into a unified form only the Crown can achieve

Octo Finnissimo

A lacquered brown sunray dial, like glistening caramel, wrapped in brilliant rose-gold brutalism. A Roman holiday tucked just beneath your cuff.

BVLGARI

IS LEGACY A DIRTY WORD?

As hype cycles spin faster, a new generation of collectors and maisons are reclaiming legacy as emotion, craftsmanship, and shared culture. These five stories redefine what legacy means in watchmaking today.

Elias Marte represents a new generation of horological fandom. The New York-based collector and dealer has championed lesser-known vintage watches once overlooked by the mainstream: stone dials, Tank cases, and small-scale pieces once deemed “too delicate” for men. For Marte, it isn’t about chasing trends; it’s about emotional resonance. “The first watch I remember was my aunt’s square Pulsar,” he says. “So from the start, my introduction to watches wasn’t typical.”

Marte’s eye for modest, emotional pieces cuts against a market focused

WATCHMAKER FOR KINGS, REIMAGINED IN CALIFORNIA

Founded in 1773, Urban Jürgensen once crafted timepieces for the Danish Royal Court. Now, led by the Rosenfield family, the Danish-Swiss watchmaker is being reimagined from Santa Monica – and redefining modern royalty.

“Today, we design for artists, creatives, entrepreneurs, and industry leaders,” says co-CEO Alex Rosenfield. “We hope that watch collectors who appreciate beauty and engineering find a home at UJ.”

on scale and spectacle. He finds beauty in quiet references: a 1945 Bulova Excellency, a vintage Piaget, a Chopard L.U.C. “Smaller watches are definitely back, and I really identify with that shift,” he notes.

Marte’s not alone. A growing community – raised on menswear forums and music – is seeking legacy in less obvious places. From Instagram DMs to Reddit threads, these fans connect not just for the watches, but for the stories surrounding them.

Music, too, plays a role in “shaping watch culture,” he adds – whether that’s Bad Bunny name-dropping Audemars Piguet, or F.P. Journe in a Westside Gunn rap. For Marte, the next icons will be emotionally and culturally driven, not just loud or in-your-face

Heritage can be a trap for legacy brands. But Rosenfield, whose background is in fashion and marketing, treats it as a launchpad, not a cage. “We work hard to be respectful of our past, while ensuring that everything we do is about looking forward,” he says. Together with co-CEO and master watchmaker Kari Voutilainen, the team draws design cues from Scandinavian architecture, natural forms, and vintage mid-century cars. These inspirations are filtered through what Rosenfield calls “slow, intentional expression” – a philosophy that connects art, handwriting, and handmade watchmaking.

At a moment when everything is becoming digitized and automated, a finely crafted object that symbolizes the passage of time can feel like an antidote to speed. “There’s so much to enjoy in a handmade, beautifully designed watch,” Rosenfield adds, “whether you’re drawn to its mechanics or the way it feels on your wrist.” Legacy here is both a foundation and a question: How does a centuries-old name evolve without losing its soul?

“Our watches represent the beauty of the human process,” he says, “and the idea that time is the ultimate luxury. We help you keep it – but we also want to inspire you to spend it beautifully.”

NEW VOICES: ELIAS MARTE ON VINTAGE WATCHES

PARMIGIANI FLEURIER’S QUIET REVOLUTION

ROGER DUBUIS: FLASH WITH FEELING

A FAMILY AFFAIR: WHY PIERRE GASLY SAID YES

At H. Moser & Cie., luxury begins with family. “We don’t sell watches,” says CEO Edouard Meylan. “We build relationships, and sometimes, that leads to a watch.” With just 4,000 pieces produced each year, the brand’s goal to double production isn’t about scaling up – it’s about “doing better.” That means creating watches that resonate emotionally, not just materially.

“Today, when visibility is often mistaken for value, subtlety has become a form of resistance,” says Guido Terreni, CEO of Parmigiani Fleurier. At this Swiss maison, Terreni is designing for emotional connection. “A refined case profile, a pastel dial, or the silence of a micro-rotor are not minimal gestures,” he says. “They’re distilled expressions of mechanical art.”

Under his leadership, the Tonda PF has become a study in architectural elegance, and a serious contender for the next modern classic sports watch.

Terreni’s Italian sartorial ethos is evident throughout: in the finishing, the restrained palette, the play of textures, and in models that range from sleek steel to openworked skeletons.

“Our current collections translate Parmigiani’s heritage through architectural codes, pure lines, and a sense of purpose,” he explains. “The past isn’t a template. It’s a lens.”

Legacy here is less about preservation and more about evolution. A new generation of collectors – discreet, culturally fluent, and allergic to flash – is paying attention. For them, Parmigiani isn’t a flex. It’s a life companion.

Roger Dubuis turns 30 this year – still young by watchmaking standards, but already looking inward. Not toward centuries of tradition, but toward a legacy of conviction. Founded by two visionaries – one a master watchmaker, the other a design radical – the Maison was built to fuse technical excellence with expressive defiance. “We’re inspired by the past,” says a member of the product team, “but not submissive to it. Our role is to transfer that inspiration into a future that belongs to us.” That future, surprisingly, centers on intimacy. Beneath the spectacle of Excalibur skeletons and blacklight concept watches, the brand is cultivating a quieter emotion: connection. At a recent global gathering of team members and partners, a director invoked Maya Angelou’s famous line: “People will forget what you did, but they'll never forget how you made them feel.” That sentiment, they said, captured Roger Dubuis's vision going forward.

Collectors are invited into the process: meeting the artisans who build their timepieces, visiting the manufacturer, and forming real relationships with the brand. For all its flash, Roger Dubuis is also a small, human-scale operation, with the flexibility to personalize.

“It’s a shared history we’re creating,” said the team.

The Meylan brothers lead like they live: candidly, and without affectation. Even their partnership with Alpine F1 (a family favorite since childhood) was more love letter than marketing move.

As driver Pierre Gasly puts it, “You don’t just join the brand. You join the family.”

That intimacy was on full display during the Canadian Grand Prix, where Gasly and Meylan faced off in a friendly game of foosball at an intimate Moser collector event. “Even on the flashiest stage,” Meylan says, “we try to stay human.”

In a noisy category, Moser’s quiet power lies in what it guards: meaning, intimacy and the rare luxury of being truly heard. “True luxury isn’t found in manufactured scarcity,” Meylan adds, “but in raw authenticity. It’s offering silence when everyone’s shouting, attention when the world is rushing.”

SIGN LIKE YOU MEAN IT

Signing something? Make it feel like a victory lap.

Crafted by Montblanc and inspired by Ferrari’s Tailor Made aesthetic, the Meisterstück Great Masters Ferrari Classica brings two legacies of precision together in one singular object. Shaped from warm mahogany and fitted with a gold-coated nib, it honors the materials and mechanics that define them both. The emblem shines in Ferrari’s signature yellow, a moment of color that carries the weight of heritage and the promise of velocity. Montblanc’s devotion to detail and permanence meets the aerodynamic language of Ferrari, turning tradition into something kinetic.

Photography by Takahiro Igarashi

MAGIC Men

What all three of our cover stars — actors Finn Bennett, Jake Gyllenhaal, and Robert Pattinson — have in common is their individuality. Pattinson, captured in all his tough whimsy by the one and only Ryan McGinley, and the eternally playful Gyllenhaal, also shot by McGinley, are former boy-wonders turned New Establishment players both of whom made that transition on their own terms. While Bennett, seen here in a graphic shoot with Paolo Roversi, stakes his claim as next in line. Our fashion stories also reflect the past filtered through a modern lens: the expressionism of Robert Rabensteiner, who appears both as stylist and model in Brett Lloyd’s artist-and-muse narrative; the realism of Blair Getz Mezibov’s “Gatekeepers,” exploring the elegant loneliness of doormen; and Campbell Addy’s activism-infused feature on emotions in motion. Here’s to new incarnations of

the OLD SCHOOL

Jacket by DIOR MEN, Robert wears DIOR HOMME PARFUM throughout.

Robert PATTINSON

photography ryan mcginley

fashion taylor mcneill & gro curtis

text mathias rosenzweig

Executive producer Mary-Clancey

Lead producer Nicole Tondre (Hen’s Tooth Production)

On-set producer B renna Smit (Hen’s Tooth Production)

Choreographer Ashley

Stylist assistant Angelina Khachaturyan

Production assistants Michael Spivey, Rafael Aguilar, Omari Fylstra

Retouching Two Three Two Studio, Location Bartow-Pell Mansion

Hair Tomo Jidai (Home Agency), Makeup Charlotte Willer (Home Agency)

Pace (Hen’s Tooth Production)

Rucker, Lighting technician Travis Drennan

Photo assistant Cade Curran, Tailor Matthew Neff

Museum

ROBSESSION

The spark that IGNITED the WORLD’S FANATICISM with ROBERT PATTINSON flared over a decade ago. TODAY, The DEVOTION BURNS HOTTER than ever.

"I can’t sit around waiting for my agent to call. I’ll be dead."

All clothing and accessories by DIOR MEN

When Robert Pattinson auditioned for Twilight, he was crashing on his agent’s couch in Los Angeles, a handsome and hardworking British boy with a big dream. Now, Hollywood is his playground: a place where the A-list actor can swing on the monkey bars from one career-defining film to the next—for example, from the titular role in “The Batman” (2022) to this March’s “Mickey 17,” which earned the actor some of the best reviews of his career. Pattinson has garnered enough industry credibility over the past decade to now, like a child shaping castles in a sandbox, build stories from scratch as a newly minted producer. He may have just had a kid with fellow Brit, Suki Waterhouse, but when not garnering Oscar-buzz for his work, Pattinson’s often just kidding around himself.

ICON’s Mathias Rosenzweig spoke to the actor over Zoom about his upcoming role alongside Jennifer Lawrence in “Die My Love,” as well as fatherhood and his deep respect for fashion designers.

ICON: Tell me about working with “Die My Love” director Lynne Ramsay and how she balances darkness with humor.

Robert Pattinson: I met Lynne for the first time probably in 2012, and I always wanted to do something with her. It’s funny—every time I talk to her, she’s extremely open about whatever’s going on in her life. She’ll say these completely crazy things that are happening, but they’ll be really funny. You’re listening, thinking, “Is this traumatic, or is this a funny story?” It’s all intermingled in one. That’s why her movies have these incredibly interesting tones. “We Need to Talk About Kevin” is probably not that funny, but there are many funny bits in it.

There is something quite funny, especially in retrospect, if you’ve ever dealt with someone going through a psychological difficulty—or even just emotional turmoil— sometimes, when you’re in a relationship and it just goes so insane, once the storm has passed, it feels completely ridiculous, what you just been experiencing. There’s a lot of that in there.

That reminds me of the saying, “Tragedy plus time equals comedy.”

Exactly. Especially if you survived it. Or if the relationship is vaguely intact afterwards. That’s why “tragedy plus time equals comedy” feels true. I can’t remember which comedian said this, but I was watching the other day, and they said, “It’s always funny until it happens to you.”

This is a pretty intense film. For you, what was the hardest part of filming it?

It’s a part where Jen’s character is really going through

her darkest moments. I love playing parts where I’m very reactive—not only reactive, but playing someone who’s an incredibly normal guy. He doesn’t have the aptitude or the tools to deal with what’s happening in this relationship. I think that’s how most people feel when their partner is going through psychosis. No one knows what to do, especially when it happens quickly. You’re still remembering what your partner was like before this and trying to access that person, trying to make the relationship work. But the entire dynamic has changed.

It’s interesting because I generally gravitate toward quite strange characters, and at one point, I really wanted to play some normal guys. And it’s actually kind of difficult to play a normal person when you’re used to playing freaks and stuff.

You were at a similar stage in your own life as your character, having just started your own family. Do you think having that personal experience allowed you to approach this role differently? Could you have given the same performance three years ago?

No, I don’t think so.

It’s strange—I was never that big a fan of kids (laughs). But now I have so much more patience. It’s funny, it’s not even patience; I genuinely enjoy hanging out with babies. That surprised me.

We spent so much time with these two really sweet twins who were playing the baby in the film. It was fun. It’s also funny how you start having real, normie conversations—about things like schools or daycares…it’s so strange. It’s like, there’s this gravitational pull…Like, I have to wear Patagonia puffer jackets and cargo shorts now. I just have to.

It’s just the next step in a dad’s evolution. Back to acting, how do you go about choosing roles these days?

Sometimes it’s about wanting to work with certain actors, or

just being drawn to a script’s outrageousness.

For example, in “Die My Love” there’s this scene where my character brings home a dog at the most inopportune time—my wife is losing her mind, I’m already a terrible father—and I’m like well, let’s just bring home the most annoying dog in the world that won’t stop barking. There’s a moment where the dog pees on the floor, and I’m just accusing Jen of having peed on the floor. That kind of outrage does appeal to me. Just having an argument, screaming at Jennifer Lawrence, saying, “It was you! You peed!”

"It’s actually kind of difficult to play a normal person when you’re used to playing freaks and stuff."

I know you’ve also started moving into production, and I imagine you’ll do more of that. Why do you think so many actors eventually get drawn to producing?

I think it’s probably frustration. At a certain point—maybe when you hit your 30s—you realize, “I can’t sit around waiting for my agent to call. I’ll be dead.”

Some people like keeping that separation, just showing up between “action” and “cut” and not getting distracted by other things. But I like having multiple things going on.

We just finished our first production from the ground up, and it was a totally different experience. I was in New Orleans and didn’t go out at all. I don’t even remember being there. I took my kid to Mardi Gras—that was the only thing I did. My experience of New Orleans was basically eating Starbucks egg white bites.

"If you look at designers and how many shows they have to put on, it’s insanity. You’ve got to be, like, Superman to be able to function at that level."

Last question for you what has it been like digging your teeth into the fashion world over the years?

I guess most people’s idea of what the fashion industry is, is just from the glamorous shows and stuff…I mean, even from working in the film industry, which is pretty long hours, I didn’t think anybody works harder than designers. It’s the most intense schedule that I’ve ever seen. If you look at designers and how many shows they have to put on, it’s insanity. You’ve got to be, like, Superman to be able to function at that level.

All clothing and accessories by

SAINT LAURENT BY ANTHONY

VACCARELLO

Revelations of a POSTBREAKOUT STAR

All clothing and accessories by SAINT LAURENT

BY ANTHONY VACCARELLO

Hair Nicolas Philippon (Artlist)

Makeup Satoko Watanabe (Artlist)

Manicure Hanaé Goumri (WSM) Set design Jean Hugues De Chatillon

Creative production Studio Demi

Production manager Elsa Merchadier Digital technician Paul Allister (D-Touch)

Photo assistants Clara Belleville, Éléonore Chellini, Elvis Jousse-Hagglund Tailor A line Perot Stylist assistant Nicolò Pablo Venerdi Bettiol

Théo Sillas

photography paolo roversi fashion anastasia barbieri text penny spiliotopoulos

BY ANTHONY VACCARELLO

At just 25, FINN BENNETT has already worked alongside some of Hollywood’s most formidable talents, but it’s his reverence for craft and smoldering restraint that signal he’s building a career all his own.

"Take the work seriously, but don’t take yourself too seriously."

Over the last few years, Finn Bennett has been quietly walking one of the most intriguing paths of any young working actor today. With roles opposite Jodie Foster in “True Detective: Night Country,” Keira Knightley in “Black Doves,” and a recent appearance in Alex Garland’s “Warfare,” the British actor is emerging as a chameleonic presence with a flair for quiet intensity. But despite his growing reputation and the recent honor of receiving the Trophée Chopard at Cannes (presented by Angelina Jolie, no less) Bennett remains endearingly grounded, thoughtful, self-deprecating, and more interested in precision than polish.

When we speak, Bennett is some 60 kilometers south of the Arctic Circle, in a remote Canadian town where fishing, boating, and skidooing (a sort of snowmobile) are common pastimes. He appears on screen, all dimples and good cheer, offering a quick apology for the flickering Wi-Fi, though he seems to savor the digital remove.

All clothing and accessories by SAINT LAURENT BY ANTHONY VACCARELLO

All clothing and accessories by SAINT LAURENT

BY ANTHONY VACCARELLO

All clothing and accessories by SAINT LAURENT BY ANTHONY VACCARELLO

Yet, behind the boyish smile is a performer with range and resolve, one who disappears into his roles with an earnest gravity. In the conversation that follows, Bennett— who is slated to star in the eagerly awaited “Game of Thrones” spinoff, “A Knight of the Seven Kingdoms,” as well as the crime thriller, “Prisoners,” alongside Tahar Rahim and Izuka Hoyle—reflects on creative control, the impromptu lessons of collaborators like Jodie Foster and Angelina Jolie, and the values he aims to shape alongside his career. Style, in the grand scheme of things, is about more than aesthetics, and for Bennett, it’s a practice in self-awareness, discipline, and trust; qualities that continue to guide him on screen and off. Penny Spiliotopoulos: You’ve been quoted, in the past, saying you’re not a “fashion person.” But fashion is different from style, which is more about self-invention. So, how would you define your style at the moment?

Finn Bennett: I’ve gone from a purely very functional style – I had like three pairs of exactly the same jeans in slightly darker shades – and branched out more. And I’ve got more into wearing nice shirts. But I think style-wise, I just really like to be comfortable. Not in the sense that I like to wear track suits all the time, but I like to not feel like an idiot. I like to have lots of basic things that all match together, that work with everything, and then maybe one showstopper. I’ve been taking more risks recently. I bought a pair of flares. I very tentatively wore them on a night out. I put them on, came into the room to see if anybody said anything. Did they? No.

Any go-to brands you love to wear?

I really like Saint Laurent. It’s elegant. It’s super fun. They have these beautiful pastel t-shirts. These teenie, weenie little shorts, which on the models look great, I’m sure on me they would look slightly weird. But I really enjoy wearing their clothes. I also love the big collar, slightly rockstar look. Day to day, the pair of jeans I bought, the flares I was telling you about, are from Acne. I’m also very much a Uniqlo guy. I just keep it simple.

I did a project called “True Detective.” I worked with Jodie Foster, and I asked her very early on, “What do you do to go home and prepare? What should I be doing?” And she told me to go dancing. She was like, “Go on, have fun. Learn your lines, be professional, turn up on time, have some prep done, but don’t take yourself too seriously.” I’ve kind of reinvented the slogan slightly to be: Take the work seriously, but don’t take yourself too seriously.

And then, when I was getting into the car at Chopard with Angelina Jolie—it was her agent, or a commercial agent, was informing her of a few things and she was taking them on board and she turned to me and said, “That man, he’s very important to me. You must always keep your team small and have people around you that you really, really trust.” I think I’ve got a really, really great team. I’m really happy with everyone, and those are two lessons I like to keep.

"It would be a shame to put profit over basic human decency. I’m trying to make myself proud. It’s not about how I’d like other people to remember me."

Are there any icons you’ve had growing up in terms of acting or style or how people interact with fame, which is certainly a part of style?

If I was a taller guy, like six feet five or whatever, I’d say Dennis Rodman. I’m not a basketball fan. I didn’t grow up watching basketball or anything, but I did watch this Netflix documentary, “The Last Dance,” about the Chicago Bulls in the ‘90s. It’s not necessarily how I would dress myself, but I wish I had the balls to.

A lot of the guys I worked with on “Warfare,” I was at dinner with them one night and I think, ‘These guys, they look like fucking movie stars’. They dress so well. It’s not particularly big or gauche, it’s just very sleek. So, I’ve been spending a little bit more time in terms of making sure everything actually fits really well.

Twenty minutes before I jumped on this phone call, I was watching “Barton Fink”, the John Turturro film, and I can't get over how amazing he is. Yesterday I was watching “Death Becomes Her” with Meryl Streep, and everything she does every take on a character, every choice she makes is always the right fucking choice. Big question now. Is there anything you want people to know about you that hasn’t been said?

To what degree do you have creative control when working with a stylist? Do they take the reins or is it more collaborative?

I have this really great stylist called Chris Brown. The thing is, he always listens. He now knows what I gravitate towards. I went to the Saint Laurent show for Men's Summer 2026, and they sent over a few options of what we could wear, and he was like, “I thought you would like this one,” and it's exactly the one – kind of subtle but slightly loud enough. Are there any lessons or values you’ve learned at the start of your career that you’re already thinking about carrying with you as you progress?

I do think I would like to be more politically active and eventually go down on the right side of history. That's one thing I was saying about Angelina Jolie when I accepted my award from her. She’s always been on the right side of history with humanitarian work, with working with refugees. That's one thing that I'm kind of ashamed of myself for not living up to, but it's one thing I want to focus more on. Finding where I can put my voice to match that kind of stuff. It would be a shame to put profit over basic human decency. I’m trying to make myself proud. It’s not about how I’d like other people to remember me. It’s how I would like to look at myself when I’m old and have children.

All clothing and accessories by SAINT LAURENT BY ANTHONY VACCARELLO

Jake GYLLENHAAL

Knows HOW to DISH

photography ryan mcginley

fashion michael fisher

text jessica shaw

Hair Kumi Craig (The Wall Group)

Makeup Donald Mowat (United Talent Artists)

Set designer Sasha Veryovka

Producer Jemma Hinkly (Artist Commissions)

On-set producer Emily May

Junior producer Alana Amram

Choreographer Ashley Rucker

Digital technician Travis Drennen

Photo assistant Cade Curran

Stylist assistant Marley Pearso n

Production assistant Snake Garcia

Retouching Two Three Two Studio

Porcelain from Labirinto Collection, GINORI 1735

All clothing by PRADA Porcelain from Labirinto Collection, GINORI

The Oscar-nominated star of stage, screen, and a new Ginori 1735 campaign, can make a delicious roast chicken and wants to clean up afterward? No wonder he’s on our cover.

Porcelain from Catene and Labirinto Collections, GINORI 1735

"I try to keep things simple — cook, exercise, spend time outside or with family."

Shirt by SEFR, pants by MAGLIANO, boots by TIMBERLAND, socks by DRUTHERS, watch by ROLEX

Porcelain from Catene and Labirinto Collections, GINORI 1735

All clothing by PRADA

Porcelain from Catene and Labirinto Collections, GINORI

"Oddly, I’ve always trusted my taste… I love what I love."

Jake Gyllenhaal has played a lovestruck cowboy, a championship boxer, a comic book villain, and a roadhouse bouncer. He can flawlessly belt a Sondheim show tune about George and nail Shakespeares’s iambic pentameter. At 44, he’s already been nominated for an Oscar, Emmy, and several Golden Globes, and took home a BAFTA for “Brokeback Mountain.” But there is one thing the poor guy just can’t figure out: how to make a great pasta pomodoro

“It’s the simplest, but it depends completely on the ingredients and so many other factors–timing, temperature, the quality of the tomatoes,” he said. “It always keeps me engaged, which is probably why I love it.”

Porcelain from Catene and Labirinto Collections, GINORI 1735

It’s that willingness to be flawed while aiming for greatness that makes Gyllenhaal so utterly fascinating to watch. In the next year, he’ll play an architect seeking a fresh start in “Remain,” a supernatural thriller from M. Night Shyamalan and will star opposite Jessie Buckley and Christian Bale in “The Bride,” his big sister Maggie’s adaptation of “The Bride of Frankenstein.”

And even if he can’t nail pasta pomodoro (though we believe in you, Jake!) he’ll certainly have the right dishes to serve it on. This fall, Gyllenhaal’s latest collaboration with the iconic Italian porcelain tableware and décor company, Ginori 1735, will be revealed, and if it’s anything like what he served up for last year’s campaign, consider us covetous.

We caught up with Gyllenhaal to dish on artisans, dinner parties, and music playlists. And to borrow his take on that challenging pasta: He always keeps us engaged, which is probably why we love him.

ICON: In your 2024 campaign with Ginori 1735, you’re sitting barefoot with an adorably floppy dog and a beautiful cup from the oriente italiano collection. I imagine that’s not your daily existence, so what is a regular day for you?

Jake Gyllenhaal: It shifts depending on whether I’m working or not. When I’m on set, the days are structured and long. When I’m off, I try to keep things simple — cook, exercise, spend time outside or with family.

Do you have a daily ritual?

Coffee and a run outside.

Since Ginori 1735 has some of the most stunning dishes on the planet, let’s talk tables and dinner parties. Table-setting style: mix and match or consistent? Mix and match.

When you have a meal, are you more of the food prep person or the clean-up person? Clean up.

Apologies for the college essay question, but if you were throwing your dream dinner party, who would the guests be, living or dead? And, obviously, who would you sit next to?

How do you take your coffee?

Black in the morning, cappuccino in the afternoon. And what do you pair with your morning coffee? If you were making an omelet, what are the dream ingredients?

Whatever’s seasonal and fresh — good vegetables, herbs, sometimes cheese.

Since we’re talking food, and I know you can’t make pasta pomodoro, but what’s the dish you’re most proud of? Roast chicken.

A crowd pleaser! Tell me about the collaboration with Ginori 1735. What was important to you about working with this 200-plus-year-old Italian company?

That it felt intentional. Thoughtful design, but not overly precious. Something you’d actually want to use. What is it that you most respect about their talented artisans?

The focus. There’s care in every decision, and a deep respect for process.

What was the first thing you made with your own hands that came out great?

A ceramic vase with a man’s face wearing glasses that I made in school. My dad still has it!

Anthony Bourdain, Danny Kaye, Patti Smith, Richard Powers, and my best friend Greta Caruso — because she’s the best and makes the best food. I’d sit next to Jeanne, my partner. I always love being next to her.

When you’re hosting at your place, what’s on your playlist? And for that matter, when you’re winding down all alone, what do you listen to?

For guests: Bill Withers, more*, Coltrane, Frank Ocean. For myself: Max Richter or just quiet.

What is the meal ritual that is non-negotiable?

A moment of pause before eating. That’s it.

You’ve been to your share of dinner parties. What is the best host gift to bring?

I think a nice bouquet of flowers or a box of cookies from William Greenberg in New York City.

Ooh, speaking of cookies, what’s your go-to dessert? Anything from a Yossy Arefi cookbook — vanilla cake or iced lemon cake especially.

You’re an actor, a producer, a runner, a roast chicken maker. Was there a person or even a character in culture who most shaped your outlook on life?

My mom. Also Atticus Finch. And J.D. Salinger. What is your most prized possession? Perhaps a big fashion splurge?

A black leather jacket from Prada. Any major sartorial regrets? No regrets!

Words to live by! What’s the single nicest thing that anyone has ever said about you?

That I listen.

You’ve made so many incredible choices throughout your career and life. When did you know you could trust your own taste?

My mom and dad instilled in me the idea of trusting my taste from a very early age. Oddly, I’ve always trusted my taste, and that’s thanks to them. Whether that’s been a good thing is up for debate… but I don’t really mind either way. I love what I love.

Jug from Catene Collection, GINORI 1735

All clothing by PRADA Porcelain from Catene Collection, GINORI

Made by Hand

Esteemed designer, world-builder and one of fashion’s most refined personalities, Brunello Cucinelli translates his passion for old-world tailoring into an institute of higher learning

To describe Mr. Brunello Cucinelli as merely a famed Italian clothing designer would be woefully insufficient. Yes, his fashion is world-famous and adored for its old money sentiment, uber-luxurious materials and – to borrow from Kundera – indescribable easiness of being. But Mr. Cucinelli is far more than a fashion impresario, he is a renaissance man with a library of titles in his home so vast it rivals Mr. Lagerfeld’s, the other most famous literary aesthete in fashion. Meanwhile, the collection of restored buildings and ateliers in Solomeo, where Mr. Cucinelli and his teams work, compete in size with Silicon Valley compounds – though they win on chicness of course! On the whole, what makes Mr. Cucinelli such a profound force in the fashion industry is his relationship with beauty and luxury outside of the fashion industry: he understands style as a way of life, and everything he does, he does with elegance.

If history is the teacher of life, Mr. Cucinelli is a faithful disciple. Over an easy summer aperitivo in Milan we discussed everything from world politics to Socrates to the importance of human hands. The latter intrigues Mr. Cucinelli, and it’s where he sees a bright future. His School of Contemporary High Craftsmanship and Arts, founded in 2013 in his beloved Solomeo, aims to preserve the importance of work done by hand. In today's world, the term “luxury” is so easily overused – Mr. Cuccinelli believes true luxury is built by human hands and he is on a

text gro curtis

mission to preserve it. The School of Contemporary High Craftsmanship and Arts gathers masters of all kinds – from tailors and stonemasons to furniture makers and knitters –to educate new generations. Your tailor of tomorrow is being taught in Solomeo today.

There are so many topics one can discuss with Mr. Cucinelli but for a diehard fan of sartorial skills such as myself I was spellbound by this ages-old concept of making beautiful things by hand, and enthralled by the opportunity to discuss every last detail with this master of style.

ICON : The School of Contemporary High Craftsmanship and Arts in Solomeo was opened in 2013. When was the idea for this initiative born? How complicated was it to make it into reality?

Brunello Cucinelli: The idea of the school was born from my desire to bring dignity and value to the art of craftsmanship. I had long felt that certain trades were at risk of disappearing because we had forgotten how to pass them down with pride. Using our hands became almost synonymous with lack of opportunity or a career path not to follow, as technology was perceived as the main future. This, in my eyes, needed to change. We needed to refocus our attention on continuing this great tradition of manufacturing and hand-made work that makes Italy one of the best countries for the knowledge of this field. We can incorporate innovative technologies in our factories, with an eye on sustainability, but human sustainability also matters. We want to make our employees feel that what they do is a noble practice. I'm particularly interested in the schools of women's and men's tailoring. Before launching The School did you find it difficult to find young tailors for your own brand? Did it start from there?

We have created a register dedicated to applications for those wishing to join one of the six training courses offered by the school. These include three-year programs in Fashion Design and Men’s Tailoring, and one-year programs in Knitting, Linking, Mending, and Ironing. Applications are first assessed by the respected Confindustria Umbria, and then directly by our highly skilled master artisans in Solomeo.

Where are the lives of students like during the course of study?

Thanks to a scholarship, students are able to arrange to live in the surroundings of Solomeo, and several come from outside the area—some from far away, and in some cases even from outside Italy. It’s wonderful to see them enlivening the life of our small village, which they admire and, at the same time, enrich with their presence—like modern-day apprentice artisans in the finest Italian tradition of craftsmanship, art, and creativity. After they finish the program the students are not necessarily obliged to work for your company. Are they free to open their own businesses if they want?

"Our culture had decided to replace craftsmanship with machine work to make things faster."

I think we have been unwise at times towards young people in our communities. We often made them feel that going to work would be a punishment if they didn’t do well in traditional school. I have learned in life that success comes in many ways. Watching the young apprentice group in Solomeo use their hands with such harmony and calm when learning the art of tailoring made me realize how important it is to continue this great tradition. We had certainly seen a decline of youth in this trade but only because our culture had decided to replace the craftsmanship with machine work to make things faster. I am happy to say that today, our schools have expanded as an idea from Solomeo into other parts of the world. Our goal for the future is to open tailoring schools also in New York and Los Angeles where we will be able to train young people with a desire to enter the field. What’s the process when it comes to applying to study tailoring?

Absolutely. The goal is for them to feel like they can go to work on their own and continue this path with confidence. We are always happy to hear about students continuing their journey in the field, with us or on their own. The important aspect is to keep the tailoring and work by hand alive and attractive for young people.

Students are coming from all walks of life and from different countries around the world. Can you tell us the story of one student who moved you the most recently? I recently met one of our tailors that came to Italy as an immigrant, leaving his family back in Northern Africa. For him, it was important to learn and be able to go back one day to his family and support them. I was moved by his dedication and focus. His story is a common one in many counties across the globe today. His courage and quiet determination became an example for me, and, once again a realization that young people today are remarkable. Since you are surrounded by young people, are you optimistic about the future? And why do you think older generations are historically always unhappy with younger people?

As we get older, we start to see the world in a more pessimistic way. Instead of looking at the endless possibilities that young people see, we tend to only look at the darker side. Young people are filled with dreams and our job is to help them reach their goals, not discourage them. We must change fear with hope and allow them to bring forth a new cultural revolution, with the confidence of our support and the opportunities we can bring them.

Photography courtesy of Brunello Cucinelli

THE SARTORIAL

Having been part of Zegna’s story since 2003, Alessandro Sartori’s philosophy on fashion cuts deep into today’s design landscape

Jacket by ZEGNA

SetdesignerErica Gosnell photographytakahiroigarashi textmathiasrosenzweig

SURGEON

Trousers by ZEGNA

At a time when much of the fashion world chases virality and seasonal turnover, Alessandro Sartori remains devoted to a quieter, more enduring ideal: timeless design, built to last. As Artistic Director of Zegna, Sartori has redefined modern tailoring by merging technical excellence with a deep respect for individual expression. In his world, luxury isn’t about spectacle; it’s about substance. His approach is rooted in honoring craftsmanship and the client alike, creating garments meant not just to be worn, but kept, like heirlooms, not throwaways. The result is fashion that feels grounded in artisanal heritage but styled with contemporary ease. Sitting at the Dubai Opera the day after his Spring/Summer 2026 show, Sartori spoke candidly with ICON about the importance of slowing down, designing with intention, and why respecting your customer begins with creating something they’ll still want to wear, not just next month, but twenty years from now.

ICON: How long has your team of artisans been here?

Alessandro Sartori: Two weeks. Two weeks tomorrow, precisely. Normally, the atelier time is 10–11 days. Some people do fashion shows in three days. But it depends on what you want to do. We’re doing oneto-one fittings, one-to-one styling, because each man is different—and we're using such a variety of men. Eighteen years old, 70 years old. Size 46, size 52. Women and men. Heights from 175cm to 189cm. We do it because we want to show the variety of our clientele. We want to show that the friends of the brand are many, are different, come from different places and different ages. But that requires a lot of work in styling and building.

Yesterday at the Museum of the Future, we heard someone use the term “future-proof.” Does this term resonate with you and how you approach fashion?

moment, and then you change it again next month, and the month after. I don’t believe in that anymore. Not now.

After COVID, when prices went up, the whole paradigm changed. Some brands haven’t understood that the value of timeless luxury is key now. How do you approach something as traditional as tailoring, but make it modern?

I never thought classic suit design was the answer for the future. I always believed the craft—the old rules of tailoring— is and will always be relevant. But here’s the thing: most of the quality classic tailoring brands are very conservative. Meanwhile, brands doing innovative tailoring often lack the craft. They don’t even know how to do it.

"That’s why we’re against all the collab, collab, collab, trendiness.

“Trend” is fine, but burning what you did every month shows you don’t respect your customer"

Absolutely, yes. Because timeless design, when it’s fresh and beautiful, isn’t nostalgic. It just means timeless from now on. A lot of aficionados are giving real value to what they buy. They don’t buy just to buy—they buy to wear something that lasts. That’s why we’re against all the collab, collab, collab, trendiness. “Trend” is fine, but burning what you did every month shows you don’t respect your customer. We, as collectors and aficionados, understand that luxury customers today are buying things that last…If you’re doing one collab a month, you don’t believe in timelessness. You think the product needs to be bought because it's of-the-

The Neapolitan and Roman ateliers have incredible quality, but their style is quite conservative. On the other side, you have fashion tailoring, avant-garde tailoring, but often with very poor quality. So I try to use this intersection: timeless craft with modern design. If you were speaking to a design student who wanted to learn tailoring, who would you say are the masters they should look at?

Balenciaga. Yves Saint Laurent. Then many not well-known names. Like the old Atolini, the Neapolitan school, some Roman tailors— amazing. Torino has fantastic ateliers. Some of them are just incredible. Craftsmen in their 50s, 60s, and 70s, making garments with the best technique.

Then there’s the English school, which I respect and admire. But it’s a different vision. Structured garments, shoulder pads, heavier silhouettes. It’s not connected to the kind of thinking I have. What I respond to is more Parisian, Milanese, Roman, Neapolitan— those kinds of places.

You have a very eclectic customer base, and you choose very specific brand ambassadors. What type of men are you interested in having represent Zegna?

Chic men. Different body types, postures—but that chic energy. I’m really attracted to characters. Any favorite moments from this trip?

Today I sat next to a man named Osama, and he was wearing a deep green jacket. I didn’t recognize the shoulder or the lapel. I said, “I don’t know the brand, but it looks familiar.” He noticed me looking and said, “Do you know my jacket?” I said no, and he said it was made-to-measure Zegna—from 20 years ago.

Jacket by ZEGNA

GATEKEEPERS

Tailored to precision, this season’s outerwear channels the discreet glamour and quiet authority of New York’s unsung style icon: the Upper East Side doorman.

All clothing by SAINT LAURENT BY ANTHONY VACCARELLO

photography blair getz mezibov

fashion gro curtis

Models Ante Padovan (Heroes), Neil Fenton (Major), Pero Šimi´c (New York Models), Luca Luci (DNA), Torey McDonald (Marilyn), J ohannes Huebl (Heroes), Andre Brown (Major), Tony Spinelli (Major), Tim Easton (Heroes), Pratik Shetty (IMG), Emanuel (Ricky Michiels Casting), Grailing (Ricky Michiels Casting), Victoria

Hair Anton Alexander (Streeters), Executive producer Billy Kiessling

Production coordinator Malcom Khaldi , Casting director Chloe Rosolek

Lighting director Corey Danieli , Stylist assistant Angelina Khachaturyan

Production assistant Polina Katz , Retouching Lisa Langdon Banks

All clothing by BRUNELLO CUCINELLI , hats and gloves throughout the story by ALIAS COSTUME

All clothing by EMPORIO ARMANI

All clothing by DOLCE & GABBANA

All clothing by RALPH LAUREN

All clothing by AMIRI

All clothing by ZEGNA

All clothing by CALVIN KLEIN COLLECTION

All clothing by LOUIS VUITTON MEN’S

All clothing by HERMÈS

All clothing by BALENCIAGA

MOTHER OF

fashion

THE

All clothing and accessories by FENDI

Models Adeleye Segun (The Claw), Daniil Kovalskyi (Yu Models), Bede Iles Harper (Yu Models)

Hair Daniela Magginetti (Blend Mgmt) using Paul Mitchell

Makeup Katja Wilhelmus (Blend Mgmt) using Comfort Zone

Production Giulia Peschechera

Casting Director Vanessa Contini

Stylist assistants Valentina Volpe, Emily Cervi

photography antonio dicorato

edoardo caniglia

text by alex tudela

The force behind five generations of Fendi

When Silvia Venturini Fendi was six years old, she walked the runway at Karl Lagerfeld’s first show for Fendi, dressed in a miniature equestrian look. Nearly six decades later, her twin grandsons opened the house’s centennial show in matching outfits: a living portrait of Fendi’s five-generation legacy. Now, at 63, Silvia, Artistic Director of Accessories and Menswear since 1992, has stepped in to design both the men’s and women’s collections at a pivotal moment for the brand.

The show, staged inside a replica of the family’s original Roman atelier, marked more than a milestone – it was, in Silvia’s words, “a flashback and a fast forward.” As Fendi celebrates 100 years, the designer who gave the world the It Bag reflects on inheritance and innovation, the evolution of men’s style, and the house’s role in Italian luxury.

ICON: Your first runway memory is from 1966, and now your grandchildren have walked in your footsteps. What does legacy mean to you?

Sylvia Venturini Fendi: When you have a 100-year-old history, numbers are important. They mark the passage of time and there is a magic to them as milestones. I feel incredibly proud to be here to celebrate this anniversary. It is about five generations of Fendis, from my grandparents’ historic store and atelier to my grandsons opening the doors to the show as a look to the future.

I have always been pragmatic. I want to make real clothes. I want to see those clothes walking in the street on real people, not just in a very beautiful editorial in a magazine. Do you ever fall in love with your own designs?

If so, what’s the last piece that truly moved you?

At the moment I can’t separate myself from the new Fendi Spy bag, with its unstructured shape and supple leather. The new version enhances its softness and lightness, still maintaining the secret pocket that characterized the bag in the 2000s.

You’ve helped define what an “It Bag” means for women –what goes into the philosophy behind creating one?

Fendi has always been shaped by women. Has being a mother –and now a grandmother –changed the way you think about generational style?

The Fendi story is a female one, with my grandmother having five daughters and my mother, three. I have two daughters and one son, probably the creativity genes are passed down through generations in our DNA. I like the fact that my daughters are doing something connected to what I do; it makes me feel proud. It makes me believe I was a good example for them, with Delfina, who followed in my footsteps closely, with an inclination for creativity. And Leonetta too, who works in the field of eco-design, opens very interesting new doors on responsible practices and methods that are dutifully important.

"When you have a 100-yearold history, numbers are important. They mark the passage of time, and there is a magic to them as milestones."

Bags are timeless because they can be souvenirs from different times of our lives. It’s incredible how you can feel an emotional connection with them, especially in certain moments. I am a very practical person, which also makes me a realist, especially when it comes to designing accessories. To me, a bag is not different from a chair, or something that needs to have a function but an aesthetic. A handbag is not just a handbag. There are not just three dimensions. You need to feel you want to know more about that object. When a bag talks to you, that is what I want to achieve when designing.

How has your understanding of masculinity evolved since you began designing menswear in 1992? What does elegance mean in a man today? How has that changed since your youth?

It was different then, more confining for men. For many, many years, there have been very strict codes that were defining a restricted area in fashion for men to move within, especially in formal garments. Fashion is a sort of portrait of society; things have been changing so much in the last years, talking about gender and freedom, bringing men and women close, in a sort of uniqueness. Now that I am also doing womenswear my interest is towards doing a genderless collection. So many women wear men’s clothes, and I am one of those, and vice versa. I don’t like to have those barriers.

When you close your eyes and think of Fendi, what’s the first image that comes to mind?

You’ve lived Fendi across five generations. What’s remained constant in your taste, no matter the time?

We call it Fendi-ness. It’s something alchemic. An obsession with quality. Luxury, a bit of fun, and a lot of incredible women.

All clothing and accessories by FENDI

TRUE

photography brett lloyd

fashion robert rabensteiner

Executive

Producer

Production manager Ginevra Vancini (Magma Productions)

Casting director Piotr Chamier

Lighting technician Enrico Brunetti

Stylist assistants Ruben Blattner, Irene Castillo

Production assistant Emilia Saggese (Magma Productions)

Location Ronciglione

Talent Robert Rabensteiner, Max Tate (Models1)

Set designer Soraja Cehic

producer Lucinda Agar (Magma Productions)

Luna Loreti (Magma Productions)

Robert Rabensteiner, the legendary stylist, steps in front of the lens for a tableau vivant that reflects his romantically expressive style.

Through Brett Lloyd's lens, Rabensteiner’s feel for depth and delicacy — masculine draping and insouciant mixing — evokes the chiaroscuro drama of light and shadow.

Max wears coat by GIORGIO ARMANI, robe and shoes personal collection of Robert Rabensteiner

Robert wears robe by TOM FORD, shirt

Max wears all clothing by TOM FORD

Robert wears personal collection

Robert wears trousers and socks by LORO PIANA, coat, shoes and glasses personal collection

Max wears all clothing by VALENTINO GARAVANI

Robert wears coat by DOLCE & GABBANA, shirt and glasses

personal collection

Max wears jacket and trousers by DOLCE & GABBANA, shirt vintage, shoes by LORO PIANA

Robert wears jacket by BRIONI, shirt, pants, accessories personal collection

Max wears coat and trousers by GIORGIO ARMANI, vest and boots vintage

All clothing by McQUEEN, shoes by CHURCH'S

Robert wears personal collection

Max wears coat and trousers

by DOLCE & GABBANA, robe and shoes vintage

Robert wears robe by TOM FORD, shirt and accessories from personal collection

Max wears all clothing and shoes by TOM FORD

In SUSPENSION

The fight to make explicit male sensitivity and vulnerability echoes through the emotional unraveling of men’s tailoring this season. Broken suits, ballet-laced Oxfords, and bodies caught midair capture a silhouette — and a state of being — in flux. Our subjects, presented mid-jump then juxtaposed with tender, close-up portraits, explore authenticity achieved through introspection and emotional openness. Men can and should feel.

photography campbell addy

fashion matthew josephs

Talents Aiden Rhys (Next), Reuben (W Model Management), Bashir (TIAD), Atsuya Morioka (Xdirectn Agency), Cookie (Brother Models), Shunsuke, Jum Kuochnin (Models 1)

Hair I ssac Poleon (The Wall Group) using tools by Cloud Nine

Makeup Mata Marielle (The Wall Group) using Dr Barbara Strum

Executive producer Chantelle-Shakila Tiagi (TIAGI)

Supervising production manager Zim Uddin (TIAGI)

Production manager Iman Drissia Coudoux (TIAG)

Casting director Theo Spencer

Movement director Simon Donnellon (New School Represents)

Digital technician Georgia Williams

Photo assistants Lucas Bullens, Wilbert Lati

Stylist assistants Myrto Peristani, Eden Lovesee Clark

Hair assistant Ana Torres

Makeup assistant Tahiya Ali

Production assistant Tiayana Simms

Production intern Mia Alvarez for TIAGI

Retouching Touch Digital

All clothing by AMIRI

Top by RICK OWENS

Jacket by GIORGIO ARMANI

Shorts by LOUIS VUITTON MEN’S,

All clothing by SIMONE ROCHA

Jacket and trousers by MARIE SCHULZE, hat by VALENTINO GARAVANI

CLIMB

theRANKS

Command attention with this season’s most ruggedly refined accessories.

Western-coded textures — pony hair, woven leather,

suede — anchor bags with attitude, while sturdy

silverwork lends a ranch hand’s grit. Designed for the urban frontier, these pieces marry utility and swagger in equal measure. Add a statement chapeau and a hard-trotting boot, and you’re part climber, part

photography robin broadbent

fashion carson stannard

cowboy — no horse required.

Executive Producer Michael Scheideler (Creative Exchange Agency)

Producer Anna Magriplis (Creative Exchange Agency)

Digital Technician Maria Herron

Photo Assistants Duncan Mellor, Katie Noble

On-set Retoucher Seth Personett

Location Robin Broadbent Studio

BOTTEGA VENETA

Andiamo Voyager

GUCCI Dark Green Mule with Gold Horsebit

DOLCE & GABBANA

Leopad Print Shopping Bag

Backpack With M Lock

810

Buckle

LORO PIANA Noah Hat and Alma Hat

Tan Suede Pleated

GIORGIO ARMANI

Drawstring Bag

PRADA Leather Boots

DIOR MEN

The House of Dior

Sneaker

_fall/winter 25

RALPH LAUREN

Neil Zarama / Chiricahua Apache Nation

Silver Turquoise Ring and Silver Turquoise Bangle

LOUIS VUITTON MEN’S

Frog Pilot Sunglasses

BY ANTHONY VACCARELLO

SAINT LAURENT

Large Sac De Jour

Slim Bauletto Bag in black and brown

_fall/winter 25

HERMÈS

Chaine Maillon

Stainless Steel and Ceramic Bracelet

RUU DI MEN TARY

Casper Ruud, the dashing Norwegian tennis player, scores a new role as the face of Mango Man’s Essentials collection

There is nothing chicer than well-crafted basics—easy garments we instinctively reach for that have a simple, rudimentary elegance. Enter Mango Man and their latest Essentials collection, a refined assemblage of coats, jackets, sweaters, and tailored trousers, with sensational athlete Casper Ruud fronting the new campaign. Enlisting the world-renowned tennis player to personify the new collection sends a clear message: these pieces are quietly powerful, impeccably precise, and a sartorial embodiment of excellence. Following a “Craft your own story” ethos, each item is designed for interchangeability, functioning like sartorial building blocks to express personal style with finesse. ICON spoke with Ruud, a living legend, about why working with Mango Man came as naturally as his signature backhand.

ICON: How does it feel to be the face of Mango Man?

Casper Ruud: I am very happy and proud to be Mango Man’s newest global brand ambassador. I have always liked the brand, and it has been great working with the team thus far on the campaign we have put together.

I also feel that Mango and I are connected through our love for tennis since they are one of the main sponsors of the Barcelona Open Banc Sabadell, an event I love to compete at and have actually won in 2024.

How would you describe the ESSENTIALS collection?

The ESSENTIALS collection feels very me. My closet is based on these kinds of pieces: good quality, long-lasting basics in neutral colors that you can combine and wear oin different occasions. They really fit my style.

Can you tell us about shooting this campaign?

The concept of the campaign, “Craft your own story,” is very inspiring to me, and I like it because I can share my journey and inspire not only Mango’s audience, but also the next generation of people in all walks of life.

Welcome to the most unpredictable table at the ICON dinner party. Seated here: two DJs who have soundtracked entire eras, and two fashion designers who’ve reshaped how we dress. Paul Sevigny opens up with an unusually personal story; Mark Ronson cues the vinyl and revisits the electric nights of '90s New York. Thom Browne, ever exacting, makes a case for sticking to your creative instincts — even when the world doesn't understand. And Giorgio Armani? He takes us to Pantelleria, his island refuge, and to the interior world

of a man who’s already seen it all. Salud!

PAUL KEEPS MOVING

One of downtown New York’s most influential figures is also one of the most mysterious – Paul Sevigny lets ICON into his unique, irreverent, and perfectly styled world

For two-plus decades, Paul Sevigny has been shaping New York culture via legendary clubs like the Beatrice Inn and now, with Paul’s Casablanca, his Moroccan-themed spot in the far West Side space that used to house the iconic club, Sway. Back in the early 2000s, after Sevigny studied fine art, worked on Wall Street, and, around the same time he was playing synthesizers in the art-rock band A.R.E. Weapons, but before he founded “a few different advertising companies,” got married, had kids, and expanded his mini empire of cool to the West Coast, he hosted the first of many legendary Smiths/Morrissey-themed Sunday nights at Sway. In what would become a signature for Sevigny, those nights became known both for their scene-y-ness (everyone from Kate Moss to designers like Ben Cho to Sevigny’s younger sister Chloe and her crew were regulars) and their earnestness. Everything Sevigny does, from his philosophy about DJing (“I'm an entertainer, not an artist”) to how he painstakingly breaks in his jeans, is rooted in a romantic respect for the magic alchemy of urban life and a desire to entertain himself and others while thumbing his nose at establishment aesthetics. “With the Beatrice,” he notes. “I was still working other jobs. I just wanted to make the point that it’s very easy to have the coolest thing if you don't give a shit about the money.”

Helmut Lang, Olivier Zahm, André Saraiva, & Juergen Teller at Beatrice Inn

Sevigny in 2002, D.J.ing a fashion event

Elle Muliarchy at Beatrice Inn

Dressed for the Kentucky Derby, 2015

Bay Garnet and Alexander McQueen, 1999

In his East Village apartment, 2003

Sevigny with French stylist Catherine Baba at the Beatrice Inn

Chloe Sevigny at her birthday in 2006 with Lazaro Hernandez

Sevigny in the early ’80s at Tight Ramp in Connecticut

Sevigny doing a “sad plant” below the Brooklyn Bridge

1986, the first Brooklyn Bridge skater competition

Images by Alexis Dahan and courtersy of Paul Sevigny

With his cats, Kanicuna and Boonshaka

With my personal style, I always try to have something that's off.

ICON: You grew up in Darien, Connecticut. What is your earliest memory of cultivating a personal style?

Paul Sevginy: Back when there were go-to-work-withyour-dad days, you would get dressed up to do that – a little blue blazer and whatever else. That was fun. You’d get to go into the city and into all these amazing magazine shops. Magazines were the internet for my generation. Then, when I started surfing and skateboarding you had to go to California to get a pair of Vans. They were 23 bucks and they were the coolest thing ever. The exciting fun style came from the streets.

I also came from a bit of a thrift shopping family so you learned how important fit was, as opposed to brand, particularly for men. Everyone's like, hey, I got this on sale and it's X designer. It’s not the designer that matters. If it doesn’t fit or it’s the wrong color, I don't care who made it. This was back when it was actually cheap. There was no Resurrection buying it all up. So you happen in there and it’s like, oh wow, I don't know who might have just died, but there's 12 Charvet button downs that fit me, for three dollars each. That kept things fun. Music and fashion seem like twin passions for you. How did the interest in music begin?

PS: I was 13 and working at Soho Skateboards. There were a handful of us in New York, and I knew the skaters in Miami and Providence. You spent a lot of time hanging out with these people and doing stupid things, and at the same time you’re going to 3-5 shows a week. But you weren't going because there was a specific band, you just showed up because what the fuck else were you going to do?

How does your philosophy about music relate to your philosophy about fashion?

The whole punk rock thing was always about moving forward. It's not like when you go to a show these days and it feels like a Civil War reenactment. Or you show up at some old buddy's house you haven't seen for 30 years and they’re playing the same records they played back then. That is not the spirit of punk rock. I'm not saying you’ve got to be Madonna and reinvent yourself all the time, but you also kind of do in New York. With my personal style, I always try to have something that's off. If I'm going to dress in all linen Loro Piana, then I'm gonna put on like seven gold rings so it’s jarring to the Yacht Club people. What the English are very good at, and particularly the rock and rollers, is they will buy that very high fashion stuff, but then they'll sleep in the gutter in it for three nights. My father once told me, when we bought my first tweed: That's not going to look good until you've slept in at least 3-4 times.

How did you start DJing?

My father would say, Paul, don't listen to my music, find your own music. The Ramones and Blondie records I still play are his. He was at the Mudd Club and all the rest. But hip-hop and punk rock, that was my music. Once you start listening to hip-hop, DJ culture and graffiti come into play. I was like, oh, I want to learn how to do that. Do you know Moby, the musician? Moby was maybe two or three years ahead of me in school. He was DJing in Connecticut a lot and he would show up in all black with a fat gold chain and then play the Smiths. I loved him for that. He used to play at this place called The Beat in Port Chester, New York, and he taught me how to DJ there one night. I was still in finance at the time, but the DJ thing was always there. I had a bunch of records.

How did you wind up working in finance in the first place?

I had trouble focusing on school and I really enjoyed the company of women. I went away to boarding school, then to Charleston, South Carolina where I was a studio art history major. Coming back to New York was right around the time I also lost my father [Sevigny’s father died of cancer in 1996] and I needed a money-making job. I saw a number of artists, I don't want to mention them, but everybody would know them, where the galleries were telling them: Hey, you need to change up your style. I was like, I’m going to work on the cotton exchange in the World Trade Center, make a shit ton of money and paint what the fuck I want to. I really take that shit seriously, I believe in it, but I would prefer not to have to do it for a living.

Do you still paint?

Yep. I've got a gallery in New York, Freight+Volume. Let’s close with a lightning-style round. Ready?

Ready!

What is your favorite piece of clothing of all time?

I usually have a favorite blazer until it wears out, one with just the right fit and where it breaks in the right ways. I understand the philosophy of the drape but when it comes to arms and shoulders, sometimes I like something that's been shaped a little bit, where it becomes yours, if that makes any sense.

Do you get emotionally attached to clothes?

I know it sounds crazy to normal people but there have been pairs of jeans that I've spent five years getting perfect. What is the best tailoring advice that you would give to your younger self?

I have tailoring advice for everybody: Do not be satisfied. It will take you a number of times with a great person to get there. And, you don't need a lot of clothes. It’s much better to have one great suit than three shitty ones.

“In my studio I paint whenever I have time, and show at the Freight + Volume,” says

Sevigny

GIORGIO ARMANI’S OASIS

This interview, conducted over the summer, was one of Giorgio Armani’s very last. The Italian designer spoke to ICON about his beloved Pantelleria home, an impressive Mediterranean estate and garden, nourished by his passion for the sea, lifelong dedication to contemporary design, and unparalleled sensibility for space and materials.

When Giorgio Armani first stepped foot in Pantelleria 45 years ago he didn’t like it. But it was only a matter of days before the island’s wild, uncultivated Italian landscape lured him with its charm, and convinced him, a few years later, to turn one of its local houses into his stately summer refuge. The late fashion designer and executive of Armani Group was celebrating 50 years in fashion and 25 years of Armani/Casa this year; he died in early September. What ensues is an interview that took place just a few months earlier, where Mr. Armani talks about the transformation he brought upon his Pantelleria home, turning it into a contemporary estate deeply rooted in the landscape and traditional architecture.

“What really won me over was Cala Gadir with its dammusi, the typical local houses made of lava stone with white domed roofs,” he said. In our interview, Mr. Armani shows that what he built wasn't merely a house with a view, it was his capacity to inspire by taking what’s natural and extending it into something genuine, sophisticated, and timeless that will live on for centuries to come.

ICON: You own nine homes spread between Europe, the Caribbean, and the United States. Why is it important for you to keep residences in so many places?

Giorgio Armani: My homes are in Milan, Broni, St. Tropez, St. Moritz, Pantelleria, Forte dei Marmi, Paris, New York, Antigua and on the sea: the Main yacht. The idea of having homes in various parts of the world, on the one hand, the fulfillment of a childhood dream and, on the other hand, a response to my nature of being particularly attentive to the places I go. I have always preferred houses to hotels, so I thought it would be nice to have a permanent residence in the places I love to revisit, furnished how I like, with the spaces completely tailored to my taste.

When you first visited Pantelleria, you didn’t necessarily like it, yet you ended up making it one of your summer refuges. What changed your mind about this island?

I have a long history with Pantelleria, which began, to be honest, with doubts and perplexities. When I visited it for the first time in the late 1970s, it seemed barren and unwelcoming. There were no easily accessible beaches, no hotels or restaurants. Yet, after a few days looking at the clear sky and the surrounding landscape, I realized that peace, calm, and absolute silence reigned everywhere. It was at that moment that I realized something had captivated me. Admiring its unspoiled landscape, I fell in love with its wild charm. What really won me over was Cala Gadir with its dammusi, the typical local houses made of lava stone with white domed roofs—true gems of rural architecture. I bought them in 1981 and treated myself to this house, which over time has become an estate with a true oasis that I am very proud of today. Your house is surrounded by a remarkable garden that you’ve nourished over the years. What trees and flowers were important for you to have and how did you build this oasis?

The special oasis surrounding the estate has always been there, and over the years I have devoted special attention to it. There are local cacti called mother-inlaw’s cushion, fragrant white gardenia plants (the symbol of Tahiti), jasmine hedges, rose bushes, rare cypress trees and even some century-old palm trees (saved from being cut down) from Villa Tasca, near Palermo. I rescued them from the motorway and transplanted them here. I am very proud of my palm grove, which was planted in 1985 and has now become one of the island’s attractions.

It is the house that connects me most deeply and genuinely to the sea, which is truly my element.

Pantelleria has a strong traditional construction style that relies on the island’s resources. Did it feel natural for you to preserve this style while building something sophisticated and new?

I chose to consult architect Gabriella Giuntoli for many reasons. She knows the land and understands its nature perfectly. She has the innate ability to grasp the tastes and needs of others, transforming these ideas into a simple, natural and modernly luxurious reality. She has worked with the greatest respect for the land and nature, designing an extension of the house characterized by large windows in a light, contemporary style. But her strongest contribution, underlining the link between interiors and exteriors, was the design of the new terraces, conceived as open-air rooms overlooking the sea, the garden and the clear skies.

The colors and natural elements you used in the house resonate with the brand you’ve built over the years.

How did you translate your personal style into this home?

How did you integrate Armani/Casa?

The house is an expression of my taste and perfectly represents my style, in dialogue with the colors of the surroundings and the harsh yet fascinating nature of the island. Furnishing it was a long process, which in a sense never ends, because I like to add new items, vintage pieces or items found in markets. At first, simplicity prevailed, enlivened by a few exotic touches, such as a pair of Moroccan stools in front of my bedroom, where I also placed the ducchena, the stone bench where we sit and chat in the evening; or the ottomans and low tables made of Hammamet straw in the Arab garden, protected by an orange tree that had been growing there long before I arrived. Since Armani/Casa was founded in 2000, I have started to incorporate more furniture, following a new and passionate interest. It seemed natural to bring them here; their modern shape creates balance and is a good response to the risk of excessive exoticism. Comfortable sofas, low tables that go well with the relaxing shapes of the Chinese armchairs, and a series of modern and ethnic objects in silver, wood and unusual materials: travel souvenirs and gifts from loved ones. I dedicated one of my first design pieces to Pantelleria: a solid woven wicker chair, which takes its name from the island and is an undisputed feature of the house.

We can see an Asian influence in the décor. Are these pieces ones you’ve collected over the years? Why was it important for you to bring the Eastern world into this home?

I am fascinated by the East, and I like to have symbols of it in my home, especially if collected during my travels. Furthermore, Pantelleria is a borderland, and I find that it lends itself well to this kind of aesthetic fusion.

What makes you keep coming back to this house year after year?

This house is my refuge and the first one I envisioned outside Milan, in such an exotic location. It is also the house that connects me most deeply and genuinely to the sea, which is truly my element and surrounds the entire island as far as the eye can see.

RUN IT BACK

In a new memoir, legendary DJ and producer Mark Ronson tells the story of his perfectly misspent youth, and of a lost era — the gritty, innocent, luxuriously analogue ‘90s New York hip-hop scene

DJing in the ‘90s was simply different. There were no USB sticks, no computers, no SoundCloud — none of the modern amenities. If you wanted to spin records before this millennium, you had to curate your selection before your scheduled set, make sure you had those records on hand, take a trip to the record store and hope they were available to rent if you didn’t, and, then, of course, lug them and your equipment over to the club yourself. As a DJ, you had to put your whole body into your work, and the ever-knowing crowds would repay your efforts by putting theirs into the music.

In his forthcoming memoir, “Night People,” out September 16th via Grand Central, Oscar-winning music producer Mark Ronson takes us back to this glorious era. Specifically, New York City’s explosive hip hop scene — when Notorious B.I.G., Jay Z, and Lil’ Kim were at the clubs, causing trouble and making history. For someone like Ronson, an Upper West Side private schooler whose teen rock band included Sean Lennon, making it in this scene was a shot in the dark, but somehow — in all his clumsy, passionate eagerness — he did. And he went on to do so much more.

Ronson’s career accolades are beyond impressive (memoir material, one might say): he’s won 7 Grammys and an Oscar for work that feels as varied as it is instantly recognizable, from producing Amy Winehouse’s “Back to Black” to writing the Oscar-nominated “I’m Just Ken.” Yet “Night People” almost exclusively takes place in the ‘90s, before he went big-time. We chatted with the DJ about why he zeroed in on this decade, how he approached rendering in print for

Mark DJing vinyl at the Bowery Ballroom for LES Girls Club 2004

Mark DJing at the Limelight 1993

Being surrounded by other people sweating, dancing, and responding in real time to the same music that you are — there’s just something really wonderful about that.

all eternity the ridiculously juicy anecdotes he’s chosen to share, and why revisiting this golden epoch inspired him to start DJing vinyl again.

ICON: We’re meeting you at Cannes Lions, where you’re prepping to DJ for Spotify later this evening. Tell us what you’ve got in store for the partygoers.

Mark Ronson: I brought a huge crate of a few hundred records. A lot of ‘90s R&B, Destiny’s Child, TLC. Some classic ‘90s and 2000s hip hop. From A Tribe Called Quest to Beatnuts to Biggie. And probably a little bit of house. I started DJing vinyl again, sort of as a result of the book. A really good friend of mine said he thought that I needed to go back to playing vinyl because the book had all these telltale signs that I really miss it. Tracking down all those club records I wanted, carting hundreds of records again to gigs… he was right. DJing vinyl has brought back a lot of my joy for playing music.

You talk about DJing as a solitary practice, how did that prepare you for the solitary practice of writing a memoir?

I wrote this book over the course of three years. It was certainly the most solitary thing I’ve ever done. I interviewed maybe 150 people for the book because I wanted to remember all these amazing anecdotes like DJing on a Tuesday night and Biggie showing up to the club with 50 dudes. I spoke to door guys, bartenders, barbacks, my parents, promoters, record company people, dancers. Other than that, I read this Stephen King book, “On Writing,” and I read Mary Karr’s “Art of Memoir.” Stephen King had this very austere, lock yourself in a basement, no windows, five hours a day approach. And it works. I found that windowless rooms and basements were really good for the focus.

Your family is part of the inspiration behind the title, and they’re featured in the book pretty extensively. What did they think of it?

I showed it, obviously, to my family, just to make sure that everybody was cool with it. I wrote about everybody with love, but I also had to write about how my parents were — and they liked to party. Maybe it’s genetic, but growing up, that idea of the night just always seemed more interesting, more productive, more magical than daytime. I really did this thinking I was writing a DJ book, but as the “night people” concept started to take over, I knew that I had to write more personally about my own whatever. I was really surprised and happy that they liked it. My dad asked me to change one thing. He was like, ‘I never listened to Hot Chocolate.’

You wrote this as a love letter to DJ culture as it was in ‘90s New York City. Even though the tools and stages have changed, DJs are still linchpins in underground culture. Why do you think that is?

People need to dance and find their tribe. They go out to get laid, hear music that they love, and get wasted. An incredible show will always be something special and irreplaceable, but a DJ set in particular is this guaranteed three-four-fivehour nonstop thing of being able to lose yourself in music. Being surrounded by other people sweating, dancing, and responding in real time to the same music that you are — there’s just something really wonderful about that. I can’t see a time where that would go out of fashion.

You open the book with this theoretical scenario in which you get handed the AUX at a party that’s flopping and it’s on you to bring it back to life with the right song. Why did you choose “Be Faithful” by Fatman Scoop as that song?

I know I’m not Yuval Harari, but I wanted to identify some of the more human, emotional drivers to DJing. Why everybody is sort of a DJ in some ways or could relate to that feeling of hijacking the AUX cord at a party that’s dead and feel like, I know what would really turn this place out. And with “Be Faithful,” I just went for a really obvious, crazy party-starter. I guess that one kind of shows my age a little bit, but that song just always did it and it didn’t matter what the crowd was like. It has that ‘90s sound like “Jump Around” by House Of Pain.

In the time after this book takes place, you go on to produce Amy Winehouse’s “Back to Black,” you work with Lady Gaga, Adele, and Miley Cyrus, to name a few, you win an Oscar for your work in ”A Star Is Born.”

I’m curious to know how the output since the ‘90s has fed back to your original love of hip hop and DJing. I never go more than a month without a DJing gig. I love when there’s a new record that’s just so exciting that I can’t wait to play it out. Thinking about “Shallow” or “Nothing Breaks Like a Heart” or “I’m Just Ken,” it’s quite far from where I started off DJing. But I think that if you come from DJing, you definitely think about music and music production in a certain way. Because you know as a DJ that any two things can probably go together if you’re smart about it. There’s this sort of thing to DJing that influences many of the things I do now. I never really see these as different phases in my life. They’re always running concurrently.

Funkmaster Flex, Jarobi of A Tribe

Called Quest, Grandmaster

Flash

and Kid Capri at the Def Jam Records Christmas Party in NYC 1991

Biggie, Lil Kim, and 112 in NYC 1996

A Tribe Called Quest in NYC 1990

Film strips of rappers (including Biggie, Tupac, and Nas) at Club Amazon NYC 1993

Mark and DJ Envy at VMAs 2006

A SINGULAR MAN

How Thom Browne’s shrunken tailoring created one of America’s biggest fashion success stories.

In a little over two decades, Thom Browne has cemented his status in the American fashion landscape. With one tiny suit, he managed to build a big universe. His business is now part of the Zegna Group, known for its fabrics expertise and tailoring, which made sense for a designer who takes pride in making some of the most exciting, well-cut garments in the industry.

ICON: When do you think about business when designing a collection?

Thome Browne: I don’t. I start with the idea of creating an idea that’s interesting, not only to me, but hopefully everyone that will be seeing the collections. And then,

I guess throughout the months, there’s a sense of where can some type of reality come in? But that really happens in our showroom.

Do you want people to be puzzled by your work?

In the stores, there are classic, simple ideas that are understandable. But I want to challenge people with my runway collections because I want them to see things differently, and I do it selfishly to stay engaged in wanting to be in this business.

Your collections defy gender norms, how do you define masculinity?

Being confident, doing what and living exactly how you

Thom Browne Ginza flagship store

Thom Browne Ginza flagship store

Thom Browne Beijing Sanlitun flagship store

Model at Thom Browne Fall/Winter 2025. show

want without caring about what anybody else thinks. I had a classic, Middle American upbringing, and you wouldn't think that the things that I play with and the things that are more provocative in regards to gender, in my collections, would have been important for the brand. But my parents were always very generous in making sure that we all felt true to ourselves. So, it just came naturally, and I always ask myself “Why can't this happen? Why can't you live like this? Why can't you wear things like this?” And I did the “Why Not?” collection [SS18] by taking stereotypically female garments and putting them on men. But I never saw it as a trend, and I’m never trying to push some type of political agenda.

Can you describe your process ?

I design the collection, and then the storytelling. Every collection almost feels like a thesis, thinking about proportions, fabrics, and embroideries, couture techniques, and starting with that classic gray suit, so that you always see that original idea that started 20 years ago.

That gray suit is your legacy. How do you keep on thinking about ways to develop it?

Yeah.. Well, I remake the original design, and during fittings, I’ll ask models to wear it, and it still looks good. It’s the most satisfying thing I’ve ever created, and I originally made it for myself. It’s the best thing I’ve got. Was it also a conscious way to subvert the very rigid rules of sartorial dressing or was it an act of total spontaneity?

I wanted to create something subversive, to take this

classic piece of a man’s wardrobe and give it back in a way that men might not understand.

Is it still the best seller?

The collections have evolved and grown so much more than most people realize. But tailoring is the best seller, but there's so much more than that idea in our stores.

The stores are so precisely designed. How did you develop your retail vision?

I don’t think of the stores as traditional retail spaces. Of course, they have evolved over the years to become more functional, but they still feel like mid-century American Midwestern banks, my architectural ideals.

What’s your opinion on brick and mortar versus online and how does it compare?

Most of our business is done through stores. But I do think that having a strong online business that complements the store experience is really important.

Where do you see yourself on the spectrum of the U.S. American fashion today?

American fashion is so broad and there's so many really talented kids and new designers, and established designers. I just do my thing.

And how do you see your role as Chairman of the CFDA?

The new generation faces challenges different from when I started. What I tell them is to try as hard as they can and invest in that commitment while being true to themselves. They should do whatever they want and avoid listening to all the noise or to every advice.

I just do my thing

Thom Browne Melrose Place flagship store

Backstage at Thom Browne Fall/Winter 2025. show

The success of a brand depends on a strong relationship between a creative director and a CEO. How’s yours with Rodrigo Bazan? We respect and understand each other. He understands all the aspects of the runway collections. And I respect his position, and I trust him to do what needs to be done for the good of the business. And what has changed since you were acquired by Zegna?

I do really work the same way, but with Zegna, I have unlimited resources in regards to fabric and tailoring development. This partnership is honorable and strong, because the Zegna family and I want to build a strong business where quality is paramount. But Zegna is Zegna and Thom Browne is Thom Browne.

Yes, you have a very clear identity and sense of branding, especially when you associate yourself with celebrities at major events like the Met Gala It really started because of my respect for what Andrew [Bolton] does with his shows at the Met. And it’s almost become a small couture show, celebrating the work that Andrew does to elevate fashion to art.

Thom Browne is a lifestyle brand, with ready-to-wear and accessories and fragrances and even kidswear. What’s the category you’re looking to develop and grow?

There’s so much room for development and growth in menswear, believe it or not. I think there's also so much to do in regards to womenswear too. We've been doing

it in-house for the past 10 years, with the highest quality, and made in Japan. It’s the same for fragrances. So, it’s about doing everything to the highest level and then developing it and seeing how people respond to it. But it must be purely and exactly what I want to do in any given category.

Are you a control freak?

I think I work well with people. I just know that I have expectations that we all should aspire to wanting to do the best.

How do you define success?

Being able to stay true to myself, and that’s the challenge for the years to come. We’ve been in business for about 20 years, but I still feel like how it was at the beginning, even though we are now hundreds of millions of dollars bigger... Does this keep you up at night?

24 hours a day.

So how do you protect your mental health?

I drink a little bit [laughs] but no, I'm big on sports, specifically tennis which allows me to turn off, or I can also watch some mindless TV, but it’s never really off.

So what or who do you look at to remain stimulated?

Architects like Ludwig Mies van der Rohe and Tadao Ando. Artists such as Milton Avery, John Singer Sargeant, Lucian Freud, and Giacometti. And then film directors like Stanley Kubrick and Fritz Lang who create amazing imagery. Leigh Bowery is so overwhelmingly inspiring because he lived with such commitment to his character and in a world of his own.

I wanted to create something subversive, to take this classic piece of a man’s wardrobe and give it back in a way that men might not understand.

Thom Browne Beijing Sanlitun flagship store

Models at Thom Browne Fall/Winter 2025. show

Detail from Thom Browne Fall/ Winter 2025. collection

by jason barlow

WHEELS

Truth is one, paths are many, so say the poets–and the coolest car makers in the world.

Whether we’re talking about a Ferrari inspired by the science of sailing, a unique update of the Mini — the most irreverent of all British cars — or audio sound systems courtesy of Bowers & Wilkins and Abbey Road, this season’s automotive news comes from different directions but arrives in the same place of innovative playfulness.

CALIFORNIA SOUL

Why

Singer’s reimagining of the classic Porsche 911 is the world’s most coveted car

Are cars the new rock’n’roll? They were for Rob Dickinson, erstwhile frontman and guitarist for ‘90s alt-rock band Catherine Wheel. When the band split, Dickinson relocated to Los Angeles, returned to his first love – automotive design – and then applied it to his second, the Porsche 911. The result was a oneoff reinterpretation of a ’69 911E that was so cool even hard-nosed Angelenos were intrigued. Others had cottoned on to the idea, but Dickinson’s company, Singer Vehicle Design, put the idea of the “rest-mod” on the map: a portmanteau of ‘restoration’ and ‘modification,’ the idea being to future-proof a classic car so that it becomes more usable, and reliable.

“What we do isn’t revolutionary and we certainly didn’t invent the idea of taking someone else’s car and messing around with it,” Dickinson explains. “We respect the focus Porsche brought to bear on everything it did, and celebrate the subject matter – the greatest sports car in the world – in a way that hasn’t been done before.”

Southern California has long supported an irrepressible automotive subculture, and the Porsche 911 in particular. Dickinson also tapped into the extant West Coast customs tradition, but retooled it in a way that has global resonance. “When I first came to L.A. with the band, I fell in love with the place,” he says. “I don’t think I would have had the idea for Singer in the U.K., because it had everything to do with the right roads, the optimism and sunshine, and the ability to be audacious.”

Singer now employs 620 people – with a hi-tech facility in L.A.’s South Bay area, and another in the U.K. – and boasts engineering partnerships with a variety of industry heavy hitters. There’s also major private equity investment, and the sort of customer base that has the biggest luxury goods players paying close attention.

Singer’s early cars were a reimagining of the late ‘80s and early ‘90s 964 generation of the 911, but mined the ‘70s era of the famous rear-engined, air-cooled sports car for aesthetic inspiration. The attention to detail is off-the-chart, the materials used – carbon fiber, titanium, billet-machined-and bead-blasted aluminum – eye-poppingly expensive. These cars are world-class investments.

“Part of any success we’ve had is because we have an intense desire to bond with our clients, to look after them properly and to be available to them,” Dickinson continues. “Cars are bridges to relationships, and we like to think we can give our customers something they haven’t experienced before. We worry about everything. The terror of ever being thought of as bullshitters is another reason we’ve endured. The notion of us making a Porsche ‘better’ makes my teeth itch. We just celebrate the good stuff.”

Singer has also expanded its creative brief. Take the DLS Turbo, for example, which reimagines the 934/5 endurance racer, as emblematic of the ‘70s as Ziggy Stardust or “Rumours”-era Fleetwood Mac. The power output crests the 700hp mark, while the price exceeds $3 million. Only 99 will be available. Then there’s the 911 Carrera Coupe Reimagined by Singer, which is chasing more of an ‘80s mood. These are new cars that deepen Singer’s wider cultural impact.

“We remain modest, but I can see our influence in quite a lot of places,” Dickinson admits. “There are the copyists and there are those who were inspired by us and have done wonderful things. We didn’t expect it. We thought we’d be a design company that might do 10 cars. Now we’re restoring hundreds. We can’t shoot from the hip like we used to, but there’s another five or six years of 911 ideas. And then we’re going to do something radically different.”

Streaming services might have introduced Dickinson’s old band to a new generation, but the vibes here are definitely old-school; Singer has inadvertently found itself as the champion of OG automotive cool. “These things aren’t going to go away,” Dickinson says. “The future will involve going back to the well and being inspired by the original stuff. I believe something profound is happening here.”

STATE OF THE UNION

The collaborative drop is gaining traction beyond the fashion sphere. In the car world, two brands are sometimes better than one

Off-shore yachting is often described as the nautical equivalent of Formula One. Ferrari’s Hypersail deepens that connection

FERRARI HYPERSAIL

“It represents a contamination between different worlds and different people,” says Matteo Lanzavecchia, who heads up the engineering division responsible for Ferrari’s sports cars. He’s now also running operations on Maranello’s latest hi-tech adventure: a spectacular off-shore ocean racing yacht, not a job for the faint-hearted. “We already have nine patent applications submitted on this project with more to come. Ferrari will push Hypersail, but Hypersail will also help push Ferrari’s sports cars.”

Developed in partnership with French naval architect

Guillaume Verdier, the 100-foot flying mono-hull features a canting keel with an integrated foil, and two lateral T foils for additional stability. Once the design has been locked down, Hypersail will be captained by Giovanni Soldini, a veteran record-setting round-the-world yachtsman who has a distinctly piratical gleam in his eye.

Images courtesy of Ferrari, Callum Designs, Bowers & Wilkins

The original Mini gains new life courtesy of British design agency Callum and legendary modifier, Wood & Pickett

WOOD & PICKETT MINI X CALLUM

The original Mini is having a moment. Its tiny footprint, clever packaging and feather weight look smarter than ever in a car world that’s become insanely bloated. Back in the ‘60s, the Mini also defied Britain’s obsession with class, and was beloved by various Beatles, Stones and members of the Royal Family. Wood & Pickett learned how to coach-build Bentleys before setting up their own business, and took the Mini upmarket to cater to the new showbiz aristocracy. The firm remains expert all these years later, and a new collab with design agency Callum – set up by award-winning former Jaguar lead designer, Ian Callum –has turned heads.

The new car uses a fully restored Mk5 “Sportspack” version of the car as its basis, and has a trick 1.3-liter engine under the stubby hood. But while there are echoes of the original Mini in its giant-slaying motorsport incarnation, this is a tailored suit of a car, not least because the first one has been commissioned by British model, David Gandy. It features an Anthracite metal exterior finish, with Bridge of Weir tan leather inside, a colorway inspired by the Mini owned by Steve McQueen. The contents of whose garage will be eternally influential.

“I’ve wanted to work with Callum design for years. It doesn’t get much better than having their attention on a bespoke project like this,” Gandy says. “It had to be something British, and both Ian and I love Minis. I’m a self-confessed petrolhead, but I’m afraid to say I have a dwindling interest in modern cars. This is a truly analogue experience, and you can have fun in one of these at 50mph.”

BOWERS & WILKINS ABBEY ROAD MODE

World famous recording studios Abbey Road has partnered with British audio specialist Bowers & Wilkins, and the result is now available in the Volvo EX90 and Polestar 3. Says Abbey Road managing director, Jeremy Huffelmann, “We asked ourselves, do we make a speaker? How about headphones? Could we put it in a car? So began a multiyear journey of defining Abbey Road’s sonic DNA, and figuring out how we could transpose that into a car.”

The results are extraordinary. B&W’s premium audio has an output of 1610 watts, no fewer than 25 speakers – with integration in the head rests – and includes four 2.5-centimeter Nautilus double dome tweeters, so the system is already phenomenally powerful. Beyond that, though, the company’s engineers captured more than 60 measurements using special speakers and microphones to sonically map each of Abbey Road’s studios and various bits of audio hardware. Data captured included the atmosphere in the main studio spaces, how sound bounced off certain surfaces, but also the impact made by Abbey Road-specific devices, including the Compander. The context might be the clean, digital space of a contemporary electric car; the result is an in-car audio system replete with Beatles-infused sonic fairy dust.

One of the great partnerships in audio has turned its attention to in-car entertainment with spectacular results

CONTEST OF ELEGANCE

It’s a classic scene: a man behind the wheel of a beautiful car on the open road. Now he drives the Maserati GranCabrio Folgore, the world’s first 100% electric luxury convertible. What improves a classic? Of course Maserati has the answer.

MASERATI GranCabrio Folgore full-electric

_fall/winter 25

Trench coat and pants by TAGLIATORE, shirt by LORO PIANA, shoes by CHURCH’S

DOLCE & GABBANA

MASERATI GranCabrio Folgore full-electric

PRINCESS’ CORN CHOWDER WITH DILL AND BACON RECIPE

This fall, rock star and professional provocateur King Princess will release her third LP, “Girl Violence,” and head out on tour. How is she preparing to astonish audiences with her trademark blend of onstage mania and sick guitar skills? By making her father’s corn chowder for friends at home in New York.

“I am a great cook,” she declares. “I don’t think anyone would expect it because I function at the level of a drunk teenager….but for whatever reason, I got the gift.”

Prep time: 15 min

Total cooking time: 1 hour 10 min

Ingredients:

• 3 12-oz bags of yellow corn

• 2 lbs small new potatoes cut into quarters (any new potatoes can be used but should be cut into small pieces)

• 2 medium Spanish onions

• 1 lb thick cut bacon

• 1 cup fresh dill – chopped

• 3 8-oz bottles clam juice

• 2 32-oz boxes chicken broth

• 1 quart whole milk (for creamier soup substitute half and half)

• 1½ cup all purpose flour

• 1 stick butter

• Salt and pepper

Steps:

1. Cut bacon into ½ inch pieces

2. Cook bacon in a large skillet over medium heat until crispy

3. Drain off fat and set aside.

4. Meanwhile, chop onions finely

5. Melt butter in an 8-quart stock pot

6. Add onions and sauté until translucent.

7. Add clam juice, chicken stock and corn and bring to a boil.

8. Add potatoes and bacon. Bring back to a boil.

9. Add milk and dill.

10. Place flour in a large glass and combine with hot water, stirring until

11. fairly liquid and smooth.

12. Stir flour mixture into chowder and allow to thicken.

13. Add more flour mixture until desired thickness is achieved.

14. Salt and Pepper to taste.

15. Cook until potatoes are soft.

16. As an addition, add shrimp and bay scallops to make a hearty seafood chowder.

Illustration by Lucie Birant