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SH O P L AN V IN .C O M

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MARyELLEN McgOLDRICK jEFFREy BURCH CONTRIBUTORS

Karl Lagerfeld Inez & Vinoodh Hedi Slimane Carine Roitfeld Richard Burbridge Ryan McGinley Terry Richardson Collier Schorr James Franco Douglas Gordon Benjamin Alexander Huseby Matthew Scrivens Tom Jarrold Sharif Hamza Hannes Hetta Paul Maffi Damien Blottiere Benjamin Lennox Elle Muliarchyk Lacey Irina Werning Bruno Staub Jason Farrer Sarah Richardson Metz + Racine Dan Forbes Dom Smith Matteo Montanari Jason Kim Richard Kilroy Michaela Erlange Kyle Bean John McCarty Charlie Siem Roberto Reyes Karley Sciortino Nick Haramis T. Cole Rachel SPECIAL THANKS

The Collective Shift Jae Choi Brenda Brown Box Delphine Delhostal Dominic Sidhu Katherine Marre Eric Pfrunder Mighela Shama Kim Pollock Yann Rzepka Art + Commerce Becky Lewis Jessica Daly Art Partner Giovanni Testino Amber Olson Candice Marks Lindsey Steinberg Dtouch Jeanny Bachelin Michelle Vitiello CLM Cale Harrison Nick Bryning Heath Cannon Management Artists Francesco Savi Anna Suznjevic Daniel Weiner George Miscamble Jonathan Ferrari Audrey Petit Grard Neil Cooper Ashley Herson Jasmine Kharbanda Caitlin Thomas Kristin Kochanski Lindsay Reitzes Andy Phillips Matthew Mitchell Jed Root Kelly Penford Bridget Harris Alison Jesinkey Brydges Mackinney Pippa Mockridge Defacto Lauren Brown Ford NY Sam Doerfler Blake Woods Emily Novak Kati Brown Jesse Simon Cheri Bowen Dave Fothergill Carmelo Pizzuto Lana Winters Tomczak Jason Kanner Greg Chan Kevin Apana Carlotta Sironi Alisa Post Gaspard Lakote Josh Bostwick Dounia Benjelloul Margaret DePalma Fast Ashleys Michael Masse Adrian Nina Root DRIVEIN24 Trec Kip McQueen Aldana Oppizzi Morgan Anderson Splashlight Shell Royster Spring Studios Bar Bar Verien Wiltshire ON THE COVER JAMES FRANCO WEARS SHIRT AND TIE DSqUARED COVER PHOTOGRAPHY INEz & VINOODH

PhoToGRAPhY MeTz + RACine STYLinG John McCARTY

contents COVER STORY 120 JAMES FRANCO: MIllENNIAl MAN

BY INEZ & VINOODH one of the 2010s’ most prolific artists, James Franco continues to shock and awe with an exclusive collaboration with Douglas Gordon VMEN 32 BREAKOUT STARS OF WINTER Jeremy irvine, Daniel Sharman, and Brady Corbet are winter’s hottest heartthrobs 36 CHRISTOPHER OWENS BY HEDI SlIMANE how the Girls front man fled from a religious cult to find himself 38 JOHN MAUS BY HEDI SlIMANE The thinking man’s pop star pursues the sound of the ancient future 40 TYlER THE CREATOR AND ODD FUTURE

BY TERRY RICHARDSON The MTV generation’s new hip hop hero proves that DiY is a BFD 41 BRADFORD COX BY RYAN McGINlEY The artist behind Deerhunter and Atlas Sound sets out for alien territory on his latest LP 43 VMAN NEWS From Art Basel Miami Beach to menswear’s new meat, all the nexts you need to know 150 YEARS OF MEN’S FASHION 46 A HISTORY OF TASTE Some things age better than others. here’s to never going out of style

56 THE 1900s: MUYBRIDGE IN MOTION BY MATTHEW SCRIVENS AND TOM JARROlD Fitness and film were at the forefront of a century; here they both get put into motion 64 THE 1910s: lONG lIVE ClASSICAl

BY EllE MUlIARCHYK Violin virtuoso Charlie Siem talks to conductor Lee Mills about rekindling a classical spark

98 THE 1980s: AGE OF EXCESS BY KARIM SADlI The decade of decadence dazzles again in Spring’s opulent optical prints

68 THE 1920s: THE SUIT AND THE SEA

BY BRUNO STAUB The roaring ’20s saw the rise of the suit, both in and out of the water

106 THE 1990s: GENERATION X

BY RICHARD BURBRIDGE The angst of an age, through grunge, hip hop, and rave

70 THE 1930s: THE DAWN OF TRAVEl

BY PAUl MAFFI The dawn of the commercial airline made style and shopping a global concern

110 THE 2000s: BACK TO THE FUTURE

BY IRINA WERNING Reluctant to embrace the Y2K? Safely regress to an earlier age

72 THE 1940s: lIFE DURING WARTIME

BY COllIER SCHORR Whether in the barracks or on the battlefield, nothing is more inspiring than our boys in uniform

128 THE 2020s: THE SHAPE OF THINGS TO COME BY DAMIEN BlOTTIERE Don’t fight the future. Fashion looks forward by getting chopped and fused

80 THE 1950s: GREASERS AND SQUARES

BY SHARIF HAMZA At a sock hop, over shakes, or in a street fight, rock and roll came here to stay 86 THE 1960s: MAD MEN BY lACEY AND KARl BEAN The ’60s may have spawned revolution, but they also made the modern suit 90 THE 1970s: SUEDEHEADS

BY BENJAMIN AlEXANDER HUSEBY A dancehall dress code suited the streets of the ’70s

48 THE 1880s: THE BIRTH OF VMAN Trace our VMAN-cestry by traveling back in time 50 THE 1890s: THE GIlDED AGE

BY KARl lAGERFElD Actor Édgar RamÍrez gets gilded for glory in Wrath of the Titans

GoldfinGer 1964 WATCh Dior timepiece WhiTe TuxeDo Salvatore ferragamo ShiRT Dior Homme BoW Tie DunHill

NEW YORK | BOSTON | TOKYO | hONg KONg | LONDON | gENEva | DÃœSSELDORf

| VICTORINOX.COm

Wild at Heart 1990 ON HIM: WATCH Rolex SHIRT Gucci JACKET STyLIST’S OWN ON HER: TOP AND SKIRT MaRc Jacobs

foreword There is nothing more definitive than the past: what happened happened. But how

we choose to relate to history—periods we wished we’d lived in, the visuals of a time

that appeal to our senses the most, the things we remember romantically and incubate into nostalgia—differs for all of us. Eras gone by have served as an inspiration for humanity for generations; there would be no today if it weren’t for yesterday and we are living for tomorrow.

Highly indicative of a man’s personality are the aspects of certain decades that he relates to: how a b-boy remembers the 1990s totally differs from a gutter punk; do you love the 1910s for the dawn of cinema or the revival of the Olympics? Would you have been a ’60s hippie or a suited-up mad man? A ’50s greaser or a total square?

Or, as we find with many stylish men, are we a culmination of all these historical aesthetics, rolled into something we can call contemporary style?

This issue of VMAN isn’t about presenting a summation of each decade, or some didactic declaration of what we think was the best thing to culturally emerge every ten years. Instead, we collaborate with the likes of Inez and Vinoodh, Karl Lagerfeld, Hedi Slimane, Ryan McGinley, Collier Schorr, and Terry Richardson to pay homage to our rich history of art, culture, and style. This is what has inspired us this far, and what will make our future much more memorable. See you in the next century. The ediTors

PhoTograPhy MeTz + racine sTyling John MccarTy MODELS (SEEN THROuGHOuT) DAN STRANGE, AuRILIE (HIRED HANDS), JAMES REES (BMA MODELS) PHOTO ASSISTANT DuNCAN JOHNSON DIGITAL TECHNICIANS JAMIE SMITH AND IVAN RuBERTO (PROVISION) SET DESIGNER ANNA BuRNS EquIPMENT DIRECT LIGHTING PRODuCTION LuCIE NEWBEGIN (MAP LTD)

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W ELCOME TO VM A N THE DECA DES ISSU E FASHION IS A TIMELESS FORM OF EXPRESSION, ANd wE

ALwAyS SEEM TO bE LOOkINg AHEAd, LIONIzINg THE NEw,

cRAvINg wHAT’S TO cOME. OFTEN, THOugH, wE FORgET TO REMEMbER OuR ROOTS, THE cOdES OF MENSwEAR THAT

HAvE bEEN HANdEd dOwN FOR gENERATIONS. IN THESE PAgES wE AckNOwLEdgE THE OTHER ANSwER TO THAT

ENduRINg quESTION, wHAT MAkES A MAN: NOT juST HIS cLOTHES, buT THE MEN bEFORE HIM

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ALL CLOTHING, sHOes, BAGs, WATCHes raLPh LaUren PUrPLe LaBeL MOdeL (seATed) WeArs sOCKs FaLKe MOdeL (FAr rIGHT) WeArs HAT SaLVatore Ferragamo BrIeFCAse BUrBerry ProrSUm PhotograPhy Benjamin Lennox

StyLing tom Van DorPe

1940s

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ALL CLOTHING AND BAGs LOUIS VUITTON sOCks faLke

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JACkETs AND JEANs DSQUaReD T-sHIrTs jOhN VaRVaTOS mODEL (CENTEr LEfT) wEArs BAG jOhN VaRVaTOS mODEL (BOTTOm) wEArs JACkET SChOTT

1960s

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ALL CLOTHING ANd bAG PRADA ALL JEWELRY VICKI TURBEVILLE

1970s

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SUITS, TURTLENECKS, SUNGLASSES GUCCI JEWELRY ANd WATCHES DAVID YURMAN SHIRTS SALVATORE FERRAGAMO mOdEL (TOp) WEARS bAG MARC JACOBS mOdEL (bOTTOm RIGHT) WEARS bAG HERMÈS

Photo assistants Jeremy James and Gary Golembiewski diGital technician andrew weller stylist assistants katelyn Gray, Julian antetomaso, erin sullivan ProP stylist matt Jackson (brydGes mackinney) castinG Julius Poole caterinG Feast on us and asia divine retouchinG uPPerstudio location root [bk]

all clothinG, baGs, sunGlasses CALVIN KLEIN COLLECTION

all clothinG DOLCE & GABBANA model (toP riGht) wears PortFolio LOuIs VuITTON model (seated) wears baG BOss BLACK watch DAVID YuRMAN

K L E I N

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1990s

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D O L C E

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HAIr AkkI GrOOmING CHIHO OmAE (FrANk rEPS) mODELS rEID PrEBENDA, ELvIS JANkuS, vLADImIr IvANOv, LukA BADNJAr, ryAN SCHIrA, JOHN ruITENBEEk (WILHELmINA), LOWELL TAuTCHIN, ANTHON WELLSJO, DmITrIy TANNEr (SOuL), IAN mELLENCAmP (CLICk), JuSTIN BrAvO, GErmAN ruIz (NExT), kEm WALkEr, PHIL mOLLEr, SAm FrEDErICk, CHArLIE TImmS, mICHAEL TINTIuC (rED NyC), PAuL BOCHE (FuSION), NICOLA WINCENC, BAPTISTE rADuFE (rEquEST), mILO SPIJkErS (Ny mODELS), mATT TErry, ETHAN JAmES, LINuS GuSTIN, AIDEN ANDrEWS, JACOB WEICHmANN, TAyLOr GANNON (FOrD Ny)

ALL CLOTHING AND BAGS JIL SANDER HEADPHONES INCASE AND BOSE TABLETS AppLE iPAD

DENIm JACkETS, JEANS, BAG G-STAR zIPPED-uP JACkETS (WOrN uNDErNEATH) NIKE

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vMen t h e b r eakout s ta r s o f w i n t e r Jeremy IrvIne, DanIel Sharman, anD BraDy CorBet

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With his first film role as the lead of steven spielberg’s War Horse, the british actor comes flying out the gate With a dream career it’s a fair bet that all young actors harbor dreams of being plucked out of obscurity filming, the cast also learned more than they ever could have imagined about wwi. and made a star by a big-time Hollywood film director, but few ever get to see that “this was my first movie, so everything—literally, every little thing—was new and dream realized so fully—or so dramatically—as 21-year-old Jeremy irvine. at a time exciting for me,” says irvine, who credits Spielberg’s penchant for authentic detail when the British actor was struggling to make ends meet as a chorus boy with the as a huge help for getting into character. royal Shakespeare Company in London, a series of happy accidents would change “all the war sequences were very real,” he says. “i was shooting an actual rifle from the trajectory of his life forever. the first world war, as was my helmet and my uniform. you have people shooting these “it came along at a time when i was really struggling,” says irvine. “i hadn’t had working antique machine guns all around you. it makes the actor’s job much easier any work in nearly a year and i was feeling quite embarrassed about telling people i because everything is so real. it’s not hard to appear frightened and excited when was an actor. i’d been trying to get a new agent for a while and finally i got a lovely you are on the back of a running horse and people are shooting things at you.” new agency to take me on. i signed with them on a friday and they sent me out the irvine might as well get used to such magic movie moments. Having recently following wednesday to audition for what [i figured out] was War Horse—it was very wrapped Now Is Good opposite Dakota fanning, irvine is set to tackle the iconic secret as to what the project actually was, but since i’d read the book when i was a role of pip in mike newell’s upcoming adaptation of Dickens’s Great Expectations kid, i recognized it pretty quickly. to my absolute amazement, i kept getting called alongside Helena Bonham Carter and ralph fiennes. not surprisingly, it’s a role that back. Still, it wasn’t until two months and many auditions later that i got the job. he approaches with no small amount of humility. at no point did i ever really think that i’d get the role. i really didn’t. But eventually “you study this book in school growing up, you know?” laughs irvine. “it’s one of the they called me in and gave me a bit of dialogue to read in my best Devon accent in greatest stories in British fiction. every day i come in to rehearsals and look at the script and i’m honored and amazed all over again that people are letting me do this. i’m still very much front of the camera.” that dialogue: “‘Steven Spielberg wants me to star in his film the new kid at school. to be honest, it still feels like i’m living in a dream.” T. Cole RaChel adaptation of War Horse!’ that was their way of telling me i got the part. they gave it to me on a DvD to take home.” for irvine, War Horse—Steven Spielberg’s epic take on the tony award-winning PhoTogRaPhy heDI SlIMaNe play—was more than just the role of a lifetime; the experience proved to be a master STylINg SaRah RIChaRDSoN class in moviemaking 101. in addition to two months of horseback training prior to aBove: JaCket WooyoUNgMI t-SHirt gUeSS p a g e

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Hair Brent LawLer for oriBe Hair Care (StreeterS) grooming fuLvia faroLfi for CHaneL (Bryan Bantry) DigitaL Capture anD retouCHing DtouCH pHoto aSSiStantS ruDoLf Bekker, Juan DreyfuS, Stian foSS StyLiSt aSSiStantS aLiCe LefonS anD antHony aLLreD Hair aSSiStantS eJ HauSman anD CaroLyn riLey grooming aSSiStant yinna wang proDuCtion kim poLLoCk LoCation SpLaSHLigHt SoHo SpeCiaL tHankS yann rzepka

JEREMY IRVINE

VMen

DANIEL SHARMAN The acTor Takes his TalenT for bloody sTage baTTles To The big screen in Tarsem singh’s Immortals

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face, went to the gym all seven days, and I even took

weights with me to the next audition and pumped up

right before I went in. They showed me the tape and it’s a remarkable change. It’s amazing what seven hundred

protein bars can do in a week, I’ll tell you that.”

As we speak, posters of Daniel Sharman with a gigantic Mohawk helmet, designed by Oscar-winning costumer Eiko Ishioka, litter every major city.

“It’s odd, having your face up on these huge billboards is a very strange feeling. I anticipated that I would be doing stage acting, in the north of England, with rain smashing down on the streets for most

of the day, doing mostly Shakespeare for the rest of my life. So to go from that to being on a big billboard on Sunset Boulevard is very, very amazing.”

Patrik Sandberg PhotograPhy Matteo Montanari Styling VaneSSa geldbach SUIT, SHIRT, TIE dior hoMMe BELT arMani eXchange

GROOMING CAROLA GONzALEz (THE MAGNET AGENCY)

Daniel Sharman didn’t choose to be an actor. “It was an excuse for me to miss school,” says the 24-year-old stage veteran of trying out drama classes as a youth.

At the precocious age of 10, Sharman was selected out of a group of more than sixty finalists, themselves whittled down from hundreds, to join the esteemed Royal Shakespeare Company, the eminent Shakespearean theater of England (read: the world).

“I just adored it,” he says of his first foray into the dramatic arts. “Between Macbeth and Henry VI with all of the armor and the blood and everything, it was just fantastic as a kid. It was the best thing ever.” Fittingly, the young star’s first big Hollywood break has come in an equally opulent and violent package. This fall, Sharman will storm theaters as Ares the god of War in Tarsem Singh’s colossal new film, Immortals, depicting the mythic battle of Theseus against the Titans of Olympus.

Making the transition from stage to screen was not an easy task for someone who had graduated from drama school and decided he was probably going to be a theater actor forever.

“I found acting on film really difficult,” he admits of his first performances, in productions for the BBC and ITV in the U.K. “I found it really kind of odd and unnatural.

Then I became obsessed with trying to get it right. I’m hugely competitive.”

When tasked with embodying the statuesque proportions of the infamously irate Greek god of carnage for Immortals, that competitive spirit catapulted into overdrive. “When I auditioned for Immortals I had just finished a stage show in London playing a heroin addict.

I’d lost a lot of weight and when I arrived in L.A. for a few meetings my managers were like, ‘What the fuck’s happened to you?’”

Naturally, Singh and the producers of the film weren’t easily sold. “Tarsem said, ‘You’re probably too skinny for it but I love what you did with it, let’s come back and do it again.’ For a week I ate protein bars, stuffed my

Brady CorBet The auTeurs’ acTor-of-choice appears in winTer’s melancholia and martha marcy may marlene Brady corbet may be recognizable (and admired) mostly by film junkies and other famous actors, but that certainly won’t be the case for much longer. the 23-yearold colorado native already has quite the comprehensive experience in the film industry: he’s appeared in the films of auteurs Gregg Araki (Mysterious Skin) and Michael haneke (corbet co-starred in the Funny Games remake opposite Michael Pitt and naomi watts), mainstream indie moviemakers like catherine hardwicke (in her debut film, Thirteen), as well as in television shows such as 24 and Law and Order and the 2004 big-studio Thunderbirds remake flop. As a writer and editor, his short films have received standing ovations at cannes and won awards at sundance. with roles in two of winter’s highest-regarded films, Lars von trier’s alreadynotorious Melancholia and Martha Marcy May Marlene, corbet takes a giant step further along a rare and admirable path to stardom: by reminding us that film is not just an industry, but an art form.

GRooMInG kRIstAn seRAfIno foR seRAfInosAys.coM

VMan Besides acting, you also create short films.

Tell us about that process.

BradY corBeT It happened very organically. My first love was cinema, much more than performance. the more I worked with people over the years, folks were more open to letting me try my hat at other parts of filmmaking. I have worked on little films over the years, the most significant of those being Protect You + Me, which I made with haneke’s producer, chris coen. It’s a very ominous and strange little neo-noir about a protagonist who becomes unnecessarily violent after a stranger won’t stop staring at him in a restaurant. the film was shot by one of the greatest cinematographers in the world, darius khondji (Se7en, City of Lost Children, Midnight in Paris). I’m still very proud of it and touched that so many people took a risk on me then. the film received a prize in sundance a couple years back, and though I know these things don’t really mean so much (especially for short films) it meant a lot to me. I consider haneke to be a bit of a creative godfather; he’s always been extremely helpful on various projects over the years, even in ways he’s probably not aware of: I remember seeing his films for the first time and thinking to myself, this is it. this makes sense to me.

VMan speaking of haneke, you’ve worked with several celebrated auteurs. what do you see as the status of the auteur?

Bc what is the status of the American auteur or the european/international auteur? they’re very different.

Most international auteurs I’ve come across (particularly in france) live extremely well. Regional government financing is rather impartial to the outcome of their films and makes it much less of a struggle to bring their radical visions to life. It makes for bigger risk-taking, which often reaps bigger rewards for them and their quality of life. they frequently end up celebrated internationally.

Most American auteurs I know will probably spend the rest of their days in the same one bedroom apartment

until the end of time, or until they start directing tam-

I think that major works of art will push through just as

pon commercials on the side. this can be attributed to the complete lack of government support here, the lack of any Ministry of culture. the American auteur relies solely on private equity to bring his or her vision to life, which makes for more soul-crushing compromises and much less money to work with. It means taking major pay cuts all the time in an effort to put the little money you do have to work with on the screen.

VMan some see filmmaking as an art, others a business. what’s your perspective on this? what’s your ideal trajectory?

Bc It’s both, and it always will be to some extent, especially in a capitalist environment. that’s okay with me.

they always have. Maybe not as many as there could

be, but perhaps this financial climate will separate the men from the boys. Ideally, I’ll be able to support myself making movies for the rest of my life or until I die in my one bedroom apartment. And right now, I’d consider a one bedroom apartment an upgrade from my current living situation.

PhotograPhy Dom Smith Styling tom Van DorPe jAcket john VarVatoS ReAd the Rest of the InteRvIew on the vMAn iPAd APP

best of music 2011 from a new cult idol to a philosopher of pop, to an album about aliens, to hip hop’s golden antihero—this year’s soundtracK was winsome, weird, otherworldly, and whatever

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Since the release of its star-making debut LP, Album, three years ago, San Francisco duo Girls has been the object of extensive indie worship. The September release of its sophomore effort, Father, Son, Holy Ghost, has made 2011 the band’s biggest year yet.

An intoxicating blend of ’50s doo-wop and lo-fi grunge, the record has further intensified the world’s love affair with Girls front man and songwriter, Christopher Owens. By now many are familiar with his peculiar story: born into the extremist religious cult the Children of God, Owens spent the first sixteen years of his life traveling the globe en masse, heavily closed off from the outside world. His public openness about his past, as well as topics like drug use and his proclaimed sexual fluidity, are very refreshing. “A lot of my friends think it’s funny that I never put my guard up,” he says from behind a mass of tangled locks, “but for me it’s just easiest to be honest. Who knows? Maybe I’m being naïve.”

Today, Owens has everything we long for in a rock star: talent, depth, intelligence, p a g e

and that heart-wrenching combo of natural flamboyance and masculinity. At live shows, if you listen carefully in between songs, you can actually hear the crowd exhale a collective sigh of longing. “If you look at history, some of the most macho rock stars, and the biggest sex symbols, were very effeminate—Mick Jagger, Aerosmith, all the hair metal bands. I think it’s fun to play with society’s perceptions of masculinity. I get a kick when people seem confused by me.”

As for Father, Son, Holy Ghost, the album has been bombarded with love from critics and fans alike. Owens’s own assessment of the record is simple: “We were fortunate enough to have no attention, support, or money when we made our first album. It was just two guys with a drug problem at home alone, making music we thought nobody would ever hear. But for the second record we had a band, resources, and money, so of course it’s better! It just keeps getting better from here.” Karley Sciortino 3 6

John M aus b y

H E D I

“I was hoping this would be a transitional thing, as a kind of breakthrough performance,” says John Maus of this year’s We Must Become the Pitiless Censors of Ourselves, the landmark album that, at this point, represents a pinnacle of notoriety and acclaim for the 30-year-old avant-pop composer. “I hoped it was going to be my Eroica or something, like when I threw down the gauntlet and moved into some transition from early juvenilia into some kind of middle period, and—God-willing— years from now some insane late period. But it ended up being a consummation of a lot of ideas I’d been working with.”

With fifteen LPs and a smattering of EPs under his belt, Maus is no stranger to making records. He grew up forging lo-fi punk recordings that date back as early as 1991, when he was only 11 years old. “In southern Minnesota there isn’t much culture,” he says of his upbringing. “Basically, the pop I knew was the pop you’d see on TV or hear on the radio, with the exception of some of the punk stuff from California.

That was pretty much it in terms of my musical education.”

That is until 1998, when Maus headed to L.A. to study experimental music at CalArts—which is where he met his fated collaborator, Ariel Pink, and subsequently developed an interest in pop. “I’d be playing Christian World pieces and Morton Feldman pieces, doing roman numeral analysis of Beethoven sonatas and stuff like that,” he recalls. “The art kids had a more naïve, punk approach. Ever since then, and perhaps to my own detriment, I’ve been a little categorical and thought

S L I M A N E of experimental composition and punk as two different trajectories. The big thing with Ariel is his love of pop and his demonstrations, over and over again, that that

language itself can be just as radical, just as emotive, just as thought provoking as the other languages.”

Today, Maus is in the midst of completing a Ph.D. in philosophy, studying what he describes as the idea of a community of singularities. “It’s about a community

with nothing in common,” he says. “Where we each appear as we are, so to speak.”

This sense of “alone togetherness” mirrors the artist’s live show, in which he stands by himself onstage, powerfully emoting to the point of rabid vulnerability. The songs themselves are at once catchy, galactic, and primitive, as though their melodies have been embedded into the mitochondria of our sonic DNA. It’s like music from the ancient future.

“It’s funny you say ‘ancient’ because that’s exactly what it is,” he says. “I find a lot of inspiration in the music we culturally associate with the medieval period, with the Renaissance, and with church choirs. There are people who are interested in new sounds. I like these old ones, too. I think we shouldn’t forget about the expressive possibilities that they afford, we should use them and explore.

“I guess I’m constantly looking for something, trying to uncover something that strikes me as worth sharing,” he says. “The stupid metaphor I use is that I’m like a scientist.

I’m doing my research to make a worthwhile discovery.” Patrik Sandberg

odd future b y

t e r r y

r i c h a r d s o n

There is perhaps no artist this year for whom fame and notoriety came more quickly and more prodigiously—short of Rebecca Black—than Tyler the Creator. But he doesn’t really give a shit. When asked how he felt upon winning this year’s MTV Video Music Award for Best New Artist, Tyler placidly states, “It was one of the worst days of my life. It sucked. It was a whatever day.” After an uncomfortable pause fills a space of several seconds over the phone, during which one can’t help but wonder if he’s referring to the award or the epic fall he took from the stage upon his celebratory exit, he offers, “I don’t really care about that kind of thing. I wasn’t, like, excited.” So what was the most exciting thing that happened to Tyler in 2011? “The craziest thing that happened,” he says, “was every ‘thing’ that happened.”

His refusal to smile and issue canned anecdotes with the usual manufactured enthusiasm is quite possibly what helped earn him his aforementioned award, which he won for his song “Yonkers” (from his breakout album Goblin). The clip ends with

an arresting scene in which he kills himself via hanging.

In fact, his marked disregard for political correctness (GLAAD all but demands his head on a stick) and meta-Cobain disaffection toward his own success add up to one of the most refreshing public displays of behavior by a celebrity in ages. He seems puzzled at the fact that he has a publicist at all. When Jeff Tremaine, the producer of Loiter Squad—the forthcoming Adult Swim TV series centered on Tyler and his hip hop collective, Odd Future Wolf Gang Kill Them All (or OFWGKTA, for short)—mentions how weird it is that they have “all these hipster fans,” Tyler reasons, “People like music.” So what has Tyler been listening to? “Gloria Estefan.” How did Odd Future land this new series on Adult Swim? “I don’t remember.” How was shooting with Terry Richardson? “Fun.” Tyler’s voice grows more animated than it’s been through the entire conversation when he asks, “Is this interview done yet? I want to go upstairs and hang out with my friends.” PS

PHOTO ASSISTANT MARK CHAMPION RETOuCHING BRIAN ZIEGLER LOCATION MILK STuDIOS LOS ANGELES SPECIAL THANKS HEATHCLIFF BERRu, DANIELLE RAFANAN, ALY CAYER

bradford cox b y

r y a n

M c G i n l e y

One of Atlanta’s most prolific songwriters, Bradford Cox returns this month with his third LP under the moniker of Atlas Sound. Known for his incisive lyrics and aerial melodies as much as for his tendency to give songs away for free online, Cox has

developed a sound that is at once spatial and confined, achieving an intimate feeling of exploration that is so sensory it’s difficult to try to describe.

On Parallax, the Deerhunter front man flexes the ever-expanding muscle of his craft over twelve atmospheric, pulsating melodies. “I first heard the term used by Mark E. Smith on the Fall’s Hex Enduction Hour as a teenager,” Cox says of the title.

“I came back to it for this record after seeing a Dutch film called For a Forgotten Soldier, about a love affair between an American soldier and a young boy in Amsterdam during World War II. It left me feeling disturbed. It got me thinking about perspectives on tragic situations like sexual abuse, and how the pain is probably equal for both people involved. It’s about how one thing in space—emotional or geographic—seems different from two viewpoints or perspectives.”

Populous with chiming arpeggios, floaty space echoes, and hushed, layered vocals, Cox describes the album as being inspired by mid-century rock and “sci-fi fever p a g e

dreams,” an idea nurtured by Broadcast’s Trish Keenan, who passed away earlier this year. “It was her idea for me to make what we kept referring to as an ‘alien’ record,” he says. “These are the kinds of discussions you have on tour during a twelve-hour drive. There is a certain loneliness on the record that reminds me of a lunar landscape.

Maybe it feels kind of eerie or empty.” Cox’s repetitive musical motifs make for opiate lullabies or a zoned-out driving soundtrack, especially on tracks like “Mona Lisa” and “Amplifiers,” but his proclivity toward a more classic rock and roll thrust beams through on the upbeat “My Angel Is Broken” and on the closing track, “Nightworks.”

“I became very obsessed with dust-covered jukebox catalogs and spray-painting bass strings and snares,” he says. “I fell in love with Ricky Nelson singing ‘Lonesome Town’ with tired eyes. Film grain and erotic, space insect posturing. The aesthetic was, as usual, very much dictated by free association and stream of consciousness.

I enjoy making music freely and without editing, then figuring out later what I meant by all of it.” PS Parallax IS AvAILABLE IN NOvEMBER FROM 4AD 4 1

Hair Kozmo (Bryan Bantry agency) grooming nico gUilis (tHe magnet agency) models cHristian PlaUcHe (Vny) and JUstin BraVo (next) PHoto assistants daniel grUBer and Jesse JacoBs stylist assistant JUlian antetomaso

VMAN

NEWS

adidas slvr

Pringle oF sCotland

NEW brEEd, NEW World Spring cleaning was truly in effect this season, with

three major houses bringing on fresh designers as the brains of their brands. Pringle of Scotland hired as its design director Frenchman Alistair Carr, who’s spent the past four years at Balenciaga;

Adidas SLVR tapped German designer Dirk Schoenberger as creative director; and historic Italian house Trussardi 1911 placed 31-year-old edgier-than-thou Turk Umit Benan at its helm. If all these recent appointments show anything, it’s that globalism is in and the thing that matters in fashion today isn’t heritage, hype, or regionalism, but good old-fashioned talent.

PhotograPhy jason kim styling tom van dorPe

trUssardi 1911

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VMAN 24 STOCKISTS

raw denim In a back room of G-Star’s corporate office, a denim-clad Vincent Gallo sits at a giant worktable sur-

rounded by clothing racks—a fitting visual to our conversation of art versus commerce. As the face of G-Star’s A/W 2011, Gallo the model is visibly uncomfortable, the collar of his shirt almost choking him, yet when Gallo the artist speaks, his confidence prevails.

Citing curiosity about meeting campaign lensman Anton Corbijn as his main motivation, Gallo describes the G-Star experience as enjoyable until forced to deal with what he intentionally avoids: the press. The mythic arrogance cultivated by his harshest critics is rooted in his inability to censor his words. G-Star capitalizes on this persona, touting his character as “unorthodox”.

Reticent at first, Gallo becomes warm and engaging, but he keeps his recent films to himself, a strategy he claims progresses his art. However, his goal remains unchanged: “Transcend your ego, and make work that’s better than you.” From anecdotes of past New York art scenes to the pursuit of happiness, Gallo’s openness betrays him. “I don’t belong here,” the artist confesses. G-Star RAW found an unadulterated iconoclast to represent them, whether he likes it or not. RobeRto Reyes PhotogRaPhy anton CoRbijn

new rOad SOnGS “It’s hard to get nailed down to any one vibe,” says singersongwriter Cass mcCombs, whose second lp of the year, Humor Risk, picks up where his spring release, Wit’s End, left off. While Wit’s End was in many ways defined by its palpable loneliness and haunting sense of despair, Humor Risk represents a different side to the same coin, in its floating, candid, rock and roll assurance.

“I just started to take different substances,” mcCombs says, plainly, of the shift in mood. “Some substances slow you down while others speed you up. of course abstinence has its own effect as well.”

Recorded between New York, New jersey, los Angeles, San Francisco, and other cities while on the road, mcCombs and his band would set up and record wherever they could. “I wanted to make a record that was the opposite of all these fancy, materialistic, expensive records that all these people make,” he says. “They spend money like it’s nobody’s business. This was made for free, or close to it. We weren’t even conscious that we were making a record.” Risky business for a career artist with a devoted fan base, but luckily the risk pays off.

PatRiK sanDbeRg

Humor Risk is available in November from domino.

PhotogRaPhy Matthew KRoening

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BIENVENIDOS A MIAMI from December 1 – 4, the art world (and its many admirers, patrons, and aspirants) will descend on miami beach for a fortnight of openings, fiestas, and a fair called Art basel. If you find yourself in florida, here are four functions not to be missed.

AMERICAN EXUBERANCE If you’re swinging by the neighborhood, you’d better acquaint yourself with the rubells. the miamibased rubell family collection and contemporary Arts foundation not only has one of the largest private contemporary art collections in miami, but in the entire world. beginning November 30, the rfc will fill twenty-eight galleries at its 45,000-square-foot museum with forty artists from its collection, including keith haring, mike kelley, Nate Lowman, richard prince, frank benson, Sterling ruby, and more. with never-before-

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shown works making their debut at this year’s exhibition, it’s bound to give basel a run for its money.

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Locust projects. this year at basel, Locust takes its unconventional approach to exhibiting outside the confines of

gallery spaces to the streets, affording artists the ability BARBARA KRUGER’S to build site-specific installations across the vibrant backTAKEOVER drop of miami beach. for some of the best art in town, all for anyone who hasn’t found you have to do is look up. themselves in a cubic vortex of gargantuan ad slang— WIll RyMAN which is possibly nobody, so Drop yourself into a surreal pareven if you have—don’t miss adise at the fairchild tropical barbara kruger’s installation at mary boone Gallery’s botanical Garden, where artist booth at Art basel. kruger’s text-based, large-scale will ryman will show his larginstallations are not only a comment on how man-made est outdoor exhibition to date. marketing can swallow up the landscape of human exis- “Desublimation of the rose” showtence, but they’re also a wonder to behold. cases three new gigantic rose ART OVER ADS Alternately to the above, art can also take over ad space in the public forum, at least according to nonprofit exhibition space

sculptures in monochromatic hues, decorating the landscape like an Alice in Wonderland acid trip. petals double as lounge chairs and float along the surface of ponds, adding to the surrealist scene. brighten up any day from December through may.

vman decades

From the renaissance to the courts oF Versailles,

men haVe long cherished the Finer things in liFe. Fashion is not merely an indicator oF a period in time, but a statement oF its identity, an endless time capsule oF the human condition. We are and alWays Will be What’s come beFore us. these are the decades

oF our liVes

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PhotograPhy Dan Forbes market eDitor katelyn gray ProP styling matthew Jackson

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PHoto aSSIStaNtS mIcHelle Watt aND maeGaN GINDI Set DeSIGN aSSIStaNt jacK rIcHarDSoN locatIoN root [bK] SPecIal tHaNKS abc carPet aND Home, aNtHroPoloGIe, aND UrbaN oUtfItterS

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iT WAS (AND REMAiNS) A GUiDE FOR TASTEMAKERS AND A

GiFT TO THE MASSES. WiTH CORRESPONDENTS iN PARiS AND LONDON, WEST AFRiCA AND THE FAR ORiENT, VMAN LEFT NO

CORNER OF THE GLOBE UNCOvERED AS iT CAPTURED THiS

DECADENT, LUxE LiFESTYLE AND PiONEERED A NEW FORM OF JOURNALiSM FOR THE SOPHiSTiCATED MAN

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from left: Sean o’Pry and david Gandy wear RALPH LAUREN PURPLE LABEL HatS from JJ HAT CENTER

V M A N

d e c A d e s

1 8 9 0s THE GILDED AG E

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influx of foreignerS waS The birTh of The american

dream. The energy of anyThing -iS -p oSSible waS evidenT in faShion’S elegance. perhapS no one’S beTTer SuiTed To reenacT ThiS era of Él an Than

venezuelan acTor Édgar ramÍrez, who’S abouT To Take hollywood by STorm

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TUXEDO DIOR HOMME TOP HAT, SHIRT, BOW TIE HILDITCH & KEY CAMELLIA PIn CHANEL

ROBE CHARVET SHIRT and TIE HILDITCH & KEY VInTaGE CaRTIER TIEPIn laGERfEld’S OWn

COAT MARC JACOBS JACKET YVES SAINT LAURENT SHIRT HILDITCH & KEY SCARF HERMÈS

“I choose these parts because I want to understand what It’s lIke to be rejected, how It feels to be margInalIzed. I don’t know If It’s atonement or repentance or guIlt, but I’m drawn to characters who walk nearer the dark sIde, who tread the lIne between good and evIl.” –Édgar ramÍrez

It’s two p.m. the day after the sixty-third Primetime Emmy Ultimatum; a Cuban revolutionary in Steven Soderbergh’s Awards, and Édgar Ramírez feels like shit. It’s not that Che biopic; and a sharpshooter opposite Dennis Quaid he’s upset over losing to Barry Pepper in the race for and Forest Whitaker in Vantage Point.

Outstanding Lead Actor in a Miniseries or a Movie, but Although it’s easy to assume that the characters to something’s definitely wrong; he sounds gruffer than which he’s drawn relate directly to his experiences in usual, throatier. “I’m so hungover,” admits the 33-year- Venezuela—the tropical country has, since the 1980s, old Venezuelan actor in his charming Spanish accent. been plagued by political corruption and economic cri“It was a fantastic night.” Following the ceremony, where sis—it’s also reductive; Ramírez's interest in violent charhe had been nominated for his star-making turn as the acters cuts much deeper than environmental mimesis. “I titular assassin in Olivier Assayas’s Carlos, Ramírez and choose these parts because I want to understand what his fellow nominee and Vantage Point costar William it’s like to be rejected, how it feels to be marginalized,” Hurt hurried over to Jimmy Fallon’s after-party, which says Ramírez, who describes his upbringing as privicontinued well into the morning. leged. “I don’t know if it’s atonement or repentance or Ramírez has good reason to celebrate. In addition guilt, but I’m drawn to characters who walk nearer the to his Emmy nod, which concluded a whirlwind tour of dark side, who tread the line between good and evil. If awards recognition—peaking at the beginning of last somebody’s entirely good or entirely bad, they’re cariyear when he accepted the Best Mini-Series or Motion catures. There’s no need to tell their stories.”

Picture Made for Television trophy at the Golden Globe What attracted Ramírez to Carlos, in which he plays Awards—September marks his tenth year as an actor. “I a version of Ilich Ramírez Sánchez, famously referred can’t believe how much I’ve done in that time,” he says. to as Carlos the Jackal, was the terrorist’s blinding “To think that I’ve since been considered in the same ego. Sánchez, who is currently serving a life sentence breath as Al Pacino [who beat out Ramírez for the Best in France’s Clairvaux Prison, was captured in 1994 in Actor Golden Globe] is overwhelming.”

Sudan by French authorities while bedridden followCarlos has been a “game-changer” for Ramírez, who ing a surgery to treat a bulging vein in his testicles. At was born in San Cristóbal, in Táchira, Venezuela, to a that point, the rocker excess he’d known earlier in his lawyer mother and a military attaché father. As a child, life—fast cars, loose women—was a distant memory; he traveled the world with his family, who uprooted now doughy, sick, and mortal, he’d been betrayed by a often because of the transient nature of his father’s swollen ball. “It’s fascinating to think about the impact career. While enrolled in the mass communication pro- that his narcissism has had on history,” Ramírez says. gram at Andrés Bello Catholic University, the polyglot “If the Wicked Witch knew she was the Wicked Witch, (he speaks six languages) was asked by celebrated she’d no longer be the Wicked Witch. She’d fucking kill Mexican auteur Alejandro González Iñárritu to star herself. But every time she looks in the mirror, she thinks in his film Amores Perros. Swamped with his studies that screwing over Dorothy is the best way to spend her and his work as the executive director of Dale al Voto life. The same is true of Carlos. For better or worse, we (the Venezuelan equivalent of Rock the Vote), Ramírez all wake up in the morning thinking that we’re the best politely declined. Amores Perros would later earn an we can be—otherwise we’d be different. Therein lies Oscar nomination for Best Foreign Language Film, which the drama of humanity.” didn’t sit well with Ramírez, who then decided to give Ramírez says that the secret to his fully-wrought, acting a serious shot. lived-in performances is to quell the judgment he might Following his initial success in 2003 as a series regular otherwise pass on the figures he plays. “But it’s not on the dishy telenovela Cosita Rica, Ramírez landed a slew because I’m a kind person,” he says. “It’s because that’s of alpha brute roles in American films. He played a bounty my job: to observe without prejudice.” It’s a challenge hunter opposite Keira Knightley and Mickey Rourke in he’ll accept again soon when he plays an alcoholic heart Domino (The film’s tagline: “I am bounty hunter”); an surgeon opposite Juliette Binoche in an upcoming (and, assassin on the hunt for Matt Damon in The Bourne as of this writing, untitled) French drama.

Before that, he’ll star as Ares, the Greek god of war, in Wrath of the Titans, the sequel to 2010’s Clash of

the Titans. It’s a curious choice for Ramírez following

the success of Carlos, which cemented his stateside cachet, but he swears his decision had nothing to do

with cashing in on his current popularity. “Playing Carlos drained me horribly,” he says. “I wanted to do something entirely different. I’ve never been in a movie with special effects and wires. I was training with swords and shields, and getting to do all kinds of body-to-body combat.”

Laughing, he adds, “Boys will be boys.”

Ramírez was careful to make sure that his interpretation of Ares, the son of Zeus (Liam Neeson), the brother of Perseus (Sam Worthington), and the nephew of Hades (Ralph Fiennes), was much more than the sum of his rippling parts. “We all tried to elevate the franchise on this one,” he says, prudently acknowledging the first installment’s tepid reviews. “Even though he’s the god of War, Ares is also the archetype of self-destruction.

He doesn’t care if he wins the battle, so long as he’s in the battle. He doesn’t care who he’s fighting as long as he’s fighting.” Ramírez found the humanity in Ares by sifting through the mythology to unearth the man beneath it. “At his core, he’s a guy whose father never accepted him,” Ramírez says. “In that way, he’s very easy to relate to, because we’ve all faced rejection in our lives, whether it’s from our father, our mother, or our piano teacher.”

The production of Wrath of the Titans, which had Ramírez traveling between London, South Wales, and the Canary Islands, was far from alienating. The cast became so close, in fact, that they now refer to themselves as the Godly Gang. “Can you imagine?” he asks. “It was insane!

I was working with the Schindler’s List guys—one of them was my father, and the other was my uncle.”

No one can predict how Wrath of the Titans will fare at the box office when it hits theaters in March, least of all Ramírez, who says he’s praying that the final product will reflect the considerable work that’s gone into it. “Whether the movie is going to enhance my career or how people perceive me—I can't control that, and I try not to anticipate things that are beyond my control.

I’d rather focus on being the best I can be.” In doing so, he’ll likely accomplish the very thing Sánchez spent his youth fighting for: glory. Nick Haramis

Suit DRIES VAN NOTEN SHiRt and tiE HILDITCH & KEY tiEPin and magnifiER lagERfEld’S OWn

HaiR Sam mcKnigHt fOR PantEnE gROOming PEtER PHiliPS fOR CHanEl PHOtO aSSiStantS OliviER Saillant, BERnWaRd SOlliCH, XaviER aRiaS, fREdERiC david StyliSt aSSiStantS HadRiEn JaCquElEt and CHaRlOttE COllEt REtOuCHing ludOviC d’HaRdiviliER

V M A N

d e c A d e s

1 9 0 0s muybridge i N m OTi O N

The sTarT of The 20 Th cenTury was devoTed To Two new ideas ThaT alTered culTure forever: cinema (based

on The invenTions of eadweard muybridge) and The reTurn of The olympics. fiTness and film: as evidenced

by Today’s ofT-shirTless sTars, noT only were They born TogeTher, They belong TogeTher

B Y c r e A t i V e

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H a n g i n g

T w i s T i n g

K n e e - U p s

Hang from bar, palms facing out. Bring both knees to one side and lower, alternate between left, middle, and right.

SWEATPANTS Y-3

SNEAKERS CHRISTIAN LOUBOUTIN NECKLACE (WoRN THRougHouT) MIANSAI

S k a t e r S Start on one leg with knee bent. Jump to the side as far as you can, landing on the opposite leg. Stabilize and repeat.

TANK ArmAni exchAnge SHORTS mArc BY mArc JAcOBS SNEAKERS ALeJAnDrO ingeLmO WATCH VicTOrinOx SWiSS ArmY

t r i a n g l e

P u l l - u P

Hang from bar, palms facing out. Pull up and bring chest to bar height.

Bring head to one hand while maintaining height. Lower and alternate right and left sides.

TANK ArmAni exchAnge SWEATPANTS Y-3 SNEAKERS chriSTiAn LOUBOUTin

P u S h - u P w i t h S h u t t l e - r u n Lower into push-up position. Explode up from the ground and sprint ten yards. Tap the ground and sprint back. Return to push-up position and repeat.

JACKET g-STAr T-SHIRT ANd SHORTS ArmAni exchAnge SNEAKERS ALeJAnDrO ingeLmO

S i d e p l a n k r o t a t i o n Place weight on one arm while extending the other up toward the sky, aligning your body so there is a straight line from your head to heels.

Make sure both arms are straight. Leading with your extended arm, rotate your torso, threading arm under and across your body. Repeat six to eight times, then switch sides.

SwEATPAnTS DSQUAReD SnEAKERS LOUiS VUiTTOn

J u m p i n g

J a c k S

A classic that never goes out of style. Begin with your feet together and arms at your sides. Jump feet apart while raising your arms over your head. You should be on the balls of your feet. Jump back to center and repeat.

TAnK ARmAni exchAnge SwEATPAnTS Y-3 SnEAKERS chRiSTiAn LOUBOUTin

S p i d e r

p u S h - u p

Elevate feet and assume a push-up position. As you lower your body, bring one knee to same-side elbow. Return to push-up position and repeat, alternating between left and right sides.

SHORTS PRADA BRIEFS (wORn THROugHOuT) ARmAni exchAnge SnEAKERS ALeJAnDRO ingeLmO wATCH VicTORinOx SWiSS ARmY

B e n c h J u m p w i t h R o t a t i o n Start in a squat beside knee-high bench or block. Jump and turn, landing on the bench, then quickly jump again to continue a one hundred eighty degree rotation. Stabilize and repeat.

TANK ArmAni exchAnge SHORTS mArc BY mArc JAcOBS SWEATBAND ADiDAS SNEAKERS cOmmOn PrOJecTS

B e n c h

D i p s

Position your hands shoulder width behind your body. Lower hips until elbows are bent ninety degrees, keeping elbows close to body.

Aim for maximum reps.

SWEATPANTS AND SNEAKERS LOUiS VUiTTOn SWEATBAND ADiDAS

t o e

t a p s

Touch one foot to the top of a bench or a block and quickly alternate feet in midair. Repeat endlessly until near-death.

HOODiE AND SWEATPANTS Y-3 SNEAKERS chriSTiAn LOUBOUTin

ART DiREcTiON BENJAmiN HAvRiLAK WORKOuT DESigN WiLL TORRES STyLiNg micHAELA ERLANgER gROOmiNg SOuHi fOR DiOR BEAuTy (DE fAcTO) mODEL cLiNT mAuRO (fORD Ny) ON SET WORKOuT cONSuLTANT miKE BELL DigiTAL cAPTuRE ScOTT ScHWEizER PHOTO ASSiSTANT NADyA WASyLKO PRODucTiON NO WHEELiES SPEciAL THANKS PATRicK DODDy, PATTi WHALEy, ELizABETH JOHNSON, micHELLE viAu, WHiTNEy BOEgEL

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d e c A d e s

1 9 1 0

s

long l ive c la s s i ca l

A CENTURY AfTER ThE ENd of ThE RomANTiC pERiod, Cl AssiCAl mUsiC is hAviNG qUiTE ThE RENAissANCE. dRiviNG ThE REvivAl ARE CoNdUCToR lEE mills, phoTo -

GRAphEd hERE, ANd violiN viRTUos o ChARliE siEm, who spokE wiTh ThE YoUNG mAEsTRo

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tuxedo, SHIRt, BoW tIe, CuMMeRBuNd TOM FORD

tuxedo, SHIRt, BoW tIe, CuMMBeRBuNd GiorGio armani maDE To mEaSUrE

GRooMING KaoRu oKuBo foR NaRS CoSMetICS (MaNaGeMeNt aRtIStS) PHoto aSSIStaNt BRett MoeN StylISt aSSIStaNt alexIa elKaIM PRoduCtIoN CHelSea SteMPle (MaNaGeMeNt aRtIStS) loCatIoN GeoRGe BRoWN StudIoS, NeW yoRK

emergence of youtube, facebook, and twitter, along with other developments like the smartphone, dVR, Netflix—honestly the list is endless. Something that hasn’t changed, however, is the way we present music. I have been very fortunate to be involved at the Baltimore Symphony orchestra, where they are making a real effort to bring the orchestra experience into the 21st century. We need to be reaching out to audiences and drawing them in. It seems there is a stigma about classical music in our society right now—that it is too prim, boring, and outdated. But the truth is music can and does affect everyone across all demographics. there is no shame in acknowledging that while we are artists, we are also essentially entertainers. that is something that you very clearly understand, Charlie, and some orchestras are embracing that very well. If you think about it, Paganini, liszt, Mozart, Strauss, toscanini—all of them were really rock stars in their day. there is no reason why we can’t have the same approach to classical music today.

CS I feel with certain repertoire one has license to experiment with more creative means of performance—lighting, audience interaction, venue, etc. What are your views on evolving the concept of live performance in classical music?

LM I absolutely agree! as I mentioned earlier, it’s all about staying relevant. ultimately, the music itself is timeless; what needs to evolve is the way we present it. there is no reason why we can’t incorporate any means available to tastefully enhance the

experience. the New World Symphony, for example, just moved in to their brand-new performance space which has been completely designed from the beginning to incorporate all types of multimedia and effects into the concert hall. there is no replacement for live music performance, but bringing these other aspects into the performance can enhance it even further and create more excitement about the music.

CS As VMAN is a fashion-orientated publication, I feel compelled to ask what fashion means to you on or offstage.

LM fashion, like music, is a very personal, intimate part of me. of course onstage there are certain expectations and traditions that are great to honor, but I really love the small details. there is always some sort of understated way to express what you’re feeling inside with what you wear without causing a huge scene about it. Say, the way I fold my pocket square that day, for example, or wearing bright orange socks under my tux. offstage there are fewer boundaries, but there is never a day when what I’m wearing doesn’t mean something, and fashion isn’t just limited to what I wear. from the way my apartment is furnished to the way I plate my dinner, I always seem to be very sensitive to aesthetics (or it could possibly just be oCd). I’m sure my friends can tell what kind of day I’m having without even talking to me, just by looking at what I’m wearing. as with music, fashion can reach a part of our souls that words and other forms of expression just can’t quite get to.

V M A N

d e c A d e s

1 9 2 0s The SuiT an d Th e S ea

The suiTs men wear Today are sTill basically based

on Those during The days of arT deco, and we're noT jusT Talking seersucker. The roaring TwenTies als o

saw The arrival and rise of sporTswear: wiTh a world

war in The bag, mosT of our boys having Traveled The globe, fashion would never be The same

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Zac Stenmark wearS Jacket, VeSt, PantS, SHIrt GIORGIO ARMANI

modeLS Zac Stenmark and Jordan Stenmark (red nYc) GroomInG Sara SIbIa uSInG art of HaIr bY SHu uemura (See manaGement) ProP StYLISt cHrIStoPHer Stone PHoto aSSIStant aLLen cHen StYLISt aSSIStant JuLIan antetomaSo ProP StYLISt aSSIStant maJa cuLe

Jordan Stenmark wearS toweL EMPORIO ARMANI

V M A N

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1 9 3 0

s

t h e d aw n o f t r av e l

After Lindbergh’s spirit of st. Louis And the end of WWi, internAtionAL fLight WAs ALL the rAge. finALLy one CouLd WAke up in pAris, London, or tAngiers, And fLy home With A trunk fuLL of neW CLothes

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V M A N

d e c A d e s

1 9 4 0s LIFE DURING WA R T I M E

With the onset of WWii, mankind finally accepted the

fact that We are, invariably, men of War. and While the World eventually settled into peace again, the

influence military garb had on fashion Would prove to be everlasting

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Tom wears JaCKeT, sHIrT, panTs YVES SAINT LAURENT TIe anD paTCH (on sLeeVe) UNCLE SAM’S pIns (on JaCKeT) VInTage From MELET MERCANTILE

BoBBy wears sHIrT aND PaNTs LANVIN TIe BURBERRY LONDON BeLT aND PoUCH UNCLE SAM’S

tom wears PaNts ERMENEGILDO ZEGNA Hat aND DoG taG (worN tHrouGHout) VINtaGe From MELET MERCANTILE BrIeFs aND BeLt UNCLE SAM’S Boots VINtaGe From WHAT GOES AROUND COMES AROUND

BOBBY wears JackeT G-STAR PanTs ERMENEGILDO ZEGNA BeLT and dOg Tag UNCLE SAM’S

TOM (frOnT) wears sHIrT REYN SPOONER X OPENING CEREMONY PanTs ERMENEGILDO ZEGNA BeLT UNCLE SAM’S BOBBY (Back) wears PanTs ERMENEGILDO ZEGNA dOg Tag (wOrn THrOugHOuT), BeLT, POucH UNCLE SAM’S

BOBBy (frONt) wears taNK POLO RALPH LAUREN PaNts DOCKERS Belt UNCLE SAM’S Jesse (BaCK) wears taNK DOLCE & GABBANA PaNts DOCKERS Belt UNCLE SAM’S

Jesse (left) wears tUrtleNeCK POLO RALPH LAUREN sHOrts VINtaGe frOM WHAT GOES AROUND COMES AROUND BOBBy (rIGHt) wears taNK POLO RALPH LAUREN PaNts DOCKERS Belt UNCLE SAM’S

Jesse wears TUrTLeNeCK POLO RALPH LAUREN

Tom wears JaCKeT DSQUARED PaNTs ERMENEGILDO ZEGNA dog Tag viNTage From MELET MERCANTILE HaT aNd BeLT UNCLE SAM’S BooTs viNTage From WHAT GOES AROUND COMES AROUND

Hair HoLLi smiTH (CommuNiTy.NyC) groomiNg KrisTiN gaLLegos For m.a.C CosmeTiCs (CommuNiTy.NyC) modeLs Tom BarKer (souL), Jesse sHaNNoN (requesT), BoBBy raKe (aim) LigHTiNg desigN CHrisToPHer BisagNi PHoTo assisTaNTs miCHaeL agHy aNd BraNdoN HoLmes sTyLisT assisTaNTs oLivia KozLowsKi aNd damiaN waLeK equiPmeNT driveiN24 sTory LayouT maTTHew Kraus reTouCHiNg BreNT adams (sTudio 232) CaTeriNg NueLa LoCaTioN vaN maPs ProduCTioN LoCaTioN FLoyd BeNNeTT FieLd, BrooKLyN CasTiNg BarBara PFisTer

V M A N

d e c A d e s

1 9 5 0

s

greasers and s quares

Rockabilly bad boys and swing -dancing dweebs: ameRican youth had a deeply dispaRate moment duRing the fifties. switch-bl ade smokeRs bRiefly bullied the buttoned - up, but then a miRacle bRought eveRyone togetheR: Rock and Roll

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SIMON WEARS JACKET DSQUARED T-SHIRT ARMANI EXCHANGE

from left: JUStIN WeArS JACKet AND JeANS DSQUARED t-SHIrt ARMANI EXCHANGE SoCKS FALKE SHoeS CONVERSE NIColAS WeArS SWeAter BURBERRY PRORSUM SHIrt PORTS 1961 PANtS GUCCI SoCKS FALKE SHoeS TOM FORD

FROM LEFT: ENIKO WEARS TOP LOUIS VUITTON RESORT SKIRT NY VINTAGE RING hER OWN JAKOB WEARS SWEATER SALVATORE FERRAGAMO ShIRT BURBERRY PRORSUM T-ShIRT ARMANI EXCHANGE

FROM LEFT: MATT c. WEARS JAcKET DSQUARED T-SHIRT GUESS JAKOB WEARS TOP RAF SIMONS SHIRT RALPH LAUREN BLACK LABEL T-SHIRT ARMANI EXCHANGE JEANS DSQUARED SOcKS FALKE MATT T. WEARS JAcKET DSQUARED NIcOLAS WEARS T-SHIRT McQ ENIKO WEARS JAcKET VINTAGE FROM WHAt COMES AROUND GOES AROUND TOP PRADA PANTS DOLCE & GABBANA RING ANd EARRING HER OWN SIMON WEARS SHIRT ANd T-SHIRT CALVIN KLEIN COLLECtION PANTS DSQUARED

Hair rutger for redken (StreeterS) grooming aSami tagucHi (l’atelier nYc) modelS eniko miHalik (marilYn), nicolaS ripoll (WilHelmina), JuStin Bravo (next), JakoB WiecHmann, matt terrY (ford nY), Simon neSSman, matt coatSWortH (Soul) digital tecHnician kaita takemura ligHting aSSiStant mattHeW HaWkeS StYling aSSiStantS erin Sullivan and Julian antetomaSo Hair aSSiStant JameS moore prop StYling matt JackSon (BrYdgeS mackinneY) producer aSHleY HerSon on-Set producer mYleS BlankenSHip retoucHing nicolaS fallet (dfactorY pariS) equipment rental trec location SkYWaY diner, neW JerSeY Special tHankS let tHere Be neon!

V M A N

d e c A d e s

1 9 6 0s mad m en

The SixTieS weren’T all abouT The Sexual revoluTion,

acid TeSTS, and proTeSTS. S ome Splayed in fieldS and

S ome wenT To war, buT oTherS wenT To work. and

They looked damn dapper doing S o. iT waS a beauTiful period for The modern SuiT, which we celebraTe wiTh TheSe paper-made, fall-inSpired pieceS

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JACKET HUGO BOSS SHIRT HERMÈS TIE TOM FORD WATCH SWATCH CUFF LINKS SAlvATORE FERRAGAMO TIE CLIP DUNHIll

SHIRT and JaCKET GUCCI POCKET SQUaRE DIOn COlleCtIOn WaTCH GUeSS CUFF LInKS DAVID YURMAn

Photo assistant alastair Casey stylist assistant Karen Wisdom loCation small studios, neW yorK

JaCKet JOHN VARVATOS shirt and tie LANVIN WatCh DAVID YURMAN CuFF linKs DUNHILL tie CliP SALVATORe FeRRAGAMO

V M A N

d e c A d e s

1 9 7 0

s

SUEDEHEADS

Shaved headS grow back. PunkS grow uP. a PoSt-Skin-

head, Ska-and - glam-loving, Suit-wearing, claSS-blind, u.k. Subculture, SuedeheadS Proved that StyleS evolve, the ShellS of rebelS get chic, and SometimeS the baddeSt oneS among uS look the beSt

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h e t t A 2 0 1 2

S e e a n e xc l u S i v e v i d e o o f t h i S S h o ot o n t h e v M a n 2 4 i Pa d a P P f r o M ot h e r e d i t i o n

p a g e

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JORDAN WEARS ShiRt GIORGIO ARMANI pANtS ACNE BOOtS DR. MARTENS BELt ViNtAGE FROM BEYOND RETRO

FINNIAN WEARS JACKET PRADA SHIRT ACNE VEST VINTAGE FROM BEYOND RETRO

HENRY WEARS JACKET ACNE SHIRT TOM FORD PANTS EMPORIO ARMANI SHOES DRIES VAN NOTEN SOCKS FALKE BELT VINTAGE FROM BEYOND RETRO

CHARLIE WEARS jACkEt And SHIRt COMME DES GARÇONS jEAnS ARMANI JEANS

FROM LEFT: FINNIAN WEARS CARDIGAN HERMÈS SHIRT McQ JEANS AND SOCKS ACNE SHOES RAF SIMONS HENRY WEARS SWEATER SALVATORE FERRAGAMO SHIRT AND SOCKS ACNE JEANS ARMANI JEANS SHOES CHURCH'S

JORDAN WEARS SHIRT PRADA

from left: HeNrY WeArS JACKet ANd SHIrt TOM FORD SWeAter, tIe, SHoeS DRIES VAN NOTEN JeANS ARMANI JEANS SoCKS ACNE fINNIAN WeArS JACKet BALENCIAGA By NICOLAS GhESquIÈRE SWeAter JIL SANDER SHIrt ACNE JeANS ARMANI JEANS SHoeS RAF SIMONS SoCKS FALKE JordAN WeArS JACKet MARC JACOBS SHIrt hERMÈS JeANS Mcq SHoeS ChuRCh'S SoCKS FALKE

HAIr ANd groomINg CHrIStIAN eberHArd (JulIAN WAtSoN AgeNCY) modelS JordAN mAtHeSoN (StudIo boYo), fINNIAN ANd HeNrY (SeleCt), CHArlIe tImmS (PremIer) Set deSIgN robert StoreY PHoto ASSIStANt Jeff YIu dIgItAl teCHNICIAN ClAIre fultoN (SPrINg dIgItAl) StYlISt ASSIStANt rAPHAel HIrSCH HAIr ANd groomINg ASSIStANt JAmIe mCCormICK ProduCtIoN george mISCAmble (reP lImIted) retouCHINg ProVISIoN loCAtIoN SPrINg StudIoS, loNdoN

V M A N

d e c A d e s

1 9 8 0s ag e of e xcess

THE DECADE OF DECADENCE WAS DEFINED BY ITS OPULENCE,

OFTEN IN THE FORM OF EXTRAVAGANT DESIGN. IN REMINIS CING, WE CELEBRATE THIS HEYDAY BORN ANEW WITH THE RETURN OF REGALIA THROUGH AN ACID -BRIGHT LENS. BAROQUE, SNAKESKIN, ANIMAL, OR DIGITAL, MAKE WAY FOR THE NEW CROWN PRINTS

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Tim wears sHirT aND PaNTs BURBERRY PRORSUM sHOes NIKE

Collin wears sHirT, T-sHirT, sHorTs GIVENCHY BY RICCARDO TISCI sHoes NIKE soCKs PUNTO

FROM LEFT: COLLin wEaRs JaCKET anD PanTs CALVIN KLEIN COLLECTION sHiRT EQUIPMENT HOMME TiM wEaRs TanK anD PanTs CALVIN KLEIN COLLECTION sHiRT EQUIPMENT HOMME

Collin wears sHirT D&G

Tim wears sHirT, PaNTs, JaCKeT (iN HaND), sHOes PRADA

FROM LEFT: TiM wEaRs sHiRT aND PaNTs VERSACE COLLiN wEaRs sHiRT aND PaNTs VERSACE

Tim wears T-sHirT JIL SANDER ViNTaGe PaNTs aND BeLT from WHAT GOES AROUND COMES AROUND

Hair ruDi Lewis for reDkeN/CuTLer saLoN (maNaGemeNT arTisTs) GroomiNG sTeVeN CaNaVaN for Laura merCier (JeD rooT) moDeLs Tim DeVos (THe NeTwork TaLeNT/PaNaCHe) aND CoLLiN TeNNaNT (requesT) PHoTo assisTaNTs aNToNi Ciufo aND NiCoLas LuDoViC sTyLisT assisTaNTs oLiVia kozLowski aND DamiaN waLek ProDuCer miCHaeL quiNN DiGiTaL TeCHNiCiaN eDouarD moufLeTTe reTouCHiNG imaG’iN ProDuCTioNs Paris LoCaTioN moNmouTH uNiVersiTy sPeCiaL THaNks JuDy siLLeN (aLLeN CresT LoCaTioNs)

V M A N

d e c A d e s

1 9 9 0s g e n e rat i o n x

WHETHER STRAIGHT OUT OF COMPTON OR SULKING WITH

TEEN SPIRIT, MIND –TRIPPING IN MANCHESTER OR MOSHING TO

MUDHONEY,

FASHION

BORROWS

THE

BEST

FROM

GENERATION X. CHOOSE (AND CHANGE) YOUR FAVORITE

VIBE—BECAUSE THE NINETIES NEVER DIE

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rave Leebo wears PaNTs, CaP, LaNYarD GIVENCHY

BY RICCARDO TISCI T-sHIrT (TIeD aroUND waIsT) aND sUNGLasses GUESS earrINGs aND UNDerwear MoDeL's owN

grunge miles Wears JaCkeT COMME DES GARÇONS HOMME PLUS Hoodie (Worn underneaTH) TOMMY HILFIGER skirT G-STAR BaG DIESEL BraCeleTs and Glasses sTylisT’s oWn

Hair CHuCk amos for BumBle and BumBle & T3 (JumP) GroominG devra kinery for makeuP forever (arT deParTmenT) models leeBo freeman (adam nyC), miles mcmillan (dna model manaGemenT), ColT maldonado and Jeremy WardlaW (requesT models) diGiTal CaPTure BurBridGe sTudio PHoTo assisTanTs kim reenBerG and Jeff Henrikson sTylisT assisTanT Jose rodriGuez makeuP assisTanT JonaTHan younG ProduCTion JessiCa daly (arT+CommerCe) CasTinG direCTor BarBara PfisTer reTouCHinG BurBridGe sTudio

hip hop From leFt: Colt wears JaCKet DRIES VAN NOTEN Vest ALEXANDER WANG tUrtleNeCK BOSS ORANGE PaNts G-STAR BaNDaNNa NASIR MAZHAR Jeremy wears sHIrt TIM HAMILTON Vest ALEXANDER WANG PaNts DIOR HOMME earrINGs GIVENCHY BY RICCARDO TISCI

V M A N

d e c A d e s

2 0 0 0s bac k to the future

the first decade of the 21 st century was long -anticipated to be a world of flying cars and robot slaves. but rather than a life of technological convenience,

we found ourselves living through a period of great

maturation, humility, and remembrance. here, artist

irina werning —who uses aging as a basis for her work by replicating childhood photos of her subjects in the

present day—honors the spirit of this moment with some of our favorite models of the millennium

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Tys on Garland, Texas 1985

Garrett Martha’s Vineyard 1986

brad St. louiS, miSS ouri 1988

RJ Youngstown, ohio 1990

JAKE YorKshirE, EnglAnd 1985

V M A N

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2 0 1 0

s

j am e s f ranco : m i llennial man

James Franco is a creative purist, reFusing to put

categories or deFinitions on expression. He personiFies tHe spirit oF tHis generation: iF tHere’s sometHing

tHe proliFic experimentalist can’t do (wHicH tHere isn’t), He’s going to Find out by trying. tHat’s wHy

He’s our man oF tHe decade. someday, it migHt not be tHese pages His Face is on, but currency

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FRANCO WEARS SHIRT AND TIE DSQUARED

“I don’t want to be confIned by that sIngle screen or a sIngle kInd of person tellIng the story.

I want It fractured. I want to break It up. I want to lose myself...”

–James franco James Franco is a man who needs no introduction; we believe he received one before taking the stage to host the eighty-third Oscars. He’s also preposterously famous, a global household brand of crazy-handsome movie megastar. But whereas most actors as famous as Franco are perceived by the public as a composite of the roles they play and media-constructed non-ish-fiction, Franco filters himself through many forms of expression: he’s an artist, an author, a teacher, a director, a creativity preacher. He’s the godfather of the Millennial generation: those who never take no for an answer, feel their feelings as much or as little in whatever way they want to, then hold them up for the world/Internet to see, or don’t. Whatever. It’s like fuck you, but as a beautiful, loving sentiment of unity and identity. Here, artist Douglas Gordon speaks with Franco on the nature of celebrity, audience, expectation, and murder.

PRInTInG BOx SPECIAL THAnkS DELPHInE DELHOSTAL

DOUGLAS GORDON Do you remember when we met?

JAMES FRANCO Was Avignon the first time we met?

DG No. We met in a café and you were introduced to me by Harry.

JF Yes, yes, the Scottish heir.

DG Right, who lives right around the corner from me in Berlin.

JF That’s right. He moved to Berlin.

DG And you know, so we eat and we have a nice lunch, and after that it gets hazy for me.

JF Oh, no. I remember. I fucking remember. You were in the back buying a bunch of Andy Warhols.

DG I was trying to buy a bunch of Andy Warhols; I didn’t get all of them.

JF Why? DG I don’t know. I think they had some better clients.

But there was one photograph that really struck me, which was a photograph of Andy Warhol, Brad Davis, and Fassbender. And I wanted it, and I got it eventually.

So if you ever come to visit me in Berlin, you can come into my ramshackle fucking mess of a house.

JF That’s the first thing you see when you go in your house?

DG Yeah. And the picture opposite that is a burnt portrait of Jayne Mansfield—tits are still there, head is off.

JF So I thought you were getting some of those Warhols for a show that you were doing.

DG No. I was trying to buy them.

JF But did you not do a show around that time that somehow combined your work and Warhol’s work?

DG Yeah, I mean roundabout that time I was planning this big show in New York, and there was this weird compulsion to exorcise something, which is another thing I’d like to speak to you about—I don’t know whether I should really call you an actor…

JF Okay.

DG You know what I mean? I think this is also one

of the good things about what you do outside of DG It’s a really curious thing, you know. I mean, I grew Hollywood. I think that you’re pushing it, because up with this idea that everyone’s equal and working you know that when you push it, people want it. You class, and if you rise above the working class then push it, you push it, you push it. Your short film, not you can go on and on and on, and of course I’m super the first one I saw, but the second one, which was lucky that my mum and dad supported me to go to art the rape of the girls? I have to say, that’s a fucking school. But then when you’re at art school, people difficult thing for me to watch. like David Bowie, who I think is genius, extraordinary, JF Herbert White is based on a poem of the same name the reception of his paintings ain’t that good. There

by Frank Bidart, it’s the first poem from his first book of are many examples, and then you realize that there poetry, Golden State. It is a persona poem that uses the are artists who can make an occasional cameo in a mask of a serial killer to talk about deeper things. I saw movie and kind of get away with it, but the elevation it as a chance to show the extremity of loneliness that of art is so strange. a person might feel if they possessed a secret so dark JF I actually talked to Russell Ferguson [chair of The that they could never tell anyone about it. I am prob- Department of Art at UCLA] about this a lot, because ably more proud of this short film than of anything else I studied with him, and that was when I first started to I’ve done. I got to collaborate with two of my heroes: make my videos where I was trying to get away from comFrank Bidart and the actor Michael Shannon. It was mercial cinema. We talk about that a lot, that actors— the first time that I felt really pushed to raise my own especially actors in mainstream film—are gonna bear a game as an artist because I didn’t want to let down lot of that. In my life as an actor, I have this level of comthese great collaborators. mentary, you know—blogs and things that comment on DG And of course you make the work for those people the most base and stupid, stupid level, but that is a level and for yourself. This is the other great thing when that I have to kind of break through if I want to do anything you make work, in any medium, for anyone, and you outside of acting and mainstream film, just something actually end up in a temporary confrontation or meet- that I always have to face. I mean, I’m not asking people ing with those people: you realize that what you’ve to feel bad for me, I’m just saying that it’s the situation done is actually effective. But that meta-reflection I’m in—that people are skeptical of celebrity. can be…

DG Which you clearly enjoy.

JF There is a bit of a dichotomy between my work on JF You know, I’ve embraced it now. I actually like this camera as an actor and off-camera. I am still hired as sort of superficial criticism of the work, because in an actor in commercial narrative films and my respon- a way it becomes this sort of beautiful reflection of sibility there is to create characters that are believable our culture. and entertaining in each given project. I don’t see my DG This may be a terrible question, but what is the participation in films like Milk or 127 Hours as anything work and what is the work? I know what your work other than storytelling devices among many such devices is, and I think you know what your work is. I mean, for the directors of those films. I am a collaborator, but there’s the daily work and there’s the… a collaborator serving a director’s vision.

JF I think you are talking about the work as an actor for But outside of my role as an actor a different persona hire, which is an interpretive kind of work, and work as has been created—this is the public persona—which has a director or artist, which is a creative kind of work. I been partly created by me and the career choices I’ve think I’ve found a way to happily combine both worlds. made, and partly by other entities: the press, the public, Even when I need to do the “work,” the obligatory work the Internet. This persona is now material for much of of promoting a big-budget studio film, I have found a my work as is the material of film itself. Commercial films way to make this part of my personal practice by tryare designed to entertain and make back their money, ing to be as honest as possible. My public persona has they are expensive and thus they are investments, but become part of my work, not that I am actually out tryonce they have served their turn in the marketplace I ing to get tons of attention, believe me, I’d rather not do see them as raw material for more explorative kinds of all the promotion required for a film, but if I do have to work. I feel like that’s incredibly important because for do it, then I am going to make it worthwhile. And really I so long I’ve been working only in mainstream cinema don’t have to do too much, I think people are so used to as an actor and that was basically the only outlet I had. a kind of celebrity mask that people wear to keep their So one of the big things for me is: how can I break out? private lives safe that when someone tries not to wear I want to do something that’s based in film, but I don’t the mask it is disconcerting. Anyway, I am just trying to want to be confined by that single screen or a single kind make all aspects of my life worthwhile and to turn the of person telling the story. I want it fractured. I want to “work” into material that I can use for my Work. break it up. I want to lose myself in something bigger. So DG Can I say this is like the first time that we’ve both the presentation and the process of making has become actually had quiet time? extremely important to me—to get out of what I’m used JF Very good. To be continued. to. And that’s something that I think you do too.

DG Always.

FRANCO WEARS SHIRT AND TIE gucci

Retouching View imaging

artwork james franco

Š Studio lost but found (Kiebacher / PederSen)

artwork douglas gordon

V M A N

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SINCE MAN SPLIT THE ATOM, PROGRESS HAS BEEN HINGED

ON THE ART OF THE SPLICE. STEM CELL THERAPY, THE HUMAN GENOME, AND EVEN CLONING REST ON THE SIMPLE

CONCEPT OF CUT-AND -PASTE. THE FIELD OF FASHION ISN’T FOREIGN TO FISSION. DON’T FIGHT THE FUT URE— CUT IT UP AND FUSE IT

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AJ WEARS JACKET, SuiT, ShiRT CALVIN KLEIN COLLECTION

CJ WEARS SWEATER (WoRn on Top), JACkET, SHIRT VERSACE

NICHOLAS WEARS SHIRTS AND COAT PAUL SMITH

MICHAEL WEARS JACKET, SHIRT, PANTS COMME DES GARÇONS

PAOLO WEARS jAckEt, cOAt (WORn undERnEAth), PAntS Lanvin

PETEY WEARS JACKETS AND SHIRT BURBERRY PRORSUM

PHoTogRAPHY AND ARTWoRK DAmIEN BloTTIERE HAIR DAvID voN CANNoN (BRYAN BANTRY AgENCY NYC) gRoomINg ADRIEN PINAulT uSINg NARS CoSmETICS (mANAgEmENT ARTISTS) moDElS AJ ABuAlRuB, CJ HANCoCK, NICHolAS mADRID, mICHAEl WozNIAK, PAolo ANCHISI, PETEY WRIgHT, ETHAN JAmES (FoRD NY) PHoTo ASSISTANT NICHolAS oNg STYlIST ASSISTANTS KAREN WISDom AND ANNA SToCKlAND RETouCHINg lACEN PARIS loCATIoN FAST ASHlEYS BRooKlYN

ETHAN WEARS JACKET AND SHIRTS ERMENEGILDO ZEGNA EARRINg moDEl’S oWN

Carine roitfeld’s Most stylish Men of all tiMe When We asked the fashion iCon (and daughter of filM produCer vladiMir roitfeld) to Choose soMe of her role Models of MasCulinity, she returned to her CineMa roots

riChard Burton

Christopher Walken

Known for: Suddenly Last Summer, 1959

Known for: Who’s Afraid of Virginia Woolf, 1966 Equus, 1977 being Mr. Elizabeth Taylor, 1964 & 1975

Known for: All-around awesomeness, 1976 – Present

“He was sexy because he looked so tormented; you wanted to protect him.”

“When I think of Richard Burton I get jealous of Elizabeth Taylor. She got to say yes to this man twice.”

“This is a chic man, with the sexiest blue eyes.

And a truly remarkable man—he is a very good dancer and a very good cook.”

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vman issue 24 wintervman 2011 / issue spring 242012 winter preview 2011 vman.com