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HORS– SÉRIE

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M 08624 - 29H - F: 6,90 E - RD

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© TEC Judy Garland dans le rôle de Dorothy dans “THE WIZARD OF OZ”

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PHOTOGRAPHIÉ PAR NICK KNIGHT

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376/378 RUE SAINT HONORÉ 48BIS FRANCOIS 1ER TOMFORD.COM

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C O N T E N T S ST Y L E PHOTO GR APHS

Alasdair McLellan ST YLING

Benjamin Bruno

WHO DARES WINS 128

COVER

Wool cloth coat

COLLECTION HOMME, DIOR Fall–Winter 2019–2020 PHOTO GR APHS

Alasdair McLellan

FOXY LADY

146

ST YLING

Benjamin Bruno

Sarah Piantadosi S T Y L I N G Jacob K

PHOTO GR APHS

190

JUNGLE PHOTO GR APHS

166

Ethan James Green

HEART OF STONE

ST YLING

Anastasia Barbieri

PHOTO GR APHS

David Bailey ST YLING

Azza Yousif

214

PRINCE OF MELANCHOLY

75 N E X T ST E P Daniel Riera Brais Vilaso

PHOTO GR APHS ST YLING

87 M I D N I G H T I N TA N G I E R Brett Lloyd Giovanni Dario Laudicina

PHOTO GR APHS ST YLING

PHOTO GR APHS

Paolo Roversi

ST YLING

Anastasia Barbieri B Y Sophie Rosemont

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CONTENTS TRENDS 61

VO G U E H O M M A N I A

The editorial team’s pick of the fashion best.

B Y Olivier Lalanne, Jérôme Hanover and Philippe Azoury

106

FAC E T I M E

108

What if make–up for men were the next move towards equality? An exclusive session with trend–setting make–up artist, Stéphane Marais.

I N T E RV I E W B Y Frédérique Verley P H O T O G R A P H Giacomo Valois

S C E N T S O F LU X U RY

At a time when uniqueness reigns supreme, custom–made fragrances are the ultimate finishing touch.

B Y Mélanie Nauche P H O T O G R A P H Giacomo Valois

M AG A Z I N E 110

NICOL A S WINDING REFN UN DR E SSED

114

An exclusive interview, in style, with the director of Drive and the forthcoming TV series Too Old to Die Young.

I N T E RV I E W B Y Bruno Icher P H O T O G R A P H S Tom Hoops

118

C U LT F O L L O W I N G

Writer Simon Liberati looks at how his own personality has been shaped by cult figures from the past and mimetic admiration.

B Y Simon Liberati

H E AV E N ’ S G AT E

122

M E M E N T O M AU RY

A portrait of globetrotting model Nicolas Malleville, now at the head of a handful of select, highly personalised hotels.

B Y Stéphane Brasca

A meeting with Nicolas Maury, one of France’s most atypical film actors.

I N T E RV I E W B Y Didier Péron P H O T O G R A P H S Valentin Hennequin

WILL THE REAL FRANK OCEAN STAND UP? 160

A living demi–god of modern hip–hop, the American maverick is a virtuoso at managing his public image.

B Y Laurent Rigoulet

206

BAILEY ON THE ROCKS

SHADOW DANCER

182

A freewheeling one–on–one with David Bailey, photography legend and avant–garde figure of Swinging London.

I N T E RV I E W B Y Will Self

228

On the occasion of an exhibition at the MoMA, a portrait of Lincoln Kirstein, one of the New York arts scene’s most mysterious and intriguing characters.

B Y Anne Diatkine

THE PUNK POET

For three seasons now, Kim Jones has been captivating Dior man. In relaxed style.

I N T E RV I E W B Y Nelly Kaprièlian P H O T O G R A P H S Alasdair McLellan S T Y L I N G Benjamin Bruno GUE ST

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EDITO

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36

C U LT O B J E C T

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B O U T I Q U E E N L I G N E D I O R .C O M

*

S A U VAG E PA R N AT U R E

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WILD AT HEART

The substance of the object is function. Utilitarian elements shape the product and make it strong.

Bell & Ross watches meet four basic design principles: legibility, functionality, precision and reliability.

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BR 03-94 Black Matte · Chronographe automatique

42mm

Étanchéité 100m · Instruments de mesure du temps du cockpit au poignet · bellross.com

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FR ANCE VO GUE HOMME S

Hors – Série 29

SPRING–SUMMER 2019

3, avenue Hoche, 75008 Paris, France, Tel. 33 (0) 1 53 43 60 00 EDITOR–IN–CHIEF

Olivier Lalanne DEPUT Y EDITOR–IN–CHIEF

Didier Péron FA S H I O N D I R E C T O R

Anastasia Barbieri C R E AT I V E A N D A RT I S T I C D I R E C T O R

Patrick Roppel B E AU T Y E D I TO R

Frédérique Verley J E W E L L E RY A N D WAT C H E D I T O R

Marie Pasquier Tassadite Larbi EDITORIAL Azza Yousif, Giovanni Dario Laudicina FA S H I O N C O O R D I N AT O R Roberto Piu B E A U T Y C O O R D I N AT O R Mélanie Defouilloy J E W E L L E RY A N D WAT C H M A R K E T E D I T O R Émilie Zonino P R O D U C T I O N A N D C A S T I N G D I R E C T O R Charlotte Sélignan A S S I S TA N T Amélie Sammut A RT I S T I C D I R E C T O R Aude Delerue A S S I S TA N T T O T H E E D I T O R — I N — C H I E F FA S H I O N E D I T O R S

Matthieu Recarte Paul Richman T R A N S L AT O R S Gillian O’Meara, Anouk Neuhoff, Sandra Petch, Richard Stephenson P H O T O M A N A G E R Pauline Auzou A D M I N I S T R AT I O N M A N A G E R Keren Zenati N E W Y O R K O F F I C E Michael Gleeson

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T R A N S L AT O R A N D C O P Y E D I T O R

PUBLISHER AND CHIEF BUSINESS OFFICER

P RO D U C T I O N & D I ST R I B U T I O N

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P H O T O D E PA RT M E N T

Advertising team Cécile Boutillier, Céline Delacquis,

Aurette Kinnoo, Sophie Maarek

Manager Caroline Berton

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Belgium, Southern Europe, Latin America

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E XECUTIVE MANAGEMENT

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Stéphanie Lefebvre

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Director of Human Resources and Diversity

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Director

Marie Van de Voorde

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VO GUE HOR S–SÉRIE HOMME S PUBLISHING DIRECTOR

Yves Bougon

L E S P U B L I C AT I O N S C O N D É N A S T S A B OARD OF DIRECTOR S DIRECTORS

C H A I R M A N A N D C E O Yves Bougon Wolfgang Blau, Nicholas Coleridge, Giampaolo Grandi

C O N D É N A S T I N T E R N AT I O N A L LT D CHAIRMAN

Jonathan Newhouse

Vogue Hors–Série Hommes is published by Les Publications Condé Nast SA. Main associate: The Condé Nast Publications Ltd. To send an e–mail, the address is comprised as follows: recipient’s initial plus surname (without spaces) @condenast.fr

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I N T E R N AT I O N A L VO GUE HOMME S

Hors – Série 29

SPRING SUMMER 2019

3, avenue Hoche, 75008 Paris, France, Tel. 33 (0) 1 53 43 60 00 C O N D É N A S T I N T E R N AT I O N A L CHAIRMAN AND CHIEF EXECUTIVE

Jonathan Newhouse

PRESIDENT

Wolfgang Blau

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Subscription rates: France 1 year (2 issues) €9.90 Subscriptions: All commercial advertisements are verified prior to insertion, ADM — Service Abonnements 60 rue de la Vallée 80000 Amiens so as to ensure full compliance with the guideleines laid down by the ARPP, Tel. 33 (0)1 55 56 71 37 and vogue@condenast.fr the French Advertising Standards Authority. However, should you have any Switzerland: 2 years (4 issues) CHF49 Subscriptions: comments or observations, please help us by writing to: JDP 11 rue Saint–Florentin, Dynapresse, avenue Vibert 38, 1227 Carouge 75008 Paris, France. This publication is a member of the ARPP and is committed Vogue Hommes is also available in digital form at to enforcing thethe advertising industry’s code of conduct. All advertisements submitted www.relay.fr and www.virginmega.fr are therefore required to comply with the industry’s self–regulatory standards.

Copyright 2019 Les Publications Condé Nast SA Vogue Hors – Série Hommes is a six—monthly publication Dépôt légal Spring — Summer 2019, n° 100944, commission paritaire 1012K82514 Distribution: Presstalis — ISSN 0750–3628 Printed in France by Imaye Graphic, 96, boulevard Henri–Becquerel, 53000 Laval Paper sourced in: France (cover, Ptot 0.01kg/ton), Finland (magazine Ptot 0.011kg / tonne).

This magazine is printed on recyclable paper from sustainable forest sources, using pulp whitened with chlorine–free bleach.

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SERAPHIN

seraphin-france.com

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G U E ST

PARKER VAN NOORD VO GUE HOMME S

A song you sing in the shower?

PA R K E R VA N N O O R D

“You make me feel good” by the Zombies!!

VO GUE HOMME S

What do you find seductive?

I think I’am very attracted to a sexy, adventurous way of being PA R K E R VA N N O O R D

VO GUE HOMME S

What is your typical day when you’re not working?

PA R K E R VA N N O O R D I love an easy, light morning. I try to go the gym and listen to music while I move through Parker is covering Vogue Hommes for the very first time and the house half dancing, trying to organise myself. I try already radiates the aura of the supermodels of the 90s. Not to do a little bit of work on my university studies, write surprising, really, as he’s the son of Andre van Noord, one e–mails, and take an afternoon walk. of the great lions of the glossies, who enjoyed a gold–plated career up until his death last year. Parker, with his flawless VO GUE HOMME S features and perfect 1m88, sunburst smile and classic grace, Besides fashion, what are your centres of interest? has walked for Emporio Armani and Ralph Lauren. He’s a fa- PA R K E R VA N N O O R D I come from a very artistic family, so vourite with Alasdair McLellan and Inez & Vinoodh, too, and creating all sorts of things excite me. I like photography, music and art. I also love to do restoration work on is poised for lift–off. my old car, and to browse through second–hand shops.

VO GUE HOMME S

What do you like the most about modelling?

VO GUE HOMME S Modelling has made the world more accesWhat would your dream project be? sible for me in every respect, in terms of meeting new friends, PA R K E R VA N N O O R D Memories are the most beautiful thing inspirational people and travelling to many places. in the world, how you can really feel something if you want to. Just closing your eyes to conjure up images VO GUE HOMME S of travels, the past. About a year ago, I started work on What do you see when you look at a project, Lost Constellations, to try and capture those memories or visions in short movies. It’s like a visual yourself in the mirror?

PA R K E R V A N N O O R D I think I’m changing all the time. I don’t diary for me. really have a solid frame of myself looking in the mirror, but somehow I’m really happy with how I’m growing into an adult.

VO GUE HOMME S How do you see yourself in ten years’ time?

VO GUE HOMME S PA R K E R VA N N O O R D I have no idea. I hope to be very openWhat memories do you have of your minded and adventurous. Maybe a family man, haha? first shoot for Dutch at 14?

PA R K E R VA N N O O R D I recall my father whispering in my ear to VO GUE HOMME S try and put on a seductive face for the photographer. He said How would you define happiness? this with great seriousness. My father taught me to be com- PA R K E R VA N N O O R D Letting go of worries, waving my hair fortable and natural and that playing those faces really helps in the wind and the sun, as I drive to the beach. I think you to step out of your comfort zone; I remember everything it’s a mood. V O G U E H O M M E S was a great learning adventure together.

What’s the best advice your father gave you?

PA R K E R VA N N O O R D My parents created a really beautiful world together, and there isn’t really one piece of advice that stands out, but they taught me to stay true to myself.

VO GUE HOMME S

What’s your sport and beauty routine?

PA R K E R VA N N O O R D At home I usually play squash with my friend or go to the gym. I don’t think I have any particular beauty routine apart from moisturising my face every now and then.

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Gildas STEWART

Parker van Noord with his father, model Andre van Noord, who passed away last year.

I N E Z & V I N O O D H F O R H O L I D AY B O I L E A U / T RU N K A RC H I V E / P H O T O S E N S O

BY VO GUE HOMME S

GORK A POSTIGO

PA R K E R VA N N O O R D

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EDITO

As testified by the Who Dares Wins emblazoned on the Dior winter coat on the cover of this Summer issue, and the dissident yellow of the logo, men’s fashions are undergoing one of their most striking and inspirational revolutions, ever.

Never, since the 1970s, have barriers ( between the genders, the seasons, between styles and so–called “good” or “bad” taste …) been so completely pulverised as now. Never have taboos and received wisdom taken such a beating — and Vogue Hommes is over the moon about it.

In this issue, we have opted to channel boldness: the boldness just to be yourself, and to be ruled only by your own personality, to trust only in your own desires.

All those fusty codes, rules, male / female dichotomies are so over. There’s nothing like being uniquely different and shouting your own identity to the universe.

To you who are reading this editorial, we say that you can now sport that shoulder bag with a double–breasted jacket, wear your winter wardrobe in summer and contrariwise, pair strict tailoring with in–your–face sportswear, abandon yourself to the dainty trio of “prints, lace, bright colours”, and ( why not? ) splurge on jewellery, or trace a delicate line of kohl on the eyelids.

Individuality, personality, originality, strength of character were traits Karl Lagerfeld had in spades. He loved jewellery, too, from 1920s Cartier to Belperron, Templier, and even Fouquet, which he collected ( and wore ) with an evident passion. The couturier passed away just as we were putting the final touches to this issue of Vogue Hommes.

A true free ( and brilliant ) spirit who outran his generation with his legendary electrifying black silhouette and devastating wit as he surveyed the world around him, this redoubtable giant, sensitive but never sentimental, lived his dream to the finish. Better still, against all the odds, he invented himself. So, it is with infinite tenderness and thanks for the life of the invaluable visionary that he was, that we dedicate this issue to Karl Lagerfeld, prince among those who dared to win.

Olivier LALANNE

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C U LT O B J E C T

Two faces of 1969: a hippie at Woodstock and an Apollo mission astronaut in training at a top–secret location somewhere in the US.

1969, EXCESS, CRAZINESS AND REVOLT The French hit “69 année érotique”, recorded by the now legendary Gainsbourg–Birkin couple, has endured as a casual anthem whispered over the smouldering embers of the turbulent year of revolt. Half a century on, 1969 is making the headlines once again, if only because of the wild rumours surrounding Quentin Tarantino’s new film. Once Upon a Time in Hollywood is set in Los Angeles and looks back at the horrendous murder of actress Sharon Tate by a group of headcases under the orders of psycho–killer Charles Manson. The cast includes the likes of Leonardo DiCaprio, Brad Pitt, Margot Robbie, Al Pacino, and Tim Roth.

That year, Jack Kerouac, Brian Jones and Boris Karloff took their final bows, while young newcomers Cate Blanchett, Wes Anderson and Jay–Z first opened their eyes on a bright and promising future. In London, the Beatles gave their last concert and Neil Armstrong set foot on the moon. Samuel Beckett was awarded the Nobel Literature prize, but didn’t go to receive it in person.

At a party at the White House, the Jefferson Airplane vocalist, Grace Slick, turned up with 600 micrograms of LSD and the firm intention of slipping some of it into President Richard Nixon’s drink. She was stopped before she even crossed the threshold. That summer, half a million youngsters thronged to a vast field in Woodstock for the hippy mega–festival that became a legend, as much for the music as for the number of babies conceived under the influence of hallucinogenic drugs, and to the heady aroma of patchouli that filled the air.

The excesses and the craziness of the time already portended the foundations of a quite different future.

At the University of California ( UCLA ), the programmer Charley Kline sent the very first electronic message over the Arpanet network, the first thread of the gigantic virtual worldwide web, from which today, as half–spiders weaving, half–prey caught in the web, we now contemplate what five decades have quietly done and undone. V O G U E H O M M E S

Alex THEMIN G E T T Y I M AG E S

BY

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CALIBRE RM 017 TOURBILLON EXTRAPLAT

© Didier Gourdon

BOUTIQUES RICHARD MILLE

* LA PERFORMANCE MÉCANIQUE POUSSÉE À L’EXTRÊME

PARIS 8e MONACO 17 avenue Matignon Allée François Blanc +33 (0) 1 40 15 10 00 +377 97 77 56 14

www.richardmille.com

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44549 DAVID-TC VESTE FAÇON TREILLIS EN DAVID-TC. RÉALISÉES À PARTIR D’UN SUBSTRAT DE POLYESTER ET POLYAMIDE D’ORIGINE JAPONAISE, LES PIÈCES EN DAVID-TC SONT ASSEMBLÉES PUIS SIMULTANÉMENT TEINTES ET TRAITÉES AVEC UN AGENT DÉPERLANT. DURANT LA TEINTURE EN PIÈCE SOUS PRESSION À 130 °C, LA CHALEUR TRANSFORME RADICALEMENT LA STRUCTURE ET LE TOUCHER DE LA MATIÈRE. LE RÉSULTAT : DE SUPERBES PIÈCES FACILES À PORTER ASSOCIANT UN ASPECT NOBLE ET INDUSTRIEL À DES SENSATIONS TACTILES UNIQUES. FERMETURE ZIPPÉE DISSIMULÉE À DOUBLE CURSEUR ET BOUTONS, AVEC APPLICATION VERTICALE REPRENANT LE MÊME TISSU. WWW.STONEISLAND.COM

PARIS _ 316 RUE ST. HONORÈ _ 01 42 60 38 04

CANNES _ 14 RUE DU COMMANDANT ANDRÉ _ 049 36 81 585

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42932 BOMBER EN NYLON TRILOBÉ D’ASPECT MÉTALLIQUE ET IRISÉ, RÉALISÉ AVEC UNE ARMATURE MICRO RIP STOP. LE TISSU EST RÉSINÉ À L’INTÉRIEUR POUR OBTENIR UNE LÉGÈRE RÉSISTANCE FACE À L’EAU ET AU VENT. LE VÊTEMENT FINI EST TEINT À L’AIDE D’UNE DOUBLE RECETTE DE COULEUR OFFRANT UNE TONALITÉ, UNE INTENSITÉ ET UN COLORIS CHANGEANTS SUR LES PARTIES DU VÊTEMENT. L’AJOUT D’UN AGENT SPÉCIAL DANS LA RECETTE DE TEINTURE REND LE VÊTEMENT ANTI-EAU. CERTAINES PARTIES DU VÊTEMENT SONT RÉALISÉES EN NYLON METAL LISSE ET D’AUTRE EN NYLON DE DIFFÉRENTS POIDS. CAPUCHE SOUS RABAT DANS LE COL. PIÈCE EN NYLON LÉGER SOUS LES MANCHES ET SUR LES ÉPAULES DANS LE DOS ET EN NYLON OPAQUE SUR LES MANCHES. POIGNETS ET BAS DE VÊTEMENT EN PETITES CÔTES. FERMETURE ZIP.

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VO GUE HOMMES

VOGUE

HOMMANIA An insider’s guide to this summer’s standout silhouettes and go–to objects.

BY

Olivier LALANNE

It’s always a challenge for a chap to get his hands on the right man bag. Often, a weekend tote will do the job. Realising this, Miuccia Prada had the smart idea of transforming one of her best–selling women’s totes, the Prada Galleria, into a male item. It’s been bigged up, has sport handles, and the leather exterior is presented in a subtle chromatic spectrum ( black, red, camel, chocolate, white ). Search over. Sheer male ecstasy.

GENDER FLUID

CHIC IS BACK ( you read it here first )

Galleria leather bag

I N D I G I TA L

PRESSE

PR ADA

The last edition of Vogue Hommes, devoted to “the return of chic”, was ahead of its time. This season has discarded sportswear and rehabilitated that most demanding art of tailoring, infusing it with a new energy and bringing it bang up to the minute. Top marks for this admirable trend go to Virgil Abloh for Louis Vuitton, who sent out impeccably classic suits modernised by edgy cutting and funky accessorising. It’s a trend that’s settling in for next summer, since the big fashion houses ( among them Prada, Dior, Dries van Noten, Hermès, and Celine ) are all singing from the same elegant yet sassy song sheet.

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VO G U E H O M M A N I A

THE EYE

OF THE TIGERS

Tom Ford eyewear always punches above its weight. A special mention goes to these shades dubbed Felix, with their smoky lenses and chunky frames. There’s nothing like it for looking manly or covering up your shyness.

Onassis, Saint Laurent and Pasolini would agree.

“Felix” sunglasses

TOM FORD

During the recent fashion shows, this clever effect of triple belting worn over an impeccable double–breasted Prada suit is the fashion house’s demonstration that you can tizzy up the silhouette without risking ridicule.

Great to look at, and it might give you some ideas.

LIKED REVIVAL Carried by the models in the Valentino pre–fall collection in Tokyo ( a first ), the Vring tote radiates character.

It walked in several sizes and colours and features the V logo that has identified the house for half a century.

In this case, though, it’s been given a lift by Pierpaolo Piccioli. V for Victory? Sure thing.

OBJECT OF

DESIRE Calfskin and suede “Day Bag”, XL model

I N D I G I TA L

PRESSE

BOT TEGA V E N E TA

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VO G U E H O M M A N I A

It’s an experience for both the eye and the soul.

Seeing into the mechanism of a watch is like penetrating the corridors of time.

Opposite page: Ultra Thin “Master watch, in grey gold, mechanical, manual–winding movement J A E G E R L E C O U LT R E Extra–flat RM17 Tourbillon watch, in titanium with manual–winding movement R I C H A R D M I L L E Below:

Micro Rotor BR–X2 Skeleton Tourbillon, in steel, with mechanical movement B E L L & RO S S Métiers d’art Mécaniques Ajourées watch, in grey gold,

with baguette diamonds and enamel, mechanical self–winding movement VA C H E RO N – C O N S TA N T I N

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NAKED It’s called a “skeleton”. Minimal dial — if any — openworked plate and bridges, and suddenly the ability to see beyond the hands to the very bones of the mechanism. Hence “skeleton”, a misnomer if ever there were.

As if we were about to discover a vertebra, a humerus or a clavicle when what really sits beneath the sapphire crystal is the watch’s beating heart, its soul, its individual aesthetic and the expertise specific to each brand.

As distinctive as a case or dial, the movement becomes a vital force in the watch’s personality. Not just visible; magnified. The superbly ornate lines of the Master Ultra Thin by Jaeger–LeCoultre give the impression of wanting to stop the hands in their tracks. Each of the finely chased components of Vacheron Constantin’s Métiers d’art — Mécaniques Ajourées appears to have been assigned its place in the movement by a sculptor’s deft hand. The transparency of the RM 017 by Richard Mille goes beyond the mechanical to convey the very identity of the brand. Titanium, ceramic and PVD articulate the watchmaker’s ultra–contemporary approach

to time measurement. At Bell & Ross, experts won’t miss the fact that the case and movement of the BR X2 Skeleton form a single piece; an aesthete will be more taken by the visual impact of a pared–down mechanism, seemingly fresh out of the Bauhaus, alongside the extreme, almost baroque refinement of a flying tourbillon.

Does the term “skeleton” even do justice to the feats of technique required to develop these extraordinary timepieces? No doubt it falls short of the mark. Which is perhaps why Vacheron Constantin prefers the more poetic “mécaniques ajourées” or “openworked mechanisms”. Unless, that is, we should interpret this “skeleton” as a metaphor for the vanity, a pictorial allegory of death which, since the 17th century, has reminded us of our fragile human condition in the greater scheme of time. V O G U E H O M M E S

BY

Jérôme HANOVER PHOTO GR APHS

Giacomo VALOIS S E L E C T I O N Marie PASQUIER

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VO GUE HOMMES

A creature of ambiguity, Akhiro Miwa never asked to be referred to as either he or she.

PLASTIC LIZARD What drove them, the Japanese audiences who in 1968 packed into cinemas to admire Black Lizard? Were they there to innocently celebrate the brutal determination of a criminal wreaking terror wherever she went? Were they there to see Miwa the Lizard, that ambiguous creature, or for Shingo Maruyama, the diminutive doe–eyed crooner who, ten years earlier, had charmed them with “Mé qué mé qué”. A Japanese cover of a Gilbert Bécaud song, it had made him a star at the Gin Paris café in Tokyo’s Ginza district. At the height of his

BY

66

Philippe AZOURY

A L L R I G H T S R E S E RV E D.

MIWA,

fame, a journalist asked him what he thought of women, and Shingo answered truthfully: “I like them, but as friends. I prefer boys, especially boys who play baseball.” At that very instant, Shingo made the decision to embrace his preferences, even if this were to rob him of success; to live the rest of his life in high heels, the picture of femininity long after the curtain had come down. Born in Nagasaki, he survived the atomic bomb, growing up among the adults who came and went at his father’s public baths. It was when he arrived in Tokyo that, for the first time, he was publicly insulted for his androgynous looks.

In the Shinjuku cabarets, where Miwa worked as a hostess and singer, Mishima would drop by to see her.

Miwa didn’t like Mishima, or rather she did: she liked to resist him. Refuse to obey him. This made the author of Confessions of a Mask furious — such insolence towards the national symbol that he was; it drove him mad with frustration too, jubilant with desire. Ultimately, Miwa became his muse. He gave her the lead in his play, Black Lizard. Then, when the play was made into a film, he used his influence to convince Shochiku, the prestigious production company, to cast Miwa as the master criminal; a woman of pure, irresistible evil who kidnaps a banker’s daughter then demands a priceless diamond, the Star of Egypt, as a ransom. Shochiku had nothing left to lose: in 1968, Japanese cinema was going under fast.

Maybe Miwa’s ambiguity could turn it around. Black Lizard was a success. There was even a sequel.

In the meantime, Miwa had joined Shuji Terayama’s theatre company. Terayama, who was behind the most extravagant, avant–garde plays put on in Shinjuku’s cabarets, saw her as yet another means of pushing his baroque style to the very limits. Miwa’s presence, as a bubble–haired redhead, in his film Throw Away Your Books, Rally in the Streets transported Terayama’s over–the–topness into the realm of high camp, playing every extravagance to the hilt, juggling with reality and pretence. A pretence more real than reality itself: a cabaret waiter who wants to be seen for what he is. A femme fatale, a drama queen.

Miwa has never asked to be called he or she. Maybe because it’s a question only a Westerner can ask. In Japanese, there is no article to distinguish between masculine and feminine. Japanese is, in its own way, a non– binary language that does not assign a given gender.

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VO G U E H O M M A N I A

A cult figure since her role in Black Lizard, her friend Mishima’s pop–aesthetic thriller, cross–dresser Akihiro Miwa is a model of eccentricity and heady elegance. And one of the inspirations for this issue.

And maybe, as astonishing as it may seem, Miwa is an entirely Japanese ( wo )man. Because Miwa is, in truth, the modern–day reincarnation of a vast idea: what it means to be homosexual in Japan . It’s worth listening to Miwa explaining to Pascal–Alex Vincent — author of a magnificent filmed portrait, Miwa: à la recherche du Lézard noir — how, in the Edo era, homosexuality in Japan was considered and experienced as a preference.

It was a matter of personal choice, akin to an individual’s freedom to like a colour or a fruit. There was no prejudice, no discrimination. It took war, in the Meiji era, to turn Japan’s homosexual into a pariah. The nation needed sons to go into battle. Homosexuals were depriving the nation of fighting men.

And yet kabuki theatre encouraged cross–dressing. Women were banned from performing, hence a male actor, the onnagata, would become the heroine.

This allowed older actors to play the part of very young girls without offending the audience. Cross–dressers were cherished at every level of society. Early Japanese cinema replicated this system. Then, in the early 1920s, responding to imports of American, French and Italian films ( which invented first the vamp then the starlet ), Japanese production companies started to hire women as actresses.

Miwa is the kabuki ghost, back to haunt the post– modern world. She is also the skeleton in Japan’s closet of righteousness. The Japanese, still embarrassed by homosexuality, celebrate her, the exception ( only recently she was hosting a psychic TV show, in between performances of Camille ).

A theatre, cinema and cabaret performer, Miwa is one of the leading figures in avant–garde Shinjuku.

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One evening, while wandering around Golden Gai ( a maze of bar–lined alleys in Shinjuku ), I heard a strange voice drifting from a tiny, packed bar. It was a Sunday evening and people seemed happy: Miwa was back among the revellers, the students, the artists, and she was singing Gilbert Bécaud. V O G U E H O M M E S Pascal–Alex Vincent, “Miwa: à la recherche du Lézard noir”, available on DVD.

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VO G U E H O M M A N I A

BODY

LANGUAGE Set up almost three years ago, the Berlin collective GmbH is all about a certain ferocity of style. With its PVC pants, perfectly–cut double–breasted jackets, six– pack–hugging tops, and black satin bombers, the brand launched by Serhat Isik and Benjamin Alexander Huseby specialises in sharp, body–forward tailoring and a split personality ( classic cuts and athletic leisurewear ) with a self–confident, relaxed attitude. Driving the brand is the conviction that clothing should be built to last. You might say it’s the advantage of style over fashion.

VO GUE HOMME S

Who is behind GmbH?

and daydreams about what GmbH could be or do. Benjamin has a sharp eye and incredible knowledge of fabrics and their impact on our future. Serhat cuts out all the models himself. Which means that our creations de facto are unique in their own way.

V O G U E H O M M E S How would you define it yourselves?

S E R H A T I S I K A N D B E N J A M I N A L E X A N D E R H U S E B Y We launched GmbH because we wanted to imagine clothes rooted in reality, to idealise stereotypes of the clothing basics you want in your wardrobe, but with a sexy twist, achieved with subtle details of cut and hang. The cut of our clothes is deliberately designed to showcase and flatter the body, the silhouette.

This is the cornerstone of the GmbH aesthetic, whether it’s a pair of jogging bottoms or a suit jacket.

V O G U E H O M M E S There’s a 1980s’ vibe in your men’s collection, foregrounding physical strength ( long legs, streamlined shoulders, V–shaped torsos, etc. ) reminiscent, for example, of Thierry Mugler silhouettes.

Would you go along with that?

S E R H AT I S I K A N D B E N J A M I N A L E X A N D E R H U S E B Y Our silhouette is very contemporary, with its high–waisted trousers and the V–shaped torso. We’re more inspired by athletes’ bodies and the way people dress today than by any particular decade. We don’t do nostalgia. That said, in the late 80s and early 90s there was a certain idea of masculinity in Italian fashions that left its mark on us, and we haven’t seen that on the catwalks in a long time.

V O G U E H O M M E S Where do you get your inspiration from?

S E R H AT I S I K A N D B E N J A M I N A L E X A N D E R H U S E BY From everything: the future, the natural world, music, our reading … Dance and meditation are also a good source of inspiration for us.

V O G U E H O M M E S In your opinion, what is likely to most disrupt men’s fashions in the years ahead?

S E R H AT I S I K A N D B E N J A M I N A L E X A N D E R H U S E B Y We hope there’ll be fewer gadgets and show–off gimmicks, and more clothes that you would want to keep. GmbH is a personal uniform. The idea is to be able to mix and match pieces, whatever the season.

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ADRIAN CRISPIN

I N D I G I TA L

S E R H AT I S I K A N D B E N J A M I N A L E X A N D E R H U S E B Y

GmbH is the German abbreviation identifying a corporate structure, like Ltd. or Inc. allowing the brand plenty of scope to do its thing now and in the future. We were looking for a name that didn’t refer to us as individuals, as we want our collections to express a far broader spectrum of topics.

V O G U E H O M M E S How do you work?

S E R H AT I S I K A N D B E N JA M I N A L E X A N D E R H U S E BY We’re constantly swapping ideas and researching stuff, and sharing memories

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VO G U E H O M M A N I A

DELUXE

ZOO

With every season that comes, designers are putting out more and more jewellery — a sign that it’s high time we men should take the plunge. Precious, semi–precious or costume, some crazy specimens are making it onto the runways. Like this Rajah pendant featuring three lion’s heads in resin and crystals, tamed by a hybrid resin and gilt metal chain. To be worn outside your tee.

GOD OF

DARKNESS

McQueen went on general release on 13 March.

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OBJECT OF

DESIRE Peekaboo X–Lite Fit selleria leather bag, with monogram vitrified fabric pocket

GUCCI

PRESSE

FENDI

C R A I G M c D E A N / A RT + C O M M E RC E

Few couturiers come with a rock star aura. He was one such — a phenomenon magnified by his tragic death at 40. Alexander McQueen was the designer, the melancholy dreamer, behind some of the greatest high points in 20th–century fashion. A magician of the human body and peerless king of tailoring, this agent provocateur from London’s East End set his genius for cutting and proportion to serving a poetic, haunted imagination, free to do anything with everything: sex, violence, death, love, religion — it was all there for the taking. But we know so little of the inner man. Aside from his working–class roots, his troubled soul beneath those chubby features, his visceral attachment to his mother ( he took his own life the day before her funeral ), his love of excess, and his blunt Cockney delivery, combined to earn him his reductive bad boy image.

McQueen, the documentary by Ian Bonhôte and Peter Ettedgui is, in this respect, pure gold. Peppered with archive footage, interviews of those who knew him, plus more private documents, this truly moving film lifts the veil on a gentle giant with a tough exterior, totally consumed by his passion for clothes, his feet on the red carpet of celebrity and by the relentless pressure of an ever more voracious industry. This thrilling piece of fashion history is a moving profile of a man with cojones yet devoured by his emotions. McQueen is also the flagrant proof of the futility of life. A must–see.

Collection de sacs / Photographie retouchée / thekooples.com

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VO G U E H O M M A N I A

THE FACE Twenty–two year old Alton Mason has danced with P. Diddy and Lil’ Kim, but it was on the runway at the last Louis Vuitton collection that he really created a stir, with a graceful series of backflips ( something his father taught him to do when he was three ). The spirit of Michael Jackson, his idol, was clearly with him. Loved by Gucci, Chanel, Versace, Valentino and Kanye West, who gave him his first leg–up into the world of fashion, the New York based beauty, with his mixed Jamaican and Haitian origins, is this season’s top of the tops.

VO GUE HOMME S

Your childhood in a few words?

Charlie and the Chocolate Factory V O G U E H O M M E S What kind of teenager where you?

A LT O N M A S O N A lost one searching for inner peace and the real meaning of self–love.

V O G U E H O M M E S When and under what circumstances did you start dancing?

A LT O N M A S O N When I came out of my mother’s womb and Makaveli was playing in the hospital room.

V O G U E H O M M E S You got spotted on Instagram. What was your fist thought when fashion banged at your door?

A LT O N M A S O N “Thank you, God!” V O G U E H O M M E S You walked for Chanel, Gucci and Louis Vuitton, and worked with Kanye West …

What is your greatest memory of this?

A LT O N M A S O N I’ll never forget when I shook hands with Karl Lagerfeld and he told me, “You’re going to be in the show”.

A LT O N M A S O N

Dancing is about work and discipline. What is fashion about?

A LT O N M A S O N Changing the narrative.

V O G U E H O M M E S This issue is dedicated to strong personalities. What does this mean to you?

A LT O N M A S O N Personality is the expression of one’s true feelings, thoughts and emotions.

V O G U E H O M M E S People describe you as a “great classic beauty”. How do you see yourself?

A LT O N M A S O N Timeless. The past, the present, and the future. Not perfect.

V O G U E H O M M E S Who are your favourite designers?

A LT O N M A S O N Jean Paul Gaultier, Matthew Williams, Vivienne Westwood, Virgil Abloh, Matthew Adams Dolan and Tom Ford.

V O G U E H O M M E S In your view, which man embodies elegance and style?

A LT O N M A S O N Donald Glover.

V O G U E H O M M E S Who would like to ask to dance with you?

A LT O N M A S O N Janet Jackson.

J E I RO H YA N G A

CHRISTIAN CODY

VO GUE HOMME S

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MSGM.IT

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VO GUE HOMME S

TRENDS

NEXT STEP

No–holds–barred combinations, clashing styles and genres, the freedom to turn conventions on their head.

Just follow that look.

PHOTO GR APHS

Daniel RIERA ST YLING

Brais VILASO

Suede jacket and shirt S E R A P H I N Organza socks A C N E S T U D I O S

Polyamide and elastane shorts L A C O S T E

Calfskin trainers C O L L E C T I O N H O M M E D I O R

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TRENDS

Bandana–print cotton jacket and leather sandals S A C A I Merino wool top and cotton jeans S I M O N L E X T R A I T

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Washed–vinyl hat C O U R R È G E S

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VO GUE HOMME S

Lightweight cotton knit sweater K E N Z O Metal belt B A L M A I N

Denim shorts C A LV I N K L E I N J E A N S

Jacquard and grained calfskin bag C O L L E C T I O N H O M M E D I O R

Suede slides with fringing and beads J .W. A N D E R S O N

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Embroidered necklace N ° 2 1

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VO GUE HOMME S

Polyester and nylon jacket with outer pocket PA R A J U M P E R S

TRENDS

Cotton shorts N ° 2 1

Monogram Solar Ray leather and canvas bags L O U I S V U I T T O N

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Leather and rope sandals C O U R R È G E S

Reclaimed–satin bag PAT R I C K M c D O W E L L

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TRENDS

Cotton shirt M A S S I M O D U T T I

Denim jeans B L E S S

Leather and canvas high–top trainers G U C C I

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VO GUE HOMME S

Gore–Tex parka and long cotton T–shirt Y – 3 Leather and ceramic necklace, leather sandals and laces L U D O V I C D E S A I N T S E R N I N

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VO GUE HOMME S

Cotton and polyamide hooded zipper jacket C P C O M PA N Y

TRENDS

Printed nylon and cotton top and trousers C R A I G G R E E N

Technical fabric gloves L O U I S V U I T T O N

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VO GUE HOMME S

TRENDS

Stylist's assistant

MARIA CHAO Grooming

MARIA M A RT I N E Z Casting

C A LV I N WILSON for

E S TA B L I S H M E N T C A STING INC.

Cotton trench coat T H E KO O P L E S

Cotton and synthetic fibre hat J I L S A N D E R

Calfskin sandals A C N E S T U D I O S

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Tradition since 1774.

Tom Leitner — skieur libre portant ses sandales Arizona en nubuck marron foncé, achetées en 2015.

Photographié à Traunstein, 2018.

www.birkenstock.com

www.eden-park.com

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VO GUE HOMMES

MIDNIGHT IN TANGIER

Wool suit

E D E N PA R K Satin shirt

L I WA N Hat, veil and lace shirt

ANN DEMEULEMEE STER Patent leather ankle boots

CHRISTIAN LOUBOUTIN Vintage lace gloves KJL brooch

C I RO for

BURMA

PHOTO GR APHS

Brett LLOYD ST YLING

Giovanni Dario LAUDICINA

The ideal place to disappear and escape to, for reinventing yourself, on a path to self–fulfilment: the Beat Generation city.

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VO GUE HOMMES

Cotton shirt M A S S I M O D U T T I Silver and enamel feline head brooch G U C C I

Cotton trousers Z Z E G N A

Sailor’s hat @ L E S M A U VA I S G A RÇ O N S

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TRENDS

Cotton and linen blend double–breasted blazer B O G G I Socks FA L K E

Shoes C E L I N E BY H E D I S L I M A N E Belt @ G O O S S E N S

Cotton shirt and silk trousers L I WA N

Necklace and bracelets L A M E T RO P C O M PA G N I E

Watch @ D A RY ’ S

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Vintage cotton pocket square

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VO GUE HOMMES

TRENDS

Cotton canvas overalls and cotton jersey T–shirt S T O N E I S L A N D Bachi @ L E S M A U VA I S G A RÇ O N S

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Necklace L A U R A C A N T U

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CANNES / LILLE / LYON / MARSEILLE / PARIS / SAINT-TROPEZ / STRASBOURG

Passion pour l’Élégance Italienne

#boggimilano cliquer sur boggi.com

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VO GUE HOMMES

Cotton jeans J A C O B C O H E N

TRENDS

Necklace L A U R A C A N T U

Leather belt with engraved floral details H T C L O S A N G E L E S

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In the foreground:

Cotton shirt M . X Stretch leather trousers I S A B E L M A R A N T

In the background:

Cotton shirt M . X Leather trousers D S Q U A R E D 2

Leather belt C H A N E L On the right:

Necklace C I RO for B U R M A

Structured cotton suit S T O N E I S L A N D

Tulle scarf A N N D E M E U L E M E E S T E R

Brooch and bracelets L A M E T RO P C O M PA G N I E All: Vintage sailor’s hats and leather shoes @ L E S M A U VA I S G A RÇ O N S

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VO GUE HOMMES

TRENDS

Cotton shirt M . X Stretch leather trousers I S A B E L M A R A N T Leather belt with crystals D E B O R A H D R AT T E L L

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Bracelet L A M E T RO P C O M PA G N I E

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VO GUE HOMMES

Opposite page:

TRENDS

Cotton trench coat and shirt, wool trousers H U G O B O S S

Viscose collar C AT H E R I N E O S T I

Python shoes C E L I N E BY H E D I S L I M A N E

Leather belt with crystals D E B O R A H C A N T U Below:

Printed cotton shirt H U N T I N G W O R L D

Sunglasses T O M F O R D

Vintage silk tie

Linen and cotton trousers C E R RU T I 1 8 8 1

Leather belt with crystals D E B O R A H D R AT T E L L Exotic leather shoes C A RV I L

Necklace and rings P E B B L E L O N D O N

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Sunglasses T O M F O R D

Vintage hat

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TRENDS

Cotton tank top

LES HOMMES Cotton trousers

Z ZEGNA Necklaces

L A M E T RO P C O M PA G N I E In the mirror: Silk suit and cotton shirt

TOM FORD Silk tie

C H A RV E T Brooch

L A M E T RO P C O M PA G N I E

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TRENDS

VO GUE HOMMES

Cotton shirt M S G M

Denim trousers A C N E S T U D I O S Watch @ D A RY ’ S

Silk tie C H A RV E T Chain @ G O O S S E N S

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Leather belt G I O RG I O A R M A N I

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VO GUE HOMMES

Cotton bomber jacket L E V I ’ S V I N TA G E C L O T H I N G Vintage satin scarf

Silk and polyester trousers I S A B E L M A R A N T

Ring B U R M A

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TRENDS

Oversize cotton blazer and trousers W O OYO U N G M I Cotton shirt I S A B E L M A R A N T Ring B U R M A

Silk tie PA U L S M I T H

Brooch S H A R R A PA G A N O

Leather shoes C E L I N E BY H E D I S L I M A N E

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VO GUE HOMMES

TRENDS

Cotton shirt

7 MONCLER FR AGMENT H I RO S H I F U J I WA R A Cotton trousers

2 MONCLER 1952 Silk tie

C H A RV E T Tie pin @

A U VA S E D E DELFT Stylist’s assistants

ALICE MAIOLINI, T H É O G U I G U I and PRESCILLIA GR AH Make–up

KARIN WE STERLUND Hair

TEIJI UTSUMI Casting

PIOTR CHAMIER Set design

MIGUEL BENTO

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VO GUE HOMMES

At the height of gender fluidity, could make–up for men be the next move towards equality?

Boys & Girls lipstick

TOM FORD Eyebrow pencil and lip balm

B OY D E CHANEL Mister Instant Corrective Pen

GIVENCHY

I N T E RV I E W B Y

Frédérique VERLEY PHOTO GR APH

Giacomo VALOIS VO GUE HOMME S

There was a ten–year gap between the launch of Monsieur by Jean Paul Gaultier and Boy de Chanel. Why have there been so few initiatives between the two?

STÉPHANE MAR AIS

Perhaps French men weren’t ready, whereas make–up for men is already well established in the Korean culture, for example, and in Asia in general. And the word “make– up” has such a feminine connotation. No man wants to admit that he’s wearing make–up, as that would necessarily imply that he’s becoming more feminine. And yet, they all want to feel they look better, more handsome, more seductive, don’t they?

VO GUE HOMME S

Precisely, with the growing interest in society as a whole, for fashion and gender–free beauty, do you think this could change?

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G RO O M I N G STÉPHANE MAR AIS

Indeed, I meet more and more “intriguing” people, whose gender is less clearly defined than previously.

Today, men and women increasingly lay claim to a distinctive, singular beauty, which enables us to highlight their features at will. During my career, I have transformed many models to make them look younger, to give them character, to give women a boyish look, and men a more intellectual one. This is far more acceptable to men today.

FACE TIME VO GUE HOMME S

Is there any make–up that puts men off?

STÉPHANE MAR AIS

Mascara, obviously, and coloured lipstick.

VO GUE HOMME S

It would seem that, when it comes down to it, quite a few men make themselves up today, and not only those working in the arts?

VO GUE HOMME S

How do you make them up?

STÉPHANE MAR AIS

STÉPHANE MAR AIS

Yes, we see many more businessmen, politicians, bankers, barristers, who, every day, already use gels for a healthy glow effect, under–eye concealers, and tanning powders to look fitter. In a more private setting, I have even made up friends with a champagne cork. I burn the bottom of the cork and place two lines of the soot at the base of the eyelashes and blur it gently with my finger to remove any excess — always upwards, to avoid a trashy look. The result is a more intense, hypnotic look in the eyes — not at all feminine — that they love and try to reproduce on their own. They give into temptation precisely because I don’t use an applicator designed for women. In fact, I used make–up applied with a champagne cork for the Jean–Paul Gaultier show last summer and it was a great success.

I start by carefully preparing their skin, massaging and moisturising as much as possible so that the pigments I use melt into the skin. I blur the effect with my finger to dissolve the pigments, so that the skin texture reappears and to avoid a mask effect, which I hate.

VO GUE HOMME S

More generally, do you have any tips for refreshing a tired–looking complexion brought on by stress or fatigue?

STÉPHANE MAR AIS

Anything that stimulates blood circulation really helps, obviously. Gently pinching your face, self–massaging, cold water, ice cubes, etc., even vodka, why not? And once the complexion looks refreshed, just use a light reflector in a halo around the eyes to make them — and the face — look brighter. It’s an optical illusion that always works, I find.

VO GUE HOMME S

What exactly is the difference between make–up for men and women?

VO GUE HOMME S

STÉPHANE MAR AIS

Mascara is the make–up most used by women.

What could its equivalent be for men?

There is no base make–up for men, but rather a tinted gel for a healthy glow effect, and under–eye concealers dabbed on to dark shadows. There is no real eye– make–up either, but a light line of eye pencil at the base of the eyelashes, smoothed in with the finger so that only the shadow of the pigment is visible to emphasise the eyes. For a fuller mouth, men just bite their lips to bring blood to the surface, and sometimes use a moisturising balm.

As we age, the tips of our eyelashes lose their colour. Apart from dying them, which some men have already tried, we could come up with a type of mascara that would give them back their original colour without it showing. Something like a comb applicator. And then, above them, the eyebrows, which we take far greater care of than we used to, thinning them and brushing them upwards to make the eyes appear wider and more open. V O G U E H O M M E S

STÉPHANE MAR AIS

An exclusive session for Vogue Hommes with Stéphane Marais, the trendsetting make–up artist whose talents are in great demand among the luxury giants.

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F R AG R A N C E

VO GUE HOMMES

SCENTS OF LUXURY

Uniqueness, as celebrated in fashion, has trickled down to custom–made fragrances, with unlimited choice. The ultimate finishing touch.

F R A G R A N T F L I RT

To start with, there’s pure “tailor–made”. Made–to–measure fragrances from Guerlain, Francis Kurkdjian or Krigler for the privileged few, creations that are crafted like suits, which take months, sometimes years, to perfect, working hand in hand with the client. “This is luxury par excellence. The creative process is not subject to material considerations or lead times, and is designed to personify the wearer’s identity. It’s also an implicit desire to break free from social uniformity”, Francis Kurkdjian explains. Then there are perfume houses that join the movement discreetly, developing their own protocols to offer customised advice for more affordable and, all in all, more cutting–edge products. The idea is to come up with the fragrance that best suits different skin types, through one–on–one consultations ( Frédéric Malle ), online diagnostics ( Nose ) or a Proust–like questionnaire ( Dior ). “The point is to find out whether a particular perfume matches a person’s actual or imagined personality”, says Frédéric Malle. A man can be reserved, and yet still want to express his sensuality through a fragrance. It’s our role to find the fragrance that will help him do so.” V O G U E H O M M E S

For Thierry Wasser, a Guerlain perfumer, tailor–made creation is rather like a game of seduction, whose departure point is a no–filter dialogue: “I have to manage to convince the customer to reveal themselves totally.

No holds barred. It’s a two–way game: I have to know them like the back of my hand and they have to confide in me. My role is to translate what they tell me into a perfume that matches their personality”.

Custom perfumes, Guerlain, box set €45,000.

Cologne du Parfumeur, 500 ml, €695.

C H I C I N C A R N AT E

What if our perfume were a colour? A moment in time?

An expression? On the Dior website, a rapid questionnaire determines individual olfactory profiles and the most appropriate fragrance. Gris Dior is a powerful scent that exudes distinguished elegance for people with a flair for character.

Gris Dior, Maison Christian Dior, 450 ml, €395.

FR AGR ANT SELECTION TIMELESS EXPERIENCE

To choose a Krigler tailor–made perfume — historically, Krigler was a perfumer to royal courts — is to set off on an amazing nine–month adventure. That’s the time it takes Ben Krigler to track down, in his legendary fragrance bank, the essences for distilling. Customers can even choose their own bottle.

Since finding your own “perfume” can prove extremely difficult, Frédéric Malle offers individual, almost intimate consultations. After scanning the client’s childhood memories, the perfumes they have worn, and their future ambitions they come out of the boutique with the impression that the fragrance was tailor–made for them.

The Night by Dominique Ropion,

Custom perfumes, Krigler, from €40,000.

Éditions de parfums Frédéric Malle, 50 ml, €650.

U N L I M I T E D C R E AT I V I T Y BY

Mélanie NAUCHE PHOTO GR APH

Giacomo VALOIS

As if he were talking about a three–piece suit, Francis Kurkdjian proceeds in stages: from the sketch of a perfume to testing it many times over, until he obtains the desired result. “Individuality is often expressed through smell, our most ancestral and enduring sense.

A custom fragrance allows us to leave no stone unturned in the creative process, the sky’s the limit.”

Custom perfumes, Maison Francis Kurkdjian, from €20,000.

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An intrinsic component of true luxury, signature scents are the ultimate facet and expression of a man’s personality.

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VO GUE HOMMES

VO GUE HOMME S

You’ve just written and filmed your first TV series …

I N T E RV I E W B Y

Bruno ICHER

NICOLAS WINDING REFN

I worked on it as if I was making a 15 – hour film, directing all ten episodes myself ! It’s very interesting, but pretty exhausting. It has two parallel plots, one that takes place in Los Angeles, with a cop played by Miles Teller [the young drummer in Damien Chazelle’s Whiplash], and the other in Mexico inside a drugs cartel. Two totally separate worlds. For the Los Angeles end of the story, the idea was first to explore the main cop character, apparently a pretty smooth guy on the outside, but with a destructive alter ego. The Mexican end was a tougher proposition because we’ve been inside the cartels a hundred times, an ultra – macho, homophobic universe where women only ever have a degrading role.

In short, that toxic masculinity is a more difficult cliché to handle than ever. To my mind, the nearest thing to this environment was Caligula: you have the brutal, flamboyant myth of the actual character, and then Tinto Brass’s cult classic.

PHOTO GR APHS

Tom HOOPS

NICOLAS WINDING REFN, UNDRESSED A few weeks from now, Too Old To Die Young, the first series shot for TV by Nicolas Winding Refn, screens on Amazon Prime. It’s a new departure in the career of the 48 – year old Dane, with ten films to his credit since he burst onto the international scene in 1996 with Pusher. This journey to the end of the night again seems to embody Refn’s overriding obsessions with death, violence, frustrated virility, the mystery of destructive passions, a recurrent imagery realised in the saturated colours of shadow ( lit this time round by cinematographer Darius Khondji ) and the electrifying soundtrack by Cliff Martinez.

It’s quite likely that, as with each new phase in the director’s film history, this pitiless epic will divide opinion.

Which is exactly what Nicolas Winding Refn feeds off — this driving taste for provocation and controversy, an obsession that he cultivates with manic attention to detail, cutting across all the certainties forged about him. For example, his latest hobby horse is the fantastic byNWR.com website, which he self – funds and where he posts ultra– rare films and long – form journalism telling stories of a lost world packed with drama and eccentricities that he is one of the few not to have forgotten … and all at no cost to the visitor.

There is a genuine Refn enigma, though, in the shape of the mind – boggling contrast between the venomous aesthetic of his films and the quiet family man who doesn’t drink, smoke, or drive, and who blends seamlessly into his middle – class Copenhagen environment. The man who conceived a vulnerable super – hero in shining armour ( Drive ), a beautiful young flower devoured by her peers ( Neon Demon ), and a mute, one – eyed warrior who looks like an alien ( Valhalla Rising ) is, off the set, an invariably sober dandy, always sporting a white shirt, the same eyewear, and the same austere, classic look. On set, he is exactly the same, or almost. On the sets of Too Old To Die Young he wore a Stetson, strangely conjuring up the ghost of Michael Cimino. Then there’s the cotton blanket to cover his stomach, which, he says, helps to conserve his energy. An unchanging ritual. Before we discover the latest fragments of this tortured inner world in the new series, Refn talked to Vogue Hommes about the process of creating his screen characters, whose heart – rending strength is wrapped up with a fetish for fine tailoring.

VO GUE HOMME S

Your last feature film, Neon Demon, was set in the fashion world, and its characters were these totally unhinged models. You’ve also shot several ad campaigns for big brands: what’s your relationship to high fashion?

NICOLAS WINDING REFN

Most people don’t seem to understand what it means to be fashionable. Anyone can wear designer clothes, but that doesn’t mean they know how to wear them. Fashion is a mindset. For me, it all began when I arrived in New York as a child, in 1977. I was tremendously lucky to live in that city at that time, and to sense and understand the cultural upheavals going on all around me. Very young kids like myself could frequent the clubs and I was able to start to understand that social codes could be equally as important as fashion. Especially the fact that it’s never what you wear that counts. It was a blessing to understand that at such a young age, me who wanted to create the characters for my films.

VO GUE HOMME S

In Neon Demon, though, you do have a critical attitude towards the world of fashion …

NICOLAS WINDING REFN

Sure! There’s definitely something a bit pathetic about fashion: there’s all that energy, all those questions, calling on so much sophistication to define yourself, whether in terms of sociology, origins, sexuality, gender and whatnot. Whereas when all’s said and done, it’s only about getting dressed. But that’s what’s such fun about it, too. That said, I was very careful not to portray anyone as grotesque in Neon Demon. That’s too easy, and not really interesting. Every woman in the film had to be beautiful in a flamboyant register and project a strong aesthetic without your ever being able to make fun of her. It’s another way of making characters into fetishes, like when you’re pursuing a dream, an illusion.

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An aesthete of graphic violence, and a virtuoso in meshing genre with experimental film, Nicolas Winding Refn rose to fame with his polished thriller Drive.

He has now turned his hand to TV, exploring the series format, with Too Old To Die Young.

He talks to us about the fetishes and obsessions of a total control freak.

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The bomber jacket also derives from a memory. In the very early 1980s, in New York, satin gear was all the rage, and my mother gave me a satin bomber jacket with blue and white stripes. That’s how Ryan became a version of myself when, as a child, I used to see myself as a strong, NICOLAS WINDING REFN invincible fictional character just by wearing the satin That jacket in Drive was a very conceptual creation. It grew bomber jacket … out of the myth of the super – hero, and so of the man in a uniform. As a result, the silver bomber jacket should be seen as VO GUE HOMME S armour but also as a moral shield that protects him from the How do you go about developing your characters? outside world. Then again, because every hero has to have their NICOLAS WINDING REFN own sign to recognise them by, we chose the golden scorpion, You have to find a DNA, the DNA of their attitude in the which we lifted directly from Scorpio Rising by Kenneth Anger. circumstances awaiting them. Sometimes it’s in the Ryan Gosling was deeply involved in the process, and it was way they act, and sometimes in the dialogues, but also perfect. His kind of beauty often reminds me of the actors in in their look and the clothes they wear. A director has the old classic films, very human, but “larger than life”. Not to be closely involved in this process and also needs to like the majority of today’s young male actors, who often look be surrounded by the right people. Because I’m colour – like Ken dolls and spend most of their time at the gym. They blind, they are absolutely essential for me. Without the all look as though they’ve just finished a workout, with the right people to advise me, I’d be like a bull in a china same facial structure. shop ! That said, I learned how to know, or more precisely VO GUE HOMME S

In another register, you magnify actor Ryan Gosling in Drive, especially with the bomber jacket that’s become a graphic bellwether for recent pop culture.

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VO GUE HOMMES

to perceive, when we reach a form of coherence. And I always take the actor’s personality into account, and their ability to make their clothes and environment their own through their character.

VO GUE HOMME S

Can you give us an example?

NICOLAS WINDING REFN

When I was shooting Bronson, Tom Hardy had packed on a lot of muscle and his body had become the costume of the character. The clothes were only ever the precursor of the moment when he was going to take them off: this is a character trait of the real Charles Bronson who was obsessed with the idea of taking off his clothes at the drop of a hat, especially when he was fighting — which often happened to him. So the film is all about flesh, muscle and the fetishisation of all that, generating a kind of homo – eroticism.

Mads Mikkelsen has an extraordinary ability to make what he wears look perfectly natural, from streetwear to couture suits, quite simply because he radiates such a sense of domination that he transforms everything into his own style. In the last film I made with him, Valhalla Rising, he plays a mute, one – eyed warrior who has fallen into the hands of the Vikings. The entire film revolves around him and the leather clothes he wears — a sort of ultra – fetishisation of the leather version of Mads Mikkelsen. Because things were tight, financially, the costume designer went off to London to one of those shops where you can hire costumes that have already been used in other films. He dug out the leather pants worn by Orlando Bloom in Ridley Scott’s Kingdom of Heaven. And in my humble opinion, they suited Mads much better.

flamboyance and the occasionally scandalous extravagance seemed a fascinating game to watch, but I always felt that minimalism was more interesting. That takes you back to mindset again. Back then, I was also very impressed by David Bowie, by his elegance in all circumstances, but especially when he wore a suit, like during his Let’s Dance period. The alliance of Sean Connery’s masculinity and Bowie’s femininity are to my mind a perfect combination.

VO GUE HOMME S

You’ve usually used male leads in your films, not female ones.

Are things different with them?

NICOLAS WINDING REFN

In my early films, female characters were always supporting roles. They’ve become progressively more important throughout my career, especially in the dramatic unfolding of the scenario. I’m thinking especially of Carey Mulligan’s character in Drive, which I wanted to be perfectly authentic but never artificial. That’s why she’s always dressed as a waitress or else in comfy, but never sexy clothes. For the driver, she’s an emotional obsession, never a sex object, two very different things.

At the other extreme, the world in which Julian/Ryan Gosling moves in Only God Forgives is precisely one where women are nearly always objects in a general atmosphere of prostitution.

For that film, Kristin Scott Thomas, who plays Julian’s domineering mother, was a great help. She arrived in Bangkok and said to me, “I want to look like Donatella Versace!” That was perfect, there was nothing to add.

VO GUE HOMME S

So, finally, making films is an adult way of playing at doll’s houses?

NICOLAS WINDING REFN

VO GUE HOMME S

You mentioned some of the top male film stars.

Who was it that made the most lasting impression on you?

NICOLAS WINDING REFN

The first thing that comes to mind is a film I recently saw again with my daughter: From Russia with Love, a James Bond movie starring Sean Connery. In it he wears a magnificent suit which for me is the very embodiment of fashion and cinema. I saw it when I was a kid and I said to myself then that was how men should dress. Marcello Mastroianni can also produce the same effect in the films he starred in. In the 1980s in New York, when I frequented clubs like Danceteria and Area, the

Yes, of course, and I think we just have to accept that. I actually think that, the more we accept it, the more interesting it gets. It’s where you release all those really secret fantasies that you can never really give form to. My films and the characters who play in them are obviously an extension of my own fantasies. It all has something to do with me, living vicariously through my characters and the actors. In Bronson, it’s my own fantasy of tearing off my clothes and appearing naked in public, which is not something I would entertain for a second… For Drive, it’s my fantasy of pure, chivalric love, with that feminine side of me that creates the duality of the lead character… That duality lives in each of us to the extent that, the more we reveal our feminine side, the more masculine we become. V O G U E H O M M E S

“My films and the characters that inhabit them are obviously an extension of my own fantasies.”

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VO GUE HOMMES

Marlon Brando

CULT FOLLOWING Simon LIBERATI

French writer Simon Liberati looks at how his own personality has been shaped by cult figures from his past, and especially his youth — from Alain Delon to Jared Leto — in a wave of souvenirs, emotions, and mimetic admiration.

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AURIMAGES

BY

CHRISTOPHE L

In terms of male elegance, style is built on models, a secret devotion children have to well – known figures, usually as sublimated parents.

It was in Toulon during the summer of 1970, not far from a rather disreputable area dubbed “Little Chicago”, that I saw Alain Delon in Borsalino. I would love to remember the name of the cinema, I wish I had jotted down my initial reactions, something overwhelming and joyful, the certainty that one day I would look like Roch Siffredi, the gunned down hero with his hair glued back and shiny like car tyres in the rain.

“Ding dong” went Claude Bolling’s music. My father had the same hairstyle and the same bags under his eyes. His ideals when he was young were American gangsters, whose pictures he collected and stuck into albums: Baby Face Nelson, Machine Gun Kelly and Al Capone were his heroes in Marseille, just before he signed up with the German army in 1944, following in his elder brother’s footsteps.

The fact that Roch Siffredi was the lookalike of the Gestapo – like gangster Paul Carbone opened up the world of 1940s – style retro fashions in 1970 ( Saint Laurent ), bad – guy tastes and black leather. Going from Alain Delon in his white suit to Vince Taylor’s or Marlon Brando’s black leather was mere child’s play.

When you have an æsthetic ideal, one that I developed when I was around ten, your life is mapped out for you. You just have to follow the route . But when the name of Helmut Berger got in the way of Alain Delon, and my mother’s passion for Ludwig II, who looked like my grandfather Jimmy McGarrigle — her own father having committed suicide before she was born, and she had only a yellowing photo of him — I transferred my affections to Mr Berger, at the age of 12, just like Visconti before me and without realising it.

GET T Y IMAGES

Delon

RU E D E S A RC H I V E S

Alain

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S I M O N L I B E R AT I

Richard Hell

Helmut Berger

It wasn’t Ludwig, or The Damned, but The Garden of the Finzi Contini, which I had watched on television, that took me to Berger. The bad shepherd of my youth, the trainers, the white shoes, and Dominique Sanda.

Dear Helmut, how I adored you. And then came Love Me Strangely ( 1971 ), Conversation Piece ( 1974 — the wolf ’s skin ) and even in the sinister role of a Palestinian terrorist with Liz Taylor. Patching things together is essential, was essential, forty years before Instagram, in building a personal legend. Hence the patching up and the gleeful, rough approximations.

Muammar Gaddafi at thirty, praying in the desert next to his Rolling Stone ankle boots or as the young trendy guy who’d hang around Le Drugstore, and could take over from Rocco or Helmut Berger if I couldn’t manage to rekindle my desire from a few pictures. The avatar phenomenon and mythological reconstructions never ceased.

At the time, Gaddafi was not the image of evil he would later become, but I felt with the zealous instinct of childhood the imaginary negative power that was dormant in him. Being “Public Enemy Number One” was for me and a few friends an enviable destiny. Being a gigolo, gangster or terrorist was the aim of my existence — the 1975 version of “die young, and leave a pretty corpse”. Ankle boots, a scarf and a quiff, a whiff of insolence, and destiny were my perfect wardrobe. A cover girl on my arm, a nightclub on the Via Veneto in Rome, Maurice Ronet’s Maserati Ghibli in The Swimming Pool and I would have been the happiest man alive at 15.

And then ending my life in an explosion in Beirut or a car accident in Saint – Tropez.

Then, after the terrorists came the punks. Who did I adore in 1976 ? Johnny Rotten, first of all, seen in a photo in Le Nouvel Observateur, then, in that urge for refinement that develops in one’s teenage years, to go one better than the others and find the original model: Richard Hell, Tom Verlaine’s Rimbaud, the CBGB’s black angel.

Then everything began to take shape: I started to work on my taste thanks to outside influences : little Laura, Edwige, my kindergarten teacher, girls at the flea market. I entered the consciousness of bisexuality. In 1983, when I was living with transvestites, I would have liked to be Jayne Mansfield because of Kenneth Anger. At 18, with my angelic beauty, I wanted to play at being both man and woman. Today, I would have no doubt taken things further.

Muammar Gaddafi

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Kenneth Anger

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Angie and David Bowie

Vince Taylor

Helmut Lang

WENN

AURIMAGES

GAMMA–R APHO

A N T H O N Y WA R D

Delon

E D WA R D S T E I C H E N / C O N D É N A S T

Nathalie

Later, when I learnt that Ziggy Stardust was Vince Taylor, whom David Bowie had seen in the street (as I did with the avatar), I had a shock comparable to the young Marcel Proust’s when he realised that if he strayed too far from Swann’s he would end up at the Guermantes’.

“Rock’n’roll Suicide”, my all–time favourite song — I must have listened to it a thousand times on my Dual turntable between 1973 and 1977 and I still have the LP scratched on the word “suicide” — actually referred to But let’s go back. My first bisexual revelation, my first de- the suicide of Vince, a social death that took him directly sire to be the gangster’s moll and not the gangster himself, to Brian De Palma’s Paradise… or rather the gangster and his moll, Bonnie and Clyde at the When, in 1979, my girlfriend cheated on me with same time, came from David – Angie Bowie ( and no doubt Vince Taylor’s last manager, a guy nicknamed Ding Mick Jagger singing “Angie”, which I happened to hear on Dong (like Claude Bolling’s music), I began to question the radio at the time ). my feminine side… The transvestites arrived in 1983.

After Helmut Berger, I was able to pay tribute to another The epitome of the personality cult. I think of Kay, my personal cult figure of mine, a complete unknown, as the say- partner at the time, at 27 Boulevard Saint–Germain, who ing goes, perhaps a hairdresser, or a would – be transvestite, a wore Yves Saint Laurent’s fragrance Opium, a Yamamoto six – foot – three beauty whom I bumped into about ten times tiger jacket and drove a black Golf GTI. She spoke about downstairs on Rue Saint – Placide where I lived roundabout herself in the third person. Just like… Alain Delon whom 1974. He imitated Ziggy Stardust to perfection, with the same she had known, in the biblical sense, at beauty contests red hair and hairstyle and the same plucked eyebrows. Was he for Asian transvestites held at the time in Paris’s 13th wearing a Kansai Yamamoto jumpsuit ? I don’t think so, but arrondissement. She sang “I will survive” playback in a he had the look. He probably dossed down in the neighbour- cellar at the Blue Angel on Rue de l’École Polytechnique, hood, or perhaps he crashed with a known protector … I don’t and at the Babylone Bis, on Rue Tiquetonne. know. He disappeared just like he had first appeared, in 1974.

When I think about it, I see him with his jeans tucked into his boots like Nathalie Delon or Angie Bowie — a unisex style à la Patrick Juvet. In a word, he was my idol, at a time when I was suffering from life in a Catholic school.

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VVO OG GUE U E HOMMES HOMMES

Michael Pitt

Then came adulthood. And I remained loyal to the æsthetic commitments of my youth.

During the hideous 1980s, I held firm, thanks to my personal cults and some new avatars. I watched old, von Sternberg, Hathaway, George Sanders and Gary Cooper ( from the Lupe Vélez period ) films again, as a soldier in the desert, an image acquired from my grandfather Jimmy. I reread Kenneth Anger’s Hollywood Babylon, in search of a vocation as an archæologist in the archives of forgotten starlets and deceased demi – gods.

An encounter with M. M. in the early 1990s gave me back hope in the present. Thanks to M.M., I found some of my tastes among his friends, Helmut Lang, Jean Colonna, Ann Demeulemeester and Martine Sitbon. Helmut Berger at Helmut Lang’s, Asian transvestites with Colonna, Vince Taylor’s black leather with Ann and all of David Bowie’s burnt velvet in London with Martine.

With M.M., I even found that the black Golf GTI was the same as Kay’s. When I was with her, there was the scent of Opium, black lacquer and the Right Bank. She talked to me like no one else about Saint – Tropez, the Epi – Plage hotel in Ramatuelle and the 1970s’ in – crowd.

Rather than the grunge movement, Gus Van Sant’s Last Days, with Michael Pitt and his little dress, gave me back my love of death and drugs. Then came Mapplethorpe. And Christiane F. And with M. M., lost in his paintings, I managed to start writing Anthologie des apparitions, which brought my first loves to life in literature’s lanterna magica.

Since I put this device into use, new cults have been born from old sources. I was watching TV recently, while I was alone in the country ( Eva was shooting in Groussay among Beistegui’s shadows ), and came across Suicide Squad, a very pleasant film with all the vulgarity I love, and the charming Joker, Jared Leto … With the advantage of age, I marvelled at this boy with green hair, with the same innocence as when I was ten for Alain Delon and then at thirteen for Ziggy and the Spiders from Mars. The same goes for the wild Margot Robbie, the future Barbie. Mum and Dad… Personality cults must above all be personal. No messing around, no fear of making a mistake … Listening to one’s heart, being star – struck and getting into a handsome or beautiful stranger’s car. V O G U E H O M M E S

Margot Robbie

Josef

and Jared Leto

von Sternberg

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Outstanding as a French maid in Yann Gonzales’ orgiastic “You and the Night”, prior to playing opposite his idol, Vanessa Paradis, in “Knife + Heart”, Nicolas Maury is increasingly in demand.

Elusive and a great admirer of Marguerite Duras, he brings a refreshing extravagance to French cinema.

MEMENTO MAURY

VO GUE HOMME S

When Patrice Chéreau came to Limoges to film Those Who Love Me Can Take the Train, he met a slip of a young man. As always, the director had some sound advice for the drama student and aspiring actor. Nicolas Maury was only supposed to spend three days on the set ; he stayed for over a fortnight.

Thus began the gradual coming of age and emergence of one of today’s most original, most astounding actors. One with the calibre of a Jean – Pierre Léaud or a Delphine Seyrig, caught up in his own world that permeates his every gesture and intonation, part dandy, part diva.

I N T E RV I E W B Y

Didier PÉRON PHOTO GR APHS

There is a Nicolas Maury type, you created it.

What type of actor are you?

N I C O L A S M A U RY

As an actor, I’m not in the least bit self–reflexive. I need angles, like a boxer in the ring. I go in there punching.

There’s nothing I hate more than limp lifelessness. I don’t know how true it is, this idea that I have such a singular personality, that film or stage directors have to mould themselves to me. An actor must have everything in sharp focus before they can give a clean performance.

This means that when you say yes to a director, whatever the project, you have to immerse yourself in their desire, their libido, then find a place within that for your own. I like to think of a take as a hypothesis. I’d rather give up acting than have some kind of stock – in – trade.

Valentin HENNEQUIN

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N I C O L A S M AU RY

VO GUE HOMME S

Which character has haunted you from childhood and still keeps you awake at night ?

N I C O L A S M A U RY

When I was seven, I secretly watched Polanski’s Dance of the Vampires. Later, I developed a passion for Coppola’s Dracula.

When you think of the beauty of that perfectly drawn mouth, that pallor, for me the vampire is thirst as both action and solution. He is hungry for blood, goes searching for it, feeds on it. These are creatures who know what it is they desire, their bodies tell them, and I was this little kid, totally mesmerised.

I like it when the boundary between beauty and ugliness, exciting and terrifying, becomes fluid. Andromeda Shun in the Saint Seiya [ Knights of the Zodiac ] manga fascinated me, too. A man with a woman’s body, green hair, the palest skin and pink armour. All the great actresses are vampires, wisps of smoke: Isabelle Huppert, Isabelle Adjani, Anna Thomson, Katrin Cartlidge … You can’t watch their films in broad daylight, you wouldn’t see them because of the sun ( laughs ). They are beings in search of something, still in adolescence, still being formed …

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VO GUE HOMME S

You have an androgynous style that’s more often seen in the fashion or music worlds than in film …

N I C O L A S M A U RY

People say I’m fragile and abstract but to my way of thinking, and I know this is a comparison that hardly springs to mind, Depardieu is someone feminine and delicate, too. He has something of the Marquis de Sade’s ultimate refinement. Often, just to poke fun at me, or not, for that matter, people would say, “Oh, what a girl.

He sounds like a girl. He behaves like a girl.” That’s not an insult! In Forest Dark, Nicole Krauss writes that the meaning of Eve in Hebrew is “experience”. That blew me away. Then again, I find men and masculine reserve a more and more fascinating territory. Men have the same effect on me as a knife on a chicken, a kind of disbelief, straight, gay, it doesn’t matter, I’m fascinated. It’s the subject of the film I’m shooting this spring.

VO GUE HOMME S

How do you prepare for your roles, whether it’s a French maid or a peroxide blond pornographer with Yann Gonzales, or a waspish talent agent in Call My Agent!?

VO GUE HOMME S

N I C O L A S M A U RY

You grew up in Saint – Yrieix – la Perche, a village in rural France.

How great was the need to escape into yourself ?

When I’m preparing for a role, I write out my lines and I have to tell myself that those are my words. It’s an egotistical abduction. I learn my lines by writing them out by hand. My bedroom is piled high with notebooks that I can’t bring myself to throw away, whereas I have no qualms about getting rid of scenarios. These notebooks unfurl into a long and peculiar poem, like at the opera.

It’s my song, my canto as they say. I consider myself as a writer of my roles, one who’ll say, “well you really don’t know how to write” … A single day of filming can ruin my nights because I can see all too clearly what the character will become and it’s a disaster. You have to lose yourself again. Acting means entering some very impolite zones that normally the person playing the role has never experienced before. People say actors are a little bit crazy but to act, at least for any length of time, you must be well – balanced, rock – solid. I can have these down – to – earth, old – lady reactions and at the same time, because I’m so pervious to things, there is something inside me that’s slightly beyond madness, an absence of limits. If someone told me, “eat those dried flowers”, then I would. V O G U E H O M M E S

N I C O L A S M A U RY

As a child and as a teenager, I was the autist, a position forced on me, and however much love I’m given today, whether it’s from the people around me or complete strangers, I’m still Lol V. Stein hiding behind a plant, the centre’s not for me. Even on stage, I run to be at the edge, on the margins, on the threshold. I used to draw pictures of dresses at my grandmother’s house, animal shapes, women transformed into scorpions, animal patterns on the dresses, the fairy tale as fetish. They weren’t glamorous, fancy women, they had shells, they were warriors, fighters.

VO GUE HOMME S

What did your father do ?

N I C O L A S M A U RY

My father, Marc, drove a taxi and ran a private ambulance service. People would get in, they could be on their way for good news or bad. Sometimes I’d ride with him. People from all walks of life would get in and out, some young man or other who was ill and wouldn’t come back … He also ran the local funeral parlour, and I’d have fun dressing the window with memorial plaques and artificial flowers, which I loved. I was drawn towards the coffins with their pink satin and padded linings. I’d get in and sometimes I’d ask my father to shut the lid, just to see. It wasn’t morbid, it was a memento mori or a memento Maury ( laughs ).

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Grooming

ENY WHITEHEAD Special thanks to

CITÉ I N T E R N AT I O N A L E D E S A RT S

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Here comes the sun

HIGH — ENERGY COLOURS, CLASSIC LINES WITH A TWIST, BOLD GRAPHICS AND A SENSE OF ADVENTURE … THE M.X SUMMER EXPERIENCE IS ALL ABOUT FUN, TRAVEL, SUN AND FREEDOM. www.mxparis.fr

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NICOL AS MALLEVILLE

On the other side of the world, and the other end of the phone line, his near–perfect French flavoured with hints of an exquisite Argentinian accent. As Paris goes to bed on a cold rainy night, Bora Bora wakes up. It’s 9am in Polynesia and the blue sky has been visible for hours through Nicolas Maleville’s lounge window. He is almost apologetic about the time

Coqui Coqui Coba Papholchac is located on a Mayan

difference, but that’s life, he says that he hates winter and decided a long time ago to live in sunny climes: now, on this paradise island, and before that in Yucatan, Mexico, where his “adventure” first began. The conversation is a little choppy (“The Internet connection isn’t always great on Bora Bora”) and is also interrupted by the tears of Fleur, the aptly named daughter of this hotelier of the third kind — who is also a perfumer, botanist and stylist — and Francesca Bonato, his partner and companion on his “adventures”. Fleur was born on the island nine months ago. Léon, nine, and André Santos, four, were both born in Mexico, among the flowers that have always surrounded, inspired and fascinated this former model, now 44.

archaeological site in Yucatan.

The hotel is at one with its breathtaking natural surroundings.

From the bedrooms to the relaxation areas and spa, the mood is both natural and refined, in an aura of soft colours.

PRESS

For four years now, Nicolas Malleville has focused mainly on rare essences and his residences — the admiration of chic and prominent celebrities the world over.

“I don’t build hotels. I create places where I would like to live, and share my concept of hospitality with others.

They are houses for friends and guests to stay in.” A few rooms only. Many of his guests are also friends. It is impossible to list them all in this article. That is, save name– dropping a few stylists, top models and photographers, such as Eva Mendes, Jade Jagger, Kate Bosworth and Sienna Miller, to entice readers to treat themselves to a

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moment of pure magic in one of his five Coqui Coqui in Mexico — four in Yucatan, one in Coba and another in Bora Bora, right on Matira beach. Photos in travel and home decorating magazines prove the point, as do reviews on specialist websites: his “adventures” are the ultimate embodiment of luxury, simple and refined, intimate, and in perfect harmony with the environment and the local culture, be it Mayan or Maohi in origin.

HEAVEN’S GATE BY

Stéphane BRASCA

Casa de los Santos — with a handful of rooms, a swimming pool and perfumery corner —in the heart of Izamal, is one of the “Yellow City’s” most sought–after destinations.

Nicolas Malleville lives his dreams. Passionate about flowers, decoration and faraway, sun– drenched climes, this former model brings pleasure to his life by designing sublime hotels as if they were for his friends, to create a way of living inspired by experience and refinement.

In a word, neoluxury.

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the same age fantasised about actresses. So, it was quite natural for this strikingly handsome man to take up studying landscaping. Then came an initiatory journey to Europe, where he discovered the rose garden at the Parc de Bagatelle in Paris, Kew Gardens in London and, the shock of his life, the wonderful Hanbury botanical gardens, in Vintimiglia, Italy. “All my inspiration comes from this park and the man behind it, Thomas Hanbury, a 19th–century English merchant, who made his fortune in India and China. Nicolas Malleville preserves preciously, in a corner of his soul, this paradise found, rather like keeping in a wallet the photo of a loved one who you will endeavour to meet again, whatever it takes.

The most recent addition, Coqui Coqui Bora Bora, shares the same DNA as its older siblings.

The hotel perfumery (left) is on Matira beach, with barefoot–only access.

In Valladolid, also in Mexico, Meson de Malleville is a paradise on earth in glorious colours.

The natural fragrance of orange, lemon and tobacco leaves

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PRESS

But in the 1990s, he had to work, so he became a decorator for some of London’s finest residences. Then fashion got in the way and took him away from real life, propelling him into another dimension. “I met Mario Testino through an agency. Then I went on to work for Paul Smith and everything began to pick up speed.” His natural good looks filled the pages of magazines, with the colours of the seasons, whatever the time zone. His was a hurried existence for a man who likes time to take his

C H I N O M O RO

enhances the magic of the place.

BRITNEY GILL

Coqui Coqui is, to some degree, an extension of his life as a glamorous model, and as a modest gentleman–farmer brought up in Cordoba, Argentina before that. His destiny can be summed up in a few words: achieving his dreams, letting others write the legend, and turning his life into a romantic novel, set against a backdrop of tropical woods and tobacco leaves.

Before he first stepped out on the Paris, Milan and New York runways, Nicolas challenged the wild, untamed nature that was so much part of his everyday life on the family ranch. His parents were a bank employee and a kindergarten teacher. His grandparents, of Italian and French descent, gave him a taste for hard work and a respect for the land. He is both genuine and elegant, with a passion for beauty. The beauty exuded by light, of plants, stones, cotton, leather and linen. It was the fragrance of petals that turned his head while other teenagers of

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NICOL AS MALLEVILLE

time, slowly but surely. “A flower grows at its own pace, it needs time to open. It’s the same for me. Each project is a stage. I don’t run, I walk.” He usually wears sandals, so as to be as close to the ground as possible, to connect with Mother Earth. But fashion, as relentless and overpowering as it can be, didn’t leave this man, who’s “happy to get up in the morning and to go to bed at night”, with bitter memories. “Okay, you can say what you like over and over again about how superficial and commercial it is, but fashion was my university. I learnt so much from the designers. It inspired me to achieve things, in turn.”

He remembers the genius of designers, the keen eye of

photographers, the creativity of a stylist, the precision of assistants, and the discipline and endless rehearsals for fashion shows. “At the outset, it’s the work of a craftsman, the fashion world is driven by passion.” He is indefatigable and, reading between the lines, he expresses what defines him. He doesn’t believe in burying his aspirations under a mountain of restrictions or predestination. Quite the contrary, he believes in setting them free and bringing them to fruition. V O G U E H O M M E S

The Fundacion de Artistas, based in Merida, opened in February 2015.

Co–founded by Nicolas Malleville, the aim is to make it the leading arts centre in Yucatan.

Coqui Coqui Tulum, inaugurated in 2003, is an untamed spot bordered by the jungle and the Caribbean. It is the hippy luxe destination par excellence.

Okay, you can say what you like, but fashion was my university.

I learnt so much from designers.

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FASHION:

WHO DARES WINS

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PHOTO GR APHS

Alasdair McLELLAN ST YLING

Benjamin BRUNO

Wool trousers

VA L E N T I N O Tweed beret @

AC ADEMY COSTUME S

On all pages: Suede and shearling ankle boots

UGG Leather sandals @ 18.01

LOND ON

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Shearling and suede jacket and python trousers

LOEWE

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Wool trousers

COLLECTION HOMME, DIOR Fall–Winter 2019–2020 Lambskin cap

BERLUTI Suede cap and leather cap @ COSTUME

STUDIO

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Cotton tank top

RICK OWENS Denim jeans

P OLO R ALPH L AU R E N

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Wool jacket and trousers

BERLUTI Straw hat @

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Wool twill blazer and cotton twill trousers

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Wool sweater

J .W. A N D E R S O N Fall–Winter 2019–2020 Cotton weave sweater

HERMÈS

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Wool jacket, denim shorts and nylon gabardine chapka

PR ADA

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Suede velvet coat, cotton T–shirt, techno jersey trousers and nylon gabardine chapka

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VO GUE HOMMES Cotton shirts and trousers

J .W. A N D E R S O N Fall–Winter 2019–2020 Wool and nylon jacket and trousers, and cotton shirt

LOEWE Fall–Winter 2019–2020 Wool beret @

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Cotton knit shirt

FENDI Wool beanie @CARLO

MANZI

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Cotton blazer and sweater, and silk blend trousers

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Cotton tank tops and silk shirts

LES HOMMES

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Knitted cotton cardigan and trousers

LOEWE

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Cotton T–shirt and trousers

B U R B E R RY

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B ORIS BIDJAN SABERI Cotton shirt and trousers

ANN DEMEULEMEE STER

Stylist’s assistants

N ATA S H A ARNOLD S H A U N KO N G , H A N N A H RYA N and

A N N I E F RO S T Hair

ANTHONY TURNER Make–up

LY N S E Y ALEXANDER Nails

LORR AINE GRIFFIN Casting

MADELEINE ØSTLIE @ A AMØ Props

ALICE KIRKWOOD

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Cotton and silk jacket, and knitted glazed cotton vest

ERMENEGILD O ZEGNA

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This page: Cotton trench coat

BOSS Cotton shirt and robe @

ANGELS Jersey turtleneck

PR ADA Cotton trousers

KENZO Opposite page: Oversize silk crepe shirt

GUCCI Cotton knit panties @

ANGELS

On all pages: Brooches, hair accessories, earrings and rings

BEN AMUN, KENNETH J AY L A N E and GILLIAN HORSUP Wool socks

BARBOUR Python slip–ons

M A RT I N E RO S E

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FOXY

LADY

PHOTO GR APHS

Sarah PIANTADOSI S T Y L I N G Jacob K

Model Sgaire Wood is a mysterious figure, with striking, free–spirited style and looks.

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This page: PVC trench coat

VER SACE Wool jacket and trousers

TOM FORD Cotton polo shirt and jersey dress worn as a top @

ANGELS Elastic belt with metal buckle

PR ADA Metallic gold pendant (worn on belt)

VER SACE Opposite page: Kid mohair coat, techno jersey turtleneck and shorts and elastic belt

PR ADA Metallic gold brooch

VER SACE

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Above: Embroidered rayon and polyster tulle jacket, and cotton shirt C O M M E D E S G A RÇ O N S H O M M E P L U S Jersey turtleneck @ A N G E L S Metallic gold and bead brooches V I C K I S A RG E Opposite page:

Metallic god hair brooch V E R S A C E

Oversize silk crepe shirt G U C C I

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Cotton knit panties @ A N G E L S

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Above: Twill crepe coat and silk shirt B A L E N C I A G A

Techno jersey turtleneck P R A D A

Cotton shorts @ A N G E L S Opposite page:

Polyester and polyurethane coat W O OYO U N G M I

Silk shirt and cotton shorts F E N D I

Techno jersey turtleneck and elastic belt with metal buckle P R A D A

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Faux crocodile coat

M A RT I N E RO S E Nylon parka

MARNI Cotton shirt and shorts

MSGM Jersey turtleneck @ ANGELS Wool blend trousers

L ANVIN Elastic belt with metal buckle

PR ADA Leather bag with silk scarf

BALENCIAGA

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Wool jacquard coat

ERMENEGILD O ZEGNA Fall–Winter 2019–2020 Linen and cotton jacquard jacket and trousers

E T RO Cotton dress and jersey turtleneck @ ANGELS

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Above: Wool jacket and cotton shirt R A L P H L A U R E N P U R P L E L A B E L

Techno jersey turtleneck P R A D A

Opposite page: Wool coat, wool and cotton trousers, and harness L O U I S V U I T T O N Silk robe and shirt, and jersey turtleneck @ A N G E L S

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Metallic gold hair brooch V E R S A C E

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Above: Leather trench coat B O T T E G A V E N E TA Opposite page:

Techno jersey turtleneck P R A D A

Silk coat, viscose turtleneck and cotton trousers R A F S I M O N S

Poplin shirt VA L E N T I N O

Crystal earrings V I C K I S A RG E

Stylist’s assistants F L O R A H U D D A RT and RU D I E D WA R D S Hair A N T H O N Y T U R N E R

Make–up LY N S E Y A L E X A N D E R Production A RT I S T RY L O N D O N

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Set design M I G U E L B E N T O

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WILL THE REAL FRANK OCEAN PLEASE STAND UP? BY

Laurent RIGOULET

Frank Ocean has suddenly become the star of the 21st century.

His 2012 first album, Channel Orange, a triumph of emotion, lyricism, grace and sensitivity, had a dizzying impact on millions of ecstatic fans. Rather than self–importantly carving out a place in the landscape of a modern music with jet–setting overtones, the New Orleans singer immediately went underground. No one knew where he went, no one could say where he was. His rare appearances were exceptional and steeped in mystery. By nature and by choice, he aligned himself with pop royalty — think his idol and role model, Prince. Or Michael Jackson, Kate Bush, or Greta Garbo, those reclusive celebrities whose escape always suggested a mix of discomfort and strategy. Vague rumours and silence shroud his absence. One would like to see him as a solitary, brooding figure, pacing

vast, satin–curtained rooms in a fairy–tale castle in the middle of nowhere, à la Prince or Michael Jackson. But he doesn’t own a castle, so there’s no call for a helicopter to snoop on his privacy. Frank Ocean is always on the move, shifting from town to town, hotel to hotel, and from one sparely furnished zen apartment to another to channel his inspiration. He’s sometimes glimpsed at the wheel of sleek sports car. And that’s about it. There are a few photos out there, ones he staged himself, sometimes serious, sometimes playful. But he’s always alone, his blue or purple hair the only sign of passing time.

Modern celebrity is a bottomless pit with an insatiable appetite. The new media devour everything till desire flickers out. The new star in the RnB firmament understands that better than anyone and has managed to sidestep its traps and make the system work, instead, for him. He builds on the power of his secrecy with the weapons of the times, using the virtual universe of social media to make himself immaterial, hiding in the myriad folds of the Web, not jumping when called. When he goes public outside of his self–revealing songs, he does it on Tumblr or on his Instagram account, which he has just opened up to the public. Photos of his trips and encounters with animals and other creatures, snaps of objects and slogans, only add up to another headbanger.

He could be the top pop event of 2019, or he could plough on, incognito, in his own unique furrow with its fractures and its mysteries. Immediately after the launch of his hit album Blonde two years ago, Frank Ocean fled fans and media like some introvert reclusive star, or the archetype of the pop demigod in the virtual era: a blinding absence.

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With Blonde, behind all the spectacle, Frank Ocean delivers the fragments of a personal diary.

He so rarely gives interviews that when he does, they are endlessly regurgitated on the Web, even when there’s not much meat in them. The most recent was a telephone interview for GQ magazine. He had hand–picked the interviewers. The young star dominates his era like a time lord. Like the shrewdest of his peers, Kanye West, Jay–Z or Beyoncé, he springs his albums on an unsuspecting world when no–one was expecting them, in a complete breakaway from the music industry’s classic five–year–cycle strategy. Even his output is immaterial. You search in vain for his name in record stores.

Records are a fantasy of a bygone era. His latest album, Blonde, can only be played online. He has only released a few vinyls, available for one week only. Copies currently in circulation can trade at a thousand euros or so.

There’s nothing precious about this strategy. It carries the stamp of a defiant ambition. “With some pop stars, the idea of them is maybe more balanced or fully formed,” he says. “A half–dozen magazine covers, × amount of interviews, a daily influx of media.

There’s a way you wanna be in the visual press, although you could potentially be misrepresented. When you’re completely minimal with media, there’s a lot of pressure on whatever one thing you’re doing, the stakes are higher. Social media helps that, cause you’re fully in control and can message that how you want.” An heir to Prince, Frank Ocean is continuing his war on the world of show business he accused of slavery. “I’m young, black, gifted and independent,” proclaims the guy behind Blonde.

“That’s my tribute.” Ocean battled for seven years to cut loose from his first label, which took too long to believe in him. In 2012, following the phenomenal success of Channel Orange, which rocketed him to the top of the charts within hours, he bought back his contract and took off.

“I question if I’m built for this game. Or if I’m pushing past the limits of my design”, he confided to the faithful on Tumblr after selling several thousand albums. In this time of withdrawal, in London and New York, in the recording studios used by the Beatles and Jimi Hendrix, he endlessly asserts his individuality, alone, with no other vision than his own. It took him four years to come up with the next step, despite his jittery fans posting thousands of messages clamouring for a new record. He takes his time to write, always striving to create music that is gets more and more futuristic, music that deliberately evades categorisation. A global Scarlet Pimpernel, he skips from one continent to another and from studio to studio, always carrying the computers and hard drives with the rough drafts of his compositions in his backpack: “I’d rather the plane goes down in flames and the

drives go down with me than somebody put out a weird posthumous release.” He might be riven by doubt, paralysed by the terror of the blank page, or caught in the ambition trap, but nothing appears on the surface. On the Web, he wrongfoots expectations, publishes coded messages strewn with red herrings about when his next record is due out. One Monday in summer 2016, with no forewarning, a new creation was posted on his website. A record? No, a 45–minute video showing him with two clones in a loft space, busy sawing planks for an art installation. New songs playing in the background. But it’s all a ploy. A sophisticated trick to show the musician at work (and showing that the musician was actually physically working, getting his hands dirty ). Three weeks later, a new record, the real one, came out of the blue.

Ocean orchestrates the theatricality of its release himself, opening pop–up stores in a handful of capitals to sell a weighty 360–page magazine called Boys Don’t Cry, after The Cure’s first album. He posed endlessly, interviewed his mother and gave a few vague insights into his art. “In the studio we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palette ….

The whole world as we experience it comes to us through the mystic realm of colour.” In the space of a week, he sold several hundred thousand copies of Blonde, edging Drake off the heights of the hit parades. And then pulled another disappearing act.

Behind all the spectacle, Ocean is ploughing his own very deep furrow. In 2016, Blonde was the album everyone was waiting for. It was a set of songs radiating a disquieting intimacy, where Ocean shed light on his introversion even as he sowed the seeds of new secrets. Despite all those years’ work, and the number of studios visited, the singer gives the impression of never having left the confines of a bedroom where he laments the loss of his loves, as if he were delivering up fragments of a diary, live. Whether evoking dead romances, the materialist excesses of his generation, or his problems communicating with the outside world ( “I can’t relate to my peers / I’d rather live outside / I’d rather chip my pride than lose my mind out here” ), he is a peerless wordsmith, with his narrative genius, eye for the telling detail, and impressionistic poetry. His radiant imagery, with its dark underlay, is wrapped up in frothy arrangements and nerveless numbing rhythms. He blurs the lines between RnB and psychedelic, rock and electro — echoes of the past, sounds of the present. Sensations collide: pain, desire, melancholy, need, fear, pride, fury, you name it. By offering such raw insights, plunging into depths cluttered with chaotic memories, Frank Ocean hides himself a little more.

Blonde is a record in the first person where the singer uses several voices, some completely doctored, to offload and hold a conversation with himself.

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To rebuild the bits of the puzzle and attach the singer’s extravagant personality to the world around him, you need to say where he comes from, however little we know about it. Too good to be true, Ocean is a pseudonym, as is Frank. Both names come freighted with echoes beyond the name: someone the opposite of open calling himself Frank? His real name is Christopher Edwin Breaux. He was born in 1987 in Long Beach, just as gangsta rap was emerging. His family upped sticks from California and moved to New Orleans, where he discovered all the older forms of black American music. They say he was curious about everything, conscientious and hard–working. He studied music at university, composing and recording music at home. Hurricane Katrina put an end to all that, destroying his belongings and prompting him to try his luck in Los Angeles. Sure of his talent, he went from office to office to sell his songs, which were taken up by the likes of Beyoncé or Justin Bieber. He could have become the perfect jobbing musician, but that went against the grain. After rebadging as Ocean, he embarked on his vast ambition. He began frequenting rap circles and cosied up to the eccentric Odd Future hip hop coterie. His words were absorbed into a few rap numbers and very soon we were hearing only him, with his crystal clear images, hypersensitive emotions, the amazingly porous relationship between his rap phrasing and his singing voice. His career was in orbit. Frank Ocean very soon made a name for himself with his solo recordings, including a mixtape, Nostalgia, Ultra, posted on his blog. His first hit, “Novocane”, is a dark fable, a nightmarish “love song of sorts” where he casts himself with a dental student who makes ends meet doing skin flicks. He can only get close to her by doing the local anaesthetics she numbs herself with. Everything in these few verses sets the graceful young musician apart: the references to Stanley Kubrick, the artwork inspired by Roxy Music, the indirect criticism of the music industry and the ghosts it produces.

Now 24, the earthquake he was set to trigger was approaching with the publication of Channel Orange a few months later. The album is a masterpiece, a hit, and was accompanied by a magnificent letter on his Tumblr page where he came out, revealing his first summer of love. With an eye for detail similar to that in his songs, he staged his true confession: “I’m typing this on a plane back to Los Angeles from New Orleans … I have a window seat. It’s December 27, 2011. By now I’ve written two albums, this being the second. I wrote to keep myself busy and sane. I wanted to create worlds that were rosier than mine.” His verve is as personal as it is political, his courage doubled with an exalted sensitivity. It was

quite a declaration to make in the milieu of contemporary urban music where homosexuality is at best taboo.

A world where it took artistes like George Michael an age to reveal the secret of their sexuality. “I don’t have any secrets I need kept anymore,” he added. “There’s probably some small shit still. But you know what I mean….

Thanks to my first love. I’m grateful for you. Grateful that even though it wasn’t what I’d hoped for and even though it was never enough, it was. I won’t forget you.

I won’t forget the summer. I’ll remember who I was when I met you.”

Surfing on this success he began to take pot shots at the system. At the time of Blonde, he sat down and wrote to the producers of the Grammys (the music industry’s Oscars) to announce that he would boycott the event after the ceremony that saw Taylor Swift beat Kendrick Lamar: “I actually wanted to participate in honouring Prince on the show but then I figured my best tribute to that man’s legacy would be to continue to be myself out here and to be successful. Winning a TV award doesn’t christen me successful. It took me some time to learn that. I bought all my masters back last year in the prime of my career, that’s successful. Blonde sold a million plus without a label, that’s successful. I am young, black, gifted and independent. That’s my tribute.

Use the old gramophone to actually listen bro, I’m one of the best alive. And if you’re up for a discussion about the cultural bias and general nerve damage the show you produce suffers from then I’m all for it.”

Since then, nobody knows what Frank Ocean is up to. He only officially emerged from the mists during last year’s US mid–term elections, when he once again opened up some pop–up stores, distributing free merchandise to people who could prove they had voted. Several thousand people turned up. “It feels responsible, especially at this time,” he says. High on the sheer drawing power of his absence, he pops up wherever he wants, releases music when he wants, appears on other people’s records and keeps schtum about his forthcoming career moves. For the insular artist, some doubt may be justified. Will he be able to last, to surprise, to grow? Will he suffer from never burning up a stage with the same fire that consumed Prince? His most recent concerts, in 2017, drowned his silhouette in a sea of video screens. Yes, Frank Ocean is a star, a dream, a demigod with liquid in his name: but is he corporeal? V O G U E H O M M E S

Nobody knows what Frank Ocean is up to, high on the sheer drawing power of his absence.

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HEART OF

STONE PHOTO GR APHS

David BAILEY ST YLING

Azza YOUSIF

Double–breasted wool suit, lace shirt and felt hat

GUCCI Horn necklace and bracelet @

PEBBLE LOND ON Belt @

G A L E R I E A RG I L E S Stone bracelet @

ONE OF A KIND From left to right: Rings @

G A L E R I E A RG I L E S and @ D A RY ’ S Turquoise ring @

HARPO Ring @ D A RY ’ S

In all photos: Scarves @ T H E C O N T E M P O R A RY WA R D RO B E Watches @ D A RY ’ S

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Left: Lambskin coat and wool trousers

B O T T E G A V E N E TA Silk moire waistcoat

DUNHILL Satin shirt

GMBH Silver and velvet bib necklace @

PEBBLE LOND ON Leather belt @

K I L I WAT C H Gold ring @

M A I S O N A U C L E RT Turquoise ring @

HARPO Right: Silk and cotton waistcoat, cotton shirt, and linen and cotton trousers

E T RO From top to bottom: Necklaces @

D A RY ’ S and @ PEBBLE LOND ON and @ D A RY ’ S Left : Bracelet @

RO O M S E RV I C E Right: Three silver bracelets @

HARPO

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Above: Wool jacket, cotton shirt and silk jacquard tie C E L I N E BY H E D I S L I M A N E Opposite page: Wool suit B E R L U T I From top to bottom:

Printed linen and cotton shirt B R I O N I

Necklaces @ G A L E R I E A RG I L E S

and @ T H E C O N T E M P O R A RY WA R D RO B E

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Rings @ D A RY ’ S

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Wool suit

B U R B E R RY Cotton jacquard Mao collar shirt

LEMAIRE Wool turtleneck

UNIQLO

Opposite page, left:

Embroidered cotton tunic I S A B E L M A R A N T

Denim–effect velvet trousers B A L E N C I A G A

Necklace @ P E B B L E L O N D O N

From top to bottom:

Bracelets @ H A R P O (left) and @ G A L E R I E A RG I L E S Right:

Bracelet @ P E B B L E L O N D O N and ring @ G O O S S E N S

Right: Wool suit and cotton poplin shirt K E N Z O Silk pocket square R A L P H L A U R E N

Silk chiffon scarf C H A RV E T

Necklace @ T H E C O N T E M P O R A RY WA R D RO B E

Silver belt @ P E B B L E L O N D O N

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Opposite page: Wool jacket, nylon turtleneck and ruffle shirt, and techno jersey trousers P R A D A Silk chiffon scarf C H A RV E T This page:

Leather belt M A RT I N E RO S E

Shearling and cotton jacket L O E W E

From top to bottom:

This page:

Silver necklace @ TA N T D ’AV E N I R

Silk shirt and trousers A N N D E M E U L E M E E S T E R

Necklaces @ RO O M S E RV I C E , @ P E B B L E L O N D O N and @ G O O S S E N S

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Left: Cotton shirt, cashmere sweater and corduroy trousers

P OLO R ALPH L AU R E N Silk chiffon scarf

C H A RV E T From top to bottom: Necklaces

H A RU M I KLOSSOWSK A D E RO L A and @ D A RY ’ S Leather belt

PA L O M O S PA I N Left: gold bead bracelet @

G A L E R I E A RG I L E S ivory bracelet @ THE

C O N T E M P O R A RY WA R D RO B E , gold bracelet @ A U VA S E

DE DELFT gold ring @

M A I S O N A U C L E RT and turquoise ring @

HARPO Right: bracelets @

PEBBLE LOND ON Right: Silk fringed tunic with ostrich feathers

PA L O M O S PA I N Embroidered corduroy trousers

SAC AI From top to bottom: Necklaces @

G A L E R I E A RG I L E S @ D A RY ’ S and L A N V I N Cord belts @

E P I S O D E V I N TA G E

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Left:

Double–breasted wool blazer, and wool trousers D S Q U A R E D 2

Cashmere turtleneck and silk chiffon scarf C H A RV E T

Cotton shirt @ L E S M A U VA I S G A RÇ O N S

Silk pocket square R A L P H L A U R E N Right: Virgin wool suit B O S S

Silk shirt T O M F O R D

Suede belt @ O N E O F A K I N D

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Silk pocket square B R I O N I

Ring @ G O O S S E N S

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Mohair and wool suit and hand– embroidered silk shirt

GIVENCHY Silk chiffon scarf

C H A RV E T Necklaces @

RO O M S E RV I C E Belt @

PEBBLE LOND ON

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Embroidered silk shirt and stretch denim jeans

S A I N T L AU R E N T

BY A N T H O N Y VA C C A R E L L O Felt hat

G I O RG I O ARMANI Fringed belt @

PEBBLE LOND ON Stone and gold necklace @

RO O M S E RV I C E Leather and silver necklace and leather bracelets

S A I N T L AU R E N T Stylist’s assistants

ALINE K AE STLI and K I R S T Y E L L E R B RO K Grooming

J O E Y G E O RG E Production

CAMER A EYE

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A photo and pop culture icon, his name symbolises 60s’ London, along with the Beatles, Twiggy and Hockney. A charismatic playboy (inspiring Antonioni’s “Blow–up”), David Bailey is also a master of straight– talk. An exclusive one–on–one with writer Will Self.

I N T E RV I E W B Y

Will SELF

BAILEY ON THE ROCKS

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T H E C E C I L B E AT O N S T U D I O A RC H I V E AT S O T H E BY ’ S

P O RT R A I T

I won’t be telling you exactly where David Bailey and his wife, Cecil BEATON Catherine, live — suffice to say, it’s a converted Neogothic church, typical of the inner London suburbs, one they’ve trans- It was Bailey himself who lifted my heavy mood. As I reformed into a warm, beeswax–polish–scented enclave, full of member it, on the occasion he took my portrait, he perBailey’s own surrealistic sculptures and paintings, together formed the same service by coming and standing with with works by those we might term “the usual avant–garde his arm around my shoulders, chatting away happily suspects”: Andy Warhol and Bailey’s good friend Damien Hirst about this and that for several minutes. I was struck by among others. I’m sensitive enough to ecclesiastical atmos- how comfortable his physical presence was. Englishmen pheres to find their main living area, with its coffered wood– don’t, as a rule, cuddle in public. Even so, after a while I panelling, and stained lancet windows, a little bit spiritually gently enquired, “I suppose you’ll need to take this photo deadening ( rather like the protestant Church of England ), but now.” Whereupon Bailey said, “Oh, I’ve already done that.” the Baileys said their home — where they’ve lived for three Impressive, given the batteries of cameras, lights, years now — was mostly about space for their art, and conven- and egregious assistants most top photographers bring ience: it’s a fifteen–minute drive from the mews studio, off the into play before they actually deign to click the shutter Gray’s Inn Road, where he’s been working for decades now. — let alone the myriad silly poses they get you to strike.

Back in the 1990s, Bailey photographed me there for On this occasion, Bailey showed what an old charmsome magazine feature on the … usual avant–garde suspects. er he is by saying shortly after I’d arrived, purely, it But on the evening in January when we were scheduled to meet seemed, as a rhetorical aside, “How many times have at his home, I was late for my appointment. As I scampered I done you, Will? Two or three?” Well, you don’t argue from the nearest tube station through chilly streets, I rumi- with an overestimation like that! Instead, we settled nated on how, while I nowadays felt pretty much en retraite, down at a long, wooden refectory table, and began talkBritain’s greatest portrait photographer, and one of the very ing without further ado. instigators of its most significant recent cultural era — is After about twenty minutes, Catherine came back still, at 83, going strong. from walking their dog — a very fluffy and photogenic chow, and she joined in the conversation in a convivial way; however, for the purposes of this piece, I’ve edited out her remarks, together with our own digressions and dérives, so that what follows is a distillation of how Bailey sees the world in his ninth decade.

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B A I L E Y O N T H E RO C K S

D AV I D B A I L E Y

I never thought you were so skinny.

I’m so skinny because the incredible contemporary British culture of foodyism actually puts me off my food.

D AV I D B A I L E Y I don’t like food.

WILL SELF

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B A I L E Y O N T H E RO C K S

WILL SELF

D AV I D B A I L E Y

You don’t like it either?

No, not that I had many chances to dislike it until I was about ten or twelve.

W I L L S E L F Because being a Cockney kid during the Second World War, you weren’t expected to be picky about food, were you?

D AV I D B A I L E Y No, and I used to get into fights in the Air Force, too, because I was the only one who had a Picasso pinned up above his bed.

W I L L S E L F Which one, can you remember?

D AV I D B A I L E Y Yeah, it was from the Spanish years I think …

W I L L S E L F And where did you do your military service?

D AV I D B A I L E Y Malaya, mostly Singapore.

W I L L S E L F Was it like the Leslie Thomas novel, Stand Up Virgin Soldiers?

D AV I D B A I L E Y Yeah. It was like that film, The Long and the Short and the Tall as well. I think Michael Caine [ it was actually Laurence Harvey ] was in that one. I’m just reading his biography at the moment.

W I L L S E L F Is it any good?

D AV I D B A I L E Y It’s very witty, but it doesn’t tell you much about Michael Caine.

Yeah, well I always ask the actors who I’m photographing, is it Lassie or Laurence Olivier today? I’m not sure, and neither are they, because they don’t know who they are, most of them.

During his national

I was speaking to a photographer this week, a professional one, shooting editorial for the Evening Standard, and I said, “I’m interviewing Bailey on Friday, if you were in my position, what would you ask him?”

And he said “Well if I could ask him one thing, it would about his shot of the Gallagher brothers from Oasis: he somehow has this unerring eye for a moment, particularly when it’s an interaction between two people.

I just want to know how the fuck he knows the right moment to press the button.”

And I wanted to ask as well, because it’s not like you have a digital camera, set to automatic, and are taking thousands of images.

D AV I D B A I L E Y It depends, usually ten is the maximum, ten clicks, it’s boring otherwise — you get bored. And it’s easier to choose when there’re only four or five.

WILL SELF

The only other photographer I can remember who took as few shots as you and had as good an eye would be Jane Bown [her black-and–white images, shot in natural light, had her acclaimed as ‘the English Cartier-Bresson’].

D AV I D B A I L E Y

service, in Singapore, in 1959.

Oh yeah, but she would’ve told you she was an amateur.

W I L L S E L F Yeah?

D AV I D B A I L E Y I mean, she was fab, but partly because it was easy to use daylight, and she wouldn’t ’ve known how to use artificial light anyway, she wouldn’t know what to do with it. Remember, I’ve made probably five or six hundred commercials. And to do that, technically, you have to know everything about film.

W I L L S E L F Do you find it exhausting keeping up with the technology?

D AV I D B A I L E Y No, no.

“I never did much in the way of drugs, not like you. They fucked you up … got you looking at the ceiling, saying ‘wow’.”

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G E T T Y I M AG E S

WILL SELF

I never interview actors because if they’re good, I suspect they have no inner life, that’s precisely what enables them to be so good.

WILL SELF

D AV I D B A I L E Y

D AV I D B A I L E Y

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VO GUE HOMMES

Circa 1967, at the height WILL SELF

of Swinging

Do you shoot digitally now?

London.

D AV I D B A I L E Y

No. I mean, I do for street shit, yeah, not in the studio.

I still shoot using several different film formats, but it gets so expensive, nobody can afford us now, we’ve got to do everything ourselves.

W I L L S E L F What about your processing?

D AV I D B A I L E Y We’ve got that as well. I’ve also got two fantastic assistants and that plays a part. Do you want a drink or something?

W I L L S E L F I won’t, thanks.

D AV I D B A I L E Y Don’t you drink anymore?

W I L L S E L F No, I stopped in the 90s.

You don’t drink either do you?

WILL SELF

I mean you paint, you draw, you take photos, you shoot films.

D AV I D B A I L E Y

I haven’t drunk since I was thirty.

WILL SELF

D AV I D B A I L E Y

Did you ever take drugs?

D AV I D B A I L E Y Not much, not like you. They fucked you up, got you looking at the ceiling saying “wow”. But I got drunk a lot. I was working too much and when you have to be up at six o’clock and in the studio doing commercials, you don’t want to turn up there with a hangover, not when you’re in the States working with a budget of $3 million. I just said, I’ve got to stop. So, I stopped drinking and smoking the same week. I’ve haven’t had a drink since, but I sometimes smoke.

W I L L S E L F What was it like stopping at thirty?

D AV I D B A I L E Y It was hard for two weeks and then after that it was easy.

W I L L S E L F What about parties and stuff like that, didn’t you ever feel alienated socially?

Didn’t you feel that when people started getting tipsy that they were on a different wavelength?

D A V I D B A I L E Y Oh, I got bored with people. I get bored with people anyway.

W I L L S E L F So rather than succumb to alcoholism, you put it all into the work, the work was stronger?

D AV I D B A I L E Y The work was much stronger, yeah.

Yeah, I make sculptures, too. That one’s called Dead Andy. I’m also doing a biography with James Fox at the moment, he said he’s a friend of yours.

WILL SELF

Were they all in the schmutter business [Yiddish term for ‘cloth’, commonly used by older, Cockney Londoners, to refer to the garment trade], your family?

WILL SELF

D AV I D B A I L E Y

he’s doing.

WILL SELF

If he’s ghosting you, he needs to inhabit your voice.

D AV I D B A I L E Y He speaks to a lot of people, I’m amazed how many.

There’s lots we don’t want him to talk to but he needs the anecdotes. I’ve arranged for him to meet Maureen, my cousin, who’s 85, I think, but she’s still got all her marbles.

WILL SELF

Does she remember much about your family in the past?

D AV I D B A I L E Y Yeah, and her mother was Madam Maude of Paris and Hackney; She had two shops, one called Madam Maude of Hackney, the other Madam Maude of Paris.

WILL SELF

If you couldn’t work, how do you think you’d feel?

Have you ever stopped?

D AV I D B A I L E Y No.

At the “Vogue” studio in London, in the late 60s.

Yes. He did Keith Richards’s as well, didn’t he.

I leave him alone because he seems to know what

D AV I D B A I L E Y

They were, yeah, although my dad also had a dodgy club.

W I L L S E L F That’s when he got his face slashed by the Krays [the Kray Twins were infamous London gangsters in the early 1960s].

D AV I D B A I L E Y I don’t tell many people about that. It was Reg… and then I became great mates with Reg, because I really liked him.

W I L L S E L F Did you know it’d been him at that time?

D AV I D B A I L E Y

No, I didn’t know; it happened when I was twelve.

W I L L S E L F Ronnie was the psychopathic one, wasn’t he?

D AV I D B A I L E Y Ronnie was the one you kept away from. Reg and I became mates, I lived with him for two weeks, for a photo– story for The Sunday Times.

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VO GUE HOMMES

captured by Bert Stern.

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G E T T Y I M AG E S

David Bailey photographing Veruschka in March 1965,

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B A I L E Y O N T H E RO C K S

WILL SELF

WILL SELF

What was that like?

Was he one of the chaps [Cockney slang for a Well, I didn’t sleep well. I mean, I lived, and career criminal], your old man?

I moved around with them … I didn’t want to be nailed D AV I D B A I L E Y One of the faces, yeah. I suppose in America they’d to the floor and buggered. I wasn’t going to take any call him a wise guy.

W I L L S E L F Do you think he was violent himself? chances with either of them, but Reg was all right, said D AV I D B A I L E Y I think he could be, yeah. the nicest thing to me once. We were in a club in Hackney, just me and him, and he said, “I got to tell you someWILL SELF thing mate”. I went, “What’s that Reg?” He said, “I wish But he was never to you?

I could have done it legit’ like you”. I thought that was D AV I D B A I L E Y He killed my chicken, he used to kill chickens.

W I L L S E L F When you became successful, kind of touching for a fucking killer.

WILL SELF did your parents come after you for money?

It was an interesting period, D A V I D B A I L E Y No, I bought my mum a house eventually, but he was always off with women, I mean he had a lot of women. when you actually had the W I L L S E L F Some might say his son inherited that. financial backing to spend two weeks D AV I D B A I L E Y Completely untrue (laughs). with these guys.

D AV I D B A I L E Y It was because of Marc Boxer and Francis W I L L S E L F What do you think about Me Too? Wyndham at The Sunday Times. And I was the only one Do you think you’ve needed to change your attitudes who would do it … none of my assistants would come. to women? Do you look back on your WILL SELF behaviour in the past and find any of it reprehensible?

D AV I D B A I L E Y No, of course not, no, I mean, I had no problem Was it growing up in that kind of getting… I was much better looking than you. environment that made you able to cope with violence?

D AV I D B A I L E Y Yeah, growing up we were more scared of the hooligans, because gangsters left you alone. They were a bit posher.

David Bailey D AV I D B A I L E Y

WILL SELF

I don’t detect a scintilla of violence in you.

D AV I D B A I L E Y No, I’ve always joked my way out of trouble.

I remember when I first got beaten up, my mother said, “Go back and hit him”. I was about eight, I suppose, so I went back and hit him and he beat me up again ( laughs ).

I thought it’s the last time I do this.

WILL SELF

and Catherine Deneuve, in 1966.

Mick Jagger and Françoise Dorléac were witnesses at their wedding.

Did you stay close to the family when you started being successful?

D AV I D B A I L E Y No, I didn’t, no, I didn’t like my mother or father.

WILL SELF

Your dad was a schneider, a tailor’s cutter, wasn’t he?

D A V I D B A I L E Y Yeah, he was, and he had a snooker club above Poliakoff ’s, the Jewish tailors. There was cards, as well, but no [ roulette ] wheels.

“My dad had a snooker club, there was gambling, as well.

He was one of the faces.

I suppose in America, they’d call him a wise guy.”

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B A I L E Y O N T H E RO C K S With the model Jean WILL SELF

Shrimpton, around 1963.

WILL SELF

Thanks for reminding me, but you must admit, everyone tends to equate you with the photographer in Antonioni’s Blow Up, and thinks about the scene where the young girls ambush him at his studio, prepared to do anything if he’ll shoot them.

D AV I D B A I L E Y

Yeah, but that wasn’t me, that was David Hemmings.

W I L L S E L F Maybe, but it was a reputation you were saddled with.

D AV I D B A I L E Y Well they tried to say it, but it’s not true because it didn’t happen like that. I never used the casting couch. I knew what it was, but I never ever used it… never even thought about it.

W I L L S E L F When you were growing up, and your dad was in the trade, were you interested in clothing at all?

D AV I D B A I L E Y No, I couldn’t care less. And I never did… I shot fashion for a long time and then that suddenly stopped about thirty years ago. I did about… it was something ridiculous, like 800 pages in one year for all the Vogue magazines. I thought, “Shit, I can’t look at another dress”.

W I L L S E L F Was it simply a case of the work being available?

D AV I D B A I L E Y Yeah. it was a kind of Vogue got me to do it, really, and I never did anything I didn’t like.

You got out of the East End, and became one of this Cockney crew of musicians, photographers and designers who were defining an exciting new London in the early 1960s.

Do you remember what Jagger’s accent was actually like at that time?

D AV I D B A I L E Y Jagger was more middle class. I mean he wasn’t middle class, but his father was a gymnastics teacher.

W I L L S E L F That’s right, in Dartford, which was and is a rough old place.

D AV I D B A I L E Y Yeah, I didn’t go to his house but he used to stay at mine a lot of the time.

W I L L S E L F Did you like him?

D AV I D B A I L E Y Mick, yeah. Although the group was really Brian’s, then Mick gradually changed things. But that’s normal: in a group, somebody is going to float to the top aren’t they?

WILL SELF Did you realise that the zeitgeist had alighted on London in the early–to–mid 60s? Did you feel it?

D AV I D B A I L E Y No.

With Chrissie Shrimpton and Mick Jagger, just after he got married to Catherine Deneuve.

WILL SELF

Now what you and Michael Caine have in common is that you both voted for Brexit.

WILL SELF

D AV I D B A I L E Y

Yeah, I voted for Brexit, yeah. Nothing to do with immigrants, though — and I’m not particularly political.

Politicians aren’t very interesting to me.

WILL SELF

I read that you liked Thatcher …?

D AV I D B A I L E Y Oh I liked Thatcher. She got things done and she was anti–socialism.

RUE DE S ARCHIVE S

D AV I D B A I L E Y

WILL SELF

Did you like her in person?

D AV I D B A I L E Y Out of all the politicians I photographed, she was the most helpful. She was never up her own arse. I think I photographed her three times and she said, “I’ve put an hour aside”, and I used to be finished in 20–odd minutes and she’d say, “All right, you’ve got to spend the next 40 minutes with me now because I blocked this hour out for you”.

G E T T Y I M AG E S

It always seemed to me that your fashion work was portrait shots that happened to include clothes.

D AV I D B A I L E Y I always said I’d make the fortunes of girls in the designers’ clothes, and I did. The one I worked with most was Yves Saint–Laurent, and I looked closely at what his clothes were like… what he was trying to do. Now, clothes are just a bundle of things that girls just put on, there’s no fashion anymore, it’s just what the latest trendy thing is.

W I L L S E L F I suppose what grabbed you, as a tailor’s son, were designers who could actually cut cloth on the bias.

D A V I D B A I L E Y Well, you really do have to be a cutter to know about fashion. When I was fourteen, I used to make suits for the teddy boys.

W I L L S E L F Oh you did?

D AV I D B A I L E Y Well I didn’t make them, I measured them up and everything, then get Poliakoffs to make ’em. They were like ten quid and I charged twelve, so I had a £2 mark–up,whichwas quite a lot of money in those days.

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VO GUE HOMMES

“Out of all the politicians I photographed, Margaret Thatcher was the most helpful. She was never up her own arse.”

WILL SELF

D AV I D B A I L E Y

What would you chat about?

Yeah, well, one of the first pictures I did of John and Paul, I had them looking away from each other because I sensed that they weren’t going to get on. I thought John was kind of cool and I thought Paul wasn’t cool and I couldn’t see it working.

It was the same with the brothers, because they hated each other, those two guys. Not Ron and Reg Kray, but those Gallagher brothers. I sort of sensed it, I thought, oh, just show them not looking at each other.

D AV I D B A I L E Y

Art, photography, anything she liked. I was shocked, but she loved Ben Nicholson’s work, you know, Barbara Hepworth’s husband. He was the leader of the Cornish St Ives school. I was shocked because she knew more about him than I did.

WILL SELF

Do you think of yourself as an artist?

WILL SELF Yeah, if people force you to describe yourWere you impressed by Lennon? self, you say, “Well I’m an artist I suppose”. Most good D AV I D B A I L E Y Not really, not really, I think he was the best of artists have got a lot of common sense, I think I’ve got the Beatles. He was quite witty, yeah, and he had his first joint a lot of this, or, as Catherine calls it, uncommon sense. with me. We were up on the roof of the Ad Lib club. He said WILL SELF to me, “I guess I’ve made it, here we are, I’m smoking a joint Which relates to what the photographer from with David at the Ad Lib Club”.

W I L L S E L F And what year would that have been?

The Standard said about your D AV I D B A I L E Y Oh, in the early 60s…

VO GUE HOMME S unerring gift for capturing the moment.

D AV I D B A I L E Y

In 1974, Grace Coddington, Helmut Newton, Manolo Blahnik, Anjelica Huston and David Bailey.

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PHOTO GR APHS

Ethan James GREEN ST YLING

Anastasia BARBIERI

JUNGLE

Water snake shirt and trousers

HERMÈS Wool and cotton waistcoat

M O R AT O I R E Vintage straw hat

CO QUI CO QUI OFICIOS A RT E S A N O S

On all pages: Bracelet

CO QUI CO QUI OFICIOS A RT E S A N O S

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VO GUE HOMMES

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Cotton shirt and trousers

GIVENCHY Opposite page: Silk shirt and cotton trousers

FENDI

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VO GUE HOMMES

Embroidered suede jacket

S A I N T L AU R E N T

BY A N T H O N Y VA C C A R E L L O Silk pareo

HACIENDA M O N TA E C R I S T O Shell necklace @

GALERIE A RG I L E S Opposite page: Cotton waistcoat

JOHN GALLIANO Python trousers

LOEWE

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Embroidered blazer

BRIONI Raw cotton trousers and horn pendant

CO QUI CO QUI OFICIOS A RT E S A N O S Rope belt

HACIENDA M O N TA E C R I S T O Opposite page: Jersey trousers

VA L E N T I N O

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VO GUE HOMMES

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Wool gabardine jacket

C E L I N E BY HEDI SLIMANE Necklace @

GALERIE A RG I L E S Opposite page: Cotton toile jumpsuit

EMPORIO ARMANI Shell necklace @

GALERIE A RG I L E S

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Leather and lambskin waistcoat, and moleskin trousers

G I O RG I O ARMANI Rope belt

HACIENDA M O N TA E C R I S T O Opposite page: Velvet waistcoat and cotton underpants

GUCCI Shell necklace @

GALERIE A RG I L E S Horn pendant

CO QUI CO QUI OFICIOS A RT E S A N O S

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VO GUE HOMMES

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VO GUE HOMMES

Cotton shirt and trousers

D S Q UA R E D 2 Bronze necklace @

GALERIE A RG I L E S Opposite page: Nylon jacket

B U R B E R RY Shell necklace @

GALERIE A RG I L E S Horn pendant

CO QUI CO QUI OFICIOS A RT E S A N O S

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Silk shirt and leather trousers

LOUIS VUIT TON Bronze necklace worn as a headpiece

G A L E R I E A RG I L E S Opposite page: Cotton and silk shirt, and cotton toile and leather trousers

S A LVAT O R E FERR AGAMO

Stylist's assistants

RO B E RT O P I U and MARINE DÉVÉ Hair

L AU R E N T PHILIPPON Make–up

KARIM R AHMAN Production

EL SOL A ZUL

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VO GUE HOMMES

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SHADOW DANCER

All his life, Lincoln Kirstein refused smile, yet he spent lavishly to finance his taste for art. A patron of the arts and one of the founders of the MoMa in New York, which is devoting an exhibition to him, he was also a close friend of and guardian angel to Balanchine, Cartier– Bresson and Welles. The portrait of an artist with no output.

You examine photos of Lincoln Kirstein closely, in hopes of learning a little more about this celebrity you’ve never heard of, a man who shunned the limelight yet who was a vastly wealthy patron of the arts and such a devotee of classical ballet that he managed to persuade choreographer George Balanchine to settle in the United States and together found the School of American Ballet [ SAB — still going strong today ].

In 1948, he set up a new classical ballet company destined to become an institution : the New York City Ballet. When you probe portraits of him, the amazing thing is that this man — showered with awards, feared, described as a tycoon and a titan blessed with all the powers devolved on him by wealth, a fine education, a love of the arts and culture, and great physical strength — is never seen smiling, except for one photo where he appears barefoot, visibly on vacation, and seems to

have been snapped drawing at his home on Fire Island, a two–hour drive from New York. Otherwise, even when he was a very young man, and even posing alongside his sister Mina, even posing for a painter, the other images depict him as someone mired in an enduring melancholy, the victim of terrible existential suffering.

Two vertical creases perpetually furrow his brow ( next to Kirstein, Rodin’s The Thinker is a bundle of laughs ), and you say to yourself that it must have been awful to be like him, so wealthy, so intelligent, so beautiful, so powerful. It’s a pity that Luchino Visconti never got round to casting his strict contemporary — they were born a year apart — as the hero of a fresco like his Conversation Piece. He would have been perfect in the role played by Burt Lancaster.

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BY

Anne DIATKINE

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His emotional life was torn between extremes, suggesting that he was seeking a fusion of opposites.

Kirstein often even prefaced his books of photography.

Despite his enormous wealth, he was also very conscious of social classes other than his own. His family may have made a fortune [they owned the Filene department stores], but he himself dallied with Communism in the 1930s, even going so far as to decorate his office with the hammer and sickle and attending numerous meetings in support of the Russian Revolution as the crash of 1929 steadily impoverished Americans. In May 1932, he would even be the youngest member, at 35, of a small group of intellectuals that included John Dos Passos, who defended William Z. Foster, the Communist Party of the USA’s presidential candidate — an election won by the Democrat Franklin D. Roosevelt.

Lost in the crowd during a South

J E R O M E R O B B I N S D A N C E D I V I S O N / N E W YO R K P U B L I C L I B R A RY

O B E RT O G I L I / C O N D É N A S T

American tour of the

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Yet, those unsmiling features notwithstanding, Lincoln Kirstein, who died in 1996, had an amazingly tumultuous life spanning most of the twentieth century, mirroring its breadth and its contradictions. A patron of the arts who was active in setting up New York’s Museum of Modern Art ( MoMA ), and did so with conviction and a firmly established aesthetic judgement, the sheer breadth of his tastes prompted him to help dozens of writers, painters, composers, dancers and photographers, although it would be difficult to claim that he was a prisoner of the zeitgeist. On the contrary, even as abstract expressionism was becoming all the rage, he systematically defended the figurative, whether in the fine arts or stage design — a reflex response that no doubt meant he was extremely sensitive to photography. As the discoverer and critic of Walker Evans,

New York City Ballet ( centre ), on holiday with his wife Fidelma ( right ), as a student at Harvard (bottom left ), Lincoln Kirstein was a secretive man, wholly devoted to art.

As illustrated by his choice of interior decoration (bottom right ), visited by portraits of himself by artists, including Michael Leonard, Pavel Tchelitchew and Lucian Freud .

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in April 1941. Why did he do that ? There were two things decidedly not in her favour : she was poor, and a gentile. Was it a marriage of self – interest, to allow him to navigate high society in the company of a ( stunning ) wife without attracting objectionable homophobia ? This was partly, but not entirely the case, believes Martin Duberman, the author of a 700 – page biography of Kirstein, who had access to the philanthropist art patron’s diaries. Kirstein was torn, but upstanding. Let’s say that he fell instantly in love with Fidelma’s free – spiritedness and that he was in love equally with the work of her brother Paul and with the brother – sister relationship. In photos and other depictions, Fidelma is magnificent, but does not seem especially fulfilled, resigned as she was to cohabiting with Kirstein’s lovers and to his living in several apartments.

His emotional life was also torn between extremes, suggesting that he was seeking a fusion of opposites, without completely accepting it. While sleeping with all sorts of women, he was also passionately in love with all sorts of men, with a special penchant for seamen. Although he revealed as little as possible about his private life, he made no secret of his preference for men to his family. His parents were none too pleased at the news that he ultimately decided to marry Fidelma Cadmus, the sister of painter Paul Cadmus and a painter herself,

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Nothing came easily to Lincoln Kirstein, however : a poor little rich boy, he was anything but light – hearted or relaxed. Sure, he was born in Rochester in 1907 with what is usually called a silver spoon in this mouth. True, he was given the name of Lincoln in honour of Abraham Lincoln, his mother’s hero, about whom he himself authored a play in 1967. As early as the age of twelve, however, the pre – teen Lincoln confided to his diary that his loneliness was down to the fact that he was “bad company”. His gift for self – deprecation and for being tortured by unachievable moral constraints would never leave him. That loneliness, desired and accepted, had a positive flip side, though. It gave him the time and the need to frequent people on the written page : from Molière to Dickens, Lincoln devoured the great authors from an early age, in the process acquiring knowledge of worlds and periods beyond his own.

We need to picture the teenager, ill at ease in his athlete’s body, shunning socialising in favour of solitary horseback or bike rides. How did such a young man discover dance as an artistic discipline ? His parents refused their nine – year – old son permission to attend a performance in Boston by the Sergei Diaghilev’s Ballets Russes, saying he was too young. Later on, there was his encounter with a camp leader, who he fell madly in love with, and whose fiancée had studied under Isadora Duncan. Although he noted on several occasions that he “hated” Isadora Duncan, it was indirectly through her that he came into contact with the practice of dance. The fiancée of the charismatic camp leader taught him “rhythmic exercises” and even encouraged him to become a dancer. Isadora Duncan being the first choreographer to free the body from the tyranny of the virtuoso exploit in the early years of the twentieth century, his lack of experience would have been no obstacle.

The young Lincoln, however, shunned that path and enrolled at Harvard, just like any talented upper – class young man. Solitary, ambitious, and far more cultivated than his peers, he stood out from the crowd. With a friend, he launched a first literary magazine and wrote in his diary that he dreamt of nothing less than founding an empire. Softly, softly: the empire would get built.

But in the meantime, the student took up his first challenge, the creation of Hound and Horn, a magazine that published articles ranging from architecture to a piece on a tyro film maker by the name of Hitchcock. He also published some early poems by Ezra Pound. He was not yet independent, and so had to persuade his father, Louis Kirstein, to help fund his whims. For a good twenty years, much of Kirstein junior’s energy was spent trying to convince his father to sign one cheque after another for things that Lincoln deemed vital, always in connection with the art world, but which always seemed to swallow

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A close friend of George Balanchine ( left ), Kirstein managed to persuade him to settle in the United States.

In 1948, they founded the New York City Ballet, which the Russian choreographer directed until his death in 1983.

Together, they revolutionised contemporary dance.

vast amounts of money. While posterity has undoubtedly shown that Lincoln made the right calls, he nevertheless found this humiliating financial dependence very hard. One such correct call was his participation in the founding of MoMA, inaugurated in 1929, and which is today paying tribute to him with an exhibition of some two hundred works by artists whom Kirstein discovered and supported. Through MoMA, he was also able to combine his two abiding passions of art and dance, bringing them both into the museum. Even today, this is still an exciting idea because it sounds paradoxical.

Back then it was totally revolutionary. At the same time, Kirstein was riffing with his friend Monroe Wheeler about setting up a new American classical ballet company — at a time when the modern dance pioneered by Martha Graham was just beginning to take off. It was a mad, counter – intuitive gamble, but Lincoln, who had helped Nijinsky’s wife to write the biography of her husband, invited the hugely famous George Balanchine to New York. He agreed to emigrate to the United States to found a “real classical American ballet”, provided that it included a ballet school. The company, which was tasked

with inventing new choreographies steeped in the traditions of the great Russian masters and with developing a new classical repertoire, was originally named the American Ballet.

His creation caused Kirstein massive angst and torment, not to mention huge financial outlays, as he paid everyone working around Balanchine, from Stravinsky to surrealist painter and set designer Pavel Tchelitchew, to whom he later devoted a monograph. Balanchine, who brought a whole new dimension to the word “temperamental”, did not content himself with sleeping with all his prima ballerinas and turning every relationship toxic, he was also prodigiously indifferent to the financial headaches he created. The power – plays and bullying were never – ending, especially as one of the financial backers, the choleric and grasping Eddie Warburg, refused to share any of the profits, when profits there were. Lincoln was constantly riven by guilt towards the father who paid off his debts without necessarily understanding where his son was going. At the outset, all the ballets they staged were failures. Undaunted, Balanchine agreed to choreograph a ballet featuring fifty elephants: success (and more docile stars) at last! Understandably, the commission did not come from Kirstein or the New York City Ballet, but from the Ringling Brothers Circus.

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Kirstein could also pen damning judgements. Of choreographer Martha Graham, he said in public that he adored her, but in his diary he wrote that she “ worried him like a toothache ” and that her choreographic language was terribly restricted.

Virginia Woolf he found “frightening” with her “lace cap”. He called Matisse, a “decorator” and even slated Manet. In mitigation, Kirstein helped an incalculable number of artists — writers such as James Agee and E. E. Cummings, and painters Diego Rivera and Andrew Wyeth, all of whom, without exception, were males. Merce Cunningham nevertheless told Paris

daily Le Monde that, far from bearing a grudge, Martha Graham had sent him to Kirstein’s school to study Balanchine’s take on classical ballet. Another recipient of Kirstein’s largesse was Henri Cartier–Bresson, who often said that the American patron had been important for him, admiring his work and introducing him to MoMA at a time when he no longer wanted to be a photographer. In fact, the MoMA went so far as to devote a “posthumous” show to him, as everyone thought he was dead.

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M A RT H A S W O P E / N E W Y O R K P U B L I C L I B R A RY

Until the very end of his life, he took massive risks, to the point of endangering his own emotional balance.

Lincoln Kirstein devoted himself to his dance school.

And much more.

He also promoted an incalculable number of writers, artists, architects and photographers, wrote poems and plays, most of which have never been published.

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Kirstein seems to have known everyone who was anybody — including [ in Brazil ] Orson Welles, with whom he considered a number of projects. Then, when there was no call for him to do so, he joined the army in 1943, in the war against Nazi Germany. His life took another unexpected turn when, in the aftermath of the war, he joined a unit [ the “Monument Men” ] responsible for recovering and identifying artworks stolen by the Nazis. He wrote and published critical essays on photography, plus volumes of poetry and plays, and also commissioned the ballet of Billy the Kid. Most of his writings were never published, however. Once a man of the shadows, always a man of the shadows.

He discovered and promoted new talents, marvelling at Japanese kabuki theatre and even bringing it to the United States. In 1959 he organised a US tour

of a troupe of exclusively male players from the Imperial Household, who had never before left Japan. He fell in love with African dance … and never veered from his detestation of the “limitless vacuity” he saw in the young New York scene, despite its being fabulously inventive in the 1960s.

Right to the end of his life, Lincoln Kirstein held the administrative reins of the Ballet School, his baby, founded with and for George Balanchine. Thousands of dancers have swarmed from there throughout America, often creating their own dance companies and perpetuating the speed of Balanchine movement and its mesmerising, broken rotations which never allow the eye a moment’s rest. Until the very end of his life, he took massive risks, to the point of endangering his own emotional balance, treating his crises of fury and depression with electroshock therapy. Until his final days, students would still spy his imposing black – clad silhouette in the corridors and salons, walking stick in one hand, a tumbler of whisky in the other. You were not allowed to disturb him. But what Lincoln Kirstein loved most in the world was not ballet, nor even men, nor whisky ; not power, not himself.

His abiding love, as he wrote in a memoir published at the end of his life, was cats … V O G U E H O M M E S “Lincoln Kirstein’s Modern”, until 30 June at the MoMa, New York.

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Wool jacket, waistcoat and trousers

E T RO Silk caftan

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Some see him as the new Jeff Buckley. At just 22, Tamino, with his eagle– like profile and jet–black hair, is already carving out a niche for himself on the brooding Oriental– leaning folk–rock scene.

This Belgian musician of Egyptian extraction is influenced

by Nick Cave’s romantic moods, and by his own grandfather — also a singer — who was known as the “sound of the Nile”.

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OF MELAN– CHOLY PHOTO GR APHS

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BY

Sophie ROSEMONT

“Let’s get together when there’s time”, he says. “I’ve finally taken a break and just been to a week of fashion shows, so I am less anxious than usual”. When you have known the young man since his first EP was released, in 2017, you know he’s not exaggerating. The apparent serenity scarcely hides the tension, the tension of forward–thinking perfectionists, whilst allowing their talent to mature and develop.

Dark eyes, a tall, slender figure and jet–black hair, Tamino– Amir Moharam Fouad was born in Antwerp of a Belgian mother and Egyptian father. He doesn’t only reflect his mixed origins through his physique. In his music, he calls to mind a form of romantic rock influenced by Nick Cave ( even though his high–pitched voice is more suggestive of Jeff Buckley or Thom Yorke ) and the melodies of the ancestral East. His grandfather was none other than Moharam Fouad, nicknamed “the sound of the Nile”, an extremely popular singer and actor in Egypt.

He died when Tamino was a little boy, but he profoundly inspired him: “I love his music. And I could identify with what I was told about him. He was obsessed by his work and never stopped singing”.

The artistic tastes of Tamino, who was so named as a tribute to the prince in Mozart’s Magic Flute, date from when he was very young. At the age of eight, he dreamt up a play and asked his little brother to play the main character: “I had a specific idea of what I wanted, and when he didn’t acquiesce, I flew into a rage. I was a little dictator! It was then that my parents realised that I had a strong interest in the arts, the theatre, etc.” His mother was a music–lover and always playing the piano. She initiated her son, who, after taking several classical lessons, quickly broke away from the classics: “I didn’t have the patience to learn the pieces as I was expected to. I wanted to interpret them differently. I admire the discipline of classical musicians, but my idea was to create a story and embody it, expressing what I wanted to say. It’s an experience. A song you like that transports you, instantly, is instinctive. You don’t know where it comes from. I don’t want to think of that too much when I’m composing, otherwise the spontaneity gets lost, and the pressure rises.”

After his secondary schooling, he headed to Amsterdam to attend the conservatory there, as it had a reputation for being open–minded. Alone in the Dutch city where he didn’t know a soul, he composed a number of songs in his room.

Once they were shared on the Internet, the buzz was such that he went back to Belgium to devote himself to his career. He had offers to perform on stage, on the radio, was invited to appear on TV and given front–row seats at runway shows. No one could resist his young leading man looks straight out of The Arabian Nights. The title of his first album, Amir, actually means “prince” in Arabic. Radiohead’s eminent bass player, Colin Greenwood, stars on “Indigo Night” and was one of Tamino’s earliest fans. “Habibi”, with its twilit mood, was an instant hit that revealed his talent for soft velvet folk.

The twelve songs on Amir, recorded with an orchestra of Tunisian, Iraqi and Syrian musicians, speak as much of love as of solitude, sensuality and contemplation, rather like those of Leonard Cohen. “He’s the ultimate model, a high–flying poet”, he sighs.” Even though he was a passionate person, he never tried to alter his destiny, he remained elegant whatever the occasion. And, at 80, he was still recording superb albums.” Tamino also calls to mind Nick Cave, for the corrosive, contagious tenor of his style of rock, but not just that: “When he gets up in the morning and puts a suit on. Whether it’s to rehearse, go on stage or get a coffee, he is always impeccably dressed”. Rather like Tamino, in a more urbane, more understated, style. Tamino’s favourite colour is black, which is at the same time romantic, gothic, minimalist, and adaptable, which he likes.

When you meet him on a cold Paris Fashion Week Saturday, he is trying clothes on at his compatriot Ann Demeulemeester’s, who also dresses Patti Smith and PJ Harvey. “With Ann, I understood that a garment could be the extension of who you are, that comfort didn’t exclude the singularity of a look. Today, my creativity varies according to what I’m wearing”. For Tamino, music inspires fashion and vice versa. “A fabric, a cut, an attitude can bring a melody to life. The correspondence between the two seems obvious to me”. That said, he is far from being obsessed about his appearance. At the moment, he spends his days on the road to promote Amir. Whereas he doesn’t compose when he’s on tour, he reads Dostoyevsky, and the Lebanese poet, Khalil Gibran, whom he quotes: “In the depth of my soul there is / A wordless song — a song that lives / In the seed of my heart” ( from “Song of the Soul”, 1912 ). Perhaps a way for Tamino to assert his need to be alone, which is vital to him when he is composing, providing a space for him to exercise his love of words. “Even if at first I think about the melodies and the orchestration”, he says, “I can’t imagine that a song doesn’t convey a message, or at least a feeling, that it is empty.” He hasn’t discarded his childhood dream of being an actor, but says that if he had to take a break from music for a film shoot, the role would really have to be worthwhile.

When asked for his definition of elegance is, he answers immediately: “Being kind to others, respectful, while at the same time being sure of who you are. Recently, I met Yohji Yamamoto. He’s an example of this. He is kind to everyone, relaxed, yet never leaves anything to chance. The same chance, or destiny, mektoub in Arabic, that has cast its benign light on Tamino. V O G U E H O M M E S

Calfskin velvet jacket and wool turtleneck

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to snatch a few days out of his crazy schedule. At 3.30 he has to run and catch another plane, this time for London where he will attend the opening dinner for the Christian Dior: Designer of Dreams exhibition at the Who wouldn’t jump at the chance for a heart–to–heart with V & A. Prior to meeting us, Jones, in head–to–toe black Kim Jones, one of the hippest designers and newly appointed — oversized sweater, bondage trousers, high–tops, thin creative director for Dior menswear? We’re scheduled to meet bracelets of precious stones — has already had a lunch three days after his sumptuous Fall / Winter 2019 show, one appointment, with a second interview lined up after Monday morning at his apartment just off Place des Victoires ours. “Then tomorrow I’m flying to New York, for a in Paris. Then at the Plaza hotel, where Jones has a pre–9am campaign,” he says, glancing across to his press attaché meeting. Then later in the afternoon … and ultimately not at who’s just joined us. Across the room, a man is typing on all, as he is ill. We finally meet a week later, in the Dior offices a laptop, unperturbed. This is Edward, we later find out, on Rue de Marignan. The 39–year–old British designer, less friend and teammate to the designer, who was a friend than a year into his tenure at Collection Homme Dior ( ex– of Alexander McQueen. With all this going on, our first Dior Homme ) after a successful run at Louis Vuitton, has been question has to be about the pressure that weighs on up since 5am, just back from Morocco, where he managed any young creator today.

ST YLING

THE PUNK POET

His third collection for Dior is a tailoring tour de force, interspersed with draping, lace, satin and leopard print. In less than twelve months, Kim Jones has turned the fabled house’s menswear upside–down, reaffirming its codes and teasing out its feminine side. We (finally) caught up with the British designer who has an uncanny feel for the spirit of the moment.

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KIM JONES

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VO GUE HOMME S

Your British friends, from Kate Moss to Naomi Campbell, are at all your shows. How important is it, to have this community of friends supporting you?

Fall–Winter 2019–2020

KIM JONES

Very important. These are people who’ve been with me through all the stages in my life. I can talk to them, be myself. Sure, I have famous friends, and as my own fame grows, they ask me how I’m dealing with it, but my best friend is a primary school teacher. We talk about stuff that has nothing to do with fashion, which doesn’t interest him in the least! All my friends inspire me but for different things, such as love or travel.

VO GUE HOMME S

After rescheduling so many times, I can see how a designer’s work is about more than sitting down and sketching the next collection …

VO GUE HOMME S

Your Fall / Winter 2019 collection emphasises tailoring.

From a French perspective it’s very British, very Savile Row, but do the British see it as more Parisian?

KIM JONES

I was exhausted after the show. A lot of the time, I fall ill. But yes, being a designer today is about more than designing, it’s about business, too. But I don’t have a KIM JONES problem with that. I have carte blanche to do what I like. Paris is the home of couture and London is the home of menswear. Tailoring was central to Monsieur Dior’s work. We’re VO GUE HOMME S doing for men what he did for women: a timeless elegance How do you survive the pressure? that was also evident in the bags and scarves. Everything KIM JONES that was a part of his couture designs, we are reinterpretI make sure I take breaks. Also, I’m like a separate en- ing for men. tity: I don’t think, I do. I keep my private life as private as possible. People want to know about “Kim Jones”, VO GUE HOMME S but I work for Dior and that’s what they should really Did you learn tailoring at be interested in.

Central Saint Martins?

KIM JONES

No. [ He turns to the man with the laptop ] Ed, what do you learn at Central Saint Martins? [ Ed: “To think for yourself, how to solve problems …” ] They don’t teach you ( laughs ), you teach yourself. They encourage you to become whatever it is you want to be. To be yourself.

VO GUE HOMME S

Still, you can’t expect to disappear behind the brand.

These are your designs, after all.

KIM JONES

Sure, but the brand comes first and me second. That’s how I see it, anyway. The brand gives me the inspiration to do what I want to do.

VO GUE HOMME S

And did you? Become yourself?

KIM JONES

VO GUE HOMME S

Do you feel the media has been more interested in you as a person?

KIM JONES

A lot of people don’t know me, so I can see how they might be interested in finding out who I am, although to be honest I don’t think I’m any different from other designers. I enjoy nature, art, travel. I collect a lot of things. I work between Paris and London, but London is my home. That’s me. It’s pretty simple.

When I had my admission interview with Louise Wilson [ one of Central Saint Martins’ most famous professors, whose students included Alexander McQueen, John Galliano and Gareth Pugh ], she told me there was no point my taking the classes because I already knew what I wanted to do, which was to make the clothes me and my friends wanted to wear but couldn’t find in the shops. John Galliano bought almost my entire graduate collection, which was sold at this cool store in London.

Then I was spotted in Japan, got a lot of press coverage, and it went from there …

“Nonchalance is key: it oozes self–confidence.”

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KIM JONES

VO GUE HOMME S

What gave you the idea of adding draping to the suits and coats in your collection?

KIM JONES

I mine the archives. I’ve only been here ten months, but all three collections tell a story from the archives. Drapes are the kind of romantic thing that Monsieur Dior was doing. My first collection was highly romantic. I wanted the last show to also be romantic, but with an edgier feel. I choose how to work with one or other Dior code for one or other collection with my team. We function as a group, some of whom came with me from Vuitton, and we decide together.

VO GUE HOMME S

What about London? Is there a London style?

KIM JONES

There’s more freedom in London. Guys there have this “I don’t care” attitude that the French love and which made Kate Moss so popular here. It’s a nonchalance that oozes confidence.

VO GUE HOMME S

Does Christian Dior’s personality inspire you too?

KIM JONES

Yes. He was an interesting man. I feel close to the things he liked, such as art. He ran an art gallery before becoming a couturier. His love of nature, animals and intimacy also resonate with our era.

VO GUE HOMME S

You grew up in various countries, not just the UK. How did this shape who you are?

KIM JONES

I’ve been to a lot of places, but I grew up mainly between Would you like to design haute couture Africa and London. Being a kid in Africa is just amazing.

You have these incredible landscapes, people dressed in for men? Is this something the most fantastic way, wild animals … I was obsessed the fashion industry is missing?

KIM JONES by animals. I actually wanted to be a zoologist. Then my For the moment, we’re fine with the ready–to–wear. Everything mum died, and I was still only young and didn’t want to in its own time! Plus there isn’t a demand for men’s haute cou- study any more. I wanted to do something creative and ture, although we do have to think about the men who want see the world. I chose fashion. At 14, I discovered i–D … a suit for a special occasion. Like I said, we’ve taken couture expertise and we’ve brought it to men’s ready–to–wear, in VO GUE HOMME S the feather shirts and the embroidery, for example. Couture What was it about i–D that struck you?

KIM JONES is hard–wired into Dior.

Seeing people who didn’t fit in, who weren’t conventionVO GUE HOMME S al. I never felt like an outsider, at school I was always We hear a lot about the Parisian woman, one of the popular kids, but I’ve always had a thing for but what’s your take on the Parisian man? people who make up their own rules, who invent their KIM JONES own style. I like punk, for example, although I’m not a Paris is where I work. I have a flat here but I don’t go out, other punk. I was born too late. What I love is how punks don’t than to and from the office. Two men epitomise the Parisian give a fuck about anything, and how shocking that must to my mind. One is the actor Jérémie Laheurte, who I really have been at the time. Malcolm McLaren and Vivienne like. He has this super cool look and tailored clothes fall real- Westwood working together, that was just crazy. That ly well on him. The other is Lukas Ionesco. He’s adorable. He combination of a great designer and a great stylist. No– was modelling for us at 15 and we’ve stayed friends. They’re one has come up with anything more modern. You look different types of guy but they both capture the essence of at what they did and you feel like it was made today. They the Parisian man. deserve a lot of credit for that.

VO GUE HOMME S

“I’ve always had a thing for people who make up their own rules, who invent their own style.”

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VO GUE HOMMES

“Alexander McQueen was really like an older brother to me. I always went to him for advice.”

VO GUE HOMME S

I hear you collect Leigh Bowery pieces …

KIM JONES

I have about fifty of Leigh’s creations, from entire outfits to things he made for himself. I’ve had them classed in chronological order. I also have a lot of pieces that belonged to people who were close to Leigh. I started collecting when I was at university and it was still cheap. Then Leigh’s friends started bringing me things they wanted to sell, memorabilia, postVO GUE HOMME S cards, letters, that kind of thing, and I would buy them. I’d like You were more into the 1990s scene, to compile them into a book. Ultimately, though, the entire collection belongs in a museum. Somewhere with the proper acid house, techno …

KIM JONES means to conserve the clothes. I’d want to sell them in part.

It was so liberating. London is the only city in the world Putting money down is proof that someone genuinely wants where you can go out every night of the week, even Sun- and will take care of them. day and Monday. When I was young, I used to go out every night. There would always be one club that everyVO GUE HOMME S body went to, where you could turn up and you knew all How well did you know your mates would be there. A typical Wednesday would Alexander McQueen? be to go home from work, sleep a bit, grab something KIM JONES to eat and head off to a club. Then you’d go home again, I did some work for him, but really he was like an older brother put your head down for an hour, then go to work. Nor- to me. He introduced me to Kate, Naomi and the others. I met him at university and we stayed friends until he died. Same mal stuff. with Louise Wilson. It was tough when they passed away. They VO GUE HOMME S were the two people I always went to for advice.

But punk is still your VO GUE HOMME S biggest influence?

KIM JONES What advice did Alexander McQueen give you?

The Decline of Western Civilization [ a 1981 documentary KIM JONES about the Los Angeles punk rock scene ] is one of my fa- I’d rather keep that to myself. It’s something I can only talk vourite films. Raymond Pettibon captures that in this about with friends. collection. He’s an artist from the Californian punk scene. I invited him to design prints. It’s fantastic seeVO GUE HOMME S ing him create this dialogue with Christian Dior. You Meaning we’re not friends? must always ask yourself what Monsieur Dior would do KIM JONES today, and I think he would have worked with artists. You’re my friend ( laughs )! But it’s stuff I prefer to keep for I approach artists who I believe are relevant to today myself. and at the same time have broad appeal. Dior is a great name and I can’t only think of myself.

VO GUE HOMME S

Would you say your style at Dior is classic with a twist?

KIM JONES

I’d say it’s more subversive. “Classic with a twist” sounds a bit too much like Paul Smith. I’m a great admirer of Paul Smith, plus he’s a really nice guy, but you see what I mean …

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VO GUE HOMMES

KIM JONES

This job takes over your entire life. It’s not like I can leave the office at night and switch off.

VO GUE HOMME S

Right now you’re more punk in those black bondage trousers …

KIM JONES

Yeah, but luxury punk ( laughs ).

VO GUE HOMME S

And you, what advice would you give a designer who’s just starting out?

You were one of the first to put sneakers on the runway, yet there are none in your new collection. Why?

KIM JONES

KIM JONES

That’s it’s not about becoming an Instagram celebrity, it’s about working hard. This job takes over your entire life. If you reach a certain level, it won’t be easy. It will take up vast amounts of your time and creep into every other part of your life. It’s not like I can leave the office at night and switch off. Edward knows what I’m talking about. He had his own brand and has worked with us for ages, haven’t you Ed? [ Ed nods his head ]. Or Lucy, who’s worked with me for thirteen years. They’ll tell you the same thing. It takes over. But it’s a job I’m proud to do. At Dior, there are the ateliers — we’d never had ateliers before — and people have huge respect for the designer.

There are sneakers in the store and on Dior’s Instagram, but I wanted this to be an elegant collection, with an updated version of the Chelsea boot and boots with galoshes that create a different silhouette by accentuating the bottom of the leg.

VO GUE HOMME S

VO GUE HOMME S

What’s your definition of elegance?

KIM JONES

It’s how a man wears his clothes. Elegance is a combination of attitude and suit.

VO GUE HOMME S

VO GUE HOMME S

What has fashion taught you?

To come back to the couture elements in your collection, is it a statement in favour of more gender fluidity?

KIM JONES

That I like people who are loyal, who I can trust. If peoKIM JONES ple are loyal to me, then I’m loyal back. I also want my There are crossover elements in my collections, but whereas team to be happy. I’m not special, I’m just part of the women will wear men’s clothes, you won’t see a man walking team. down the street in a couture gown — not yet, at any rate — not unless he’s really brave! Today I’m wearing a Céline jumper VO GUE HOMME S

by Phoebe ( Philo ) that looks unisex, so to speak. I also have Has experience taught you that people quite a few things from Margiela, Hermès, that are for women. aren’t always to be trusted?

They’re beautiful clothes and no one is ever going to notice KIM JONES that they button up the wrong way.

If I can’t trust you, I can’t work with you. That’s my number–one rule. If people go too far or if they lack VO GUE HOMME S respect for my studio, then I can be tough. I expect When you put all your creativity people to have good manners. If you don’t have manners, I’m not interested. I can blow my top but it’s rare. into dressing others, You would have to make me really, really angry. I don’t is there anything left for yourself?

KIM JONES have time to waste with people who don’t know how to I wear a uniform, in neutral colours. I go through phases behave. V O G U E H O M M E S where I wear the same thing all the time. Clothes I buy several of at once. I like to travel light with just a small bag, and if I buy clothes when I’m there, I have them delivered. I like to make things easy. Life can be stressful enough, as it is.

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Cashmere jacket and trousers with detachable satin scarf

COLLECTION HOMME, DIOR Fall–Winter 2019–2020

Stylist’s assistants

N ATA S H A ARNOLD S H A U N KO N G , H A N N A H RYA N and

A N N I E F RO S T Hair

ANTHONY TURNER Make–up

LY N S E Y ALEXANDER Nails

LORR AINE GRIFFIN Casting

MADELEINE ØSTLIE @ A AMØ Props

ALICE KIRKWOOD

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I AM YOUR MIRROR DOCUMENTED BY STEVEN MEISEL GIVENCHY.COM

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