VMAN 49: Austin Butler is Hollywood's New Burning Love

The Speedmaster was first introduced in 1957, and its stories will live forever in history.

It all started in 1965 when NASA qualified it for all manned space-flight by subjecting it to a series of extreme shock, pressure and temperature tests designed to destroy it. The Speedmaster passed with flying colours and was issued to all astronauts going forward.

In July of 1969, the Speedmaster earned its nickname when it became the first watch worn

on the moon, and in 1970 it went above all expectations when it helped to guide the crew of Apollo 13 back to safety after an explosion crippled the mission.

Updated today as a Co-Axial Master Chronometer, the Moonwatch will require less servicing throughout its lifetime, while also guaranteeing the industry’s highest standard of precision, performance and magnetic resistance up to 15,000 gauss, as certified by the Swiss Federal Institute of Metrology (METAS).

SPEEDMASTER MOONWATCH

Photography Kenji Toma Floral Artist Eriko Nagata

PRISMATIC VISIONS

The state of “menswear”

today has brought about this issue, our biggest and most exciting VMAN in years, with Hollywood’s new darling Austin Butler on one cover, and Sweden’s Omar Rudberg on the cover of our special edition zine in partnership with Copenhagen Fashion Week. Flipping through these pages has made us feel that increasingly, anything is possible within fashion. So at a time when, at least within fashion, there are no boundaries, there are no limits, this issue begs the question: who are you? And who do you want to become?

MR. V

Only in a world as wacky as fashion would products for men come second to those for women—the latter of which was the industry’s focus for decades, or even centuries now. Unfortunately, this does little cosmically to balance the rights that women are losing here in our own country. And while menswear is growing at unprecedented rates, one might think this somehow embodies a strengthened patriarchy in fashion. Such is not the case. Because in menswear we see more androgyny, more gender–free pieces and attitudes that, perhaps ironically, are making the distinction between the genders a bit more blurry.

PSYCHEDELIC WONDERS

Special Thanks

Spencer

Karen

Advertising/Finance

Klein Studio Chris Cassetti WYO

Stacy Fischer Brian Brewer

Mandy

Elena Mereu

Lejarraga Humberto

Arthur DeMarchelier

Donatelli

Wall Group

Contributors

Kevin Apana Christopher Lukas The Society Morgan Rubenstein

Quashie Samuel Zakuto

Sarah Hamilton-Bailey

Brian Helm LGA Management Olivier Jezequel

Brooks Agency Stan Brooks Home Agency Andrew Bruggeman Julian Watson Agency Julie Boyle Blend Management Claudia Piazzolla

Artists Bryan Baltazar Interns Daisy Kim Sydney

Photo/Art

VMAN NEWS

This season, collaboration is key. From buzzworthy designer takeovers to electrifying partnerships with underground artists, fashion’s biggest names are no stranger to the power of two Photography Max Hoell

Fashion Taylor Kim

From left to right: Caias, Donovan, and Ernesto wear all clothing, accessories, and shoes adidas x Gucci

All gloves Vex

On skin (all)

Gucci Beauty Éclat De Beauté E et Lumière

ADIDAS X GUCCI GETS INTO THE GROOVE

adidas x Gucci is more than just another collaboration—it’s a time capsule. Debuting at the fashion house’s Fall/ Winter 2022 “Exquisite Gucci” show, the powerhouse crossover collection transports us back to the time when highwaisted pants, tracksuits, and brightly-colored gym shorts reigned supreme. Gucci Creative Director Alessandro Michele took inspiration for the collection from a 1979 adidas catalog—and the result? A throwback masterpiece that captures the nostalgic glory of archival pieces while satiating the demand for something new.

You don’t have to be a logomaniac to appreciate the skillfulness in which the two powerhouses combine their visual signatures, weaving together a new lexicon out of their most recognizable motifs. The adidas trefoil and triplestripes adorn impeccably-tailored jackets and striped pants while the Gucci monogram and signature red-green colorway mingle on tracksuits. Even accessories receive a hybridized makeover, with loafers and silk scarves touting reimagined house codes.

Backing the branding are the styles themselves—leave it to these two titanic brands to make corduroy suits covetable in the 21st century, or even turn the famed adidas Gazelle silhouette into a modern sneakerhead’s dream. Carefully-chosen details keep the collection from feeling dated—printed bucket hats are trimmed with leather, while candy-colored shorts are layered over matching leggings. Other pieces, like plush sweater vests and chromatic pants show that a tinge of modern in uence goes a long way. With a masterful blend of past and present, streetwear and luxury, adidas x Gucci is collaboration at its nest. Alone, each brand is a powerful force in fashion. Together? They’re unstoppable.

Grooming Shin Arina (Home Agency) Models Donovan Michel (Next), Ernesto Pena-Shaw (Next), Caias (IMG), Jesus Maria (The Society), Ibby Sow (The Society), Kyle Wo (The Society), Dezi Lubbers (The Society) Photo assistants Carlos Virgil, Emmanuel Rossario

Stylist assistant Giulia Bartolotta Grooming assistant Naoko Kitano Location Veronica Studio

CELINE HOMME PUNKS IT UP

From goth-inspired frocks to daring aesthetics, style subcultures have notoriously remained in a dynamic dialogue with high fashion. Pulling cues from underground tribes, industry talents are no stranger to taking risks and reinvigorating trends of yesteryear. Now, Celine Homme is trying its hand at reimagining the avant-garde with creative director Hedi Slimane’s Winter 2022 collection, “Boy Doll.”

A 59-look embrace of everything alternative, Slimane looked to punk-tinged references and boxy silhouettes this season. The French designer’s signatures—cigarette trousers, strong-shouldered bombers, clean-cut accessories—are collection mainstays as well as the new “Boy Doll” jewelry range, a selection of silver options that harken back to Slimane’s aforementioned references. The o ering also boasts a new eyewear shape, The Celine Moon, an angular frame perfect for a dimly lit rave, voyage to the future, or all of the above. The collection’s moniker is an ode to the androgyny of today’s youth, an ethos that is developed by ve archetypes throughout: Cold Tailoring, Glam Punk, Berlin Wave, Emo Boy, and E-Boy Skater. Not only reconceptualizing subcultures fashion-wise, Slimane tapped a handful of artists to highlight within the collection, most prominently the work of Banks Violette. “I’ve spent nearly my entire life wrapped up with subcultures so I have the tendency to interpret everything through that lens,” Banks tells VMAN exclusively. “I’ve always been attracted to Hedi’s aesthetic—I think he’s very clear and honest about the idea that [fashion] and [subculture] all sit on the same continuum.”

The New York-based creative and Slimane rst met in the midaughts, and so naturally, Violette’s grayscale drawings are seen on three looks: an all-black leather overcoat, color-blocked leather bomber, and a cropped tank top. “I think anyone—after watching the past few years of American domestic politics—sees how certain images get revived and animated for a new audience,” Banks says of the collection’s featured images—an American ag and a white horse. “[They] can probably connect the dots between American knee-jerk patriotism and shu ing hordes of the undead.”

And, of course, it wouldn’t be a true punk spectacle without a proper soundtrack—the collection’s accompanying lm features the slow-burning track “Favourite Thing” by Swedish artist ShitKid. A counterculture, multidimensional sight to behold.

MATTHEW VELASCO

THE BEST OF BACKSTAGE

In a showcase of sartorial excellence, past becomes prologue, as legendary photographer Willy Vanderperre

goes behind-the-scenes of Prada’s streamlined Fall/Winter 2022 menswear collection

Photography Willy Vanderperre

Fashion Olivier Rizzo

There is a thin line between documentation and creation, non- ction and make believe. While every fashion editorial or cover image is a fantasy, they too capture a moment in time—the model, the trends, the larger pop cultural context. With each snap of the camera, creativity interweaves itself with history.

Take these backstage images of Prada’s Fall/Winter 2022 menswear show, captured by renowned photographer Willy Vanderperre. Shot candidly last winter in Milan, and with their primary focus being to document the stylistic brainchild of Miuccia Prada and Raf Simons, these images showcase the iconic fashion duo’s profound imagination through an unrehearsed and spontaneous lens. Coincidentally, the show’s backdrop delivered a futuristic atmosphere, although we’re tempted to now see it as a thing of the past.

Of Prada’s most recent collection—Spring/Summer 2023—Simons said, “The contrast of classicism and spontaneity lends it a sensitivity, an emotion.” By this he’s referring to the new collection’s illusion of simplicity (straightforward suits and overcoats, leather shorts, and the practical use of denim) and how, through clever styling and contextualization, these pieces come together in an inventive fashion. This contrasts the collection captured in these images, which instead took the idea of everyday work uniforms and elevated them to a new level of sophistication and radicality.

Through a historical lens, this type of documentation is of the utmost importance. While the fashion world tends to obsess with the new— there has been, as mentioned, a new season of Prada menswear since the time these photos were taken. We are in fact constantly referencing the past, rooting our creativity in recontextualizing and curating what’s already been done rather than inventing something 100% avant-garde (with some exceptions, of course). As Mrs. Prada puts it, “The practice of design—of fashion—is one of decisionmaking [and] curation alongside creation.” Without context, new collections are stripped of their meaning.

Obviously, as a fashion magazine, VMAN are starving for what’s next. One could say it’s our bread and butter. But perhaps it would bene t fashion lovers to focus less on garments being “so last season” and more on these pieces being a moment in time, an important puzzle piece in the beautiful image that is fashion history—leading us to where we are today, and what we will wear tomorrow. Yes, we starve for what’s to come, but sometimes mixing yesterday’s leftovers with today’s meal is what best hits the spot.

Mathias Rosenzweig

ARMANDO CABRAL: MUSE TURNED MAESTRO

With the introduction of his New York City pop-up, the African designer re ects on how his heritage fuels his craftsmanship and how the space will empower the community

Photography Brad Ogbonna Stylist Jan-Michael Quammie

Armando Cabral, a West African fashion model born in Guinea-Bissau and raised in Portugal has graced the runways of Louis Vuitton, Dior Homme, and Balmain, and even made appearances within the likes of VMAN. Now, the model-turned-entrepreneur, living in Brooklyn, New York embarks on a new chapter of his designer career with the opening of the brick-and-mortar store, ARMANDO CABRAL Mercado (meaning “market” in Portuguese), harboring a year-long celebration of African luxury fashion, design, and culture to the heart of New York City.

“This is our rst retail space in New York, and we wanted to make it special. I’ve always wanted my store to be somewhere where people can come and experience my brand as something that is more than just a shoe. There’s a story behind it. There’s a craftsmanship,” explains Cabral, founder and creative director of the eponymous label.

Inspired by a disconnect between the then model’s adoration for footwear and the inaccessibility of luxury price points, Cabral was determined to drum up a solution to produce affordable luxury goods, without sacrificing quality. As a result, the birth of ARMANDO CABRAL began in 2009 as a luxury lifestyle brand specializing in footwear, selling to retailers such as Dover Street Market in London.

“I knew that modeling was just a gateway to another opportunity,” he says. With an academic background in business, rich fashion exposure, and a strong emphasis on his heritage, his collections manifested in a cultural culmination strewn with African textiles, symbolism, and executed with Italian craftsmanship. Since its genesis, the brand has been sported by celebrities such as actors Patrick Wilson and Oscar Isaac and has ventured beyond footwear to re ned leather goods, accessories, and jewelry. His creations may be sought after for aesthetic appeal, however, the store opening bares a far greater message of unity.

“The transformation happened when George Floyd was killed in 2020. It was the rst time I witnessed something that I felt hit close to home––it could have been me, it could have been my friends,” confesses Cabral. “I felt the urge to do something through creativity with the brand by providing information. I think the more we know about each other, the better we can exist together.”

After a two-year hiatus to orchestrate, the pop-up came to fruition with the help of Afreximbank (African Export-Import Bank) and their Creative Africa Nexus initiative’s Portugal Fashion Project, which Cabral as an ambassador, sought out as an opportunity to be shared.

“[CANEX] takes about 20 designers to Portugal to showcase their collection every year, and then also gives them the opportunity to produce their goods. This is where we decided to work together and evolve into the North American market bringing designers from there to the Mercado.”

Upon visiting the Afrocentric retail space, Cabral encourages shoppers to be transported to di erent regions of the African continent, relish in its culture, and be captivated in the artwork—including a seven-foot-tall wooden structure of the store owner and designer’s head stationed in the center of the pop-up. “ARMANDO CABRAL Mercado is a space of discovery. You come in and nd everything, but, you know, it is focused on one thing—only bringing the African [community] together. More importantly, you go home with a piece of information, a piece of history.” DANIA CURVY Head to VMAN.com to read the extended interview.

The ARMANDO CABRAL Mercado is now open to the public. Rockefeller Center, 30 Rockefeller Plaza, New York, NY 10112.

Armando wears all clothing Saint Laurent

GLOBAL VMEN

ANTWERP, BELGIUM

Photography Nagib Chtaib Fashion Adrien Gras

Few in this generation of musicians can say they have music in their blood. But for the Belgian-Egyptian musician Tamino, music runs in the family. As the grandson of one of Egypt’s biggest Golden-age singers, Muharram Fouad, Tamino has certainly been keeping the musical legacy alive with his emotionally-drenched ballads. And since an early age, he’s always felt a gravitational pull to music. When he was 14 years old, he discovered his grandfather’s antique resonator guitar in the attic of his family’s old home in Cairo. That same year, he wrote his rst song. And while his grandfather passed away when he was a child, that musical connection inspires him today. Today, Tamino establishes his own lineage, pioneering a way for the next generation of folk and rock musicians.

Born in Belgium, Tamino credits his unique, genre-bending sound to the city itself. “I grew up listening to Dues and Balthazar,” he elaborates from his apartment in Antwerp, where he still lives. “It was really cool growing up here because there’s a huge platform of alternative music in Belgium.” Saturated in electric guitar ri s and impassioned melodies, Tamino’s compositions have been known to blur the line between conventional music genres. His latest album, out late September, illustrates this shapeshifting superpower. In ten illusive tracks, Tamino bears all: “The title of the album is Sahar, which means ‘just before dawn’ in Arabic,” he shares. “For me, that metaphor represents an in-between state, a sort of limbo.” This “in-between state” Tamino references are his experiences as a young musician navigating growing up–the ups and downs that come with transitioning to adulthood. And as this is his second album, you can de nitely tell the artist is coming into his own.

The upcoming album also sees the addition of a new character: the oud, a traditional Middle Eastern instrument. Threaded throughout the project, the oud provides a melancholic soundscape that sets the tone for his emotional lyrics that follow. And while a distinct cross-cultural sound emerges because of such inclusion, Tamino doesn’t force it, explaining that, “I don’t start with the intention of combining Arabic folk traditions to make something new out of it. I just write and if it feels natural, I’ll include it.” And as his intuition guides his music, it is something that also keeps him going. When asked what he enjoys most about being a musician, Tamino says, “The euphoric feeling after writing a song that represents what I was feeling. The same feeling that I rst got when I was

TAMINO AN INDIE AFFICIONADO WITH ROCK LEANINGS

Forget the passports and plane tickets—globetrotting has never been easier. In a primer

highlights the

forces and musical juggernauts spearheading

sonic revolution

Grooming Jenneke Croubels Photo assistant Sophia Fernbach

Tamino wears all clothing Hermès

On face

Makeup By Mario Softsculpt Transforming Skin Enhancer in Light Medium

hair Kérastase

Curl Contour Gel-Cream

Photography Benjamin Breading Stylist Oana Cilibiu

Mura wears all clothing Maison Kitsuné

his own

Brow

Eyebrow Gel

Ah, the Internet. A global network of communication and connectivity. With every answer at your ngertips, the World Wide Web has far exceeded her initial potential, allowing for instantaneous message sending, one day delivery, and the rise of next-gen creative mavens. Enter Mura Masa.

Hailing from small British Isle, Guernsey, Mura (real name: Alexander Crossan) has red up electronic charts in recent years with his distinctive air of category crossing, synesthesia-inducing bops. Unlike the immediacy of our ever-digital generation, his producing prowess has been polished over many years of trial and error.

“I grew up around a lot of music. My dad was a musician through his youth and my mum brie y managed a band in the U.S. They went on to have normal day jobs, but they were both really big music heads.” Before Spotify, there was Soundcloud. And before SoundCloud, there was the humble small-town music venue. “I started playing in various bands when I was a teenager, doing all sorts of odd jobs because I come from a really small place, so it’s quite hard to nd every member of a band. It’d be like, ‘We need a drummer, somebody learn to play the drums.’ I was that guy who was like, ‘Yeah, I could probably do it,’” he laughs, noting how he made the natural transition from band member to one-man show when he moved to a new city for university, armed with Sony headphones and a laptop—the quintessential gear of a bedroom music producer.

And with the aid of a little Internet virality, Mura catapulted from dorm room dreamer to festival main stage performer. Fast-forward to today with a discography featuring top-name talent like A$AP Rocky and Charli XCX, the London-based producer has solidi ed his name as one of the industry’s greatest masterminds of the Roaring 2020s. His star: rising. His genre: unde ned, interweaving tales of teenage angst and unrequited love into eccentric soundscapes of electro-R&B-pop fusion. As we look ahead toward a post-pandemic future, Mura is looking to the past (namely, Y2K) for answers to the jigsaw that is his upcoming album, dropping September 16. “At that time, if you thought about the future, it was something exciting. Now, when you think about the future, it’s very boring. Zuckerberg. Bitcoin. I think people are thirsting for optimistic futurism which was rife in the early millennium.”

Here’s to making up for our socially distanced years. You heard it here rst: Mura Masa will be soundtracking the collective ass-shaking-in-a-dark-club. Low-rise jeans recommended.

SAM TRACY

MURA MASA THE GENRE SHAPE-SHIFTER REDEFINING THE INTERNET’S SOUNDSCAPE

Photography KIZEN

If you aren’t familiar with the blossoming musical microgenre hyperpop, you will be soon. Stemming from the Internet, the sound draws from the sugary-sweet ethos of traditional pop music all the while completely snubbing the mainstream genre’s rule book—think high-octane synths, mismatched production, and heavily auto-tuned vocals. From New York to London, Paris to Seoul, hyperpop is quickly taking the sonic reins all over the globe. Leading the soundmakers dominating the unorthodox genre is 26-year-old rapper Tohji, whose one-of-a-kind sound has inspired an entire underground generation of Japanese youth. Born in London, Tohji moved to Japan at an early age and matured between Tokyo and Yokohama. “I was raised in a town with no history,” Tohji explains. “It was peaceful but I was dying to know the world outside, that was driving me.”

One-half of Mall Boyz—the Japanese rap duo composed of Tohji and hip-hop star gummyboy—the artist made his full-length solo debut in 2021 with KUUGA , an 8-track o ering chock-full of industrial, ambient beats and psychedelic melodies. T-mix, the artist’s sophomore album, was equally as innovative, with slow-burning beats and vocals that fall somewhere in the realm between hard-hitting rap and experimental pop leading the way. The mixtape touches on themes of wanderlust and isolation with features from bona de experimentalists like Yeule, Mechatok, and Bladee. “T-mix is my rst self-led project,” the artist notes. “I spent years in the suburbs [driving] my car, so I focused on making sounds which feel good when I hear them in the car.”

While Tohji’s sound is undoubtedly cutting-edge, the creative also possesses a knack for nostalgia—an ethos that is, uniquely, channeled through his long-standing appreciation of shopping malls. While patroning Tokyo’s sprawling shopping centers during his formative years, Tohji found solace in the serene, somewhat ctitious, environment the space o ered. That illusive sense of worldbuilding is directly seen in Tohji’s work, too. The artist regularly delves into themes of loneliness while his ultra-modern graphics and updated takes on J-Pop—the mainstream Japanese genre that originated in the ‘90s—are direct nods to the aforementioned inspirations. And with a follow-up to T-mix on the horizon, Tohji is continuing to spearhead an eclectic batch of Japanese tastemakers rede ning the nation’s everevolving creative scene through a passion for togetherness, community, and collaboration. “YouTube comments are shallow and everyone gives more than just words in live performances,” Tohji says. “When my music rocks the oor in Tokyo, the town breathes back.”

TOHJI TOKYO’S NEW HYPERPOP POWERHOUSE

Tohji wears button-up shirt Marine Serre

Tank top Cycle by myob

Glasses vintage EYTYS

Underwear Calvin Klein

Denim and jewelry Tohji’s own

Fashion Shohei Kashima

Climbing the ranks of rap is an uphill journey. Being the freshest face of quite possibly the world’s biggest rap scene of New York City is an even more complicated task, only t for the un inchingly self assured. At 24 years young, Jay Critch is doing just that, taking on the genre’s greatest stage with the poise of an industry veteran.

“When you’re a New York artist, the beat’s just gonna be in you regardless of if you notice it or not. Naturally, certain ows I have and certain vibes I go into are just on some ‘OD’ New York sound because that’s what I originally started listening to,” says Critch. “That’s how I even learned to rap, listening to all that stu . If you’re not from New York, you can’t really have the New York sound.” The Brooklyn native emcee brings voice to the freshest generation of Big Apple beatmakers and lends matter-of-fact swagger to a genre crying out for authentic perspective on life in the city. “What de nes New York rap is talking about the real stu and making it sound swaggy and making it sound good even when we talking about the craziest shit and [when we rap] we [are] talking about the real stu that goes on out here. New York is gritty, but we always do it in style.”

Critch kicked o his musical career growing up in the Clinton Hill neighborhood of Brooklyn. Inspired by his brother’s rapping hobby, the then-teenage aspirant switched gears from basketball to beats. Armed with a laptop and GarageBand, Critch got to create alongside friends who now form his label, Talk Money Entertainment. In just 5 years since the release of his rst EP, the rising rap star has captured the attention of headliner talent and found mentorship under genre legends, Fabolous and French Montana who have guided the young star to hone in on his steely sound and curate a discography t for an emerging icon. “I would say they are the realest big bros in the game. They show love to the young artists and they’re always there.”

His journey to the top of hip-hop isn’t over yet. Gearing up for the release of new singles this summer, Critch continues to expand his artistry and venture into a new sound he says is unlike anything we’ve heard from him yet. “I have stu in the stash that’s a whole di erent genre. I’m curious to see how the fans are gonna react.” Everevolving in style and ow, Jay Critch is a name to remember. ST

JAY CRITCH THE HIP-HOP HUMMER WITH AN UNRIVALED FLOW

Jay wears all clothing Isabel Marant Jewelry his own

On face Chanel Beauty Boy de Chanel Foundation in #N90 Deep

Photography Eric White Stylist Ti ani Williams

DUBLIN, IRELAND

Each musician has a special story about the rst time they fell in love with music. For Jonathon Ng that initial spark came in the form of a Now That’s What I Call No. 1 Hits CD. The then 6-year-old was especially pulled toward the pulsating, techno beats of “Sandstorm”–so much so, that every time he played the disc he would skip all the songs until he found Darude’s song and hit replay. All that persistent replaying made an indelible mark on the artist’s musical sensibilities because, as fate would have it, he never turned back. Today, the artist who now goes by EDEN, continues experimenting with various synths, melodies, and beats to recreate the same serotonin release “Sandstorm” initially had on his brain. “I don’t really remember a time where music wasn’t something that I wanted to do,” he shares with VMAN Hailing from the busy metropolis of Dublin, Ireland, EDEN spent most of his adolescence experimenting on GarageBand, the pre-installed music maker on Apple devices. On his family’s MacBook computer, he would start creating tracks with his older brother. When he grew into his early teens, he started releasing his tracks anonymously via the moniker The EDEN Project on SoundCloud. His early Skrillex-inspired beats resonated with the generation, and before you knew it, his songs were racking up tens of millions of streams on SoundCloud. And while EDEN grew up in Ireland, he considers himself more of “a product of the Internet.” Absorbing di erent artists he would stumble across on digital platforms, he built his sound. And because of this broad sonic in uence, the 26-year-old’s music is often hard to de ne.

This September, the artist returns with his fth album, In Case You Missed It, which not only pushes the boundaries of sound but also his own vulnerability. Created during lockdown, the eleven songs are the most introspective look at the artist to date, documenting his bouts with love and heartbreak. It was so intense that there were times during the creation that the musician broke down: “I was playing the chords over and over again [in ‘Call Me Back’] and the melody for the song came and I started bawling my eyes out. I’ve never been in tears over music in that way. It felt like a new horizon.” And with his new body of work, he not only steps into his own future, but also ushers a new generation of musicians pushing the boundaries of sound, toward an exciting, genre-agnostic future. KH

EDEN DUBLIN’S DREAM-POP DYNAMO

Eden

Photography Ellius Grace

Fashion Laura McKenna

Photography Tyler Ash Stylist Amanda Merten

By 2020, people seemed to have made up their minds about Huddy, born Cole Chase Hudson: “He was just another TikTok star.” And the label wasn’t inaccurate. The Stockton-native had garnered an impressive 32 million followers on TikTok, ampli ed by his involvement in the Hype House, a hugely successful social media collective he co-founded in 2019. But boiling Huddy down to just a TikTok star turned out to be a vast oversimpli cation. With the release of his 2021 debut album, Teenage Heartbreak, the artist revealed a new side of himself—one that was re ective, musical, and unmistakably punk.

Huddy’s journey with music began long before his online fame—speci cally, in his freshman year of high school. “That was one of the worst years of my life, but also one of the greatest years, just because of music,” he says. Introduced to rock by his multi-instrumentalist father and punk rock by his sister, Huddy found an escape in the angst and rawness of artists like Lil Uzi Vert, Machine Gun Kelly, and YUNGBLUD. Having a successful social media presence opened up opportunities for the aspiring artist, including signing with Interscope Records in 2020, but it was up to him to prove he was the real deal.

Writing the album’s 11 tracks was an act of self-exploration. Huddy drew from personal experiences to craft the album’s lyrics, forming a story that encompasses the entirety of his adolescent love life. “Going back to the certain places and moments that I was drawing from for these songs was shocking for me,” he recalls. Packaging his emotional highs and lows with unique, hypnotizing beats, Teenage Heartbreak cemented Huddy’s status as a promising player in the pop-punk revival. He even earned the approval of genre heavyweights: MGK cast Huddy in his musical lm Downfalls High while Tyson Ritter gifted him a painting from his “Dirty Little Secret” music video.

If the pressure for Teenage Heartbreak was high, for his next project, it’s astronomical. People take him seriously as a musician now, which comes with increased expectations. Still, Huddy isn’t breaking a sweat. The rising talent has been hard at work on new material and is eager to share it with the world when it’s ready. He’s careful not to give away too many details, but hints at a break from Teenage Heartbreak ’s subject material inspired by his recent stretch of singledom. “It’s not about love,” he says with a grin. “I’ll tell you that much.”

HUDDY TIKTOK’S ALT-PUNK HEARTTHROB

Grooming Bryan Baltazar

Huddy wears pants Our Legacy Bag MCM Jacket vintage, stylist’s own Tank top stylist’s own Jewelry his own

Pomade

KNITWEAR KNOCKOUT

Sweater Tom Ford

All sweaters Etro Sweatpants Missoni Knit hood vintage, stylist’s own

Johnny wears knitwear, shorts, hat 1 Moncler JW Anderson Socks vintage, stylist’s own

These aren’t your grandfather’s knits. This fall, punchy prints and unique shapes reimagine the beloved fad Photography Peter Sisko Fashion Taylor Kim

All clothing Herno Mask Blamo

Makeup Kuma (Streeters) Hair Junya Nakashima using Oribe Models Karim Turk (IMG) Johnny Cai (MIDLAND) Digital technician Max Louis Miller Photo assistant Ashton Herman Stylist assistant Emma Oleck

On

Supershine Moisturizing Cream

face

Beauty

Sweaters and blazer Canali Sweatpants Brunello Cucinelli

All sweaters Ami Sweatpants Brunello Cucinelli Socks vintage, stylist’s own

Karim wears cardigan and crewneck Missoni

All clothing Brunello Cucinelli

mask stylist’s

CLOCK IN

Photography Peter Siskos

Fashion Taylor Kim

Time ies when you look this good. In the season’s freshest picks, denim is revitalized through lively layering and never-before-seen design notions

Khalil and Stella wear all clothing Ralph Lauren Watches Omega

Khalil wears all clothing Calvin Klein Watches Breitling

Khalil wears all clothing Boss Watch Cartier

Khalil wears all clothing Diesel Stella wears all clothing Ralph Lauren Watches Zenith

Makeup Kuma (Streeters) Hair Junya Nakashima using Oribe Models Stella Duval (NEXT), Khalil Ghani (IMG) Digital technician Max Louis Miller Photo assistant Ashton Herman Stylist assistant Emma Oleck

On

Khalil and Stella wear all clothing Dsquared2 Watches

Khalil wears all clothing Armani Exchange Watch Cartier

Khalil wears all clothing Isabel Marant Watches Hublot

Khalil and Stella wear all clothing Guess Watches Rolex

THE ESSENCE OF MODERN MASCULINITY

Odell Beckham Jr. truly does it all: a Super Bowl champion, entrepreneur, father, and now, the face of Byredo’s revived cult fragrance Mister Marvelous. In conversation with founder Ben Gorham, OBJ dishes on confronting obstacles and reshaping masculinity

Photography Joshua Woods

Marvelous: causing great wonder; extraordinary. Nowadays, society is increasingly immune to surprise. From mundane work weeks to cyclical fashion trends, it is exceedingly rare that something or—better yet—someone is truly marvelous.

Though in the case of father, entrepreneur, and Super Bowl champion Odell Beckham Jr., the star athlete surely embodies the magnetic, multidimensional character of the adjective. Now, Beckham is further stepping into the dynamic de nition as the new face of Byredo’s Mister Marvelous Eau de Parfum.

For the limited re-edition reissue, Beckham was tapped by Byredo founder and creative director Ben Gorham who cited the pair’s common thread: professional sports. Gorham, who played basketball professionally in Europe, charted a similar path as Beckham, having made the unique transition from elite sports to fatherhood and entrepreneurship.

First launched in 2011, the reimagined cult fragrance is a love letter to the modern man of today, featuring strong base notes of amber and cedar wood, bustling scents of bamboo and lavender, as well as hints of mandarin leaves, neroli, and bergamot. Citrus-led, but undeniably con dent, Mister Marvelous turns the traditional men’s cologne on its head in all the right ways.

Like any marvelous man, the fragrance does it all with energetic layers and unexpected aromas that unfold wherever the wearer may journey. And for Beckham, that journey probably includes training days with the team, playdates with his son Zydn, and everything in between.

MATTHEW VELASCO

Beckham chats with Byredo founder and creative director Ben Gorham on fatherhood, selfexpression, overcoming obstacles, and of course, everything marvelous.

Odell Beckham Jr.: What comes to mind when you hear the word “marvelous”? What does being marvelous mean in today’s context to you?

Ben Gorham: Mister Marvelous was always a project intended to celebrate great character, resilience, and creativity. But it’s always interesting to see how everybody’s de nition of this varies.

OBJ: It really reminds me of a Renaissance man. You can’t just excel in one aspect of your career or your life, you have to work on being an all-rounder and that’s something you’ve experienced, as well.

BG: No person is just one thing, at di erent stages we evolve, often through dichotomies—as children and as parents, failures and successes, and for me, personally, as an athlete and a businessman. There are so many facets that make us marvelous.

OBJ: I always say this: I wouldn’t change anything for the world for where I’m at now. At this moment, I’m happier than I’ve ever been and it’s because of the trials and tribulations, it’s because of the mistakes. Everything has gotten me to this point.

BG: How do you embody the spirit of Mister Marvelous?

OBJ: As an athlete, you’re often put inside a box, so it’s cool to experiment and show people a di erent perspective. I’m investing in companies, I’m doing more creative projects, I’m exing those entrepreneurial muscles. It’s important that it re ects the dynamic side of being “Mister Marvelous” today.

BG: When we rst crossed paths, I knew you’d be the perfect person to embody Mister Marvelous in 2022. I see a lot of similarities in our stories, the highs and lows, being kept from doing what you love, and eventually becoming the successful underdog.

It all correlates. People often view Byredo as doing one type of product, but I built the brand to be anything—we see no boundaries. We have Byproduct for example, which is a playground that allows me to collaborate with di erent people, where I can show everybody all the things that inspire me creatively.

OBJ: Can you describe the essence of the Mister Marvelous fragrance? What characteristics are you drawn to? How do you think that is translated into the scent?

BG: People might think it’s unusual for us because Byredo was built upon the idea of not applying gender to products, especially to a category like perfume that is typically so hypersexualised. For me, the name is really about the concept, about applying that twist to something classic. Today, we all play di erent roles, it’s not just about qualities that were traditionally seen as “masculine” attributes. There is the olfactory pyramid in Mister Marvelous that has an essence of men’s cologne that we gave a contemporary spin to— cedarwood and bamboo with lavender and bergamot.

OBJ: Mister Marvelous, to me, is about being a well-rounded, happy guy. Winning the Super Bowl, becoming a dad, going into my 30s, that’s exactly where I am right now. I’m sure you can identify with a lot of these progressions in life.

BG: Over the past two years, like most people, I’ve mostly been at home, and I’m really grateful for being able to spend so much precious time with my family. At the same time, modern communication keeps us so connected, I’m still able to meet creative talents from around the world, and keep in touch with my teams digitally. This multilayered complexity in our lives really re ects our approach to this scent.

And in the campaign, you discuss the importance of remaining determined in the face of challenges. Can you elaborate on this?

OBJ: I think it’s fair to say that nobody goes through life constantly on the up. In any situation you face challenges and the question becomes, how do you deal with that? You understand the amount of drive and determination that’s in you to push yourself for something you love. When you’re down, people always like to comment on whether you can bounce back. But I always do, I’m going to show the world who I am. It’s like when someone gives me an ultimatum, I’m usually always going to go the opposite way.

BG: That’s a really important way of thinking. Always take something positive from the lows in your life and you can’t go wrong. Keep moving forward. How would you say that relates back to the essence of Mister Marvelous?

OBJ: You should never be afraid of owning failure and you should never judge other people on where they’re at in their lives.

BG: What someone nds to be hard in their lives is subjective. Quitting basketball in my 20s, I was giving up everything that I knew and worked toward up until that moment all because of bureaucracy and paperwork. In the moment it was hard for me to swallow, but it paved the way for the journey that is Byredo that I really couldn’t have imagined.

OBJ: You should never back away from trying to be authentic and real. Sometimes even in scenarios where I shouldn’t be, things get taken and turned the wrong way. Be comfortable being uncomfortable. Like, just live. Life is so precious and so short, that’s really how I think. BG: Mister Marvelous pays homage to the contemporary man, how do you embody this spirit in your everyday life or career?

OBJ: People often tell me I’m supposed to be a role model, but at the end of the day, we’re all human beings. We earned the right to privacy and a personal life and that line has always been important to me. Now that I’m a father, I need to set the future for my kids. Zydn is the greatest blessing in my life.

I wouldn’t change anything for the world for where I’m at now. At this moment, I’m happier than I’ve ever been and it’s because of the trials and tribulations, it’s because of the mistakes. Everything has gotten me to this point. Most importantly I know God has a plan for me.

AUSTIN BUTLER: A LITTLE MORE CONVERSATION

Hollywood’s new obsession had to play someone else to nd himself. After a 12-minute standing ovation at Cannes, it seems the world has found him too

Photography Collier Schorr Fashion Gro Curtis Interview Mathias Rosenzweig

Austin wears all clothing Prada Belt B-Low the Belt

Bracelets Cartier (all in 18k white gold)

From top to bottom: Santos bracelet, Love bracelet, Love bracelet (diamonds), Écrou bracelet

All clothing Gucci

All jewelry Cartier (all in 18k white gold)

On left hand from top to bottom: Santos bracelet, Love bracelet (diamonds), Love bracelet, Écrou bracelet

On right hand from left to right: Clash ring, Love ring, Love ring (in large)

“There were de nitely times when I thought I’m not enough for this. There was this fear that everybody was going to look at me and go, ‘You’re not enough for that.’ That feeling can make you feel so small. So, the challenge for myself was how I was going to achieve such a feat, because I was the one who was given the opportunity. I started trying to nd the key things that had humanity in them, things that I could grasp. There were certain details in Elvis’ life that really connected with me—in a supernatural way. His mother passed away when he was 23 and my mother passed away when I was 23. And I thought to myself ‘That’s the trajectory of being human and living your life.’ My mom was my best friend and his mom was his best friend. I know what that felt like losing my best friend and my mother at that particular time in my life so that really connected me to him and made me just feel so much love for him.”

—Austin Butler

All

Owens

Nick Fouquet

Bracelets Cartier (all in 18k white gold)

From left to right: Santos bracelet, Écrou bracelet

A

t the time of this interview in April, Austin Butler had not yet seen Elvis, the lm that would make him a household name.

“I know that the rst time I see it, well, I will never get to see it for the rst time again,” he says through the computer screen. He’s sitting on a couch in Los Angeles, sporting a plain white t-shirt, his hair both messy and coi ed. As anyone with a pulse and Internet connection knows, his voice is eerily similar to the King of Rock and Roll’s. It’s not obvious whether he’s waiting to see the lm out of nerves or excitement.

This patience, tied to the 31-year-old actor’s diligence, is part of what piqued director Baz Luhrmann’s interest in the rst place. After receiving an audition tape from Butler in which he was wearing a white bathrobe, the actor’s face a “ ood of tears” as Luhrmann put it, the visionary lmmaker got a phone call from Denzel Washington, whom he’d never met. Washington had starred alongside Butler in Broadway’s The Iceman Cometh and told Luhrmann that the young actor’s work ethic was unbelievable. This won the director’s favor over other contenders, including Harry Styles, whom he refrained from casting because, as he told Australian radio station Fitzy and Wippa, “He’s already Harry Styles. He’s already an icon.”

Luhrmann and Butler dove into preparations head-on. About a month after casting him, the director accompanied his leading man down to the historic RCA Studio B in Nashville, Tennessee where Elvis famously recorded over 200 songs. Other voices that have lled the space between those four walls include those of Dolly Parton, David Bowie, and as of recent, Austin Butler, who recorded music for the lm therein.

“I was so nervous, and we were recording on actual equipment that Elvis recorded ‘Heartbreak Hotel’ on,” he remembers. Butler was told that the studio visit would be laid-back and playful, saying they’d just be recording one line or so at a time while workshopping the voice. “We got down there and it was not that at all,” he says, laughing somewhat sheepishly. “We were recording old school, where all the musicians—and these are the best musicians in the world; our guitar player had actually played guitar with Scotty Moore, who was Elvis’s guitar player—we were recording the entire song. And so that was how I cut my teeth in the recording studio.”

Butler’s general air when telling these stories is grateful and bewildered, in slight disbelief of his own life over the past few years. He is friendly and hesitant to complain, but I push him on the latter, saying surely the recording studio experience was a trying one.

“Well, when I was on my rst day in the recording studio, Baz wanted me to get as close to performing as possible,” he says, searching his mind for that day years back. “He had all the executives and everybody from RCA, who were back in the o ces, he brought them into the recording studio and he goes, ‘I want you all to sit facing Austin,’...and he told them to heckle me. So then they were making fun of me and stu while I was singing.” There was, of course, a reason behind the humiliation. “When we were lming this moment when Elvis rst goes on stage and he’s getting heckled by the audience, I knew what that felt like,” he says. “I went home in tears that night. I really did.”

To be fair, Butler had been warned by fellow actor (and one of his childhood idols) Leonardo DiCaprio, who famously worked with Luhrmann on the director’s Romeo + Juliet lm, starring DiCaprio along with Claire Daines in the titular roles. “I had spoken to Leo before and he said, ‘Baz is gonna push you in ways you didn’t know somebody could,’” Butler recalls. “‘He’s gonna push you o balance and keep you o balance.’”

What really threw things o balance was the month of March 2020, which the world needed like Elvis needed a heart attack. Just days after they started lming, Butler’s co-star Tom Hanks, who plays Elvis’s troubled manager Colonel Tom Parker, became the rst famous American to test positive for COVID-19. This was, of course, unsettling for everyone involved—or rather, the entire human population, but especially those like Butler who were living in the same building as Hanks in Australia.

“The producers set up this meeting with us and the top scientists in Australia, disease experts or something. The whole cast was there and I was next to Tom…they’re teaching us about the virus and telling us everything they knew at the time, and at a certain point, Tom leans over and he whispers to me. He goes, ‘If I get it, you’re getting it too.’

Two days later, he got it. We were about four days into lming.”

After studying rehearsal footage that showed Butler getting close enough to Hanks to contract the virus, he was forced to quarantine for two weeks. Hanks began to recover, but just as Butler was nishing his two weeks, producers called force majeure on the lm.

“It just seemed to collapse,” he says. They began booking ights back to the States for all the U.S. actors, besides Butler, who refused. “I said, you know, if I go back, I’m gonna lose momentum. I would rather stay, even if I have to pay for my own apartment in Australia and be there while nobody is there. So I stayed in Australia and it turned out to be six months that we shut down.”

Like the rest of us, those were dark and unfamiliar times for Butler. “I didn’t have a hug for three months at one point,” he says. The now-isolated actor doubled down on his Elvis obsession, leaning into it as an escape of sorts from a crisis that seemed to further sour by the minute. He “wallpapered the entire apartment with images and a timeline of Elvis’s life,” consuming every book, documentary, song, and so on that he could get his ngers on. “I’m extremely grateful I had the lm and the, for lack of a better word, obsession with Elvis to occupy my days,” he says. “It gave me the feeling that there was a reason to get up every morning.”

The truth is, acting has been Butler’s reason for getting up in the morning since he was an adolescent. “When I was 12, I watched Pulp Fiction for the rst time,” he says. “That was the rst time that it hit me, that a movie could be like that, that you could write a lm like that. So I printed out the script, and I lived in Orange County at the time and my mom and I would drive up to auditions or acting classes. And I would read the Pulp Fiction script out loud to my mother in the car.”

Driving around Los Angeles with his mother like this landed Butler roles on Nickelodeon and Disney, like Wizards of Waverly Place and Zoey 101. He was getting steady acting jobs to pay the bills, but was less than artistically satis ed. “For most of my career, I was doing things I wasn’t really proud of,” Butler admits. “I was doing work that I would watch and cringe.”

This past has made Butler particularly proud of his career-changing role as Elvis. That his mother passed away when he was just 23, the same age Elvis was when his mother passed, is one of the many similarities between the two men (these similarities and divergences are predictably under the microscope of any entertainment publication right now).

“My mom was my best friend. Elvis’s mom was his best friend. I know what that felt like, losing my best friend and my mother at that particular time in my life.”

Another commonality, and perhaps the most striking one, is the men’s transformations from being nervous and unsure of their talent to becoming larger-than-life stars. “When he was a kid, he would ask everyone to turn around in the room, and he would turn the lights o ,” Butler says of Elvis, “‘cause he didn’t wanna play in front of people.” This lack of con dence helped humanize Elvis for Butler, who had trepidation over embodying someone that’s become more of a myth than real human with esh and blood. “He’s so idolized that it’s a bit of a trap, to look at him and go, ‘Well, he’s so much bigger than me…I felt like a child wearing his father’s suit.’”

Just as Elvis went from playing in the dark to having his name in lights, Butler went from a shy but hard working teenager to playing the most buzzed-about role in 2022, one that very well could win him a Best Actor Award. The suit he’s lling may be big, but it looks good on him. It’s as if, after his mother passed, Butler took the wheel of the car they used to drive around to in auditions and just oored it, those Elvis-sized shoes pushing the pedal to the metal. By the looks of it, he won’t be stopping anytime soon. Head to VMAN.com to read the extended interview.

“I started acting when I was 11 or 12 years old. For most of my career, I was doing things I wasn’t really proud of. I was doing work that I would watch and cringe, but it would help me pay my rent. I would do lines on TV shows, but they weren’t inspired by the character or anything. Most of my career was like that but I was just trying to make the best of it. There were de nitely dark nights where I just thought, ‘Am I going to have to nd another career?’”

Top Courrèges

and pants

B-Low the Belt

All jewelry Cartier

in 18k white gold)

on left hand:

bracelet

on left hand from left to right: Love ring, Love ring (in large), Clash rings

on right hand from top to bottom:

bracelet (emeralds, diamonds), Love bracelet, Santos bracelet, Écrou bracelet

—Austin Butler

Botanics

Top

“I have to constantly come back to why I’m doing this. It’s not for fame, it’s not for money. At the end of the day, those things don’t bring joy or ful llment. Now, as dreams are coming true, I nd it really valuable to constantly come back to being grateful for what I do have.”

—Austin Butler

Top Alexander McQueen

Bracelets Cartier (all in 18k white gold)

From top to bottom: Écrou bracelet, Love bracelet, Santos bracelet

STATE OF UNDRESS

Photography Steven Klein Fashion Gro Curtis

Joshua Wears

Clothing Dolce & Gabbana Jewelry

Co.

Shoes Maison Margiela Belts stylist’s own

skin

Natasha Denona Body Glow in Dark

Jacket Dolce & Gabbana Jewelry

Co.

On face Pat McGrath Labs Skin Fetish Highlighter + Balm Duo in Nude

On lips Tom Ford Hydrating Lip Balm

SCULPT

Nearly 15 years after his modeling debut in VMAN, industry titan Simon Nessman merges codes of the past with styles of the moment in a nod to classical photography greats

Photography Blair Getz Mezibov

Makeup

Ward

Corset and silk undershirt Alexander McQueen

On hair Kérastase

Sirene Hair Oil Mist

eyes Charlotte Tilbury

Chameleon Eye Shadow Pencil in Black Diamonds

HIGH VOLTAGE

This season, more is more! Maximalism reaches new heights as Milan’s freshest faces showcase the electric hues and sharp silhouettes taking center stage this fall Photographer Alvaro Beamud Cortes Stylist Nicholas Georgiou

Yeray wears feather gold/silver boxy wool jumper with lurex fringes, denim shorts, boots CELINE HOMME by Hedi Slimane Underwear and necklace stylist’s own

Rafael wears all clothing and sunglasses Louis Vuitton Men’s Earring stylist’s own

On skin Saie Glowy Super Gel Lightweight Dewy Highlighter in Starglow

From left to right Ondrej wears Jacket MSGM Pants Prada Boxers Ludovic de Saint Sernin Jewelry stylist’s own Rafael wears all clothing Valentino Earrings stylist’s own Yeray wears all clothing Sunnei Sunglasses Balenciaga Underwear stylist’s own Stan wears top Andreādamo Pants MSGM

Rafael wears wool jumpsuit Fendi Earring stylist’s own

From left to right Ondrej wears jumpsuit Dolce & Gabbana Boots Prada Jewelry stylist’s own Armour-detailed sneakers Dolce & Gabbaa

From left to right Rafael wears all clothing Prada Underwear and earrings stylist’s own Yeray wears vinyl bodysuit Raf Simons Sunglasses Rick Owens

Duncan wears fur coat Dolce & Gabbana Shorts and boots Rick Owens Underwear stylist’s own

On face Westman Atelier Vital Pressed Skincare Powder in Translucent

From left to right Ondrej wears coat Y/Project Pants Versace Boxers Ludovic de Saint Sernin Jewelry stylist’s own Rafael wears all clothing Versace Earring stylist’s own

On face (left)

Chantecaille Radiance Gel Bronzer

Makeup Luciano Chiarello (Julian Watson) Hair Marco Minunno (Blend Management) using Label.M Models Yeray Allgayer (Elite), Ondrej Mokoš (I Love Models Mgmt), Rafael Meyers (Brave Models), Stan Taylor

Duncan

Cimarosti

Project)

SPRING FORWARD

Wavier than the shores of Venice Beach, Kim Jones and Eli Russell Linnetz bring the California cool to the 8th Arrondissement with Dior Men’s latest capsule collection for the upcoming Spring/Summer 2023 season

Photography Leon Mark Fashion Roberto Piu

All clothing and accessories

Dior Men guest-designed by ERL

On hair

Bumble and bumble. Curl De ning Cream

On Skin Dior Beauty

Dior Backstage Face & Body Powder-No-Powder in #2N Neutral

Skater kids, muscle beach aficionados and a rainbow-like array of multicolored establishments that echo the vibrant California energy of a western, cultural oasis—this is Venice Beach. One might ask, “What the hell would Dior be doing there?” A question on every industry insider’s mind when rst told that the historic French fashion house would be showing its new men’s Spring/Summer 2023 collection on the sandy beaches of the coastal neighborhood—but that is exactly what Dior Men’s Artistic Director Kim Jones wanted. Unsurprisingly, this wouldn’t be the rst time Dior has ventured out—physically and creatively—outside of the atelier’s con nes in Paris—or the last time. Enter Eli Russell Linnetz (otherwise known by his famed acronym, ERL)—the multifaceted artist and recent LVMH Prize finalist who has guest-designed an entire men’s ready-to-wear collection alongside Jones. As the two creatives discuss the start-to- nish timeline of the collection, which sees a blend of streetwear staples and modern tailoring elevated with the maison’s level of excellence in craftsmanship that awakens a spirit of “California Couture,” a mixed explosion of true west coast codes with a Parisian-style mindset introduces a new vision of what truly transpires when worlds collide: a house reimagined.

KEVIN PONCE

Eli Russell Linnetz: Kim, do you recall how this project rst came to be?

Kim Jones: [It was all] because of a conversation I had with my team. We loved what you were doing and we thought it would be wonderful to work with a younger designer. It just felt like the right time to do something like this—a certain kind of cross-generational conversation in fashion [about] legacy. How did you rst react to being asked to guest-design this collection?

You know, you’re one of the rst guest designers in Dior’s history.

ERL: It may sound odd, but I was hesitant at rst. ERL was created in a bubble so far removed from fashion, I wasn’t sure if the collision of the two worlds would translate. But, once we really began to talk, I knew it was the right decision. I was able to tell a much larger narrative, and explore techniques and concepts I haven’t been able to [before].

KJ: We gave you access to go through the Dior archives—what did you end up nding that stuck with you the most when creating this collection?

ERL: I actually started with the year I was born, which was the era of Gianfranco Ferré. I was shocked by the complexity and intricacy of his designs—so sculptural and architectural. His work was relatively untouched, which was intriguing to me. He also never studied fashion formally, which resonated with me as my background is in screenwriting and stage design.

KJ: Then, there is a backwards and forwards between Venice and Paris throughout the collection. A coming together of two worlds—a French high-fashion one and an archetypal American one.

ERL : You know, at first, I really made an effort to rattle off the things that truly made something feel like California, but I quickly realized it was in my blood. So deep that no matter which direction or road we took, it was re ected in each piece.

KJ: What did it feel like being back in Venice Beach since you’ve grown up there?

ERL : The show was actually a block from my home so I never really left. When you’re telling the story of your hometown, you want to make sure you’re getting it right—that it’s communicating the essence of your experiences.

KJ: Did you have any nostalgic memories arise throughout this whole process?

ERL: At my core, I’m a sculptor and a storyteller. I tell stories through the clothes I’m making. My memories are in every piece I make. There is a piece of Venice at every moment in the collection.

KJ: Working with someone [like you] is a fascinating exercise because each person has a particular universe and creative path that is speci c to [them]. I [de nitely] want to continue in this direction of surprising people.

ERL : You are so generous and really gave me a platform where together we could share ideas and create with our intuition. No second-guessing, just pure creation—it felt free.

Head to VMAN.com to read the extended interview.

WHAT VMEN WANT

Ti any & Co.

Ti any Hardwear Link Necklace (in Titanium and Rose Gold with Pavé Diamonds) (Price upon request, available at select Ti any & Co. boutiques.)

The quintessential New Yorker never stops dreaming, even while hustling through the grit and glamor of the concrete jungle–and this core ethos bleeds into Ti any & Co.’s reimagined Ti any Hardwear collection. The luxury powerhouse merges their storied love a air with New York City and design codes from their lineage to deliver instant heirlooms for the new generation of creatives that inhabit the city.

Inspired by a ball and chain bracelet style designed in 1971, the Ti any Hardwear collection adopts the dually dainty yet daring sensibilities of the archival classic–while incorporating a modernized fabrication, with the introduction of durable materials. Sleek, black titanium

paired with luminous 18k rose gold takes form in gilded gauge links adorned in pavé diamonds, nestled along the delicately rigid titanium.

With signature links that nod to industrial architecture, the gender-free style encapsulates an undeniably re ned rebellion that fuels a cult of creativity. One that keeps the city that never sleeps…never sleeping essentially. And in tandem with movers-and-shakers and dream chasers who take on feats and defeats that come with navigating the Empire State–Ti any’s Hardwear collection will stand the test of time. Enduring the bumpiest of rides… even the ones that color your wildest dreams…so dream on.

This season, Ti any & Co. pays homage to the Big Apple with a reimagined, ultra-luxe take on a storied ‘70s classic

Art Michelle Lau

COPENHAGEN FASHION WEEK ZINE FALL/ WINTER 2022

Editorial

Editor-in-Chief / Creative Director Stephen Gan

Managing Editor / Production Director Melissa Scragg

Digital Director / Editor Mathias Rosenzweig

Guest Editors Cecilie Thorsmark Isabella Rose Davey Jose ne Cramer (CPHFW)

Editor / Sales & Distribution Director Czar Van Gaal

Managing Digital Editor Dania Curvy

Digital & Beauty Editor Kevin Ponce

Associate Editors Matthew Velasco Kala Herh

Entertainment Editor Greg Krelenstein

Contributing Editor-at-Large Derek Blasberg

Weibo Editor Meng Ji

Copy & Research Editor Lynda Szpiro

Assistant to Editor-in-Chief / Distribution Manager Jacob-Cole Norton

Fashion

Fashion Director Gro Curtis

Associate Fashion Market Editor / Distribution Emma Oleck

Photo/Art

Photo Director Goran Macura

Creative Consultant Jennifer Rosenblum

Creative Producer Felix Cadieu

Art Director Tobias Holzmann

Junior Art Director Sonya Olomskaya Consulting Art Director Shibo Chen

Consulting Creative / Design Greg Foley

Advertising/Finance

Magazine International (Advertising O ce for Italy and Switzerland)

Luciano Bernardini de Pace luciano@bernardini.it

Eleni Gatsou Bureau

(Advertising O ce for France and America)

Eleni Gatsou eleni@elenigatsou.com

Camille Pignol camille@elenigatsou.com

Marie-Loup Faggioli marie-loup@elenigatsou.com

The Scandinavians have a saying: “There’s no such thing as bad weather, only bad clothes.”

It’s a tting mindset for those living that far up north, where frigid winters often strip cities and the countryside alike of sunlight and warmth, with temperatures regularly diving below freezing for weeks at a time. These wise words, inevitably spewed from parents to children who complain about getting to school in the snow, are an ode to utilitarian fashion; it advises that there are no bad conditions, really, only bad preparation for said conditions.

It’s perhaps for this reason that the fashion industry has turned a blind eye to Nordic countries for so long, instead choosing to focus on London, Milan, and Paris, where fashion was already ornamental and imaginative rather than practical in order to battle extreme climates. Despite the far-reaching success of Scandinavian exports, which range from the high-end Acne Studios to fast fashion down at H&M, Nordic designers of note have always seemed to be few and far between.

Such is no longer the case. Thanks in no small part to Copenhagen Fashion Week, Denmark and its neighboring countries have become new darlings of magazine editors, buyers, and fashion fans from New York to Cape Town and Seoul. Emerging labels like Angelo da Silveira’s Diemonde are now seen as industry leaders in sustainability, whereas di(vision)’s e ortless cool has made it a favorite amongst northern in uencers (who, by the way, have become some of the most prominent ones).

In a way, these northerners are sticking to their guns: they’re adapting how they dress for the conditions. Only this time, the conditions are less weather-driven and more aimed at Scandinavia developing a voice in the fashion world.

We’re excited for this voice to grow louder, and dedicate this zine to that very purpose.

Contributors

Marcus Ohlsson Emilia Staugaard Oscar Lange

Mishael Phillip Caroline Clante Rasmus Luckmann

Ava Manson Maddie Street Kayla Curtis-Evans

Managing Director Todd Kamelhar Distribution David Renard Special Thanks

Chris Boals Artists Nick Blumenthal Linkdetails Oscar Forssblad

Fern Studio Julie Lou Nielsen Copenhagen Fashion Week Team

Press & Events

Purple PR Andrew Lister andrew.lister@purplepr.com

Amy Choi amy.choi@purplepr.com

Jerry Choi jerry.choi@purplepr.com

ON THE RADAR

Nordic culture is no stranger to the collective. The region’s creatives discuss the sartorial leanings of the locale and navigating the industry—all the while drawing inspiration from their muses Photography Rasmus Luckmann

SOULLAND COPENHAGEN’S CONTEMPORARY VETERAN

Creative Director Silas Adler mixes deep roots in artisanship with unique and modern menswear aesthetics.

“In general, the Nordic culture is quite easy for people to understand and the fashion from Scandinavia is good at telling stories. A lot of the designers I know tend to be humble and hardworking. Also, we are used to going out into the world and pushing our brands. Until now, no one came to us. You had to get out; that is a good way to learn how to work hard.

Space for everybody is key. An industry that is not re ecting society is not sustainable, and fashion is getting better at being for everyone. But there’s still more work to be done. We are part of global climate, nature and humanitarian crises. And fashion needs to push in a positive direction within all aspects. Let’s be honest, the list of things that could be done is long…

[My muse] re ects me when I was at that age. Skateboarding and exploring the world. He is a lot better at skating than I ever was!” —Silas Adler

Designer Silas Adler photographed with muse: Peder Allman.

SUNFLOWER MENSWEAR MAESTRO WITH A MODERN APPROACH

Created by a collective in Copenhagen, Sun ower caters to menswear lovers in search of a fresh approach to understated fashion.

“I feel like Nordic fashion has always been minimalistic and quite simple—this gives space for people to wear and style it quite simply in a unique way. And while not much really [excites me at the moment], I’m getting excited over quality and craftsmanship. Things that are allowed to take time and be grown organically. Like a birch. It’s too much big business and fast fashion. [I’d love to see] less fast fashion and big business. I think things should be allowed to take more time. [I wish] that people and companies were more honest and true, not just trying to create a dollar machine or build big egos. [I’d love to see] brands stop talking about and using sustainability as a PR stunt. Please take action instead of just talking.

[My muse] Petter is a very good friend to the entire Sun ower team and always looks amazing whenever you see him—and to me, one of the few who really can “rock” and look amazing in a suit.”

—Ulrik Pedersen

Designer Ulrik Pedersen photographed with muse: Petter Lundgren.

HELIOT EMIL A FUTURISTIC FAMILY AFFAIR

Brothers Victor and Julius Juul have spent the last few years becoming one of the most recognizable menswear brands in Denmark, named after their grandfather.

“We think Copenhagen is always pushing the boundaries in di erent ways. We’ve seen a wave in architecture [and] in gastronomy with Denmark having the number one and two restaurants in the world. I think that this is now trickling into the fashion industry. And across the Nordics, there is de nitely a cohesiveness with some of the tendencies that we have. There is a camaraderie that is unique. That said, we can’t deny that there is a cap to what is possible within the Nordic countries. Even if you max out on reaching everyone in all the Nordic countries combined, you’re still only halfway through Germany. But we’ve all really teamed up with Copenhagen Fashion Week, and that’s a step in the right direction.”

—Victor & Julius Juul

Designers Victor and Julius Juul photographed with muse: Fabio Caldera.

HENRIK VIBSKOV THE PIONEERING MULTI-HYPHENATE

Henrik Vibskov is a polymath artist and designer, whose namesake brand is but a part of a larger creative in uence he has internationally.

“You could say the Nordic countries are kind of small and spread out, with lots of landscapes and whatnot. So historically, we’ve always been a bit challenged to look abroad and not focus only on, you could say, inland.

I don’t know if I would call myself a typical Scandinavian designer. For the last 20 years, I’ve been very keen on colors. When I started, that was for sure not a thing. You could say there was quite a bit of conservatism. But I like colors and I like chaos.

In terms of what I’m excited about, well, the challenge is materials. Here in the Nordic countries, we have a big sustainable focus, which is incredibly important. When I’m showing in Paris, it’s unsustainable. I was educated at St. Martin’s 20 years ago, and you could say the whole focus was on shapes, on how things look, structures and things like that. Now, everything is about the material.”

—Henrik Vibskov

Designer Henrik Vibskov photographed with muse: Farshad Farzankia.

MARK KENLY DOMINO TAN TOP-NOTCH TAILOR WITH COUTURE EXPERTISE

The designer launched his own fashion label after working for international fashion houses like Dior, Balenciaga, and Alexander McQueen.

“Some Danish brands are in uenced by the grand furniture designers from throughout Danish history. Their design and the production of the furniture had a democratic approach to the creation of a ordable, quality furniture for the masses. But with an increased focus on responsibility and sustainability—as I believe that these values are relevant in our time—we need to be aware of the consumerism the fashion industry also represents.

The Danish people also have a big biking culture, we even have an infrastructure made for biking. It’s very common for everyone in all kinds of out ts to jump on their bike to get across the city. In our tting department we have a criterion that says the clothing needs to be ‘bike-friendly.’

My muse Simon is a young aspiring actor in Denmark. I met him during his nal graduation piece in The Danish National School of Performing Arts in Copenhagen. He played a crazy queer king who wanted to own the moon. Simon had a talent that was captivating and since then he has evolved into a rising lm star.”

—Mark Kenly Domino Tan

Designer Mark Kenly Domino Tan photographed with muse: Simon Bennebjerg.

SCHNAYDERMAN’S CULT-FAVORITE REWORKING AGE-OLD CLASSICS

Specializing in collections for the “Weird and the Wonderful,” Schnayderman’s produces their clothes using the nest materials in Europe.

“I think Scandinavian fashion brands are generating more and more progressive ideas today as opposed to a couple of years ago. Also, there is an increasing interest in putting societal aspects such as inclusivity and sustainability to the forefront and this, together with an elevated aesthetic, is something that I think makes Scandinavian fashion stand out worldwide. I think that the one common denominator is that we all tend to design clothing that is somewhat pragmatic, purposeful, and suitable for everyday life.

The sustainability challenges the industry is facing goes without saying. On a personal level I hope that the craftsmanship involved in making clothing isn’t completely replaced by technological advancements and that we slow down and make less clothes with better quality that can be worn for a long time.

Our muse Erik Corradini Andersö was one of the rst employees at Schnayderman’s and he has been an integral part of the team since. He started as an intern and worked his way up and is now our Head of Sales. His dedication to and love for the brand, together with his constant strive to push us forward, is really infectious to the rest of the team and that energy is really inspiring to have in the studio.”

—Hampus Bernho & Joel Urwitz

Designer Hampus Bernho and co-founder Joel Urwitz photographed with muse: Erik Corradini Andersö.

POP’S NEW ROYAL OMAR RUDBERG

Swedish pop star Omar Rudberg successfully broke into acting in a ctional and queer royal narrative. Now, the 23-year-old talent is gearing up for global stardom

Photography Marcus Ohlsson Fashion Gro Curtis

Omar Rudberg has always been a star—even if, during his childhood years, only his family knew it. The Venezuelan-Swedish singer and actor became Scandinavia’s new darling while regularly competing in singing competitions across Sweden, going on to join the boy band FO&O and eventually launching a solo career in 2018.

But Rudberg’s biggest break yet would come through acting, a new creative venture. He plays the character Simon in Net ix’s series Young Royals, which premiered in 2021, a teen drama about an elite boarding school in which Prince Wilhelm of Sweden (played by Edvin Ryding) falls in love with Simon Eriksson, Rudberg’s character and fellow student. Unlike the Prince, Simon’s character doesn’t come from a royally elitist background, creating a socio-economic tension between the two (amongst an equally blatant romantic tension).

The series, for which the second season has just finished filming, broadened Rudberg’s popularity across Europe, also positioning him as a queer role model who’s not afraid to color outside the lines.

We spoke with our cover star about his ascendance from local celebrity to international recognition and becoming not only one of Sweden’s most promising voices, but also most captivating on-screen talents.

From left to right

All clothing Berner Kühl

Shirt Martin Asbjørn

VMAN: I know you’re in your hotel in Norway right now. What does today look like for Omar Rudberg?

OMAR RUDBERG: Today we’re gonna do some promotion, Victoria Nadine and I. We released a Norwegian and Swedish single, “Nakna,” and we’re gonna perform it today at a big festival here in Oslo called VG-Lista.

VMAN: Have you been to this festival before?

OR: Actually, I don’t think anybody knows or remembers, but I’ve done this before with FO&O. Our performance was not great and the microphones cut o , so you couldn’t even hear me. But this time, it feels like we’re really doing it. Because when I was 14 and performing with the band, we did so much at that time and I was so young, I didn’t realize that we were actually doing a big festival. I didn’t really understand what was going on.

VMAN: Do you generally enjoy performing? Or are you more of a studio artist?

OR: Oh yeah, it’s the best part but also the scariest, for sure! It’s a little more scary right now—I haven’t done this in a while because of the last couple of years with everything that’s been going on. But when I’m in the zone, performing is a piece of cake.

Stylist Katrin Elise Norman Makeup Sara Eriksson (Linkdetails) Hair Philip Fohlin (Linkdetails) Photo assistant Filip Haning

VMAN: Were you always a performer?

OR: When I was a kid, maybe ve years old or younger, I was always singing and dancing. I grew up in Venezuela and we have this culture where everybody dances and sings. My grandma, when she would throw parties at her house, would always put me up on the table like a stage and I would do a show for everybody. Then I found out about YouTube and saw Michael Jackson music videos, and I learned about all these artists from around the world. Then when I was ten, I did my rst singing competition.

It [was] like Sweden’s Got Talent.

So I did an audition at a mall and they picked out their favorites to sing on TV. I kept doing competitions like that until I got signed by a label when I was 14. So I’ve always had this dream of being an artist, for sure.

VMAN: How has your mix of cultures shaped your music?

OR: It shaped me into the person that I am today. When I moved here, I was hanging out with Swedish kids. But then at home with my mom, I lived out the Venezuelan culture with her. It’s just me, I guess. Sometimes I want to just do heavy pop in the studio, sometimes I want to mix it up [and] throw in some Spanish.

VMAN: How did you get started in acting?

OR: Acting has been a dream of mine since I was a kid but I never took the steps to get into acting when I was younger because I was so focused on music. But then the pandemic hit and the whole music business, live performances, and all that shut down. I didn’t have anything going on and I was like, “What am I gonna do with my life?” I was originally planning on studying. Then someone told me about this new show that Net ix was casting for, and I was like, “I have to get in there.”

VMAN: Did you feel that the show was going to be a huge success?

OR: I had this good feeling since the beginning. When we started recording and lming I was so surprised by how big it actually was. It was my rst set ever, the rst time I saw a lming set. Everybody would laugh at me because I didn’t have a poker face—I was walking around in awe all the time. I was so hyped and pumped. When it blew up, there was a part of me that was like, “Holy shit,” but also a feeling of, “I knew it.”

SOUNDS OF SCANDINAVIA

Listen Up! With new-age takes on storied genres and a focus on fostering innovation, Copenhagen’s eclectic, one-of-a-kind music scene is a sonic sight to behold

Photography Emilia Staugaard

Fashion Oscar Lange

JEURU INTROSPECTIVE POPSTER WITH AN R&B TWIST

For New-York born, Copenhagen-based artist Jeuru, music always reigned supreme. Though it wasn’t until relocating to the Danish city that the artist fully embraced his calling. “The subtle whispers [from] the universe always made the hairs on my neck stand up,” the artist shares.

A native of Queens, New York, Jeuru grew up surrounded by the bustling multiculturalism of the city, mainly his Haitian and Jamaican relatives. There, Jeuru developed a passion for music and fashion, all the while soaking in the sounds of Lauryn Hill, Radiohead, Jay-Z, and more. Though, admittedly, the artist will always carry the essence of a true New Yorker, he made the journey to Europe in order to pursue musical endeavors. “I moved to Copenhagen on a whim—following my gut to embrace

a new perspective,” Jeuru says. “Copenhagen allowed me the space to heal, to be who I needed to be for myself as someone who is learning to parent their inner-child.” Now, the musician is making waves abroad with a sub-genre sound that blends hints of pop with tinges of R&B. King of the Cruel, Jeuru’s debut EP, explored relationships and triumph through the artist’s lived experiences and perspective as a Black queer man. And with the release of I Wish I Knew Better, the musician’s con dent sophomore EP, Jeuru is nally coming into his own. “The queer gaze has always been the future,” Jeuru explains. “As a Black queer man, I want my art to re ect that I am the present and the future. Everything queer people—especially Black queer people—have given to culture, without getting recognition, proves that.”

Jeuru wears all clothing Samsøe Samsøe

Grooming Mads Stig Photo assistant

Katy Alberdingk

Thijm

Stylist

assistant

Nasra

Mohammed

JIMI

SMALL TOWN TEEN TURNED POP-PUNK PROTÉGÉ

“I am inspired by everything,” 23-year-old artist Jimi Somewhere says bluntly. “The best songs are made out of necessity—when you have something on your chest that you really need to get o .”

Jimi, whose real name is Benjamin Schandy, is somewhat of a wunderkind. Born in Hokksund, Norway—a quaint town just outside Oslo—the musician charted his sonic path from an early age, telling childhood friends that he was destined to move to New York and pursue music. Though Jimi is currently based in the Nordics, his washedout vocals and guitar-driven melodies are making headwaves globally. The musician’s 2021 debut album, Nothing Gold Can Stay, documents the trials and tribulations of coming-of-age—heartbreak, loss, triumph—and boasts features from the likes of Kacy Hill, Milo Orchis, and Jon Waltz.

Released in June of this year, Jimi’s latest singles “We Don’t Feel The Same” and “Naive,” prove that the rising artist is a force to be reckoned with. Merging distorted, bouncy production with slow-burning vocals—think indie-pop dressed with tinges of punk—Jimi took a re ective approach for the two tracks. “These songs are about unrequited love—being into someone who doesn’t feel the same can drive you crazy. I’ve had my fair share of that,” Jimi explains. “It can be quite the rollercoaster and that’s what these songs feel like to me.”

Now, o the back of his headline European tour, Jimi is introspective, con dent, and ful lling the childhood procephy he set over a decade prior. And for his next move? “I’m trying to gure out what I want to say on the next album. That’s the toughest part.” MV

Jimi wears all clothing Holzweiler

Grooming William Boska Photo assistant Katy Alberdingk Thijm Stylist assistant Nasra Mohammed

From left to right

Jacob wears all clothing Han Kjøbenhavn

Casper wears shirt, pants Han Kjøbenhavn

Tank top Casper´s own

Elias wears shirt Han Kjøbenhavn

Vest Eytys

Johan wears shirt Holzweiler

Pants Han Kjøbenhavn

Dan wears shirt Mads Nørgaard

Pants Han Kjøbenhavn

ICEAGE THE IN-YOUR-FACE ROCK & ROLL ENSEMBLE

While most 17 year olds are busy preparing for adulthood, Icaeage was on the precipice of underground, punk-rock stardom. Now, over a decade later and ve fulllength albums to boast, the ve man act has cemented itself as one of Scandinavia’s most innovative, and unique, musical talents.

Navigating relationships, world a airs, and everything in between, Iceage merges a decidedly sleek, multi-dimensional Scandinavian sound with an ever-evolving splash of post-punk modernity. New Brigade, the band’s debut album, was released to widespread acclaim thanks to gritty, yet surely pioneering, production that created an undeniable buzz around the soon-to-be punksters. And since, Iceage has been on a sonic evolution that has seen the band experiment with everything from downbeat ballads to in-your-face bangers.

Seek Shelter, the band’s 2021 album, showed just that. Di ering from early o erings, frontman Elias Bender Rønnenfelt took an introspective approach on the record, with slow-burning vocals and upbeat guitar ri s leading the way. Lyrics like “See yourself deemed a stressor/Every man is someone’s successor” on “Vendetta” exude a sense of ultra-cool nonchalance that the band has become known for. And when coupled with Iceage’s signature production? A post-punk, match-made-in-heaven.

“Copenhagen is what we grew up with, what we react to,” Rønnenfelt says of the band’s varying in uences. “These surroundings, especially in the early days, bled into and reacted with our sound. But, we didn’t make a conscious decision to make a distinctly Scandinavian sound.”

Grooming

Sabina Simmelhag (Agentur CPH)

Photo assistant Katy Alberdingk Thijm

Stylist assistant Nasra Mohammed

FIRST HATE A DYNAMIC DUO REINVENTING COPENHAGEN’S SOUNDSCAPE

More often than not, good band names are hard to come by. “The First Hate name came from beyond and was presented to us in the form of a mere suggestion on an online band name generator,” explains Anton Falck Gansted and Joakim Nørgaard, the two members of one of Copenhagen’s most dynamic duos. “Generated by machine, curated by human.” O ering a breath of fresh air to Denmark’s rising underground scene, the best friend musical pairing have been delivering a bevy of underrated hits that carry a hint of nostalgia and futurism ever since the band’s rst self-titled EP and debut album, A Prayer for the Unemployed. “We have a core that never changes but the new shimmering surface of First Hate is something that has to be touched, to be

felt,” says Anton. Even if working in pairs can be double the trouble in some cases, for this duo, their creativity is always in sync. “We’re really good at nding common ground and tapping into each other’s ideas. Over the years, we’ve spent so much time together making music that we have a natural creative ow when working on a song,” explains Joakim. “It feels very symbiotic.” adds Anton. Now, with the band’s latest album Cotton Candy, which sees an 11-song list of new experimental tracks that nd the duo chartering new territories and genres, one thing is for certain: the core of First Hate and the cultural scene it belongs to will never be low brow. KP

Joakim and Anton wear all clothing Rains

Grooming William Boska Photo assistant Katy Alberdingk Thijm Stylist assistant Nasra Mohammed

POSH ISOLATION THE PAIR BEHIND DENMARK’S MUST-KNOW MUSIC LABEL

Posh Isolation isn’t like your regular record labels, it’s a cool record label–rede ning the music industry one artist at a time. With the company’s multi-disciplinary approach, it serves as a platform for creators of music, art, and design. Created by Christian Stadsgaard and Loke Rahbek (who together form the famed music duo Damien Dubrovnik), Posh Isolation was founded in 2009.

Since its inception, Stadsgaard and Rahbek have been committed to nurturing musicians and cultivating new, fresh sounds. And that duty to the next generation of musicians didn’t stop when clubs closed and touring was put on hold. The cuttingedge soundscapes of Posh Isolation’s roster of genre-bending multi-hyphenates

became the soundtrack for a slowed-down world. Despite the pandemic, the collective hasn’t missed a beat–from the release of Croatian Amor’s sixth solo album to drops from industry movers and shakers like KhalilH2OP and Perko. Currently holding over 200 physical releases under their belt—in tandem with buzzworthy brand partnerships and artistic endeavors—the Posh Isolation e ect is alive and well.

With their in uence spreading far and wide, the collective has undoubtedly become an integral part of Copenhagen’s creative scene. For the past twelve years, Posh Isolation has been scoring the sounds of Copenhagen’s underground scene, and if its latest e orts are any indication, there are no signs of slowing.

Loke and Christian wear all clothing Martin Asbjørn

MAXIMILLIAN BURGEONING MELODIST WITH VELVET-LIKE VOCALS

“I rst started making noises when I was three years old. Back then it wasn’t really singing but more like a kid who was trying to get your attention,” jokes Maxmillian, the rising Danish artist who has been garnering musical attention beyond the outskirts of the region. “But, I’ve always wanted to sing. I think music saved me from making more stupid decisions and shaped me into becoming the person I am today.”

Having garnered over 2 million monthly listeners since the dawning of his rst single “Higher” back in 2017, the R&B-pop darling has no issue baring his soul with a vulnerability that soothes the aching hearts of youth everywhere, all the while opening up to his listeners with each fragile lyric. “My emotions are real and I do put

a lot of that into my songwriting. But, I’m growing up like everyone else, and I’m still learning about love and life,” he states. “When I was younger, I didn’t have anyone to talk to about my problems so I know how much it’s worth to be able to spill out all your feelings to someone. We gotta help each other when it comes to emotions.”

Now with a spotlight burning brighter with each release, Maximilian is helping de ne a new sound of Copenhagen. “I’ve had the thought for so long of ‘why in the world doesn’t music sound the same everywhere?’ But I think it’s amazing that it doesn’t sound similar everywhere, because then there’s so much more music to explore!” KP

Maximillian wears trench coat, trousers Mark Kenly Domino Tan

Grooming William Boska Photo assistant Katy Alberdingk Thijm Stylist assistant Nasra Mohammed

VIAGRA BOYS POST-PUNK GANG REFOCUSING HYPERMASCULINITY

With a name like Viagra Boys, it’s quite hard (no pun intended) not to be intrigued about the band. “Well, [the name] was the lesser of two evils, so if we put it next to the other candidate, then I think all stakeholders would agree that this was the best possible alternative.” Erected back in 2015, the Swedish band—which now consists of lead singer Sebastian Murphy, saxophonist Oskar Carls, bassist Henrik Höckert, drummer Tor Sjödén, and keyboardist Elias Jungqvist— rst captured the attention of post-punk listeners everywhere with the band’s rst EP, Consistency of Energy, which o ered a fresh take on the ‘70s-born genre. Unafraid to torch the burdened notions of toxic masculinity and the tribulations of right-wing thinkers, the band has only elevated what

they’re all about—dropping three EPs and two albums with a third on its way. “After touring the world, we’ve de nitely found out that things can always get worse and the lowest point always can get lower,” says the Stockholm sound wizards. “But that’s also where amazing things come from. Nobody makes songs about making a mimosa salad!” But its their latest musical endeavor, their third studio album Cave World, that is helping champion the unique sounds of the Nordics and its place in music. “This album is for the truth seekers, the freedom ghters, and the stay-at-home scientists. More speci cally, the young gentlemen with their roofs lined in aluminum foil.” KP

Viagra Boys wear all clothing Wood Wood

Grooming Mads Stig Photo assistant Katy Alberdingk Thijm Stylist assistant Nasra Mohammed

NEW GUARDS OF THE NORDIC

From re ned minimalism to rugged utilitarianism, this cutting-edge batch of designers are crafting a lively, sustainably-minded world

Photographer Mishael Phillip Stylist Caroline Clante

(DI)VISION FASHION’S BOLDEST UPCYCLISTS

“Back when we rst started, (di)vision was much more of a concept rather than a brand. We both wanted to challenge the traditional way of producing clothes. ‘Creating from what already is’ has always been our go-to work ethic,” explains Simon and Nanna Wick, the founders of one of Copenhagen’s brightest brands to date. A fashion house led primarily by environmental responsibility, the brother-sister design duo’s concentration on the usage of deadstock fabrics has led the brand to where it is today: a pioneering force in the reimagining of sustainable fashion. “It was a no-brainer for both of us that we had to do clothing in a more responsible way, otherwise it wouldn’t make sense to put more brands into the world,” explains Simon. “Working with deadstock fabrics gives a more unpredictable touch to the brand. When we design a collection, we don’t know what is available until we source the fabrics.” Now a regular at Copenhagen Fashion Week and worn by celebrities such as Kendall Jenner, it’s been a full circle journey from childhood to the atelier—as Nanna explains, “I never thought any of us would’ve imagined working together and building a brand 10 years later.”

KEVIN PONCE

STUDIO

FLAIR

After many seasons of sourcing their ideal formula for success, Copenhagen-based fashion label HGBB Studio seamlessly a rmed its distinct identity in the fashion world. The two emblematic minds behind it are South Korean designer Sangchan Lee and Danish-South Korean adoptee Tobias Billetoft who created a brand that beautifully showcases the cultural relationship between Asia and Scandinavia. Pivoting from the path of the one-dimensional, HGBB Studio stages an intersection among present-day ready-to-wear clothing with their own creative narratives.

With Lee’s background in fashion and architecture and Billetoft’s prolonged interest in streetwear, the two creators remain disciplined when designing authentic clothing that di erentiates them from the visual expressions of previously established brands. HGBB Studio intricately constructs garments encapsulating a variety of fabrics of technical, classic, and Asian textures while still sourcing sustainably. “We have, in the last two seasons, been able to use organic Italian cotton as well as recycled Japanese nylon,” Lee says.

Through the foundation of letting each piece “stand out for itself,” the creators have allowed themselves the space to embody their own individual natures through their collections. The brand has established its respected aesthetic by walking the line between unexpected juxtapositions—fun and formal, bravado and sensitivity—creating an archetype for future labels.

LATIMMIER TURNING MASCULINITY ON ITS HEAD

Does fashion re ect culture or does culture re ect fashion? For rising Finnish designer, Ervin Latimer, the answer is both. The fashion world has seen an overhaul in recent years, stripping back labels to promote inclusivity alongside a roaring Gen Z movement to de-gender sartorial expression. In an e ort to unbox ourselves, the emerging visionnaire is spearheading the shift in our approach to gender in everyday life through his new ready-to-wear label, Latimmier. Launched in January 2022, Latimmier is catching eyes for reinterpretations of classic menswear that irts with relaxed tailoring and contemporary silhouettes.

Molded by his working-class upbringing as a queer person of color in a very homogenous nation, Latimer leaned on fashion as an expressive escape to show others who he was before they could pin a label on him. Latimer continues to challenge the norm in a growing conversation. His designs invoke androgynous “glamboyance” and reimagine classic menswear pieces through a queer lens and sensibility. With his star on the rise, Latimer is at the forefront of changing the nuanced narrative of what masculinity means. SAM TRACY

When Berner Kühl dropped out of business school to pursue a career in fashion, he knew he was taking a risk—he just couldn’t be sure what for. The Danish designer recalls being a visual learner as a child but deciding against a creative career, having struggled in related subjects in school. “I didn’t know that you could create an output for all that visual stu moving around in my head,” he explains. “I wasn’t comfortable with being creative yet.”

In the six years leading up to his Master’s at Polimoda in Florence, Italy, Kühl worked in a Copenhagen clothing store, the rst place he realized his dream wasn’t so out of reach. “After that I got my rst job as a production assistant at a Danish brand and I instantly knew this was going to be my path. Slowly I started yearning for something more—to actually decide what was put into production, not just carry out the tasks.”

Now, Kühl’s namesake menswear brand is rooted in craftsmanship and longevity. “I reuse a lot of the same styles,” he explains. “I give them new life by changing the quality or adding details, but the foundation remains the same. We try to bridge the gap between performance, luxury, and something contemporary.”

AVA MANSON

ISO.POETISM THE CREATIVE WITH A DEEPER PURPOSE

ISO.POETISM began for founder and creative director Tobias Birk Nielsen as a means of emotional release. The brand allowed him to navigate trials and tribulations, letting love lead as a beacon even in the most di cult phases of life. “In a very short period, I have become a father to a healthy son, yet at the same time, lost the person in my life that I loved the most—my wife,” Nielsen explains. “This extreme emotional paradox had taken place while I’d just launched the brand.”

Now, over a decade later, Birk Nielsen’s imaginings take the form of rugged menswear de ned by raw textures and neutral tones. Nielsen has not only fostered a platform through which individuals can connect upon clothing, but also explore their own emotional expeditions and shared hardships. “We’d like to be a tool for awareness on speci c topics and a link between people who might be in the same emotional scenarios,” he shares. Each garment comes equipped with its own elaborate story, informed by Nielsen’s personal experience and worldview. As such, each wearer builds upon that narrative by integrating themselves into the wider community surrounding the brand.

But, this notion of connectivity does not just end with each piece. Rather, each design acts as the facilitator for other important conversations. As sustainable production and sourcing practices are imperative to the brand, every silhouette is a reminder of the responsibility we owe to the world. The pursuit of purpose characterizes ISO.POETISM through and through, aesthetically and internally. Birk Nielsen expands upon this, noting, “We hope to inspire [consumers] to be attentive to emotions and connect with those feelings, relate, and use them in constructive ways.”

KAYLA CURTIS-EVANS

P.L.N. THE RAW-EDGED CRAFTSMAN

At the heart of P.L.N. is a loyalty to craftsmanship, an asset Peter Lundvald Nielsen has kept at the forefront of his brand since its inception. “I like materials that are sturdy and will stand the test of time,” says the Denmark-born designer. “[Materials] that will not only last a lifetime but will be possible to pass on for generations.”

Nielsen’s rst introduction to the industry was through his brother’s fashion magazines, beacons of creativity that stood out during their suburban childhood. “Our community was always very sports-oriented, so creativity wasn’t the obvious choice,” says Nielsen, who started his design journey in high school. “My brother showed me that it was okay to be di erent in the environment we grew up in.”

Now, Nielsen experiments with textures and shapes in everything from slouchy bags to full-length coats. “I like the possibilities that lie within working with a speci c material, getting to know its strengths and weaknesses,” he explains. And he limits his collections to no one. “It’s a very conscious decision for me to create clothes that are not gender-speci c,” he says. “P.L.N. is available for anyone who wishes to wear my pieces and will always be just that.” AM

Menswear has been a subtle, yet heavily anticipated, byline in the Nordics, with emerging designers rising up through loyal communities and key players holding court in the fashion capitals. Through a staunch combination of both “acting global but thinking local,” these brands of varying weight, age, reach, and impact have, all in their own way, imprinted a modern and consistently evolving perception of what Nordic menswear means and how this term continues to undergo new de nitions each season. While never pushing for headlines, menswear in the Nordics has naturally gathered an audience that far outweighs its unassuming ethos.

The brands encompassing menswear that make up not only our schedule, but also wider creative collective, have one thing in common—they are not reductive to clothes, but are emblematic of their own subcultures that they have looked to build around themselves. Menswear in the Nordics has always carried deep weight in its drive: its vision is a language for something purposeful and directional. At once a de ned community, it is always open to collaboration and a convergence of new thoughts and ideas.

This meeting of minds with Copenhagen Fashion Week and VMAN has been to collectivize the role Nordic menswear has played and continues to play on a wider plane. Through the platform that VMAN encompasses worldwide, this dedication in elevating the voices of Nordic menswear only furthers our belief in the wider role our designers will play in the menswear industry and its burgeoning future.

Cecilie Thorsmark, CEO Copenhagen Fashion Week

CLOSING WORDS