VMAN 17

17

spring 2010

nick Jonas how to be a rock star

the Jonas brother Flies solo photographed by

mario testino

in dolce & gabbana necklace and ring david yurman

US $5.50 CAN $9.25 DISPLAY UNTIL APRIL 15, 2010

how to live the vman liFe

Featuring nicholas hoult adam lambert Justin bieber daren kagasoFF mark salling paul wesley andres segura Jon kortaJarena simon nessman the drums lcd soundsystem

17

spring 2010

nicK Jonas how to be a rocK star

the Jonas brother Flies solo photographed by

mario testino

in louis vuitton bracelet and ring cartier

US $5.50 CAN $9.25 DISPLAY UNTIL APRIL 15, 2010

how to live the vman liFe

Featuring nicholas hoult adam lambert Justin bieber daren KagasoFF marK salling paul wesley andres segura Jon KortaJarena simon nessman the drums lcd soundsystem

17

spring 2010

nicK Jonas how to be a rocK star

the Jonas brother Flies solo photographed by

mario testino

in calvin Klein collection bracelet and ring cartier necKlace david yurman US $5.50 CAN $9.25 DISPLAY UNTIL APRIL 15, 2010

how to live the vman liFe

Featuring nicholas hoult adam lambert Justin bieber daren KagasoFF marK salling paul wesley andres segura Jon KortaJarena simon nessman the drums lcd soundsystem

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contents

Departments 41

vman culture cool band alert: the drums. Plus a whole slew of young actors, an artist, and booze. all that and an Lcd soundsystem exclusive? hell, yeah!

57

vman stYle a suit made out of VMAN tear sheets, a fashion and advertising prankster, film costumes, givenchy fine art, stock your medicine chest, Thom Browne takes on a monster, and shopping mania

tHe vman GuiDe to liFe a host of inimitable “how-to’s” including

HoW to…

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Go solo with nicK Jonas PhoTograPhy Mario TesTino TexT jacoB Brown

84

be a movie star with nicHolas Hoult PhoTograPhy wiLLy VanderPerre TexT LaUren cochrane

90

briGHten up Your WarDrobe PhoTograPhy sØLVe sUndsBØ

100 Keep it cool with Daren KaGasoFF PhoTograPhy hedi sLiMane TexT jacoB Brown 106 maKe lonGevitY into leGenD PhoTograPhy seBasTian Faena TexT angeLo FLaccaVenTo 116

reaD PhoTograPhy BrUce weBer

128 WarD oFF attacKers PhoTograPhy siMon ProcTer

144 Get aHeaD with the cast of GranD tHeFt auto 150 Wear Denim (anYWHere) PhoTograPhy Mario TesTino 160 accessoriZe PhoTograPhy adaM FedderLy 164 Dress liKe Your Hero PhoTograPhy hedi sLiMane 170 maKe a GetaWaY PhoTograPhy hasse nieLsen 176 HanG out PhoTograPhy coLLier schorr 186 auDition For Your Dream role with paul WesleY, liam HemsWortH, marK sallinG, micHael raDY, and matt lanter PhoTograPhy doUg ingLish 192 bacK paGe a FinaL BaTch oF how-To’s

136 Dress liKe a pop star with Justin bieber, aDam lambert, mY cHemical romance, and cobra starsHip PhoTograPhy Mark aBrahaMs TexT jacoB Brown

coVer PhoTograPhy Mario TesTino sTyLing cLare richardson hair oriBe aT oriBe saLon MiaMi Beach Using oriBe hair care grooMing Linda canTeLLo (joe ManageMenT) PhoTo assisTanTs aLex Franco, hans neUMann, iVan s., roMan harPer sTyLisT assisTanTs MicaeLa erLanger, angeLo desanTo hair assisTanT jUdy erickson grooMing assisTanT wiLLiaM MUrPhy ProP sTyLing MichaeL Bednark (The MagneT agency) ProP assisTanT LUca gioVanoPoULos TaiLor joeL goMez LighTing chris Bisagni ProdUcTion LUcy Lee and chrisTina hardy (arT ParTner) VideograPher raFaeL d’aLo caTering iLiLi LocaTion Pier 59 sTUdios, nyc reToUching r&d

nick jonas wears caLVin coVer: T-shirT calvin Klein collection BraceLeT and ring cartier neckLace DaviD Yurman doLce & gaBBana coVer: jackeT and T-shirT Dolce & Gabbana neckLace and ring DaviD Yurman LoUis VUiTTon coVer: sUiT and shirT louis vuitton BraceLeT and ring cartier Tie sTyLisT’s own

Vman

Editor in Chief/ Creative Director Stephen Gan

Editor

William Van meter

Visionaire

Advertising Directors

cecilia dean JameS KaliardoS

JorGe Garcia GiorGio pace

Consulting/Creative Design Direction

Advertising Manager Francine WonG

GreG Foley

Marketing and Events

Features Editor

Jacob broWn

Art Directors

taylor choi

Managing Editor

byron Kalet Sandra KanG

Advertising Assistant VicKy beniteS

emma reeVeS

Photo and Bookings Editor

Senior Designer Stephanie chao

Associate Editor chriStopher bartley

Assistant Bookings Editor

Communications StarWorKS

pippa lord

Design cian broWne JaKob hedberG

KriStina Kim

Contributing Editor/ Entertainment

Special Bookings

GreG KrelenStein StarWorKS

Jeremie roumilhac

Special Projects Kyra GriFFin dominic Sidhu

Assistant to the Creative Director KiKo buxó

Financial Comptroller Contributing Style Editor

Executive Assistant/ Special Projects Editor

danica lo

SteVen chaiKen

Art Editor

Sooraya pariaG

Creative Imaging Consultant paScal danGin

Simon caStetS

Distribution

Senior Fashion Editor Jay maSSacret

Senior Fashion News and Special Projects Editor

daVid renard

Fashion and Market Editors

dereK blaSberG

Assistant Comptroller

yuKi JameS catherine neWell-hanSon

Contributing Editor/Europe

Farzana Khan nathalie FraSer

niKKi iGol

Fashion Editor at Large panoS yiapaniS

Administrative Assistant annie hinShaW

Fashion Assistant Copy Editors traci parKS Jeremy price

Online Design and Production

Production Director

Online Editorial Assistant

meliSSa ScraGG

nicole lopreSti

ryan dye

Contributing Fashion Editors

17

Joe m c Kenna nicola Formichetti oliVier rizzo beat bolliGer clare richardSon SteVie WeStGarth

contributorS Mario Testino Bruce Weber Hedi Slimane Willy Vanderperre Sølve Sundsbø Sebastian Faena Mark Abrahams Collier Schorr Simon Procter Doug Inglish Jason Farrer Hasse Nielsen Shu Akashi Pierre-Henri Mattout Amanda Harlech Adam Fedderly Pascal Aulagner Robert Rydberg Michael Reynolds Adrian Gaut Akari Endo-Gaut Sharif Hamza Carlotta Manaigo Anthony Cotsifas Jessica de Ruiter Parinaz Mogadassi Belén Casadevall Eric Guillemain Ken Miller T. Cole Rachel Jason Rowan Alexi Lubomirski Jared Buckhiester Angelo Flaccavento Linda Belkebir Pauline O’Connor Lauren Cochrane Miriam Coleman Emily Gould Ruvan Wijesooriya James Worthington Demolet Ken Baldwin Deborah Watson Ilaria Urbinati Philip Gay

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Special thanKS Art Partner Giovanni Testino Amber Olsen Jemima Hobson Lucy Lee Candice Marks Kona Mori Art + Commerce Lindsay Thompson Sarah Frick Smith Thomas Bonnouvrier Patrick Stretch Kim Pollock Annemiek Ter Linden Yann Rzepka Julian Watson Little Bear Inc. Jeannette Shaheen Management Artists Nick Bryning Deborah Sudak Anne Du Boucheron Intrepid Anya Yiapanis Stephanie Chan CLM Kevin Kollenda Betsy Hammill Erick Ruales Heath Cannon M.A.P. Elizabeth Norris R&D Pier 59 Studios Canoe Studios Spring Studios Splashlight Studios Ahmad Larnes Corie Beardsley Fast Ashley’s Studios Wilson Wenzel D+V Management Thomas Hargreave Eva Kruse Rachel Elliston Christine Choi Industrial Color Steve Kalalian Truc Nguyen Higher+Higher John Allan Rafael D'Alo Ruben Rodas internS Caroline Ahn Andrea Bachofner Ronald Burton Catherine Cantave Winston Chmielinski Angelo Desanto Enrica Ferrazza Olivia Kozlowski Martin Landgreve Maryellen McGoldrick Catlin Myers Alex O’Neill Anna-Maria Spyropoulos Matthew Stutz Emily Torrans Yael Zwanziger

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foreword

“To be, or not to be, that is the question.” I think that is what Proust said after he had a bite of that magic hamburger. We want you to think of VMAN as a magic hamburger. One bite, and all sorts of information comes flooding into your brain, coursing through your veins and guts.

VMAN17 is such a special, special journey. It is like driving cross-country with your friends right after high school when you erroneously think they will be your best friends for life.

This issue is constructed into a complex thematic lattice. Is it a magazine or a guide to life? Is it a simile or a metaphor?

Like all good art, it depends on the viewer. And VMAN is good art. It is like a sculpture made out of paper and glue and ink and love. Lots and lots of love.

Contributors to this GUIDE (yes, it is so important, I am going to shift to ALL CAPS!) include the illustrious Mario Testino, Bruce Weber, Hedi Slimane, Willy Vanderperre, Sølve Sundsbø, and Sebastian Faena. Is that all? No! There are intros with very big fonts full of big ideas.

Our cover star, Nick Jonas, steps into the solo spotlight in a way you have never seen him before. Jonas’s solo record is burning up the VMAN stereo and wreaking havoc on our iPods for the commute home. Elsewhere in the issue, Hedi Slimane not only shot his new favorite band, the Drums, he interviewed them, too! And actor Nicholas Hoult shares some of his life with us.

Well, we don’t want to ruin any more surprises. Enjoy!

Keep it real, william Van meter

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CULTURE

mUsiC aRT fiLm ETC. hERE ComE ThE DRUms Photography and interview by hedi slimane 41

it’s a brand new surfrockin’ sound for spring Hedi Slimane How did the drums get started?

JonatHan Pierce We began in Florida. I was living in New York City and Jacob, my best friend since forever, was living in Florida. He was making music, but I felt tapped out creatively, and was sort of depressed about it. He suggested that I forget New York.

So, you know, that week I just packed up my bags. I lived with him for six months in this little tiny apartment near Orlando, and we started writing music right away. We decided to call ourselves the Drums, and kind of built the music and the image.

HS So you had the band’s name first—did that influence the music?

Jacob GraHam I think if we weren’t called the Drums, we wouldn’t be what we are right now. The name, how simple and basic and classic it is, sort of influenced everything.

Nothing is extraneous. The name still excites me, even now.

JP We try to avoid trends. That’s what was so great about Florida. We literally cut ourselves off from everything: no car, no TV. We just wiped the slate clean and figured out what about music we like and want to emulate. We approached it in a very selfish way.

HS What was your first concert?

JP Last summer. We scrambled up from Florida to play a show at Cake Shop in New York.

We had barely rehearsed and came close to canceling. But something just made us go ahead. From there we played every venue in New York. Two shows a week.

HS and more recently?

JG Iceland Airwaves was the first time we felt people really catching on. It was a huge festival and kids were screaming our songs—songs we didn’t think anyone would ever know.

From there we played London. Then in Manchester we met Mike Joyce of the Smiths.

42

JP The Smiths are, if not our favorites, then very close to. It was surreal to look out from a dingy club’s stage and see a member of the Smiths literally dancing to our show. You just don’t believe that it’s happening. We’re still trying to absorb it, to catch up to ourselves.

HS do you have a record label?

JP We have a small U.K. label, Moshi Moshi. They’ve been helping us out with the EP. But none in America. We’ve talked to people but it goes back to our original vision to really be kind of selfish and never do anything that we don’t want to do.

JP Yeah, if we can’t get that, then we’ll do it ourselves. Sell CDs to kids at shows if we have to.

PrODUCTION KIM POLLOCK (ArT + COMMErCE)

mUsiC

JP There’s this detachment that takes place when we go onstage. It sounds weird, but whatever. It’s liberating—but it’s also a selfish thing. We play the show we’d like to watch.

We’re not really caring what the audience thinks. But when you’re completely uninhibited, it allows people to be a part of it.

JG Being completely selfish is sometimes the way to be most generous. You are exposing yourself, letting people see exactly what you create.

HS it’s authenticity. People are responsive when they see true creativity.

JP It’s about cutting away the fat, presenting this true, timeless, classic, sincere thing.

HS Sincerity, yes exactly. What about the lyrics?

JG We’re really inspired by girl groups of the ‘50s and ‘60s like the Shangri-Las. They were these bad girls who sang very stripped down, simple songs. It was about love and loss and hate and sadness. Just the fundamental feelings that everyone experiences.

JP You can dance to it, but it’s also the most heartbreaking thing you’ve ever heard.

JG When things are stripped to that bare thing, there’s a vulnerability that comes with it.

It’s easier for everyone to relate to when you put yourself out there. It’s that same thing we were talking about where being really selfish can be really generous.

JP We want to be blatant in a way. We kind of wear it all on our sleeves.

HS Do these ideas influence the writing process? Do you constantly write?

JG Yeah. We don’t want big gaps because we don’t want to evolve or change too much.

HS today it’s so easy to talk directly to your fans through the internet.

JG Big labels are obsolete. Everything that a big label can do for you, now you can pretty much do for yourself—if you know how.

HS Your performances really strike me. You are very much a performing act.

JP When we started the band, we thought, what do we want to see at concerts? Because we’re constantly at them and bored out of our minds.

I think if you take a break, it’s just being lazy.

JP With a band like the Smiths, their first record could almost be their last record. I feel like if we took long breaks, something could be lost. Or something could be gained that we don’t want to gain.

JG Our mode of development will never be a jagged, angular departure. We all live together.

It’s a constant sharing of ideas and if there is any growth, it will be collective growth.

JG It sounds cliché but, for me, the show starts and it finishes. And I don’t really remember what happened in between. It’s this sort of escapism, a drug.

THE DrUMS IN LOS ANgELES, NOVEMBEr 2009

fiLM

Logan Lerman won’t be fLying under the hoLLywood radar for much Longer logan lerman has adorned a fair share of movie posters, but you wouldn’t recognize him from the billboards. “They always show me from behind or masked somehow,” says the 18-year-old actor. sure enough, the placards advertising lerman’s highest-profile project to date, Percy Jackson

44

& the Olympians: The Lightning Thief, offer a stellar view of the back of his head.

That anonymity is likely to change this month, once the awkwardly titled adventure-fantasy epic (directed by chris columbus of Home Alone, and Harry Potter and

loGan lerman in los anGeles, novemBer 2009 phOTOgrAphy DOUg ingLish sTyLing JessicA De rUiTer sWeaTer h&M

GroominG John D (The maGneT aGency) PhoTo assisTanT maxfielD heGeDus

The ApprenTice

the Sorcerer’s Stone fame) is released. Based on the best-selling book series by rick riordan, the film tells the story of Perseus “Percy” Jackson, a gawky high school student who discovers that in actuality Greek myths are fact, and what’s more, he’s the son of Poseidon. Trading the classroom for a world of gods and monsters—played by an illustrious cast that includes uma Thurman, Pierce Brosnan, and rosario Dawson—Percy hunts the thief who lifted Zeus’ lightning bolt.

“We trained hard for four months before the shoot,” says the actor as he bites into a bagel with cream cheese at an l.a. café. “Kickboxing, boxing, sword fighting. i learned how to scuba. The wire training was nuts—you’re hooked into this robotic arm that swings you around, but you also do spins and backflips. every day i would come home with bruises everywhere. my mother would look at me like i was a victim of abuse on set.” such rigorous stunts didn’t come naturally to the l.a. native, now a senior in high school. “in the beginning, fox thought i was way too skinny—i needed to be more heroic. so i was forcing down protein shakes, working out three times a day. it didn’t do much for me—i’m scrawny,” he says, holding up one wiry arm to illustrate. “i gained like five pounds.” lerman made his big-screen debut at age 8 playing mel Gibson’s younger son in The Patriot (2000), and has been working steadily ever since. he cringes at one entry on his impressive resume. Meet Bill features a scene where his character dons lingerie and seductively dances for Jessica alba. “That’s hard to think about,” lerman confides. “afterward, i was upset for a little while. i’m always trying to do something i can be proud of. But it’s been the biggest motivation to try to make better films.” lerman describes himself as obsessed with movies. it’s a claim you might typically dismiss as adolescent hyperbole, but after an hour in his company, during which he describes meeting octogenarian actor martin landau with the same awed tone his peers would use to discuss miley cyrus, it’s evident he’s not exaggerating. lerman visits the cinema every single day. “i want to be a director and writer,” he says. “i was always pestering chris and the crew, trying to see what they do and learn their techniques. it was the best film school— i can’t imagine going to film school and learning what i learned on a set.” pAULine O’cOnnOr

tV

nEW Jack hUStLErS Victor rasuk and Bryan Greenberg perform a signature

high five when things go their way. They execute this choreographed, three-part dance of hand slaps as they walk down Lafayette street talking about the new HBo show How to Make It, in which they play best friends. They’re high-fiving because the restaurant where Victor had planned to go is closed, a good excuse to dine at a nicer establishment further down the block. as soon as they sit down at the table they pull out their iPhones to show off photos of their Halloween costumes— Greenberg dressed as goony PBs painter Bob ross and rasuk as a Johnny deppish caribbean pirate. They lost their costumes at a club somehow—at one point Bryan 46

had his afro wig stuffed down his shirt. “Ladies love chest hair,” he explains, shrugging. rasuk lewdly winks. “Yeah, we did well. We went our separate ways that evening! That’s all we’re gonna say.” on the show, as in life, the actors are fun-loving wingmen gallivanting around downtown new York. rasuk’s character, cam, is the cocky foil to Greenberg’s sensitive skater-boy, Ben. Greenberg and rasuk have both capped a string of prodigious successes—rasuk in the sundance hit Raising Victor Vargas, and Greenberg has played in various swoony network dramas. But their characters Ben and cam are struggling to make it in the urban jungle. Various schemes—selling counterfeit designer clothes, fencing art to hedge-funders—keep them floating around the edges of a high-rolling scene of art openings and expense-account loft parties, but still hustling to secure their permanent place in it. in the new York city of the late-aughts, Ben and cam’s outer-borough existence is relatable in a way that the over-the-top, money-burning antics of the characters on Entourage—which How to Make It producer Mark Wahlberg famously conceived—are not.

For L.a.-based Greenberg, who stays at a friend’s

apartment in alphabet city while shooting, a competitive excitement is what the show captures. “That hustle is still there,” Greenberg explains. “Ben and cam are not just trying to bum off rich people. They’re borrowing money from stockbrokers and drug dealers. They’re trying to get it any way they can. and that’s real, cause there’s still plenty out there. The rich are still rich. There’s still money.

People are not willing to share it, but that’s what makes the hustle more exciting.” EMILY GOULD BrYan GreenBerG and VicTor rasuk in nYc, noVeMBer, 2009 PhOtOGraPhY SharIf haMza StYLInG ParInaz MOGaDaSSI BrYan Wears coaT DIOr hOMME sWeaTer UnIqLO PanTs SISLEY VicTor Wears sWeaTer raLPh LaUrEn bLack LabEL PanTs aDaM kIMMEL

How to Make It premieres on HBo this month

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How To Make IT with Bryan GreenBerG and Victor rasuk

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Hangin’ TougH

Difficult roles are no problem for french actor tahar rahim a bitter wind whips leaves from the père lachaise cemetery

across the café terrace. scooter helmet in one arm, tahar rahim confidently strides to his chair. he’s full of nervous energy, practically jumping out of his chair to order coffee, and talks at supersonic speed. he lights the first of many cigarettes. “Yeah, i smoke a lot,” he says, “but i haven’t had any breakfast.” rahim, 28, has only been in paris for four years. the son of algerian immigrants and raised in the small town of Belfort, in eastern france, rahim was plucked from relative obscurity by veteran french director Jacques audiard. audiard cast him as the lead in his hard-boiled prison drama, A Prophet. as Malik, rahim goes from preyed-upon loser to ice-cold don, a path that echoes the actor’s.

“You can totally connect my own experience with Malik’s,” he muses. “it’s been a very steep learning curve and i still feel as if i’m a newcomer.” rahim speaks humbly, but his turn in A Prophet is vastly impressive. he carries the film on his shoulders, his electric brown eyes revealing a spectrum of emotions. audiard (who won the Grand Jury prize at cannes in 2009 for the film) says A Prophet would not have existed if he had not discovered tahar on the set of a tv historical drama. rahim felt the synergy, also. “what makes a movie good is not the script or how it’s interpreted,” he says, “but the bridge of trust that is created between an actor and a director.” the director’s approach initially proved complex for the former film student. “i had images of De niro or pacino,” rahim recalls, “but Jacques wanted me to build from nothing.” from a prison cell, tahar was transported to the set of kevin McDonald’s romans-in-Britain epic The Eagle of the Ninth, in which he plays the seal prince, complete with fur cloak, mud-splattered face, and a mohawk (hence his close-shaven head when we meet). it’s a new experience for rahim not to be the center of attention, despite his brief c.v. “with Jacques, the camera was at the actor’s service, here, you’re at the camera’s service,” he says. “i have to think in french and speak in ancient Gaelic.” if anyone is in need of a palette-cleansing role in a light romantic comedy it’s this guy. naTHaLiE FRaSER tahar rahiM in paris, noveMBer 2009 PHoTogRaPHy PHiLiP gay STyLing BELén CaSadEvaLL Jacket anD t-shirt yvES SainT LauREnT Jeans JoHn gaLLiano

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Makeup Yacine Diallo (artlist paris) photo assistant cleMent Dauvent location upper east stuDio, paris (www.uppereast.fr)

FiLm

Billy F. Gibbons: Santa Monica, CA Photographed by Danny Clinch, 2009 SOHO

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character study

Ah, spring. flowers Are blooming, And werewolves And psychos come out

teXt MIrIaM cOLeMaN

A Nightmare on Elm Street Freddy Krueger has been given a new life by the evercreepier Jackie Earle Haley, but he’s still dressed in that terrifying iconic sweater from the ’80s slasher mainstays.

“We had an idea about reimagining him,” says costume designer Marian Ceo. “But at the end of the day, we wanted him to have a foothold into what he was traditionally.”

The sweater’s red and green stripes deliberately invoke a subconscious horror from the clashing color scheme. Its worn edges and the brim of his beaver-felt hat bear scars of contact with his razor glove.

A NIGHTMARE ON ELM STREET OPENS IN APRIL

Shutter Island Leonardo DiCaprio’s federal agent Teddy is sent to a prison

hospital for the criminally insane to investigate the disappearance of a murderess. He arrives on Shutter Island in the middle of a hurricane, wearing a bad tie. Pink and green with a tropical print, it was a gift from his wife (played by Michelle Williams) and he wears it for sentimental reasons, but it’s supposed to be offensive. Costume designer Sandy Powell took some mercy on the audience, however, bearing in mind that they would have to look at the thing for the duration of Martin Scorsese’s thriller. Powell says, “It took a lot of tries to find a tie that would be tasteless without making it look too awful.”

SHUTTER ISLAND OPENS THIS MONTH

IMAGES (CLOCKWISE FROM LEFT) COURTESy OF MARIAN CEO, SANDy POWELL, MASSIMO ROTUNDO, AND LINDy HEMMING

A Nightmare On Elm Street’s burnt Freddy

Shutter Island’s Leonardo DiCaprio wears an ugly tie

Anthony Hopkins descends in The Wolfman

Clash of the Titans’s Sam Worthington as Perseus

The Wolfman Benicio Del Toro plays a Victorian nobleman returning to his ancestral estate and facing down horrible family secrets.

The feral-looking fur on his coat collar might give you some clue to what those secrets are. Milena Canonero adds wild-kingdom flourishes to collars and cuffs on many of the costumes as a constant reminder of the blurred lines between human and animal. Del Toro’s estranged father, Anthony Hopkins, rocks a coat lined in tiger skin. “Those touches subtly underline that the wild beast in human souls is just waiting to surface,” Canonero says. On the other side of the coin, the Wolfman is partially dressed in remnants of clothes to highlight the human element.

THE WOLFMAN OPENS THIS MONTH

Clash of the Titans Up on Mount Olympus, Zeus (Liam Neeson) and his posse preside over a world in a perpetual state of war. They’re

dressed for the occasion in armor—but it’s really nice armor.

Rendered in precious metals like gold, platinum, and silver, it has a supernatural (and CGI-enhanced) shine.

In stark contrast, Sam Worthington’s Perseus and the earthbound soldiers of Argos battle in busted, rusty armor of iron and leather. “Very butch,” notes costume designer Lindy Hemming. They’re broken down, poor, and dirty and only grow more so on their mythic quest to save the princess.

Rather than adhering to historical accuracy, Hemming gave them components of a more modern military look, including lots of straps, buckles, and heavy arm and leg guards.

CLASH OF THE TITANS OPENS IN MARCH

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world traVeler No matter the trip’s duration, a real man of voyage does it all with just a carry-on. He zips through security, keeping liquids at a minimum and under 2.5 ounces

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artist’s rendering the figments of jared buckhiester’s imagination wear givenchy

Based on what he draws, paints, and sculpts, Jared

Buckhiester’s mind is a pretty warped place. Not to say we aren’t seduced by the artist’s inner world. The figures he portrays—fixed in sometimes-grotesque, sometimeserotic, yet always seemingly happy poses—convey the relaxed honesty of solitude, of how people appear when no one can see them. He offers a peek through the looking glass, one that possesses particular appeal to the fashion set, as evidenced by this collaboration with Givenchy’s Riccardo Tisci, commissioned exclusively for VMAN. Here, Buckhiester explains it all. Jacob brown 62

How do you know Givenchy’s creative director?

So these drawings are based on photos you took?

Riccardo Tisci is an old friend from when I lived in Italy.

We met before he had his own collection, about five years before Givenchy. Mariacarla Boscono—who I knew from when she was 15 and living in New York—introduced us.

Early on in my life I thought I would be a fashion photographer and had shot tests of her. I went to her house for dinner, and Riccardo was there. We’ve been friends ever since.

Yes. Recently, in the last two years, I started drawing from photos. I got braver and started asking people I found interesting to pose for me. When the subject is in front of you, amazing things happen. You get more of a palette. I still bring so much from my memories, but I can add in little odds and ends from what happens with the live model.

How do the images we see here relate to your larger body of work?

To some extent, that sounds like fashion photography.

These are pretty direct extensions of what I was already

doing: expressing self-contentment and emancipation through pose and gesture, without being clichéd, and without getting really dark and fucked-up. I find people who represent something that interests me, then photograph them wearing a self-accepting pose and facial expression.

Sometimes I “style” them [in the drawing] based on what they were wearing [in real life]. Sometimes I make it up.

This state of being that they’re in takes place when they are by themselves; that’s when they feel the safest. The clothing represents something you put on in a creative way that maybe no one else would see.

It’s really connected. Fashion photography is interesting specifically because of the poses. A lot of my work from the last two years is based on exaggerated fashion poses.

It’s almost like how a naïve kid from rural America would imagine fashion poses to be like.

So are you an avid follower of fashion?

Well, no, not really. But when Riccardo is coming to town, I try to make sure I pay attention to what he has been doing so I can make a smart comment or two.

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MERMAN VS. CYBORG

THOM BROWNE GOES HEADTO-HEAD WITH GRENDEL

Thom Browne’s Spring/Summer 2010 collection, where

the designer channeled mermen and other literal nautical metaphors, was a whimsical standout at New York fashion week. We thought it would be fun to pair the clothes with a comic book tough guy. Enter Grendel Prime, Dark Horse Comics’ solar-powered cyborg from the 26th century.

Damn, he looks fly, too! He would have worn more gear, but his spikes got in the way. We had a heart-to-heart with Mr. Browne. WINSTON CHMIELINSKI

For the glory of Grendel! Doesn’t your collection look amazing on him?

At first I didn’t even notice that it was my stuff, that’s how kind of perfect it does work on him. Then I noticed, “Oh my God! He’s holding my briefcase!”

That briefcase is so up his alley.

Actual shells are appliquéd to it. And the shells came from the whole kind of nautical theme and oceanic feel.

I could never have dreamed anything better than a superhero wearing and using my collection.

Wanna rate the utility value of his costume for me?

I’d give it a 5. In some ways he looks good, but also it seems like he may have some insecurities if he has to have all those spikes exposed.

Who is the perfect superhero to wear Thom Browne?

Aquaman.

Why the aquatic theme?

Sometimes those things just sort of happen. There was no real reason why. It came initially from the shape of that jacket and trouser. The trouser being very low in the crotch almost made it look like a mermaid tail, and I thought it’d be interesting to put a guy in it and see how he would walk with such a restrictive tail. That was the initial idea for the actual shape of it, and then it became more playful in regard to it being an actual merman.

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THE VMAN GUIDE TO LIFE

Come journey with us!

Let VMAN guide you and be the Sherpa through your manly existence. Our existential lessons are woven with large fonts and hypnotic photographs. We show you windows into what your life could be like. We suggest laminating this entire section, because this will be a handy primer to turn to throughout your manhood. Or, better yet, keep the original in a vault and laminate a color copy. Think of this as the blueprint to your life (with lots of designer clothes thrown in). Go from boy to man to VMAN. The adventure starts here.

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“mY reaL musiCaL DisCoVerY starteD when i was 10 with steVie wonDer anD the JaCkson 5... then i kinD of Came into mY own a CoupLe of Years Later” — niCk Jonas

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“with the recorD, with the art, i Do want to express mYself fullY; express the thouGhts anD stories anD iDeas that i have.” — nick Jonas he looks the part—the coif, the confident attitude, the aloof eyes, and most of all, these pictures prove it—but is nick Jonas a rock star? the 17-year-old has, up till now, been known as the curly-haired, youngest sibling in the Jonas brothers. he wasn’t the lead singer; that duty fell to the more flamboyant middle brother, Joe. but he was the driving force, the songwriter, the image-maker, the brains. conventional wisdom has long held that disney pulls the Jonas strings, but more often than not, it’s nick behind the scenes calling the shots. his adult entourage laughs about calling him “the president,” but the deference they show him as he strides into the soho grand lobby for this interview makes clear that the nickname is no joke. now nick is ready to push things further. with his new band, nick Jonas and the administration, and its first album, Who I Am, he plans to show the world that he’s grown up. nick Jonas’s family hails from new Jersey, by way of texas. his father, kevin Jonas, sr., a former evangelical preacher and lifelong musician, raised nick and his brothers on a diet of Jesus and church music—much of which he wrote and sang himself. to this day the Jonas family is devout; nick and his brothers famously wear purity rings signifying celibacy before marriage (eldest and recently married brother kevin has presumably removed his). but Jonas, sr. was always fascinated by the world of secular pop, and early on he exposed the family to the billboard top 40. car rides were spent analyzing melodies, choruses, and hooks. “my real musical discovery started when i was 10 with stevie wonder and the Jackson 5, and acts that i connected with because they were young when they were doing it, like me,” says nick. “then i kind of came into my own a couple of years later, i found new artists that shaped my musical landscape. for instance, kings of leon played a big part in that.” it’s significant that, without prompting, kings of leon is the contemporary band that nick references. in certain ways, it is a band that couldn’t be farther from his peculiar plane of existence. in other ways, it couldn’t be closer. the whiskey-soaked members of the alt-country and blues inspired kings of leon are rock stars in the subversive mold of the rolling stones. unlike nick, they notoriously drink, smoke, and screw. like nick, they possess the rare—particularly in light of today’s abysmal recording industry—ability to sell albums. the band’s last release went platinum in the u.s., sextuple-platinum in the u.k., and octuple-platinum in australia. as a Jonas brother, nick can claim similar sales stats (he’s actually sold double or triple that). but a deeper similarity explains nick’s affinity. kings of leon is three brothers and a cousin: caleb, nathan, Jared, and matthew fallowill. the brothers fallowill were raised in an evangelical christian home. their father had been a preacher in their youth. of course, no one has ever accused kings of leon of being a christian band, but lead singer caleb fallowill has no problem connecting his music career with his religious upbringing. “every kid at one point or another looks up to his dad. i knew for

a long time that i wanted to do something big, and for a long time i thought it was gonna be to take over preaching from my dad,” he says. “you wanna feel like what you are doing is important. for that reason, when we go onstage, we pour our hearts out.” and that’s exactly how nick sees it. “my faith plays a big part in who i am: a christian guy playing pop-rock music. i’m in a pop-rock band, not a christian band,” he says. “i admire kings of leon. i think their records are amazing.

Just from hanging out with them i can say they’re good guys. it’s cool to see that they get to do what they love. but i think they clearly have an appreciation for where they came from, and it has shaped who they are.” nick Jonas wants, and perhaps deserves, to be seen as a rocker cut from the same cloth as the fallowills, but he struggles to explain why he is a disney band and they are not, why he has never rebelled like they and so many of his heroes have. “maybe it’s about preference,” he says. “i just prefer to make people happy with my music. i prefer to see a smile on someone’s face after i sing a song.” that may be true, but the lyrics on Who I Am suggest something more is going on. in the song “rose garden,” he sings the words: “she was young but not naïve/always wise beyond her years/hoping that no one would see/ every time she dried her tears.” in “Vesper’s goodbye,” he sings: “like a bullet through the chest/lay me down to rest/it’s a lover’s final breaths/now i die, kiss your tender lips goodbye.” none of these lines are making anyone smile; they hint at something that, if not subversive, is at least brooding. when that’s pointed out to nick, it’s almost as if he hadn’t before realized that his music was no longer as innocuous as it had been with the Jonas brothers. he admits, “yeah, there are songs that aren’t necessarily happy songs. they more make you think. that’s intriguing to me, just as a beautiful but sad movie might be.” so then, is it really preference like he claims, or does his religion, or disney, or anything else constrain him to a clean image? “constrained is the wrong word,” he says carefully. “the best way to describe it would be thoughtful, just thinking everything through. okay, so, it’s not all uplifting on the record, but when i do a meet and greet with the fans, or any interaction with them, i’m smiling; i’m happy; i’m trying to make them happy. with the record, with the art, i do want to express myself fully; express the thoughts and stories and ideas that i have. and i think on this record i did the best job i could with that.” at the end of the day, the ones who really matter—nick Jonas’s fans—don’t care about any of this. they will line up for tickets, scream their heads off at shows, and go buy an album afterward. it’s a near certainty. the critics will whine and moan about his success. but they will likely look back and see this album as nick’s Justin timberlake moment, the moment he transitioned out of his former boy-band plasticity into a newly independent identity. it may be tough medicine to swallow, but they’ll be forced to admit that, yes, nick Jonas is a rock star.

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Walking through the streets of London’s Soho, Nicholas

Hoult blends in expertly. Hat pulled down over his trademark falcon eyebrows and gaze resolutely directed at the floor, he’s ignored by passersby. If they were to look closely, however, they’d see the perfect image of an actor as a young man—Hoult is 6'3" with a sweet smile and, despite the height difference, bears a striking resemblance to a young Tom Cruise. Wearing a tie and vivid blue trench coat, Hoult isn’t rocking his usual look. “I’m going to a party later,” he says in an apologetic tone. “And the invite said to make an effort. Usually, I look like a right wasted youth.”

“Wasted youth” is more akin to Hoult’s character of Tony in the U.K. series Skins, where he first achieved prominence. The show, about the thrills, spills, and roundabouts in a group of teenagers’ lives, and full of the appropriate slang, was a Brit Gossip Girl—and just as much of a smash.

Hoult quickly became the symbol of wild teenagedom Fiennes and Liam Neeson, it has box office smash writwith endless column inches devoted to his character’s ten all over it. Hoult plays the youngest warrior in Perseus’ exploits. The attention didn’t go to his head, however. army, Eusebius. “He’s never fought and he’s a bit scared,” Offscreen, Hoult remains resolutely low profile, relishing Hoult explains, “so I didn’t get to do that many battles. time in America where he isn’t recognized. “I avoid any- But it’s interesting to see how a film is made when they thing about myself,” he says. “I never read anything—it’s add loads of CGI after. If Medusa is played by a broom, it the nasty things you remember.” definitely makes your imagination work.”

It seems this is an attitude he’s intent on keeping—even Hoult stars with fellow up-and-coming Brits Luke in the face of growing fame. After being reinvented as a Treadaway and Skins cast member Kaya Scodelario. He sun-kissed Californian kid in Tom Ford’s A Single Man doesn’t feel part of a new influx of British talent, however, late last year, his latest project might make Hoult hard and winces at the very thought. “We see each other about,” to avoid even to himself. He just wrapped the upcoming Hoult says, “but we’re all just doing our own thing.” Hoult’s mythological epic Clash of the Titans. “I have a tan in this “thing” has no doubt been bolstered by his performance film, too.” Hoult quips. “I don’t think I can act without one in A Single Man, his first major Hollywood endeavor. It again.” A remake of the 1981 cable perennial, it’s the tale was filmed over just twenty-one days in L.A., and Hoult of Perseus and his battle with Medusa. Featuring Ralph stepped in at the eleventh hour after the original actor

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dropped out. “i only got the script the week before we

started filming,” he says. “i met tom in l.a., we had dinner, and he told me very modestly about what he did before.

What i liked about the project was the fact tom personally adapted the screenplay. it was like a love letter to his partner, richard.” (hoult currently stars in the tom Ford campaign photographed by the designer.) in A Single Man, hoult plays kenny, a student and ray of romantic hope piercing the depression of his high school teacher (played by colin Firth). “he’s a guy trying to understand the world,” hoult says of his character. “he doesn’t want to think about the past or the future, but to concentrate on the present.” hoult took the now-infamous nude scenes in stride. “When you’re doing it, it’s fine because you’re in character,” he says, repressing a schoolboy grin. “the awkward bit is always when they say cut.”

at 20, hoult—at least professionally—is an old pro. he’s been acting since the age of 3, although that wasn’t his first career choice. “When i was little, i wanted to be a dolphin,” he smirks. “i only changed when i realized that wasn’t an option.” Originally acting as a hobby, hoult had already starred as hugh Grant’s nerdy friend in About a Boy by the time he was 13, and has been working ever since.

Outside of work, hoult is still something of a big kid. tongue-in-cheek is his default setting. asked about what he’d like his next role to be, he deadpans: “a drag queen— big hair, big lips. the works.” his birthday party, meanwhile, is “going to be totally bling, with alicia keys, jay-Z, and loads of champagne.” jokes aside, hoult has a genuine, endearingly wide-eyed love of nature documentaries. “i watched one last night where fish change from male to female to trick other suitors!” he recalls with glee. he lives

with his parents in leafy Berkshire, about an hour from london. “i had an apartment to myself for four months when i was doing a play,” he says. “i went slightly mad. i went out all the time.” he might soon be relishing a rare moment to himself— those projects keep coming. “What i like about this job is that you never peak,” he says. “there are always new challenges. Getting older, i realize how little i know.” When that means reaching 21, you realize hoult is only on the brink of a long career—despite his worries that he’ll never work again. “i’m superstitious, so i never believe anything until i’m actually on set,” he says. “there’s a really exciting project coming up but i can’t talk about it till it’s confirmed.” ever the joker, he raises one trademark eyebrow and adds, “it’s some serious james Bond stuff.” just kidding? Probably.

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On aBC’s The Secret Life of the American Teenager, 22-year-old newcomer Daren Kagasoff plays ricky. and ricky is no role model. in the very first episode of the very first season, he finds out that he has gotten 15-year-old amy pregnant—at band camp. Over the show’s two seasons he proceeds to sleep his way through his high school class, often treating his lovers with wild insensitivity. and yet, Kagasoff makes ricky likeable, even sympathetic. it’s a neat trick, one that’s earned him teen heartthrob status seemingly overnight.

Kagasoff landed the role after just a handful of auditions. he’s the kind of guy that was popular in high school, a star on the baseball team, and then waltzed into hollywood and straight onto a sought-after show. he makes life look easy. with The Secret Life renewed for a third season, Kagasoff’s buzz is beginning to spill over into other projects. One look at these pictures and it’s easy to see why. JaCob brown

You’ve got one of those faces—who do girls say you look like? i get Luke Perry and James Dean a lot.

And who do you want to be compared to?

Leonardo DiCaprio and emile hirsch. with Leo, it’s beyond the fact that he is a moneymaking machine. he is really

conscious about his material and takes every character he plays to a place the writers probably never even anticipated. emile hirsch is just so respectable. he works for the art of it and that kind of passion transcends the screen.

So this character of yours, Ricky, has quite a sex life.

Any real-life experiences you’ve brought to the show? well, i haven’t used any personal life experiences in playing ricky. at least not yet…

Any new projects on the horizon? i love tV but i would also love to do movies, to play roles that will challenge me, roles people don’t expect me to play. i also want to do theater, probably something off

Broadway.

Last question, boxers or briefs?

Briefs.

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HERE’s TO 20 yEARs OF THE smART ANd smOLdERiNG dOLCE & GAbbANA mAN The men couldn’t be more different. Stefano Gabbana is Northern, Domenico Dolce Southern; the first is outspoken, the second shy and easygoing. Yet they act like a unit, even completing each other’s sentences. A design duo and fashion powerhouse, Dolce & Gabbana’s Stefano and Domenico work in tandem on every aspect of their company.

The men have been inseparable since the early ’80s, and the end of their romantic liaison did little to diminish their creative output or deep friendship. Their empire was founded in 1982, and still, to this day, is one of the strongest Italian fashion voices. You can spot the duo’s bold signature instantly: unabashedly sensual, proudly Mediterranean. The men’s collection, launched in 1990, is celebrating its milestone 20th anniversary. Festivities will last all year long. Their lauded January show will be accentuated by the publication in June of a massive anthology tracing the fashion house’s history. We chatted with the design duo to discuss the evolution and future of their menswear. ANGELO FLACCAVENTO

Dolce and Gabbana existed for eight years before branching out into menswear. How did the idea for a men’s line come about?

Stefano Gabbana We basically wanted something to wear for ourselves. We were tired of the Wall Street look that was so popular at the time, and wanted something sensual, poetic, and free.

Domenico Dolce We used to call those rampant, greedy men in broad-shouldered double-breasted suits “the men with dandruff on their shoulders,” and, in reaction to them, created our very own fantasy based on Visconti’s The Leopard. Do you remember the Garibaldi scene in the film? That was our initial inspiration—we even had a red shirt in the very first collection.

Why does the island of Sicily factor so much into your work?

DD Stefano comes from the main land, from Milan, but I was born in Sicily, not far from Palermo. As a Sicilian who left the island, I initially didn’t want to have anything to do with it. I hated Caltagirone ceramics, for instance, and found macramé lace unbearable.

It was Stefano who helped me to reconcile with my Sicilian side. Maybe because of this, our vision of Sicily has always been full of pathos.

He’s Sicilian, but like you, the Dolce man left the island and began to travel.

DD Traveling is in the spirit of any self-respecting islander. Our man, therefore, traveled extensively, in both geographical and stylistic terms. He got into grunge and flower power, went to the moon, landed in Peru, and then headed to America. He sometimes

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took some pretty peculiar detours. To prove yourself, you often have to test uncharted waters, because that’s how you show your real strength.

SG Now though, our man has come back home to his island, and that’s where he is today, albeit with a different awareness and a new knowledge of the world and of himself. We’re back to our roots, with a new vision.

That vision certainly seems to have helped men reconcile themselves with their frivolous side.

DD Men have changed enormously over the last decade: they finally accept that taking care of the way you look does not mean you’re gay. Sexuality has nothing to do with

dressing up or down. I believe David Beckham was the real turning point. Here you have a heterosexual man, married to one of the most beautiful women on the planet, and he has a genuine hunger for fashion that is matched by his physical appeal and charisma.

After so many years, how is it working as a duo?

DD It’s very natural, almost a habit. You cannot do all this alone: you really need someone to discuss ideas, at times fight, and finally progress.

SG By now, we couldn’t live apart. Even though we are not partners, we do still share our spare time and go on vacation together. In fact, next week we’re going to the Maldives with John Galliano, Naomi Campbell and her boyfriend, and Domenico’s boyfriend.

You recently broadcast the shows on the Internet and invited bloggers front row. Not everyone in the industry is embracing new media so readily.

SG It’s essential to be aware of new communication devices. I love technology. You cannot live in a bubble and just pretend the world hasn’t changed radically.

DD As for me, a cell phone is all the technology I need in my life. I don’t have e-mail or a computer. I definitely prefer personal contact. I’m very strictly Sicilian in that sense.

What are your best and your worst traits?

SG Domenico speaks a lot, but, as any good Sicilian, never says anything about himself.

DD Why should I?

Does Italian style still exist?

SG Absolutely. You can spot Italian style from a mile away.

DD Italians like everything well put-together and crisp and clean. It’s how our mothers educate us. In the end, it’s all their fault!

You can’t avoid la mamma in Italy, that’s for sure.

DD Exactly.

all clothing dolce & gabbana Black studded leather Biker jacket s/s 1992 Black and gold emBroidered jacket s/s 2001 White shirt With gold emBroidery s/s 2001 White lace shirt s/s 2001 Burgundy silk Boxer pants s/s 2006 BroWn Wool sWeatpants F/W 2008 patchWork knit cardigan (Worn as scarF) F/W 1994 green emBroidered livery jacket (Worn around Waist) F/W 2006 gray suede loaFers s/s 2010

BroWn leather jacket F/W 1991 BroWn Wool hooded scarF F/W 2008 green emBroidered livery jacket F/W 2008 green emBroidered jacket s/s 2001 BroWn silk Boxer shorts s/s 2006 Black leather Buckle pants s/s 1993

carlos (leFt) Wears Black and gold emBroidered jacket s/s 2001 BroWn sheepskin pants F/W 2008 tartan Wool jacket (Worn as scarF) F/W 1993 green emBroidered jacket (Worn around Waist) F/W 2006 simon (right) Wears Black studded leather jacket s/s 1993 Black Buckle leather jacket s/s 1993 Black Blazer With gold sequins s/s 2010 White shirt With gold emBroidery s/s 2001 BroWn sheepskin trousers F/W 2008 tartan Wool cardigan (Worn as scarF) F/W 1993 red emBroidered livery jacket (Worn around Waist) F/W 2006

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patchWork knit cardigan F/W 1994 patchWork Wool hooded coat (Worn under cardigan) F/W 1993 patchWork knit sWeater F/W 1994 green silk gathered shorts s/s 2008 gray Wool sWeatpants F/W 2008 patchWork knit cardigan (Worn as scarF) F/W 1994 patchWork Bandana shirt (Worn as scarF) s/s 1993 patchWork Blazer (Worn around Waist) F/W 1993 gray suede loaFers s/s 2010 Fur gloves stylist’s studio

BomBer jacket With Badges F/W 1992 red emBroidered livery jacket F/W 2006 silk Boxer pants (rolled up) s/s 2006 green tartan Wool pants F/W 1993 hessian Blazer (Worn as scarF) s/s 1992 Beige emBroidered jacket With leopard lining (Worn around Waist) s/s 2001

carlos (leFt) Wears Burgundy leather and gray Fleece hooded jacket F/W 2003 pink emBroidered jacket s/s 2001 gold silk Boxer pants (rolled up) s/s 2006 red pattered Wool pants F/W 2000 red emBroidered livery jacket (Worn around Waist) F/W 2006 simon (right) Wears Burgundy hooded leather jacket F/W 2003 silk Boxer pants (rolled up) s/s 2006 Blue patterned Wool pants F/W 2000 green emBroidered livery jacket (Worn around Waist) F/W 2006

hair Ben skervin (maxim mFa) grooming and makeup petros petrohilos (management artists) models simon nessman (major) and carlos sander (Why not models) photo assistants steve jackson and simon tang stylist assistant stephen poskitt set designer max Bellhouse (the magnet agency) digital technician tonia arapovic production assistant matt eastern location spring studios

sheepskin jacket F/W 1991 White shirt With gold emBroidery s/s 2001 White emBroidered pants s/s 2001 Black emBroidered silk scarF (visiBle at Waist) s/s 2001 patchWork knit sWeater (Worn as scarF) F/W 1994 patchWork Wool cardigan (Worn around Waist) F/W 1993 pink emBroidered jacket With leopard lining (Worn around Waist) s/s 2001

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“Have you read any Proust?”—Matt Raimo

“I started Remembrance of Things Past in school, but once I graduated, I never finished it.”

—Joey Slomowitz

Bart wears all clothing Z Zegna

“And then I asked him with my eyes to ask again yes and then he asked me would I yes...

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and his heart was going like mad and yes I said yes I will yes.”

—James Joyce, Ulysses

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“I like to read with Thom’s pug.”

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GroominG rebecca Plymate (See manaGement) Photo aSSiStant chad lukaSzewSki StyliSt aSSiStant ronald burton diGital technician tim bell for SPeedSter diGital location hudSon StudioS, nyc

“Rihanna gave that [kiss] to me.”

—Justin BieBeR

Jacket adidas oRiginals tank RoBeRto Cavalli necklace BieBer’s own

adam lamBERT 100 Million Votes cast during the AmericAn idol finale when American Idol ended this past fall, Adam Lambert waited about five seconds to tell the world he was gay.

not a dumb move. As the first out gay American pop star, Lambert suddenly found himself free to present his image to the world however the hell he wanted—as evidenced by his highly sexualized (and controversial) American Music Awards performance in november. “what I do has been done before,” says Lambert. “It’s glam. I’m inspired by the ’70s and ’80s. Bowie is a huge influence. So are hair bands.” But recent male pop stars have been less adventurous than they were twenty or thirty years ago, mainly due to homophobia. “why must a crazy look necessarily be gay?” asks Lambert. “Our society is more fearful, I guess. And they don’t party enough. everyone was partying in the ’80s.” for Lambert, creating his sensational image is, in a way, his favorite part of stardom. “I’ve always just wanted to play dress up,” he laughs. “Last night I was trying on this Dolce & Gabbana suit—I love the way Dolce fits—and noticed this mannequin in the corner with this weird headdress made out of melted ribbons. So we sewed it onto the suit. It was great. I ended up looking like someone had left me too close to the fireplace.”

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Cobra Starship might be the luckiest band of the decade.

Thanks to its serpentine name the band was recruited back in 2006 to write the theme song for cheesy megamovie Snakes on a Plane. The song was a surprise hit and while the film crashed at the box office, Cobra Starship rocketed to pop stardom.

Despite its debt to Hollywood marketing, Cobra Starship is no boy band. For years before his big break, lead singer Gabe Saporta struggled. “For me, as a regular band dude, to be able to cross over to a wide, mainstream audience— well it’s rare,” he says. “I’ve always said that I want to be a punk-rock Justin Timberlake and I know I’m lucky to now be there.”

Like Timberlake, Saporta’s personal style is constantly evolving. “I was really into Japanese streetwear in the beginning. I remember going to Tokyo and seeing all these Yohji shoes I’d only seen in magazines,” he says. “But lately I’ve cleaned it up. I really like the Mad Men look. Ya know, you feel differently when you dress up.” styling James Worthington Demolet SuIT D&g SHIrT calvin Klein collection TIe John varvatos TIe Bar vInTaGe

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how to audition for your dream role photography doug inglish styling Ken Baldwin

from the small screen to the silver screen, a new crop of fresh talent is ruling hollywood. if you haven’t heard of these 5 actors yet, you will soon. let’s go channel surfing! text emily torrans

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paul wesley What’s the worst feedback you’ve ever gotten at an audition?

Once I finished a read, looked at the director, and said, “That didn’t go very well, did it?” He gave me a stern look, crossed

his arms, and said, “No, it didn’t.” I was devastated.

What were you thinking about during your first audition?

I was 15 or 16, auditioning for a soap opera. I didn’t even know what a soap opera was! All I cared about was living in Manhattan and finding a way to not go to high school every day.

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Liam hemswORth Do you have an audition philosophy?

Auditions are really funny because you can walk out of a room thinking you did the best audition ever, and then not get a callback. A lot of the time, it’s when you walk out thinking that you did a really bad read that you get the part.

Any horror stories?

I once turned up to an audition with little to no sleep, not really knowing the lines. Stupid decision! I did such a poor job that without ďŹ nishing, I just apologized and walked out.

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mark salling What was your first gig?

I did a Heineken beer commercial when I was about 11 years

old, in Dallas. The commercial was about these guys who were having a flashback to their earlier days in a garage band, and I was part of that flashback. I know, everyone says an 11-year-old can’t do a beer commercial, but I did.

Even then I guess I was pretty rock and roll.

What was it like to audition for Glee?

I hadn’t been on an audition in years, and I had to sing to a roomful of strangers at nine in the morning. It was intimidating, to say the least, but it was also my best audition ever.

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michael rady how did you dress for your first audition?

It was for a local Tv commercial. so my father took me to Today’s Man and I spent $40 on a blue sweater with white stripes and a zip collar. I thought I looked the part of the professional actor. when I got to the audition, there were maybe sixty people in the waiting room. The casting director didn’t even look at me or my swell new sweater. what do you do when an audition goes wrong?

I was reading for some movie role. Halfway through the scene, I tried to use my cell phone as a prop. when I was flipping it open, it went soaring through the air, crashed at the casting directors’ feet, and broke into several pieces.

They were in hysterics. I picked up a piece of the phone and continued the scene. I was sweating, my hands were shaking, and I was talking into a cell phone battery like everything was fine. sHIrT fred perry

matt lanter What was your most embarrassing audition?

It was my very first audition ever. It was with a major casting executive for a large role in a studio movie. I had

no idea how to audition or what I was doing, so I ended up jumping on tables and ‘surfing’ on a chair. I’m pretty

sure the casting director was just toying with me.

Any advice?

Anytime you can come out of an audition and feel like you did your work, that you put it all out on the table— that means it was a good audition. Most of the time it’s out of the actor’s hands.

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