VMAN 28

28

winter 2012/13

the making of a male supermodel model search winner Joseph dolce photographed BY mario sorrenti plus: the Year’s Best athletes, actors, musicians, and more

US $5.95 CAN $9.25 DISPLAY UNTIL FEB 14, 2013

men’s fashion: time for reBirth?

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Š 2012 adidas aG. adidas and the GlObe are reGistered tradeMarks Of the adidas GrOup.

purveyor of fine men’s wares & accessories www.gentsco.com

featuring melissa bolona, adam senn, chad white & kevin sampaio

purveyor of fine men’s wares & accessories www.gentsco.com

purveyor of fine men’s wares & accessories www.gentsco.com

PHOTOGRAPHY YU TSAI, FASHION LISA MICHELLE BOYD, MAKEUP ALLAN AVENDAÑO (OPUS BEAUTY), HAIR TERRY MILLET (MAGNET LA), MANICURIST CHRISTINA AVILES (OPUS BEAUTY), PHOTO ASSISTANTS BRYAN TORMEY, YONI GOLDBERG, JOHNNY TALAY, SET DESIGN ALEX BAIN (OPUS REPS), CREATIVE DIRECTION YU TSAI (88 PHASES), ART DIRECTION LUIS JAIME (88 PHASES), PRODUCERS TREVER SWEARINGEN (88 PHASES), JORGE PEREZ / BOBBY HELLER (OPUS REPS), POST PRODUCTION 88PHASES.COM

purveyor of fine men’s wares & accessories www.gentsco.com

Jeremy Jones - Swatch Proteam

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editor-in-Chief/Creative director

Stephen Gan editor

elliott daVid

editor-at-large

Contributing fashion editors

advertising directors

Visionaire

dereK blaSberG

Joe M c Kenna nicola forMichetti oliVier rizzo beat bolliGer clare richardS on hanneS hetta

JorGe Garcia

cecilia dean JaMeS KaliardoS

associate editor/Online

patriK SandberG Contributing editor

jgarcia@visionaireworld.com

GiorGio pace Copy editors

advertising manager

traci parKS JereMy price anne reSniK

liSa Jordan helMS

Sarah criStobal fashion editor-at-large photo editor

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panoS yiapaniS

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eVelien JooS

advertising Coordinator

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bookings editor

Consulting Creative/ design direction

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financial Comptroller

natalie hazzout

GreG foley

646.747.4545

S ooraya pariaG

managing editor/ new media & special projects

art director

digital strategy manager

assistant Comptroller

cian broWne

S ofiya Shrayber

MariSSa nicolo

SteVen chaiKen

sofiya@vmagazine.com

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design

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Jeffrey burch alexa ViGnoleS

MeliSSa S craGG

fashion news & market editor

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special projects

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GreG KrelenStein Jordan hancocK StarWorKS

Gloria KiM

senior fashion editor

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allan Kent interns

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Communications

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daVid renard

assistant to the editor-in-Chief

Julian antetoMaS o

Contributors

Mario Sorrenti robbie Spencer bruce Weber inez & Vinoodh GuS Van Sant Sharif haMza Kacper KaSprzyK JoSh olinS Jean-baptiSte Mondino terry tSioliS daniel lindh carloS Serrao bJarne JonaSSon philippe VoGelenzanG bay Garnett zara zachriSSon hayley atKin Grant SinGer alfredo piola delphine danhier nataSha neWMan-thoMaS JaSon pietra JaMie MorGan ray petri anton corbiJn SiMon rayMonde carrie battan phillip Mlynar JaSon laMphier Jonny coleMan nataSha StaGG Martin haMery alex haWGood

jOe dOlCe in COaT Jil Sander TurTleneCk dior Homme shirT GivencHy by riccardo TiSci Tie boTTeGa veneTa haT GiorGio armani

jaCkeT HermĂˆS

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phOTOgraphy daniel lindh

On The Cover phOTOgraphy mariO sOrrenTi fashiOn rObbie spenCer

Black Fleece Stores: 351 Bleecker Street, New York 212 929 2763 • 2223 Fillmore Street, San Francisco 415 931 2203 and Barneys New York For additional store locations visit BrooksBrothers.com or 800.274.1815 • BlackFleece.com

c o n t e n t s

29 VMAN NEWS Vinyl, booze, and tuxedos—it must be Winter

36 pArAgoNS: VMAN STYLE ICoNS Time-honored innovators with impeccable style: Jean-Paul Goude, Nick Kamen, and Peter Murphy

46 THE SECoND CoMINg oF JoHN KrASINSKI Gus Van Sant interviews the breakout star (and screenwriter) of the forthcoming film Promised Land, and helps reveal the real Krasinski

52 prIME TIMErS The movie theater is no longer the premier venue for checking out the industry’s top acting talent.

Here are three of Fall television’s surest bets, from Downton to the Boardwalk

56 AN orAL HISTorY oF grIZZLY BEAr Ed Droste, the leader of Brooklyn’s most beloved band, recounts their journey from playing cafeterias to Radio City Music Hall

58 NoTorIoUS Rising hip-hop stars Kendrick Lamar and Chief Keef, products of violent neighborhoods and the magic of social media, forge divergent pathways to success

62 BE HErE NoW While the record industry continues to feed one-hit wonders to the masses, these original artists are finding their audience and bringing back a whole new alternative

68 THE SporTINg LIFE oF LADS IN LoNDoN BY BrUCE WEBEr Off the field and out of the ring, meet the U.K.’s next champions of rugby, lacross, boxing, running, and more

90 rISE ABoVE BY MArIo S orrENTI The finalists in the sixth annual VMAN & Ford Model Search have arrived.

Meet Wyatt, Joe, Jacob, Garrett, Danny, and Trey

96 A DAY IN THE LIFE oF A SUpErMoDEL IN THE MAKINg BY pHILIppE VogELENZANg Model Search winner Joe Dolce is almost ready to leave his native Long Island behind and reign over the runway, but not without taking us into his world first

98 TIME AFTEr TIME BY SHArIF HAMZA Male modeling’s biggest names return to show how far they’ve come and how much better a man gets with experience

112 THE rAZor’S EDgE BY KACpEr KASprZYK Behold the brutal geometry and pulsing veins of Fall’s most elegant menswear

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PHOTOGRAPHy DANIEL LINDH

JACKET calvin klein collection

www.dior.com

In search of infinity

f o r e w o r d changing tides

In this young century, everything seems open: no industry or government is impervious to a new generation’s demand for change, for reinvention, for anything that feels like revolution. Such is the case at this current and crucial moment in men’s fashion, which has a history of long periods of stagnancy—a silhouette can last a decade and then suddenly a trailblazing designer puts a ripple in things, and before you know it not only is your suit tailored differently, but the entire shape of masculinity has been remodeled. This is what keeps fashion exciting for designers, editors, spectators, and consumers. As the most recent seasons of menswear have been quite tempestuous, with so many brands unabashed in their cleaning house, either dismissing their creative heads or bidding those captains adieu as they jump to the helms of more enticing ships, it’s evident that change is coming.

Last year, in what might now be pinpointed as the first of many a menswear house’s remodeling, Louis Vuitton took a chance in their appointment of Kim Jones to Style Director—Jones had spent much time prior hopping from brand to brand—and his three collections since have attracted nothing short of deep adulation from consumers and critics alike. Vuitton’s success with Jones, however, did not inspire other houses to bring in fresh blood, but instead to reinstate heads emeritus. Yves Saint Laurent brought back home oft-sung hero Hedi Slimane, and that

brand’s former creative director, Stefano Pilati, has since taken over at Ermenegildo Zegna. After nearly seven years with Raf Simons at the company, Jil Sander has reinstated Jil herself. A piece from Simons’s final collection for the brand is pictured on this issue’s cover, worn by Model Search winner Joseph Dolce. Ms. Sander rejoins peers Miuccia Prada and Donatella Versace at a roundtable of fashion empresses ruling eponymous labels. Beyond these marquee changes, there has been no subsequent shortage of designers (and executives and magazine editors) being deposed or given command as brands navigate the turbulent waters of a new world.

Clearly, what with all these industry-quaking tectonic shifts, there’s a communal desire for men’s fashion to reignite itself, to excite and inspire—for something to happen. But now that the aftershock has ceased, the most prominent sensation we’re left with is simply anticipation. Putting aside discussions of social media commerce, industry transparency, consumer interaction 3.0, Asian markets, and all the other new focal points of brands in the digital and mobile age, what’s clear is that the need for rejuvenation in menswear must first be addressed in the fashion itself. The audience is hungry for new propositions, new proportions—we want to be enticed to spend our money not because of trend or because the Internet told us to, but in reaction to an exciting display of imagination. This is a call for creativity. The idea of cool is ever-evolving, and the gusts of change are growing tornadic.

We can’t wait to see where fashion’s most brilliant minds will steer the world of menswear in the coming seasons.

THE EDITORS

Sian Anstee Ford NY Sam Doerfler Emily Novak Blake Woods Jesse Simon Kati Brown Paul Rowland Little Bear Inc. Jeannette Shaheen The Collective Shift Jae Choi Brenda Brown Marc Kroop Box Allison Richman CLM Cale Harrison Nick Bryning Rep Limited George Miscamble Management Artists Valerie De Muzio Pia Byron Francesco Savi Daniel Weiner Virginie Laguens Tiziana Trischitta Jed Root Inc. Rachel King Cadence Neil Cooper Ashley Herson Artlist Jonathan Ferrari Nathalie Moussier Michael Quinn D + V Management Charlie Brierley Laura Hinds Matthew Mitchell Justinian Kfour y Jonathan Black Elizabeth Marquis Miya Barrager Suzan Schuitemaker Martin Carvajal Jenelle Williams Jason Kanner Lana Winters Tomczak Gaspard Lukali Kevin Apana Alexandre-Camille Removille Eva Goedel Sandra Kang Splashlight SOHO Shell Royster Root [Drive-in] Kip McQueen Aldana Oppizzi Lydia Andersen-Tarnell Pier 59 Tony Jay Federico Pigntatelli Sandbox Studios Phil Caraway Azzurro Mallin BOXeight Fast Ashleys Michael Masse Smashbox Studios Rebecca Cabage David Radin John Cassidy

PhotograPhy danieL Lindh JACKET bOTTEga vEnETa

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PROP STYLING RACHEL HAAS (JED ROOT INC.) PHOTO ASSISTANTS WARD PRICE AND DAVID CHOW PRODuCTION FRANCESCO SAVI PRODuCTION COORDINATOR DANIEL WEINER LOCATION SHOOTDIGITAL

sPeciaL thanKs Art Partner Giovanni Testino Amber Olson Candice Marks Allison Hunter Katie Fash Intrepid Anya Yiapanis

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the long winter cometh, s o gather your gear and get in the know

ProP Styling rachel haaS (Jed root inc.) Photo aSSiStantS Ward Price and david choW Production FranceSco Savi Production coordinator daniel Weiner location Shootdigital

photography daniel lindh fashion christopher barnard clockWiSe From toP right: hat ErmEnEgildo ZEgna Boot michaEl Kors Bag and ScarF BElstaff PortFolio Emporio armani Watch cartiEr glove giorgio armani

N EWS | vman 29

Kubrick on the set of 2001

vManDaTes November 1–June 30 Stanley Kubrick at LACMA the los angeles county Museum of art and the academy of Motion Picture arts and sciences present the master film director’s first retrospective in the context of an art museum. the show will consist of archival material, annotated scripts, photography, costumes, cameras, and more. if you visit by March 10th, you’ll get to see the expressionist films Dr. caligari and Metropolis (no doubt influences for classics like the shining and 2001: a space odyssey) on view there as well. lacma.org

Richard Mosse, Love Is The Drug

cool sensaTions wi t ’ chill winter’s hill has h descended d d on this season’s best men’s fragrances. steel yourself with a splash of these original olfactory creations and become a frost-fighting gentleman ready to brave the winds. murphy CarmiChael

John VarVatos classic, $78 Byredo parfums Black saffron, $200 dior homme, $74 CalVin Klein encounter, $72

December 6–9 Art Basel Miami Beach Preempt the hallmark holiday blues by experiencing some real fine art (in a real warm climate). head to Miami Beach for the 11th edition of the self-proclaimed most prestigious art show in the americas, which showcases artists’ work from over 257 leading galleries from 31 countries. even if you miss the art, the week has notorious party potential. miamibeach.artbasel.com

y-3: anniversary x time flies when you’re redefining an entire category

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From top: FALL 2006 presentation, FALL 2004 campaign, FALL 2007 presentation

January 18–20 The Progressive International Motorcycle Show this traveling circus of the sickest machines on two wheels descends on new york’s Javits center, allowing gothamites to gawk at the hottest sportbikes, cruisers, and custom rides from around the world. the exhaust-growling extravaganza will feature a full Daytona 200 pit stop and host Diy seminars for those with a brand-new need for speed. motorcycleshows.com

fragrance PhotograPhy Jason Pietra retouching BesPoke Digital richarD Mosse iMage courtesy of the artist anD Jack shainMan gallery new york kuBrick iMage courtesy lacMa y-3 iMages courtesy y-3

of ready-to-wear. Making athletic clothing fashionable was a gnarly proposition ten years ago when adidas tapped yohji yamamoto to up the ante on its men’s offering. now that he’s broken the mold for imaginative athletic wear and forward-thinking sports apparel, to have questioned the union seems unnatural. “we live in a sport and body conscious age,” says Mr. yamamoto. “it will continue in this direction, and we will explore and change and develop.” for spring 2013, which will mark y-3’s decennial, Mr. yamamoto plays with the hallowed three-stripe trademark, permuting it on men’s separates and accessories. the collection merges the power of thoughtful, dynamic fashion with the formidable resources and technology of a global brand. kudos to both Mr. yamamoto and adidas, who gives the experimental designer free reign. the easy, romantic silhouettes and more dressed-up suits that went down this season’s runway were like an anniversary present—from the designer to the brand and vice versa. in the whirl of new york fashion week, it’s ironic that a Japanese designer working with a german sportswear manufacturer would be the one to carve out such a necessary niche, and in such a short period of time, given the years it takes to build a brand. But there’s no doubt that y-3 is less a brand than a well-maintained marriage of vision and innovation. Christopher Barnard

www.cesare-paciotti.com

NEW YORK - BEVERLY HILLS - BAL HARBOUR SHOPS

black tie 2.0 The tuxedo remains the final frontier of menswear, especially for the current generation. it’s the sartorial elephant in the room, even for guys who are fastidious in their dress, always waiting for “black tie optional” to appear on an invite (it’s never optional). stylish men are often perplexed by the subtle options and codes that go into formal dressing. shawl collar or peak? Waistcoat or cummerbund? but the conundrum is less a matter of taste than of education and suitable, accessible options.

Enter Acne studios and Mr. Porter, who have teamed up for an exclusive eveningwear collaboration that seeks to assuage whatever anxiety you may have. The collection, launching in November on Mrporter.com, is a decidedly younger mix of jackets and trousers in bespoke jacquard fabrics cut in the slim, cool silhouettes for which Acne is known the world over. “The fact that a very contemporary brand like Acne is working with us on a collection is testament enough that there is a younger and cooler audience out there who wants to adapt and adopt eveningwear into the rest of their wardrobe,” says sam lobban, Mr. Porter buyer and the brains behind the project. The collection is the perfect offering for the young fashion-minded man tasked with formal attendance this holiday season, in the spirit of looking great and appearing to know exactly what you’re doing. CB mrporter.com

forever music

the holiday spirit The holiday season is all about giving, and this winter

belvedere makes gifting easy by getting you buzzed with its brand-new (bElVEDERE) RED. Marking its second year of partnership with the global Fund to Fight AiDs, the purveyors of fine vodka have given their special edition bottle a makeover in bright, semitransparent metallic red. With 50 percent of sale profits going to finance programs fighting hiV and AiDs in Africa, you can enjoy a seasonal cocktail with the pride that comes from making a difference. A stocking stuffer has never packed a punch this potent. DARK MONTGOMERY belvederevodka.com 3 2 vman | N EWS

ACNE/MR. PORTER PhOTOgRAPhy PhiliPPE VOgElENzANg FAshiON DElPhiNE DANhiER gROOMiNg ChRisTiNE ChERbONNiER (ATEliER MANAgEMENT) MODEl MAlCOlM DE RuiTER (FORD Ny) PhOTO AssisTANT EMiliO gARCiA hERNANDEz lOCATiON sANDbOx sTuDiOs bElVEDERE AND bAsiNski PhOTOgRAPhy JAsON PiETRA RETOuChiNg bEsPOkE DigiTAl

given enough time, everything discovers its undoing. by neglect or force, in a millisecond or a millennium, each moment is inevitably one toward destruction. buildings fall down.

The remains of outmoded technology decompose. your body. some would argue that this is one of the truest definitions of what we call the universe and everything within it: nature, biology, things. One long-celebrated exposition of this thesis is William basinski’s The Disintegration Loops, which commemorates its 10-year anniversary with a limited-edition vinyl box set, courtesy of Temporary Residence ltd., consisting of the original four epic volumes and a pair of previously unreleased live orchestral performances, at the Metropolitan Museum of Art and the 54th Venice biennale. it remains some of the most beautiful music ever produced. until it’s gone. MC

hAt gents

headgear has reclaimed its place in fashion, and custom cap-makers gents wears the crown photographY philippe Vogelenzang fashion delphine danhier

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GroominG Christine Cherbonnier (Atelier mAnAGement) model mAlColm de ruiter (Ford nY) photo AssistAnt emilio GArCiA hernAndez loCAtion sAndbox studios

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pa rag v m s T Y I C o

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these pioneers have forged new cultural identities through their pers onal styles, leaving an indelible mark on fashion

j e a n - pau l g o u d e photography jean-baptiste mondino The essence of a man’s style is in his vision. An elegant black tux or a trove of accessories—bow ties, ascots, cuff links, and so on—can’t compare with what is unwearable: true works of art, born of the purest imagination. And Jean-Paul Goude’s works of art are what make him the ultimate style icon. Hailing from the nowhere suburb of Saint-Mandé, in his own words “the dreamland of a typical Parisian middle class,” Goude cultivated a limitless store of fantasies and inspirations that would carry him to the École Nationale Supérieure des Arts Décoratifs in Paris and then to Esquire magazine in New York during its 1970s heyday. Approaching everything from illustration to painted-over photo portraits with what he calls an “entomologist’s precision,” Goude has set a surreal new standard for art direction. He’s carved an extravagant and idiosyncratic nexus between the commercial and the avant-garde, following in the footsteps of his friend the great George Lois and paving the way for generations of artists and designers to come.

Goude’s personal style is simple, amiable, and impactful, his clothes a sober, chicly designed counterpoint to the opulence of his artwork. Photographed often in high-water

army and navy cotton drawstring pants and sweaters, Goude is known to pair his timeless, casual ensembles with white buck shoes by Cole Haan, and sometimes white socks—a look on which he holds a virtual trademark. Conjuring otherwordly delights for more than three decades, Maestro Goude has ascended to some lofty fashion heights: playing visual architect to the career of pop legend Grace Jones, creating advertisements for Chanel and Azzedine Alaïa, shooting Hollywood starlets for fashion glossies (including V ), and art directing the 1989 Bicentennial Parade (which marked the 200th anniversary of the French Revolution), to name but a few of his brushes with immortality. But his blending of the personal and professional is what lends gravity to all of the glamour. His personal relationships with a succession of remarkable and beautiful women are at the center of his legacy, his craft having been fueled by his most primal passions and the age-old tradition of artist and muse, grounded in truth, beauty, and romance. A grasp of iconography in all of its possibility is how he masters advertisements, performance, fashion, and art, but the greatest icon to come from the world of Goude is unquestionably the artist himself. PATRIK SANDBERG

STYLE | vman 37

nick k a men photography jamie morgan down to his boxers to wash his jeans. Directed by Roger lyons, who chose a marvin gaye soundtrack, the 50-second spot for levi’s 501s is now considered one of the most iconic television commercials of all time—and it catapulted Kamen to sexsymbol status, both at home in the u.K. and overseas. aided by a print campaign further establishing him as the face of 501s, Kamen quickly parlayed his success into a career in music, releasing the single “each time you Break my heart,” featuring madonna on backup vocals (she is also credited with producing the track). While it cracked the dance charts, its success was modest. the staying power of his 1990 hit, “i Promised myself,” was far greater.

By 1992 Kamen’s profile had diminished, and in recent years he has faded into obscurity. But a quick search on youtube proves what many avid popwatchers have always known: Kamen is the essence of electric youth. Dark MontgoMery

Buffalo images fashion Ray PetRi

Despite a lack of crossover success in the american pop market, model-singer nick Kamen remains a style inspiration for fashion insiders who recall his blue-eyed, boy-next-door appeal and the bubblegum songs that epitomized the earnestness of ’80s-era mtV. Kamen’s introduction to the culture conversation was memorable: in 1984, Buffalo’s Ray Petri styled him for the cover of The Face magazine, photographed by Jamie morgan, in aviator sunglasses, an orange turtleneck, a ski hat, and a well-placed Band-aid, accenting the ensemble with frosted lipstick. unabashedly over-the-top, the image put a vibrant stamp on that year’s fall/Winter fashion, one that exerts a strong influence even today (see our cover story, styled by Robbie spencer, beginning on page 90).

Kamen’s breakthrough, however, undoubtedly came the following year, when he strode into a ’50s-style launderette looking like a young elvis Presley and stripped

STYLE | vman 39

IMAGeS CoURTeSY PeTeR MURPhY

peter murphy photography anton corbijn Transformation is invested / With the mysterious and the shameful / While the thing I am becomes something else / Part character, part sensation.” — Bauhaus, from “Mask”

any other number one hit that year. The musical descendents of Murphy and Bauhaus

are well documented, and the artist’s style has been a force no less powerful.

“Bauhaus popularized an image of black-clad Goths which continues to influence They call him the Godfather of Goth. Peter Murphy is best known as the vocalist of mainstream fashion,” writes Valerie Steele in her book with Jennifer Park, Gothic: Dark legendary sonic pioneers Bauhaus, whose 1979 single, “Bela Lugosi’s Dead,” is largely Glamour. “Mask is irrefutable evidence that Bauhaus pioneered the dark theatrics considered to be the beginning of the Gothic rock genre. But like any true innovator, characteristic of the Goth genre,” continues Park, referring to the band’s 1981 album.

Murphy has proved himself unafraid to leave behind the worlds he creates, to tear “Bauhaus was a band that understood the power of image early on…the erotically down the walls of his own dark castle in the post-punk underworld and go in search of androgynous good looks of Peter Murphy well suited the Goth emphasis on beauty, unknown creative terrain upon which to rebuild. After he disbanded Bauhaus in 1983, and [his] attention to style again reiterated fashion’s ultimate status in Goth subculture.”

Murphy embarked on years of exploration as both a solo musician and a painter. Nearly A Muslim who has called Istanbul his home for the past twenty years, Murphy a decade later, in a sign of his lasting brilliance, he created American pop anthem “Cut cites family as his earliest style inspiration: “My father, Michael Patrick, who in the You Up” (1990), which sat at the top of the Billboard Modern Rock charts longer than 1930s was a natty turnout in wide Trilby and a swathing woolen beige long coat.” The

e-mail he sends me from California while on tour supporting his recent record, Ninth, is written in a beautiful Joyce-meets–Anthony Burgess vernacular. “My near twin brother Christopher’s ’70s Ben Sherman shirts,” he continues. “Then his full testosterone black three-quarter Crombie coat, dancing to Northern Soul and Reggae at our youth club, all pubescent and checkin’ out the girls—cool. Not to forget my mother Margaret Ellen’s own makeup sessions in our sunflower concave dinner room mirror, the pinnacle of the wist being as she applied her just right, deep crimson, strawberry red lipstick, rendering her own natural beauty just so!”

His influence permeates several generations and genres of fashion designers. It’s of course present in the more devotedly Gothic, such as Rick Owens, Ann Demeulemeester, and Yohji Yamamoto (and the subculture of artisan darkwear born thereof, like Carol Christian Poell, Carpe Diem and its disciples, and Paul Harnden).

But it’s also visible in the work of preeminent designers Alexander McQueen, Marc Jacobs, Martin Margiela, and John Galliano, as well as today’s young pioneers, such as Riccardo Tisci, Olivier Theyskens, and Alexander Wang.

And yet, Murphy says, “What I look like and what I wear is not fashion. What I wear is an integral part of my whole. In relation to my music and my work—I see my clothes as part and parcel of the same movement. As I write a song, I write upon myself, too. It’s all interrelated.”

It’s been almost three and a half decades since Murphy’s cellar-door voice first cried out its declaration of a new melancholic unity. Lasting victor of the countless culture wars since, Murphy sits on the dark throne built by his successors—the artists and fans who continue to inherit, reinterpret, and bequeath his influence—his legacy forever undying. Elliott david STYLE | vman 4 1

Hair CHristiaan GroominG GuCCi Westman PrintinG BoX

“What I Wear Is an Integral part of my Whole.

In relatIon to my musIc and my Work—I see my clothes as part and parcel of the same movement.”

–peter murphy photography inez & vinoodh STYLE | vman 4 3

v m A n W i n t e r music GRIZZLY BEAR’S ED DROSTE BREAKOUT ACTS OF THE YEAR HIP–HOP’S nEw nOTORIETY photography daniel lindh prop Styling rachel haaS (Jed root inc.) photo aSSiStantS Ward price and david choW production FranceSco Savi production coordinator daniel Weiner location Shootdigital

film & television JOHn KRASInSKI BY GUS vAn SAnT Tv’S YOUnG STARS

sp orts BRUCE wEBER’S ATHLETE EXTRAvAGAnZA

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Clothing Ralph lauRen

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t h e s e c o n d c o m i n g o f john krasinski the writer, producer, and star of this winter’s promised land talks origins, inspiration, and the american dream with the film’s director, gus van sant

photography carlos serrao fashion hayley atkin interview gus van sant

ohn Krasinski is not that guy. Generally perceived to be America’s boyfriend, because it turns out—I don’t know why—people aren’t super keen on having you the 33 year old has spent almost a decade playing Jim Halpert on The Office, a leave during the day to go to an audition and expect that your job is going to be there good-hearted, innocuously handsome everyman whose harmless jokes aren’t when you come back [laughs]. dumbed down but aren’t in danger of flying over anyone’s head, either. Most actors GVS Yeah. And then for some of the auditions you’re talking about you had to on long-running programs end up conjoined to their TV characters, struggling to fly to L.A., right? assert their artistic range outside of the show. But when a show ends, by choice or JK Yeah. When I was out here filming [that failed] pilot I went on a couple general by cancellation—the former applies in this case, as The Office enters its ninth and meetings, and one of the meetings was with this amazing woman Allison Jones, who final season—then the future becomes malleable. To say nothing of the proclivity has cast anything good that you’ve ever seen. She said, “I really want you to look of casting directors, Krasinski has long showed signs of acquiescing to the public’s out for the thing I’m going to call you about, it’s called The Office.” And I was like, expectation for him to repeatedly embody the character they’ve invited into their “Yeah, yeah.” And then three weeks later I was going in for the show, and a couple homes each week. Outside of The Office, the majority of Krasinski’s mainstream film weeks after that I got it. roles—License to Wed, It’s Complicated, Something Borrowed, and most recently GVS And so when you did that were you working with the creators of the Big Miracle—have seemed like slight variations on Halpert, all pulled off with his British Office? now-signature effortless charm and ostensible insistence that, Hey, I’m this guy!

JK Yes, with Ricky [Gervais] and Stephen [Merchant] on the pilot. NBC made the But if you look deeper, past the mainstream and primetime, the real Krasinski decision to make the pilot almost word-for-word the English transcript. But I’ll never appears. A Bostonian who studied theater and playwriting at Brown University and forget that first season, when our writers started scripts and episodes that were comthen spent some time at the Royal Shakespeare Company, Krasinski first revealed pletely their own and they were unbelievable. I remember thinking that this is somehis genuine interests when he used his payment for the pilot of The Office (he was an thing so special. We were constantly in fear of getting cancelled. We actually had a NYC waiter at the time of his audition) to buy the rights to literary icon David Foster guy come down every Friday to the set and he’d be like, “Ah man, this episode’s so Wallace’s collection Brief Interviews with Hideous Men, which he then adapted, great, it’s going so well. The dailies are looking great. You know this is the last epiproduced, and directed himself. Also early in his career, he had a supporting role in sode, right? We’re not going to pick it up.” And I was like, “Can I at least get these on beloved avant-weirdo Gregg Araki’s 2007 stoner comedy, Smiley Face. Interviews DVD to show my mom?” And he actually did give me the first six episodes on DVD, debuted at the 2009 Sundance Film Festival, the same year Krasinski starred in Sam because we were sure we actually weren’t going to get picked up.

Mendes’s Away We Go, written by indie publishing’s royal couple, Dave Eggers and GVS But you did.

Vendela Vida. But four years later, John Krasinski, an intellectual lit-head with a fas- JK There was a whole confluence of events, which was, critically, people thought it was cinating, self-powered career, is still basically known as Jim Halpert. pretty good, but iTunes was a huge factor. I remember walking around New York and Krasinski may or may not have made those big studio projects because he people would stop me on the street with buds in their ears and go, “Oh my God!” And knew they’d be fun and help support more artistic work, but in any case he seems I’d say, “What?” And then they’d turn their iPod around and say, “You’re on my iPod!” deeply appreciative of his career—the experience of it—describing his life as this GVS [laughs] amazing thing that sort of just happened to him. The modesty is genuine. This JK We were one of the first big TV shows on iTunes. People were watching the show, winter, he and Matt Damon are the writers, producers, and stars of a new Gus Van like, in the subway. And that completely saved us, totally saved us. We built sort of Sant film, Promised Land. What comes through in his conversation for VMAN with a cult group of amazing fans and from there people actually started watching the Van Sant is that Krasinski really is a real guy, a hard-working artist who’s made show on television. the most of his opportunities. As David Foster Wallace once wrote: “The truth will GVS Wow. And now it’s been how many seasons? set you free. But not until it is finished with you.” The truth has only just got its JK Nine! This is our ninth season. And they just announced that this is the last season. hands on John Krasinski, and it’s pulling him onto a different stage for the rest of I get so emotional to think that we’re ending the show, but I’m unbelievably proud to us to see. ELLIOTT DAVID be a part of one that actually gets to end. Instead of being asked to leave, I actually get a shot at bringing the whole story and all the characters to a close.

Gus Van Sant Hey John, it’s Gus. GVS [pause] So then you’ll have to look for new work.

John Krasinski Hey Gus. JK That’s why we’re on this phone call. I’m calling you right now to ask to be your GVS What are you up to? personal assistant. I’ll do whatever it takes.

JK I just got back from Vegas with Matt [Damon] and [Damon’s wife] Lucy. It was GVS Or go back to waiting tables. So let me ask you—I know it’s a long, circuitous pretty great. story about the origins of Promised Land—what was the very first step in creating it?

GVS Did you stay up late?

JK The first step was—I just had an idea one day. I really wanted to write a story that JK No, why would we do that? [laughs] was a representation of where we are now as a country, one man’s quest to discover GVS It sounds like you stayed up really late. his identity and then, through the movie, discuss American identity. I went to Dave JK [laughing] No it doesn’t. No, we did, we stayed up really late because Emily [Blunt, Eggers with this idea of doing a movie about a guy going through some sort of Frank Krasinski’s wife] was on a hot streak and we were all sitting around the table watch- Capra-esque journey. We knocked around ideas and came up with all sorts of really fun ing in awe. It was pretty hilarious. characters and situations, and then I took all that to Matt [Damon] and he and I started GVS So you’re living in L.A. and New York? writing the movie. It was one of the most awesome processes that I’ve ever been a JK L.A. pretty much full-time. I spend a lot of time in New York, but L.A. is definitely part of. I met Matt through Emily—they had done [The] Adjustment Bureau together. I where I call home now. It’s tough to live in New York and be in the business. The busi- remember him asking what sort of things I wanted to do, if I was going to write or direct ness is definitely there, but the majority of the process happens here. And of course or anything like that. And I said, “Well, actually, I have this idea.” He was really excited [The Office] is filmed here in L.A. So I’ve been here for, God, 10 years, I think, officially. to be a part of it, and so we just started writing it. He was shooting We Bought a Zoo I moved out here for the show. I drove across country for the show. and I just went over to his house pretty much every week and hammered out tons and GVS Wow. And before that had you done any other shows? tons of pages while he juggled kids and somehow kept his family life together and JK I had done one failed pilot. I remember when it failed I was like, Oh my god, how allowed me in [laughs]. It was amazing and we had a blast. And that happened really does someone survive this? That’s it, that’s the end of my career, it’s over. I was fast, too. I mean, we started writing last February, I think, so the fact that the movie’s waiting tables in New York. I only flew out to L.A. to do the one week of the pilot and coming out this year is insane. As you know, that process is crazy. then came right back to waiting tables. I worked at like nine different restaurants GVS And then?

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“I remember havIng that tInge of anxIety, lIke, What Is goIng on, hoW Is thIs at all possIble?

It has been a lIttle bIt lIke lIvIng In a dream.”

–John krasInskI

JK And then! Well, as you know, matt was going to direct it. then, just before christmas,

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was that something would happen that would make him call me to help with the project. That was the scenario I always pictured in my mind.

JK no way.

GVS So when Matt called me I thought, Oh my god, I actually got the call that I was imagining might happen— JK [laughs] that’s insane. i can’t even believe that’s real.

GVS It’s also weird that it’s been this long, that it took 15 years before that happened. I thought it was going to happen, like, in a year or two after Good Will Hunting. So how about we talk about the idea of American identity and the politics in Promised Land?

JK i’d like to hear what you think about it, but to me the idea of the movie was to be about where we’re headed as a country as represented by matt’s character, a guy who has a job and is good at doing this one thing and then he questions whether or not he should be doing it. And i was always really interested in the green energy movement—not because of its political reasoning but because of the fraudulence happening within it.

GVS Yeah, to me it’s a by-the-book example of very aggressive American business processes that are quote-unquote “legal” and yet you wonder why they would be legal. The way that some very powerful and wealthy companies can manipulate markets and/or manipulate the basic safety of the American people in going after big profits. It is the American way, but it’s blown out of proportion, it’s on steroids. It’s just the way of the modern world, and maybe even dates back to the invention of the corporation. And the movie is trying to show a simple example of that.

JK this game’s been played forever, fracking is just a recent incarnation. i think it would be really ridiculous if our movie gets pigeonholed as a fracking movie, because i’ve always found it’s so far away from being any sort of environmental issue film. it’s completely about the characters and the situation of their town economically, its potential for growth, the potential for growth in the country as a whole. that’s what i think the movie was always about. We used to have wind power as our backdrop and we changed it to natural gas because we felt they were interchangeable—except for the fact that people in the natural gas industry are becoming millionaires overnight, so the stakes are much higher, which made things more fun. But it was never our intention to make an “issue” or a politics movie, so it will be very interesting to see how people interpret it. At the end of the day it’s not about a choice regarding an environmental issue but a choice about how you want to live your life, at what point do you chose to participate in the world rather than just allow the world to happen to you.

GVS It’s like a computer: it’s all numbers, there’s no actual person running it. If an individual—even if they’re the CEO of a corporation—goes against the numbers, there’s always an easy way to get rid of that individual, because profit is the most important thing. The movie business has turned into that as well.

JK And that’s the thing: no one issue or industry is at fault entirely, because it’s just been the way the game’s played, it’s a learned behavior. Going for the kill is sort of a learned behavior. And i totally agree with you about the movie industry. i’m just so proud that we even got to make this movie because i think there is that desire for many people in this business to make the biggest movie possible with the highest profit margin rather than a more quality movie that also could potentially have an equal outcome but that you could even spend less money on. it’s almost like if you don’t cross the billion-dollar threshold your movie didn’t actually succeed [laughs].

GVS I know, that’s crazy, right?

JK Don’t worry, Gus. ours will, i promise.

GVS [laughs] JK We’ll have action figures and everything. hey, are you around today, are you in the editing room? i actually have a gift for you.

GVS I’m going to be there at 6.

JK Are you going to be at your house before that?

GVS No, funnily enough, I’m going to Ikea to shop for furniture.

JK Amazing. that is amazing. that’s how they should end this article. And then, after this wonderful discussion, Gus hung up and went to ikea.

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he decided that he couldn’t because there was just too much on his plate. the day he told me was such a jarring, awful day. i was so depressed because i thought the whole movie was going away, and he was like, “no, no, no, i’m going to call Gus and see if he wants to do it,” and i said [sarcastically], “yeah, yeah, that’ll be great.” i was so totally in disbelief and frustrated at what was happening. And then i got this voicemail message of matt freaking out, like, “oh my God, oh my God, holy shit, holy shit.” that’s all he kept saying, and i didn’t know if he was excited or if he had been shot or something. And then at the end he was like, “i don’t know, man, i guess your first screenplay is going to be a Gus Van sant movie. so i guess that sucks.” And then he hung up [laughs]. i think, i think i actually cried. i sat down and cried.

GVS Oh, wow.

JK only for a second! i was so excited. i can bore you with this story only because i know that you’ve heard it before, but i really do mean that. everyone’s always asked me who’s the one person i want to work with, and i’ve always said your name. Being from Boston—i think we have to get the Good Will Hunting poster tattooed on our backs when we’re like 16 or 17, it’s just a rite of passage. that movie is so, so, so huge. i actually remember seeing that movie like five times in the theater. so when he said you were directing this, it was a little bit of an existential crisis [laughs]. And then going to your house for the first time—you had called me over to review the script stuff, and i remember having that tinge of anxiety, like, What is going on, how is this at all possible? it has been a little bit like living in a dream. this has been a really, really surreal, awesome experience.

GVS Excellent, that’s great. And for me it was a great opportunity to work with Matt again. We hadn’t worked for a long time. How old were you when Good Will Hunting came out?

JK i must have been 18 or 19. When was it, ’97 or ’98?

GVS ’97.

JK so i was a senior in high school.

GVS Are you going to write something new with Matt?

JK i’d love to write with matt again. i don’t know when we will. he’s a busy guy.

GVS Yep. JK he only has like 84 movies coming out a year. he’s a rising star.

GVS Yeah [laughs].

JK it was exciting because i’d never written an original script before—as much as it was exciting, it was incredibly terrifying, because i had never thought i could do it. i was thrilled to find out not only could i do it but it was this much fun. What did you think when you got the script and were told that we were hoping to shoot in April and everything. i think your response was “okay” and that was it. i was thinking, how is that possible? how is his answer “okay”? i actually remember your e-mail to matt, it’s emblazoned on my brain. you said, “okay, i’ll do it.”

GVS Well, I had heard about the screenplay. It goes way back to that moment when we’d finished Good Will Hunting and I had all these opinions about what Matt and Ben Affleck should do with their lives, and I would tell them, and then they would very obviously not listen to me. But my suggestion was “You should stop working on these.” They were just doing weird projects as actors, which was what they wanted—their whole idea was if they got into the position where they got offered the roles that they wanted to be offered they were going to take them. Up until that moment Matt had never refused a role in his life. Now, all of a sudden, they had all these offers coming in, so they were way too busy to write a new screenplay. And I was always giving them this speech of “Keep writing characters for yourselves and then you can build your own career rather than just become the player for other people’s ideas and films.” They started writing this really cool project which became one of those scripts that got to like page 30 and stopped. And then the only other thing was Matt and Casey [Affleck] and I wrote Gerry, during which it became clear that Matt was used to working way harder than just a few afternoons on a script that was largely made up as we went along. So I’ve always been waiting for a screenplay, whatever that screenplay would be. And when I read about this—I first read about Promised Land probably a year ago, when it was announced that Matt was going to direct—my fantasy

Clothing Calvin Klein ColleCtion

prime timers the taboos of television long since abolished, the next generation of truly great talent is cutting its teeth on the tube. meet three of the seas on’s most bankable boys photography terry tsiolis

fashion tom van dorpe

DA N ST E V ENS Age: 29 Hometown: London Currently: Downton Abbey and the Broadway revival of Tony Award–winning play The Heiress, opposite Jessica Chastain What’s your favorite show that’s not your own?

I love Breaking Bad and South Park. Also the original Danish

version of The Killing is amazing.

How do you feel about the current state of television?

America has seen a golden age of television recently, and I think a lot of great actors and writers are more and more attracted to high-end television as it offers the opportunity

for lengthy exploration of character and plot. I don’t think the hierarchy that values film over television exists anymore.

Beyond Downton Abbey, are you more passionate about theater or film?

I’m from a theater background. It’s where I learned my craft and where I’d love to return. That said, I’m loving learning more about film, its imaginative qualities, the subtleties and intricacies it can show and its celebration of the inner life.

Who’s your male icon or personal hero?

I’ve always admired Jimmy Stewart. His tragicomic portrayals of the vulnerable man are very interesting.

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TELEVISION | vman 53

Tuxedo, shirT, bow Tie Louis Vuitton T-shirT Cox’s own

ch a r li e cox age: 29 hometown: london Currently: Boardwalk Empire

What were some of your favorite TV shows growing up? i have to be honest, i actually don’t watch a huge amount of television and never really have. i love watching sport, and although i have my preferences, almost any sport will do.

Who are some actors that inspire you?

Probably the usual suspects: brando, hackman, and hopkins. i was fortunate enough to be in a film [Stardust] with Peter o’Toole. he is one of my heroes.

What’s one of your acting weaknesses? i think i can overthink a scene sometimes and end up complicating what could essentially be a very simple moment. in the same vein i often know that just thinking the thought is enough and i trust that the audience will get from it what they need.

Besides acting, how do you express yourself? sport. any sport. as long as there are rules and it’s vaguely competitive i’ll love it. i’m not a bad loser, i don’t need to win, but i need there to be a winner. i need winning to be an option.

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NICO TORTOR ELLA age: 24 hometown: chicago currently: The Following What’s your favorite show that’s not your own? when i was a kid, nickelodeon was in her golden years. from doug to rocko to alex to Pete to Pete to clarissa to Tommy and chucky, all the way to ed’s special sauce.

Are You Afraid of The Dark? yes, yes i was. These were my real friends.

Do all actors aspire to film over TV? does every actor want to be a movie star? yeah, eventually.

but television is boot camp with a paycheck. you get your script sometimes the day you start shooting, close to zero rehearsal time, last-minute scheduling, and you have no idea where your character is going. it’s fucking exhilarating. it’s like christmas morning every week when i get a new script.

What inspired you to want to try acting? i have no idea. i really can’t say anything specific. everything inspires me. real people get me off to be an actor. i want to be the kid on christopher street in heels and the dominican handball player in williamsburg at the same time. Though the heels could pose an issue with the hand-balling. television | vman 55

A N O R A L H I S T O RY O F GRIZZLY BEAR Ed drostE, lEad singEr of grizzly BEar, rEcollEcts how hE wEnt from Banging on a dEsk in his room to hElming onE of amErica’s most BElovEd Bands photography josh olins

With the release of their astonishing new record, Shields, the pioneering Brooklynbased indie act Grizzly Bear approach a decade of making music. The band has toured with Radiohead, performed with Paul Simon, played alongside the London Symphony Orchestra, and can name-check Beyoncé and Jay Z as loyal fans—all of this without adopting the air of pretension for which many of indie’s marquee acts are notorious. Instead, they’ve somehow kept things cool, local, and intimate: Grizzly Bear is everybody’s band. Here, lead singer Ed Droste recounts to writer Alex Hawgood a history of cherished memories that help explain how the band has stayed downto-earth while simultaneously sort of conquering it.

2003 I wrote the first record, Horn of Plenty, in a period of personal depression. It was just me in my apartment on Calyer Street using nontraditional anything to make percussion, including banging my hands on this metal desk I used to own. Our first show was at Zebulon in Williamsburg. In typical me-style, I bombarded everyone on Friendster to attend. At the time, it was just me, Chris Bear [drums, backing vocals], and Chris Taylor [bass, backing vocals]. There was no Dan Rossen [vocals, guitar]. We charged something like four dollars. The show was 99.9 percent close friends, maybe one person brought someone I hadn’t met before. Even though it was only supportive faces, it was terrifying. There was a ton of feedback from the mics because we were literally singing out of our amps. We probably sounded like ass. Oh well.

2005 We quickly realized that we are not as strong as we could be as just a threesome.

Chris Bear said he knew this musical genius from NYU, who turned out to be Dan. So after Dan joined, we booked our own tour, even though there was absolutely no demand. We once played a diner in Minneapolis where customers were eating tuna melts and glared at us like we were playing the devil’s music. There were a bunch of gallery spaces too, and even a leather bar in San Francisco that had an indie night.

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That was chill. The tour was a joke, but it was important character building for us as a group. I remember someone hooked us up with a gig at a college in L.A. that ended up being a midday show in the space where all the students snacked and studied.

Everyone was eating chicken fingers or staring at their laptops. A school official said our music was hurting the employees’ ears and asked us to leave campus.

2008 Our second studio album, Yellow House, came out in 2006, and the reaction was really much more supportive than we could even fathom. It was very humbling and exciting—no more chicken fingers! During the recording process for the next record, Veckatimest, Radiohead asked us to tour with them. When we heard the news, we all basically shat our pants. We were in disbelief for almost three weeks. It was the most surreal thing ever. All of a sudden we were playing amphitheaters. It was the first time we rented a bus to go on tour—we had to show up in style for Radiohead, even though it smelled like cat piss. We used to set up a mini BBQ outside our bus after a show and grill hamachi we would buy from Whole Foods. The guys from Radiohead thought it was the most American thing to grill outside your bus. But soon enough they came around and were like, “Hey man, you got veggie dogs?” It was a little bit of a King of the Hill moment for all of us.

2012 We recorded our latest album, Shields, in Cape Cod. At first we tried recording in Marfa, Texas, but we hadn’t seen each other in eight months, and the 100-plus degree heat was doing no one any favors. But when we moved up to the Cape, it was like something clicked. Dan and I had never been able to write a song together from the ground up before. One night we were sitting in front of a fire and like magic we wrote an amazing one. It was like a new level of trust had been established—it was a whole new approach to making music and song. We hit the ground running, and I knew then that this was going to be hands-down our best album yet.

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N O T O R I O U S at the helm of hip-hop’s next gen, chief keef and kendrick lamar clash on the industry’s history of hyping violence photography grant singer fashion natasha newman-thomas

lil JoJo is dead and chief keef is off the radar. Gunned down while riding on the back when kanye west announced he was recording a remix of chief keef’s song of a friend’s bicycle in the englewood area of chicago, Joseph “lil JoJo” coleman “i don’t like,” the rapper’s profile went ballistic, and in June he signed a deal with was an 18-year-old wannabe rapper who boasted of his connections to local gangs interscope for an undisclosed amount. the song is typical of chief keef’s music: and posed for pictures grasping giant stacks of dollars and brandishing guns. when the beats are loud and abrasive, and the raps drip with unbridled testosterone and he found out that JoJo had been murdered, 17-year-old chief keef, aka keith cozart, threats like “Pistol toting and i’m shooting on sight / a snitch nigga, that’s that shit made light of the incident on his twitter account, writing, “its sad cuz dat nigga i don’t like.” it’s visceral fight-club music, and what chief keef lacks in finesse he Jojo wanted to Be Jus like Us #lmaO.” chief keef has been known to hashtag his redresses with aggression. Post kanye’s endorsement, “i don’t like” now has nearly tweets “300”—rumored to refer to the Black disciples gang. his tweet was quickly 15 million Youtube views; the remix is close to topping 20 million. deleted, and he claimed his account had been hacked, but nothing really vanishes a modern viral hit, “i don’t like” has its roots in felonious circumstances. at the on the internet: at the writing of this (september), police are investigating whether time of recording, chief keef was under house arrest at his grandmother’s abode, JoJo’s shooting was gang-related and chief keef has gone to ground. convicted of aiming a gun at a cop. interscope seems to embrace his nefarious the scenario reads like just another case of inner-city black-on-black violence in upbringing: his biography brags about his status as a “legend among kids” on the the social media era. But there’s a difference: chief keef is hip-hop’s next superstar, south side of chicago, which is experiencing an “astonishing rise in murder rate.” signed to interscope records. By the end of the year, he’ll either be rich or in jail. even before lil JoJo’s shooting, chief keef was being molded as rap’s newest gangthe drama surrounding chief keef’s alleged role in lil JoJo’s demise has created a sta-shaped mainstream crossover—someone whose songs come from a violent and media frenzy around him, but over in compton, los angeles, his label-mate kendrick gritty upbringing and can be packaged to offer vicarious thrills to those in safer climes. lamar is proving you can rise through the rap ranks without relying on a sensationPimping a rapper’s notorious backstory is a marketing technique record labels alist story; their debut albums on the label will reveal two different perspectives on perfected long before chief keef was even born. interscope are past masters of a similarly challenging upbringing. the trick, responsible for forging the careers of a succession of gangsta rap icons 5 8 vman | M USI C

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hoodie hugo boss pajamas polo ralph lauren watch (throughout) keef’s own

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including n.w.a., snoop doggy dogg, 2pac, 50 cent, and the game. in each case, an egregious part of the artist’s life helped propel him to stardom: snoop faced a murder trial during the release of his debut album; 50 cent’s breakthrough was hooked around the revelation that he’d been shot nine times. By making fun of jojo’s death, chief keef may have stumbled through the gateway to wild success, proving that violence remains as valid an avenue to success in the big-label rap game as ever.

Before there was chief keef and the south side of chicago, hip-hop had compton. a repeat candidate for the title of america’s murder capital, the city’s drive-by shootings and Bloods-versus-crips gang warfare were oft immortalized in song during the late ’80s, most memorably by the dr. dre–helmed n.w.a. kendrick lamar, now 25 years of age, is a hip-hop artist who grew up in compton during that era.

But he wasn’t willing to be defined by the gangsta cliché, he says, even if it was the road to quick riches. speaking from the house of pain recording studio in los angeles, where he’s finishing up his debut interscope album, good kid, m.A.A.d. city, lamar describes his childhood as a “happy time.” his most harrowing experience went down at the intersection of Bradfield and rosencrans avenues: “i remember playing basketball in the middle of the street and one of my homeboys getting hit by a car.” then he pauses, lets out a small laugh, and adds, “he was alright, though.”

Yet the depiction of compton in rap songs wasn’t far removed from lamar’s experience. “the reality and everything n.w.a. talked about, that was real,” he says. “and my generation and the one before it, we only knew the bad influence.” around the time of his 20th birthday he started to read up on the history of the area and began to “think about certain situations and why certain people act the way they do.”

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what he discovered filtered through to his music, which settled into a blend of rapping in a voice authentic to compton’s streets and speaking from a more worldly viewpoint. an early mixtape was discovered by local indie label top dawg entertainment, who invited lamar to their studio and asked him to “rhyme for two hours, so they could see if i could make tracks.” further mixtapes followed, one including the song “ignorance is Bliss,” which made its way to the ears of dr. dre. impressed by the song, dre welcomed lamar into his aftermath stable of artists, completing the compton circle of creative life. the street has defined both Kendrick lamar and chief Keef, but whereas lamar’s rise has involved unshackling himself from the negative side of compton to find a role as the shining voice of a blighted city, chief Keef has remained beholden to his roots. since his disappearance in the aftermath of lil jojo’s shooting, requests to speak to the rapper (even through his attorney) have been fruitless. a representative from his label declined to comment when asked about his current situation. tellingly, the only quote from chief Keef in his bio reads, “i really don’t want everybody to know me—they gon’ like you more if they don’t know shit about you.” the less he says, the more his story intrigues, be it fictional or the truth.

Kendrick lamar may have turned away from violence, but he recognizes the draw of a rapper’s dramatic life. talking about the artists that made him want to start rapping, lamar says, “it was d.m.X., 2pac, and jay-Z, ’cause of the backstory and where these people came from. it’s the same place i come from, and they still made a success of it.” 2pac was murdered in 1996, d.m.X. has been in and out of jail throughout his career, and jay-Z, whose drug-dealing street life is household knowledge in the both the suburbs and the projects, is now an exceptionally rich entrepreneur. chief Keef’s next move might determine whose path he follows, but either way he’ll probably sell a lot of records. PhilliP Mlynar

z. cole smith — DiiV Zachary Cole Smith, formally referred to as Z. Cole Smith (and just Cole in casual conversation), is seated in a crowded van somewhere outside of Ventura, California, on his way up to Santa Cruz. He’s coming from Santa Barbara with his band, DIIV—Devin Ruben Perez, Andrew Bailey, and Colby Hewitt—where they played to a packed house the night before. Along the drive, Cole purchased a guitar amp from a guy off Craigslist and plugged it into an outdoor electrical outlet curiously embedded in the trunk of a tree. The gang is joined by Hewitt’s girlfriend, Sandy Kim, and they all chime in at various points. When asked how they’d describe their past year, there is murmuring. Cole yells back “Really?!” before explaining, “Two people said ‘shit storm.’ I wouldn’t ever say that. It’s been charmed. I feel lucky.”

It’s easy to see how both could be true. Their name is pronounced “dive,” which was their previous moniker, abandoned out of respect for Dirk Ivens and the original Dive (a Belgian industrial band from the ’90s). Smith once said the name was derived from the obscure Nirvana B-side of the 1990 single “Sliver” (and subsequently the ’92 compilation, Incesticide), but has since declared that names are meaningless anyway. The foursome from Brooklyn is easily one of the biggest breakout bands of 6 2 vman | M USI C

2012—their debut summer LP, Oshin, was an arrival heralded by both critics and audiences, the former spotting admirable references in the sonorous, snaking guitars and the latter thrashing joyously in mosh pits, drowning in disaffection and noise. At the moment, the band has just finished their first-ever European tour.

“I crashed my car in the middle of the night in Copenhagen,” Cole says. “I was driving this girl home without realizing she only lived one block from where we were. I drove around this corner and I don’t remember crashing it, but I woke up and it was crashed.” All in all though, the trip went well. “They respect you there,” he says. “You have a hotel every night. Now we’re going to San Francisco. Colby and Sandy know everybody and we’re still like, Where are we gonna stay? We’re looking for a floor to sleep on. There’s a whole sensibility in Europe of people respecting art and artists more.”

He gives an example of a friend who receives money from the Belgian government to make art and doesn’t have to work. Then he laughs. “Colby says that’s why European art sucks. But there is something about struggling that is an important experience to have. It filters out people who aren’t as serious about it. You need to have a huge work ethic to make any sort of art happen

anyway. Having a band is a full-time job of answering e-mails and making calls. I found out the most important role a musician has is making sure to CC the right people in certain e-mails, and then to remove them and then put them back in CCs and add more people to CCs until the CC list is massive and gets filtered back down.

That’s literally all I do. I’m like a switchboard operator.”

As grueling as that sounds, one might be flummoxed to learn that the project that is DIIV—they of beautiful droning guitar and skygazing dream-pop melodies— originated in spite of a complete lack of ambition. “I never wanted to make music when I was a kid or whatever,” Cole says. “I had a guitar because I guess everybody just does.” After moving to New York he got a job at a restaurant and ended up playing in bands like the Soft Black and Beach Fossils. “After playing in other people’s bands, I learned from their mistakes and figured it would be cool to start my own thing. It didn’t start as an artistic vision. It wasn’t something I needed to get out. It was more like, I know how to do this so I’m just gonna do it.”

After making notes on what music was missing, Cole determined that it was a shame there were no good rock bands in New York. “The scene in New York is so scattered,” he says. “All the bands we’re friends with we would never be paired with musically. People aren’t really inspired by each other. Our music is mostly inspired by bands that don’t exist anymore. I don’t really listen to new music. I’ve sort of made up this whole fake scene in my head and I pretend we’re a part of it.”

While the bulk of Oshin was composed by Cole alone in his room, the band’s new material will be the result of a group effort, and hopefully one with extreme results.

“We’re gonna take every direction we hinted at on the record and push it out as far as we can, because everything nowadays is so safe. There aren’t many mainstream weird records. People don’t make weird decisions as often as they used to. I wanted to be safe on the first record because I kind of knew how I wanted it to end up. I don’t want to dismantle it, but I want to play with it as much as possible. I feel like I was in college and now I’m in postgrad.” patrik sandberg

be here n o w m u s i c f o r t h e m a s s e s i s f i n a l ly cycling into another remarkable p e r i o d w h e n i n n ovat i o n a n d a r tistry are cherished above all else. the mainstream marionettes fall by the wayside as true musicians like these drive sound in new directions, ensuring that the originality of the songwriter will once again reign supreme. don’t call it a comeback, call it comeuppance photography bjarne jonasson fashion Zara Zachrisson

clothing smith’s own

joel ford — AIrBIrd Joel Ford is one of the most fascinating and difficultto-define characters in the relatively new-ish American outsider synth movement. Ford and sonic cult colleagues Laurel Halo, James Ferraro, and Daniel Lopatin, like Octo Octa and Ital from the 100% Silk imprint, occasionally pop out of their underground microcircus when invited to the indie mainstream party by heavy hitters who love their outsider sounds. The throughlines of these concentric circles of artists include their reverence for the late ’70s and ’80s (the period during which many of them entered the world), a preference for analog synths (or software that approximates such tones), and the mysterious veil that surrounds them all. But none are more mysterious than Ford, an avatar of all-over-the-place whatness.

“I’m mostly a pro football guy,” Ford says; he and childhood friends Lopatin (aka Oneohtrix Point Never) and Al Carlson, engineer for Mexican Summer imprint Software, all grew up in a small town outside of Boston, listening to music (obviously) and watching sports (less obvious). “I’ve been living in Asheville, North Carolina, for the past year when not working in NYC or elsewhere, but the South is so college football heavy,” he continues. “I watched BC [Boston College] as a kid, football and basketball. I went to state school, but the UMass 64 vman | M USI C

teams sucked.” So consider him geeked out on that.

Hip-hop has been a huge influence on Ford, and true to his East Coast roots, he cites DJ Premier as the alpha and omega of ’90s producers. “Primo and Prefuse 73 are the reason I bought my first MPC,” he says. And going back to the ’80s, he name-checks some oft-forgotten pioneers, like Marcus Miller, Jimmy Jam & Terry Lewis, and the System.

But sports and deep-bin ’80s anti-legends are only a fraction of the story. Ford also caught the techno (or Electronica, as it was lamely rebranded in America) bug. “The Hackers soundtrack was big for me,” he fondly remembers. “I was in fifth or sixth grade at the time and was starting to get into computer programming and techno at the same time, so obviously it hit me hard.” While some of his music has been licensed for films or commercials, he has yet to actually score one. “It’s a dream of mine,” he says.

Ford’s ecclectic taste is exactly what makes his music so multipurpose; you can fuck, blaze, or fight to any of it (and you should). Recently, he released the EP Trust as Airbird, one of his many, many projects and aliases.

This December, he’s working with Leanne Macomber of Neon Indian on her solo album (“that retro-futurist vibe”) and producing work with both Lopatin, for Autre Ne Veut

(“freakazoid R&B”), and Brooklyn-based artist Patrick McDermott, on a project called North Americans.

“Don’t take this the wrong way,” I say before I ask Ford if he’s ever gotten into a fist fight. “I was at a bar in Brooklyn,” he says. “These dudes ran out of the bar and then we noticed that my buddy’s girlfriend was covered in blood, so we assumed that she had been assaulted by them. We chased them down and fought them. It was pretty ugly. Lots of nerdy punches. The guys got arrested, though. And everyone was fine in the end. There have been some scenarios on tour in Europe where I’ve gotten up in one or two guys’ faces for whatever reason, but I can never bring myself to throw a punch. Probably a good thing.”

Ford is neither a meathead with a sensitive side nor a dork with a mean streak. Actually, he’s living proof that you don’t have to be the result of what you listen to. Fuck conforming to Breakfast Club shorthand for personality types. The future is fantasy football and fantasy film scores. JONNY COLEMAN Trust by Airbird is out now on Software SHIRT GuEss JEANS FORD’S OWN

MIGUEL “Scuzzy” isn’t a word you often hear a style-conscious R&B musician use to describe his newly minted image, but Miguel isn’t your typical style-conscious R&B musician. “It must be all those Lower East Side bars I’ve been in,” says the 26-year-old Los Angeles native (full name: Miguel Jontel Pimentel), adding that most of the material for his thrilling sophomore outing, Kaleidoscope Dream, was conceived and created in New York. The singersongwriter’s 2010 debut, All I Want Is You, achieved moderate success on the charts, spawned the Billboardnominated single “Sure Thing,” and snagged him a Soul Train Music Award for Best New Artist. Whereas that record featured slick, West Coast–flavored production and focused on the ins and outs of his relationships, Kaleidoscope Dream presents a bigger, moodier, grittier picture of Miguel.

“With All I Want Is You, other things became more important and detracted from how genuine the music was,” he says, calling from London two nights before he is set to perform at the iTunes Festival with Usher, a mentor and recent collaborator. (He’s also teamed with the likes of Wale, J. Cole, and Mary J. Blige.) “There was so much talk about my sexuality, whether or not I was going to be around a long time. There were things that

were getting in the way of the music.” The crooner calls his rebooted look “more mysterious,” “a little dangerous,” and “counter to the R&B status quo.” He sums up his latest release as “the pulse of my lifestyle.”

With Kaleidoscope Dream, Miguel is carving out a unique space in a genre that in the past two years has been plumped up and anesthetized by manufactured dance beats, or in the case of less radio-friendly acts, like the Weeknd and Frank Ocean, tugged down into a sort of skewed, mind-altering, morally ambiguous otherworld. Miguel’s music, refreshingly, teeters somewhere in between. Some of it is cloaked in prophetic-sounding high drama (“Don’t Look Back”); some of it is fizzy and retro (the Prince-influenced “Adorn”); some of it is downright pervy (the winking, faux-improvised “Pussy Is Mine”). The best line on Kaleidoscope Dream—and there are no doubt some great ones—turns up in its highlight, “Use Me,” when Miguel tells his lover in a rafter-shaking falsetto, “Baby, you can devour me, defile me.” The song is smoldering, and, yes, scuzzy, but it’s also unusually vulnerable, even for an R&B vocalist.

Miguel may be hell-bent on getting laid, but he’s still scared to have his walls “come crashing down.” Many R&B singers re- and deconstruct their identities, sexual

or otherwise, from one record to the next, an evolution of the self. But Miguel is at the mercy of his soft side, unabashed about how he sometimes feels exposed.

“I have always been the outcast,” he says. “I’m mixed heritage. I grew up in the hood during a time when racial tension was really, really crazy. I was always caught in the middle because of my culture: ‘Are you Mexican or are you black?’ My mother was really religious, my father wasn’t. It took me a long time to come to terms with me: What do I want? What am I? What do I represent?

I was being pulled in different directions.” He considers Kaleidoscope Dream his reintroduction, a clearer vision of the real Miguel. “I think I was catching up to my music. I’d spent so much time behind the scenes. I knew exactly what I wanted to do musically, but as far as being an artist—I didn’t have a grasp of doing that and being myself. The last year has been me coming into my own.” He may be 2012’s most convincing horndog with a heart. jason lamphier Kaleidoscope Dream by Miguel is out now on RCA SHIRT AND PANTS Dolce & Gabbana JEWELRY AND SUNgLASSES MIgUEL’S OWN

cody cr itch eloe — s sion Cody Critcheloe, the mastermind behind SSION (pronounced shun), makes art that is unabashedly, categorically loud. Glittery modern-day disco-pop, highly choreographed live shows that tend toward performance art, stylized music videos in which he sports full makeup, outfits ranging from Day-Glo Charlie Chaplin to some sort of Eastern European Olympiad from the 1980s— these barely scratch the surface of his vibrant world.

“Real-life” Critcheloe is calm and accessible compared to his blown-out artistic experimentations. When we meet early one evening at a restaurant on the Bowery in Manhattan, he’s entirely Zen-like and sage in discussing his art, his relationships, and his plans. The 30-year-old moved to New York last year from Kansas City (he was raised in Kentucky), and he speaks with a gentle Southern lilt. “I turned this inside out because there was a stain on it,” he says, pointing to his red cotton T-shirt, when I ask what he might wear to a bar.

Matching red shorts, a black fitted hat, and a carefully manicured mustache complete the look. Critcheloe eventually tells me he enjoys monogamy and that he doesn’t like to drink much, which sounds relatively conservative coming from a guy whose live act is often compared to a Village People video.

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Still, he explains, “I don’t feel like I’m stepping into a persona [onstage or in my videos], I’m just amping things up. And I feel like that’s the common thread among everyone I hang out with in New York—everyone is doing what they do. It’s like punk.” He begins to laugh a bit and then qualifies the statement. “I hate using that word, I’m sorry,” he says. “It doesn’t mean anything.”

Critcheloe is preparing to reissue last year’s SSION album, Bent, on Brooklyn label Dovecote in September, all fleshed out with high-volume remixes and glitzy, conceptual music videos. He’s also working on a new mixtape, which he describes as “singer-songwritery,” and gearing up for a tour with New York rapand-performance collective House of LaDosha. He’s sometimes circumspect, and can be refreshingly blunt about all of it.

“When we were setting up this tour, I said I didn’t want to just play in gay clubs. I don’t want to be a drag artist right now,” he says. “I want people to think of it as music and not just some crazy show with video and costumes.” So he’s done away with the video component of the live show, instead focusing on tight-

ening his band and gunning for traditional venues.

An artist like Critcheloe could easily accuse others

of misunderstanding his work, but he seems far too relaxed for that. “I’m going to put all this makeup on and someone’s going to dismiss it because of that,” he says. “But I get it, because that’s how it goes...and it doesn’t seem homophobic to me. I just don’t think about it like that.” carrie battan SHIRT edun JACKET, PANTS, BELT, HAT, JEWELRY CRITCHELOE’S OWN

“i want people to think of it as music and not just some crazy show with video and costumes.”

–cody critcheloe

Hair Kayla MicHele using buMble and buMble (atelier ManageMent) grooMing stevie HuynH (tHe Wall group) pHoto assistants ryan garcia, stepHen Wordie, taylor Miller stylist assistant luna garzÓn-Montano location splasHligHt soHo

“I’d love to be rIght there wIth you screamIng ‘KIll the Internet!’ but I owe It quIte a bIt.” –JacK tatum

JacK tat u m — w I ld no t h I ng Jack tatum is a brilliant songwriter who creates gorgeous dream pop and says it comes from a band called Wild nothing. He hires touring musicians for concerts, but on his new record, Nocturne, he plays every instrument himself (except drums). if you don’t trust us, let the caliber of his interviewer be a testament to his talent: simon raymonde, member of the legendary cocteau twins and founder of bella union records (Fleet Foxes, beach House, dirty three, and Wavves, among other groundbreaking bands). Here, the two rap out about all kinds of shit.

SIMON RAYMONDE You’ve done all the so-tell-meabout-the-recording-of-the-album questions ad infinitum, so how about we start elsewhere and see where it takes us? You’re from Blacksburg, Virginia. When you go back to your parents’ house after a tour or a hectic period, what do you look forward to eating most?

JACK TATUM My parents live in Williamsburg, virginia, which is where i grew up. i don’t get home as much as i’d like now that i’m in new york, but my mom sometimes makes a killer beef stew. My parents actually get somewhat adventurous in the kitchen, so there aren’t many tatum staples. they always seem to be trying new recipes.

SR When you were born, in June 1988, we were putting the finishing touches to the album Blue Bell Knoll in our very own brand-new homebuilt studio. We made the decision to NOT tour that record at all. It still charted at number 15 in the U.K. and around number 100 in the U.S.A. We had just signed our first American record deal, with Capitol, for that LP, and our first job was to tell them we weren’t touring it. Do you think that could be possible today?

JT First, you should have seen my jaw drop after the first e-mail you sent me. Massive fan. i hadn’t realized that about Blue Bell Knoll, though. i often felt the same way after Gemini was released [in 2010]. i really wasn’t prepared to tour such a perhaps overly layered record. it can be difficult to put your trust in other musicians to play your music, you have to break some mental barriers. We’ve had members come and go, but i am happy with where we are now. i thought about that relationship more with Nocturne, but for me it’ll always be lp first, gigs second. i think it’s actually quite logical and commendable that you didn’t tour after that record if you didn’t think you could do it justice. i would like to think that if i somehow made an extremely ambitious record that couldn’t feasibly be played live that my labels

would still want to release it. assuming it wasn’t garbage of course!

SR Would you ever start a record label, and what bands would you sign?

JT More than anything i’d prefer to eventually get into production. i really like the idea of having a more behind-the-scenes role in music. i think i would miss being involved creatively. i look to someone like brian eno as a role model in that sense, working mostly in production but releasing music when i feel like i have something worth sharing. that’s what i hope i’ll be able to do later in life.

SR For as long as you can remember, Jack, there has been an Internet. But I was in my early thirties before it existed! Cocteau Twins did one of the earliest Internet concerts in ’93/’94, live from our studio, amongst a throng of boffins from the Guardian and Wired. No one saw anything other than a black square with a flashing cursor in the middle for a few seconds. Can you imagine being you now and there being no Internet?

JT i feel like this topic gets brought up a lot in relation to my music, because i’m such a product of the internet, whether i like it or not. so i’d love to be right there with you screaming ‘Kill the internet!’ but i owe it quite a bit. it’s true, i think, it’s killed the music industry in a lot of ways. Most importantly it’s killed the nostalgic relationship with music that i wish i could have had more of. there is something simultaneously exhilarating and numbing about being able to go on spotify and listen to practically anything you can think of in a matter of seconds. people no longer have to go to the record store and buy the album or single and listen to it with the knowledge that they just spent money on something. i think that gave people more incentive to really give music the time it deserves.

SR I’ve had a thing for Patti Smith ever since I first saw the sleeve of Horses in 1976. It’s not sexual, but it’s not entirely intellectual either. It’s complicated. But it’s healthy. It’s admiration, adoration, fascination. Do you have an affinity for one particular artist who you think is kind of untouchable?

JT that about sums up Kate bush for me. there are very few artists that i feel like i can say are truly unique, but she is. i think a lot of people have trouble with her records sounding dated, but in my mind they just sound like nothing else out there. Who can explain Kate bush? if anything it’s like demented theater music. that’s what makes Kate untouchable to me. anyone who can write “running up that Hill” one minute and “get out of My House” the next is just insane. you know that song? With the possessed donkey noises at the end? she is nuts. so brave. read more of Jack and simon’s conversation at vMan.com t-sHirt ArmAni ExchAngE pants tatuM’s oWn

CHALKER KANSTEINER – LACROSSE & POETRY

TOBY LEONARD – BOXING

ALEX LIBBY – SURFING

ALEX CHEESMAN – RUGBY

THE SPORTING LIFE OF LADS IN LONDON photography BrUCE WEBEr Fashion Bay garnEtt p a g e

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all clothing, accessories, equipment athletes’ own

ALEX LIBBY – SURFER

HAROON KHAN – BOXER

LUKE CAMPBELL – BOXER

CHALKER KANSTEINER – LACROSSE PLAYER & POET

Those Eyes He has them now, Just like old Chinaski did, And I can tell that they have Stared down some evil.

He said he started smoking Because he liked the way It made his ¿ngertips smell.

But it was really because It let him think about her.

He pulled out the cigarettes And shufÀed the position Of his hat on his lap.

The metal clasp of his cigarette Box snapped shut And he recounted how They would sit with the smoke in a whorl Creating a purple phantom Àoating Around their faces, Her Àexed jaw just showing in the light From behind her long black hair.

He retrieved the lighter That he once tried to give me.

His Zippo used two strikes to light up.

And he shut it, Which echoed a metallic ring too, With the sound seeming To have touched everything Around him.

In the light his eyes were Clear blue and told of Memories he wished he still had.

anand rao – runner

coat BurBerry prorsum

TOBY LEONARD – BOXER

photography James aulenback

MATTHEW VANDE VEGTE – CREW

photography Lynda ChuriLLa

photography Lynda ChuriLLa

LEE PHILLIPS – FIREMAN

Hair Paul Hanlon (Julian Watson agency) grooming Kay montano (D + V management) ProDuction cHris anD terry laWrence PHoto assistants micHael murPHy, Joe DigioVanna, cHris Domurat, micHael Kelly, simon Watts FasHion assistant Hayley simmons Hair assistant mari oHasHi ProDuction assistant lisa clayton seamstress KatHarine Harrison location sPring stuDios, lonDon sPecial tHanKs Bar Bar

ALEX CHEESMAN – RUGBY

V m A N f A S H I O N R I S E A B OVE The fifTh annual ford and VMan Model Search PhoTograPhy Mario S orrenTi faShion robbie SPencer

phOTOgrAphy dAniel lindh prOp STyling rAChel hAAS (Jed rOOT inC.) phOTO ASSiSTAnTS WArd priCe And dAvid ChOW prOduCTiOn FrAnCeSCO SAvi prOduCTiOn COOrdinATOr dAniel Weiner lOCATiOn ShOOTdigiTAl

tImE AftER tImE Modeling’S hiSTory in faShion’S fuTure PhoTograPhy Sharif haMza faShion ToM Van dorPe

tHE RAZOR’S EDGE SPring’S SharPeST lookS PhoTograPhy kacPer kaSPrzyk faShion Jay MaSSacreT

COAT bottega veneta

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r i s e a b o v e now in its fifth year, the annual VMan & forD MoDel search uncoVers the future faces of Men’s fashion yet again

wyatt Age: 17 Hometown: milford, oH

“i love clothes and seeing the new trends every year. i’m excited to be able to meet the creative people who make the magic happen.”

Jumpsuit Moncler GaMMe Bleu turtleneck Prada

PhotograPhy Mario s orrenti fashion roBBie sPencer fall / winter 2012 p a g e

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JOE Age: 22 Hometown: oceAnside, nY

“Fashion is powerful. it’s an art form.

Being a model allows me to show my artistic side.” coAt Jil Sander turtleneck dior Homme sHirt GivencHy by riccardo TiSci tie boTTeGa veneTa HAt GiorGio armani

Jacob Age: 17 Hometown: Butler, mo

“It seems no matter what you do with fashion, you’re always meeting someone with a very interesting personality.”

CoAt Belstaff JACket (underneAtH) Bottega Veneta SweAter gucci

GARRETT Age: 21 Hometown: torrAnce, cA

“Some people may view a certain piece of clothing as weird, or even ugly. However, to others it’s the most beautiful piece of art they’ve ever seen.” coAt GiorGio ArmAni turtleneck mAison mArtin mArGielA PAntS Gucci

DANNY Age: 21 Hometown: titusville, Fl

“i’ve had a passion for being a model ever since the fourth grade. People laughed at me back then, but i just knew it was my destiny to model at some point in my life.”

ClotHing Raf SimonS

TREY Age: 21 Hometown: nAsHville, tn

“As Fyodor Dostoevsky said, ‘Beauty will save the world.’ Fashion has opened my eyes to the reality of a world much bigger and far more beautiful than the one i knew before.”

JAcket, sHirt, pAnts Versace HooD roberto caValli

HAir wArD For living prooF mAkeup AAron De mey (Art pArtner) moDels trey miller, JosepH Dolce, wyAtt gemmer, JAcoB Bitzer, DAnny cArr, gArrett overBey pHoto AssistAnts JoHnny vicAri AnD DAviD sHecHter DigitAl tecHniciAn XAnny HAnDFielD stylist AssistAnt elizABetH FrAser-Bell mAkeup AssistAnt FrAnkie BoyD on site proDucer steve sutton proDucer kAtie FAsH proDuction coorDinAtor cAterinA AlFieri viDeogrApHer HeAtHer sommerFielD viDeogrApHer AssistAnt JAne morleDge cAtering seXy FeAst printing By Arc lAB ltD. speciAl tHAnks ForD ny, sAm DoerFler, emily novAk, BlAke wooDs, kAti Brown

A DAY I n T H E L I F E MEET JoE dolcE, THIS YEAR’S VMAN & FoRd ModEl SEARcH wINNER, AS HE SHowS US ARoUNd HIS HoME TURF IN ocEANSIdE, NEw YoRK PHoTogRAPHY PHIlIPPE VogElENzANg

FASHIoN ToM VAN doRPE

JEANS BoSS SHoES ConVeRSe BElT dolcE’S owN

SHIRT PRADA PANTS DIeSeL BLACK GoLD SHoES ADIDAS SocKS dolcE’S owN

SHIRT ADIDAS SLVR

“Fashion is powerful. It’s an art form,” says model search winner Joseph “Joe” dolce.

A 22-year-old former dental equipment salesman, dolce entered the model search hoping to find an opportunity to express himself creatively. “Being a model allows me to show my artistic side. I get to step out of my comfort zone and broaden my

horizons.” Having just recently become interested in fashion, dolce enjoys trends that hit close to home. “I really love the James dean vibe. I was born and raised in long Island, so I grew up on pinky rings and gel.” dolce lives in oceanside, New York—“The dirty o,” he calls it—a place where everyone knows everyone. His mother is a hairdresser in a neighboring town and his stepfather taught him how to play golf when he was 10, which he’s been passionate about ever since. Joe developed a penchant for individual sports because when you lose “there’s no one to blame but yourself.” dolce spends much of his time with his two pit bulls, Bella and Maximus. “Pit bulls aren’t bad dogs,” he says.

“They can be big mushes.” dolce reps his heritage by wearing a tattoo of his last name on his chest, and describes his Italian family as “big, loud, and ridiculous, with sauce every Sunday.

But I wouldn’t have it any other way.” MARTIn HAMeRY p a g e

T-SHIRT RufSKIn JEANS DIeSeL

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JeANS BOSS BeLT DOLCe’S OWN

CLOThING BurBErrY PrOrSuM

TUrTLeNeCk AND pANTS BOSS SELEcTiON WATCh DaviD YurMaN ShOeS church’S BeLT DOLCe’S OWN

GrOOmING LAUrA De LeON FOr CUTLer/reDkeN (JOe mANAGemeNT) mODeL JOSeph DOLCe (FOrD NY) phOTO ASSISTANT emILIO GArCIA herNANDez STYLIST ASSISTANTS CArrIe WeIDNer, pABLO mArCUS BIeN, FLeUr hOOGeveeN SpeCIAL ThANkS mArTIN CArvAJAL CArrIe WeIDNer

SUIT gucci ShIrT TiM cOPPENS GOLF BAG AND CLUBS DOLCe’S OWN

t i m e a f t e r t i m e the biggest names in the history of modeling prove that guys of all generations can sport spring’s most modern menswear, and that fashion is ageless

mathias lauridsen AGE: 28 ModElinG SincE: 2003 wEArS clothinG Bottega Veneta

photography sharif hamza fashion tom van dorpe spring / summer 2013 p a g e

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sean o’pry Age: 23 Modeling Since: 2006 weArS clothing BurBerry Prorsum

ALEX Lundqvist AGE: 40 MODELING SINCE: 1994 wEArS CLOthING Salvatore Ferragamo

shaun dewet AGE: 30 MODELING SINCE: 2000 wEArS CLOthING Brioni

Tys on Ballou AGE: 35 ModElinG SincE: 1993 wEArS clothinG DIOR HOMME

brad kroenig AGE: 33 ModElinG SincE: 2000 wEArS coAt EMPORIO ARMAnI PAntS GIORGIO ARMAnI

RJ Rogenski age: 30 Modeling Since: 2001 wearS clothing Z ZEGNA

clement chabernaud age: 24 MODeLINg SINCe: 2005 wearS CLOthINg AlexAnder McQueen

SIMON NESSMAN Age: 21 Modeling Since: 2008 weArS clothing COMME DES GARÇONS

mattHEW tErry AGE: 21 vmAn & FORD mODEl sEARch winnER FAll 2011 wEARs clOthinG Calvin Klein ColleCtion

mathias lauridsen age: 28 MODeLINg SINCe: 2003 wearS CLOthINg Valentino

DaviD agboDji Age: 26 Modeling Since: 2008 weArS clothing Givenchy by RiccaRdo Tisci

clement chabernaud age: 24 MODeLINg SINCe: 2005 wearS CLOthINg JIL SANDER

haIr Mark haMptON (JuLIaN watSON ageNCy) grOOMINg aSaMI taguChI (L’ateLIer NyC) MODeLS ShauN Dewet, BraD krOeNIg, Matt terry (fOrD Ny), MathIaS LaurIDSeN, tySON BaLLOu, rJ rOgeNSkI (IMg) DavID agBODJI (requeSt), SIMON NeSSMaN (SOuL), SeaN O’pry (vNy), CLeMeNt ChaBerNauD, aLeX LuNDqvISt (wILheLMINa), MaNICure MarISa CarMIChaeL prOp StyLISt aShtON BLOuNt phOtO aSSIStaNtS Matthew hawkeS aND MyLeS BLaNkeNShIp faShION aSSIStaNtS CarrIe weIDNer aND paBLO MarCuS BIeN prODuCtION aSSIStaNt MIke ferrerOS retOuChINg BLaNk [pOSt] CaterINg CIaO fOr NOw LOCatIONS rOOt [DrIve-IN], rOOt [BrOOkLyN]

sean o’pry Age: 23 Modeling Since: 2006 weArS clothing HUGO BOSS

the razor’s e d g e

clothing Balenciaga By nicolas ghesquière Bracelets stylist’s own

sharp lines, tight cuts, pleats, seams, lapels, the veins under fashion’s skin: forge your contour into a blade, the elegant and brutal geometry of style photography kacper kasprzyk fashion Jay massacret spring / summer 2013 p a g e

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Jacket (around waist), shirt, shorts Louis Vuitton hat (on shoulder) vintage from Parch vintage socks (throughout) Kenzo shoes (throughout) vintage niKe from come on eileen

clothing Prada

clothing Kenzo earring model’s own

clothing and shoes Dior Homme

clothing Marc Jacobs hat vintage from Parch vintage

clothing Calvin Klein ColleCtion

clothing Lanvin necklaces stylist’s own

hair terry saxon (Jed root) grooming frankie boyd model benJamin Jarvis (tomorrow is another day) Production alexandre-camille removille (total management) Photo assistants corentin thevenet, virgile biechy, raffael cariou stylist assistants olivia kozlowski and ben Perreira catering and location little grand studio, Paris

vman 28 stockists

AdidAs adidas.com AlexAnder McQueen alexandermcqueen.com

photographer alfredo piol a visits the ateliers of these dynamic brands as they prep 2013’s newest looks

ArMAni exchAnge armaniexchange.com

photography alfredo piola

SEE YOU IN SPRING!

ArMAni JeAns armanijeans.com BAlenciAgA balenciaga.com BAnd of outsiders bandofoutsiders.com BelstAff belstaff.com BlAck fleece brooksbrothers.com BottegA VenetA bottegaveneta.com Brioni brioni.com BurBerry ProrsuM burberry.com cAlVin klein calvinklein.com cArtier cartier.com church’s church-footwear.com coMMe des gArçons comme-des-garcons.com dAVid yurMAn davidyurman.com diesel diesel.com dior hoMMe dior.com dolce & gABBAnA dolcegabbana.com dsQuAred dsquared2.com edun edun.com eMPorio ArMAni emporioarmani.com erMenegildo ZegnA zegna.com fAlke falke.com

Calvin Klein

fendi fendi.com florsheiM florsheim.com gAnt By MichAel BAstiAn gant.com g-stAr g-star.com gents gentsco.com giorgio ArMAni armani.com giVenchy givenchy.com gucci gucci.com guess guess.com herMès hermes.com hugo Boss hugoboss.com Jil sAnder jilsander.com

Calvin Klein

John VArVAtos johnvarvatos.com kenZo kenzo.com lAnVin lanvin.com louis Vuitton louisvuitton.com MAison MArtin MArgielA maisonmartinmargiela.com MArc JAcoBs marcjacobs.com Moncler gAMMe Bleu moncler.com nike nike.com Polo rAlPh lAuren ralphlauren.com PrAdA prada.com rAf siMons rafsimons.com

Dsquared

rAlPh lAuren ralphlauren.com roBerto cAVAlli robertocavalli.com rufskin rufskin.com sAint lAurent PAris ysl.com sAlVAtore ferrAgAMo ferragamo.com shiPley & hAlMos shipley-halmos.com sWAtch swatch.com toM ford tomford.com tiM coPPens timcoppens.com VAlentino valentino.com VersAce versace.com Woo young Mi wooyoungmi.com

Gant by Michael Bastian

Kenzo

y-3 y-3.com Z ZegnA zegna.com

Calvin Klein

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Dsquared

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