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46 vman • contents

w e l c o m e t o s p r i n g / s u m m e r ’ 15 Fashion critic Alexander Fury introduces a season of exceptional men’s fashion, more personal and pristine than ever before

the sure things Introducing the essential items to get a grip on this spring

stuff Dsquared2 adds a zero to its name, Willy Vanderperre gets theatrical, and Prada gives a voice to literature’s future

Bright eYes Bright things are ahead, better shield yourself chicly

enter the void Simplify your sneaks with today’s pure-white palette

vmen Get on a frst-name basis with the most remarkable talents in fashion, music, art, and culture

driving force BY inez & vinoodh Adam Driver went from Marine to theater actor to tV star in a whirlwind of luck and talent.

Now he’s about to silence skeptics with a slew of major movies. meet tomorrow’s leading man Styled by Carlyne Cerf de Dudzeele

j u s t a n o t h e r d aY B Y B r u c e w e B e r Who better to drench you in seawater and sunshine this summer than Bruce Weber? take a trip with the master lensman to his homebase in Miami Styled by Deborah Watson

acting up BY hedi slimane Conquering every genre from indie to sci-f to Disney, Hollywood’s new generation of young actors have stardom in their sights, and a commitment to the long game in common

all for one BY sharif hamza Singular looks from standout collections to survive the test of time Styled by Robbie Spencer

jerseY BoY BY Benjamin alex ander huseBY take sporting style to new, untethered heights with a mix of custom and ready-to-wear Styled by Max Pearmain

this is moscow BY gosha ruBchinskiY Journey to Russia to meet the rebel guard, streetwise youths in sleek new uniforms for the brave Styled by Lotta Volkova

identif Ying marks BY richard BurBridge Express your tribesmanship in the most eclectic embellishments for guys Styled by Nicola Formichetti

m e ta m o d e r n B Y w a lt e r p f e i f f e r Optic prints give ready-to-wear a post-post-modern irony that comes to life Styled by Hannes Hetta

sleep no more BY pierre deBusschere Live a life of luxury in the noncommittal cozy layers Styled by tom Van Dorpe

one giant step for mankind BY roBin BroadBent Comme des Garçons reimagines the gaucho shoe for the street, in stunning black leather worth stamping your feet for

THE EDITOR

LETTER FROM

I t ’ s a n e w y e a r at V M A N a n d c h a n g e I s I n t h e a I r .

Can you feel the optimism of men’s fashion at this moment? When designers sent their Spring collections down the runways of London, Milan, Paris, and New York, the message came through with as much energy and dimension as the Oculus Rift: menswear is having a renaissance. For all the ballyhoo a men’s title like VMAN is prone to dish out in favor of groundbreaking ready-to-wear, there is as much that remains obstinate within the relatively conservative XY market—gray fannel, three-pieced suiting, tweed outerwear, navy knitwear, T-shirts, and ftted jeans, to name a few. But scan the numbers, and you will quickly realize that growth is upon us, as more retailers take risks with underground designers and masters of the form create collections more personal, political, and meta than ever before. As fashion critic Alexander Fury expounds upon in our debut runway report, the reason Spring feels so acutely groundbreaking is that designers are sticking to their strengths over trends. They’re also amping up the message in the process, from Rei Kawakubo’s pacifst punks to Raf Simons’s homage to the beginning of his career, upon his 20th year in the business.

With so much sartorial momentum in our sights, we decided to highlight a few of the faces leading us forward. Perhaps no American men’s label has been carried into the future quite

like Calvin Klein under the stewardship of Italo Zucchelli, whose focus and vision cuts through the crowd each season like a laser beam, illuminating the possibilities when it comes to youth, minimalism, Eternity, and of course, Obsession. Maverick men’s designer Romain Kremer is back with an unexpected new role—creative directing the Spanish shoe brand, Camper. After percolating under the radar for a few seasons, Brendan Mullane steps into the spotlight at Brioni to bring the traditional Italian label briskly into the immediate present. Danish youths Iceage are resurrecting the glamorous excess of rock and roll in a way that feels fresh and unexpected, and Mike WiLL Made-It is literally designing the sound of the future—as his collaborator Miley Cyrus is more than eager to explain. Emerging singer-songwriter Tobias Jesso Jr. is cresting on a wave of feverish buzz from independent music’s congnoscenti, and might just become the Elton or the Lennon of his generation. Early approval from Taylor Swift and Adele can’t hurt, and neither can his frst portrait, taken for VMAN by none other than Hedi Slimane. When it comes to the acceleration of time and progress, there may be no more infuential thought leader than the Los Angeles-based artist Ryan Trecartin, whose dizzying and mind-expanding flm projects continue to propose new ideas regarding identity, media, spectatorship, and systems of expression. As Trecartin prepares to open the New Museum’s 2015 Triennial, he discusses the levels of our collective content that he’s plotting to conquer next.

Speaking of which, we continue our own evolution with some new collaborators on our roster. In addition to Miley Cyrus, we welcome designer and photographer Gosha Rubchinskiy, who shows us the current chill factor of Moscow with stylist Lotta Volkova. New contributing fashion editor Max Pearmain takes the sport/utility trend to new heights in a story with Benjamin Alexander Huseby. Photographer Walter Pfeiffer also joins the club, with a new take on postmodern graphics with the help of Hannes Hetta.

We’ve also got our favorite familiar faces unleashing a fresh food of creativity. Inez & Vinoodh return to the cover of VMAN with Adam Driver, an unlikely new leading man in a flm industry that’s been on a feverish hunt for bankable leading stars. As he wraps work on the new Star Wars, appears in Noah Baumbach’s While We’re Young, and sets off for the next Scorsese production, Driver takes time to refect on this turning point in his career with flm writer Logan Hill—while wearing stunning suiting and chic staples, styled by Carlyne Cerf de Dudzeele.

On the fashion front, Bruce Weber comes through in classic form with a romantic shoot celebrating the summer months, staged on his home turf of Miami, styled by Deborah Watson.

Hedi Slimane fxes his iconic lens on the new young actors Hollywood’s hedging its bets on—get to know them now, before they become the next Channings, Goslings, and Garfelds.

In their frst collaboration for VMAN, Sharif Hamza and Robbie Spencer highlight singular looks from the season’s spellbinding collections. Nicola Formichetti has a tribal explosion with Richard Burbridge, and Pierre Debusschere explores new layers of transitional comfortwear with Tom Van Dorpe.

Francis Bacon once said, “Things alter for the worse spontaneously, if they be not altered for the better designedly.” As we take this issue to print, the Fall 2015 shows are lifting off in Paris, heading for even greater stratospheres of creativity, inspiring us once again. With Bacon’s warning in mind, we are pleased to present a redesign of VMAN for 2015. Engineered by art director Cian Browne, you will notice that we’re bigger and bolder than ever before. It’s a refection of our faith in men’s fashion right now. Welcome to the future. PATRIK SANDBERG

50 vman • hello

spring/summer’15

welcome to

a renaissance may be upon us, as designers pique our imaginations and suit our utiLitarian needs in stunning simuLtaneity. tHe aLWays incisiVe fasHion critic aLexander fury anaLyZes tHe practicaL magic of mensWear noW. text aLexander fury iLLustration gary card

Fashion is a verb as well as a noun—to fashion, as well as in fashion. actually willing to go into a shop and buy this thing and put it on their That’s why clothes so often make the man—they craft him into the char- bodies and wear it. Which is an amazing thing.” acter he wants to be, at least on that particular day. But when the man It’s not so amazing, really. Because although Craig Green creates makes the clothes himself, there’s a dual implication: that he isn’t fash- extraordinary shows, they boil down to realistic garments. His wide-cut ioning anything at all, other than a refection of himself, and that a piece cotton tunics, jackets bristling with ties, and shirts with trailing tails have of himself is exactly what he’s selling. great impact, but also beg for a life in three-dimensions. Ditto the work That’s a simple logic that has powered some of the best menswear of Stefano Pilati at Ermenegildo Zegna Couture. He professes to design of the Spring/Summer season. And that’s not to say women don’t make from a relatively simple motivation: frustration. “I’m a man, so I design enticing, engaging menswear—Rei Kawakubo and Miuccia Prada blow what I can’t fnd,” he declares. That doesn’t imply trickiness, but certainly those kinds of preconceptions out of the water. But there’s always the a bucking against the convention of the classic, anonymous suit which sense, with those clothes, of the sex that looks and the sex that is looked Italy is so good at producing, and which previously was synonymous with at. There’s a removal. And although women more frequently don menswear Zegna. Pilati, by contrast, is trying to fnd things like voluminous coats, than the other way around, Kawakubo and Prada don’t seem the type to easy trousers with a knuckle of drape in the crotch, or Spring’s fnale of clad themselves in their offerings. The conceptual conceit of Prada and succulent, jewel-coloured tailoring in fuid crepes, clashing fuchsia with Comme des Garçons menswear, for me, is rooted in the fact that neither teal, amethyst, and camel. Zegna’s show wasn’t reinventing the wheel, of the designers would ever wear it. More than their womenswear, it’s an but it felt new. Unconventional. “Everything has been done,” sighs Pilati aesthetic exercise removed from their own backs. when discussing womenswear. He pauses, and perks up. “This is a great Contrast that with the men behind menswear: from the denim-clad moment for menswear.”

Italo Zucchelli of Calvin Klein Collection (could the menswear head of CK It’s a diffcult tightrope menswear designers tremble upon, though— wear anything but denim, ideologically?) to Roberto Cavalli—a walking, they must avoid falling into irrelevant pastiche or pantomime trickery talking, cigar-chomping incarnation of his masculine muse if ever there while striving to showcase something fresh and enticing. Green’s widewas one. The man and his clothes cannot be separated. There’s a pro- eyed wonder at guys shelling out for his clothes shows an introspection pensity among menswear designers to dress themselves—perhaps even designers seldom feel. The menswear market is booming, and someone more so than their female equivalents. Why? Because there’s an inherent somewhere will more often than not be willing to lay down cold, hard cash pragmatism to menswear. It’s born from necessity, mostly, just as most for the clothes you’re proffering—at least that’s the received opinion. men’s instinct to buy is born from need rather than want.

That encourages many designers to offer undiluted, uncompromising Of course, reading this, you’re a fashion-conscious gentleman. But visions. Rick Owens is the perfect example: his Spring collection was you’re in the minority. Most men buy trousers because they need them, inspired by L’après-midi d’un faune, by Nijinsky, who humped a scarf not because they are enticed to do so by the lure of a projected view of on the stage of the Ballets Russes. That translated to plenty of trailing themselves as a better person. Need is, of course, relative. Even masters cloth lappets suggestively slung around the body, but also eroticized of the universe don’t need half-a-dozen wool-cashmere blend double- variations on classic sportswear. Rick Owens’s clothes often have that breasted suits in the Patrick Bateman mold. But nevertheless, the clothes distinctly American, easy-to-wear vision throbbing at their core. It’s perthey wear are functional frst and foremost. They serve a purpose. Take haps what anchors his work in reality, the reality of sneakers and shorts.

Kim Jones’s Louis Vuitton, his bags slung with handles this way and that, “I always thought it would be nice to invent the world,” says Owens codinspired by the designer’s experience manhandling luggage during trans- philosophically. “T-shirts, shoes kind of alter even the most mundane continental travel. “Everything is based on travel, all the tailoring,” asserts things.” Those are the kind of dumb, everyday clothes Owens himself Jones, “so you can whip it out of a suitcase. Time is luxury, to me. You don’t wears, an invariable California beach bum in baggy skate shorts, a sleevewant to be wasting time having to call somebody to steam it.” Practical. less wife-beater, and pumped-up sneakers. However, every element of The interesting thing about this S/S ’15 season is that the practical that everyday wardrobe is skewed with Owens’s often-imitated aesthetic, considerations of menswear fuse seamlessly with progressive ideas. wife-beater elongated, shorts Dali-esque and droopy-drawered, sneakDesigners—mostly men, dressing men—produced clothes that convey a ers calcifed like cloven hooves. message but also satisfy a need. Jonathan Anderson’s Loewe debut had The truism sometimes comes from the label as well as the men. Riccardo a distinct sense of pragmatism: a pragmatism that frequently feels once- Tisci’s Spring Givenchy collection picked through the house’s haute couremoved, like a kissing cousin, as seen in his hair-raising, gender-bending ture back catalog, seizing on pearly foliate embroidery and applying it J.W. Anderson shows in London. First of all, this wasn’t a show, but rather boldly to strict suited and booted menswear. Givenchy as a house has a low-key series of models sullenly meandering in eminently real clothing, intrinsically feminine roots—Audrey Hepburn; the matriarch clients it like baggy jeans with bucket turn-ups and luxe espadrilles—“a Spanish inhereted from Balenciaga; Comte Hubert’s Bettina blouse, all pie-crust shoe,” says Anderson, tying with the roots of the label. It was striking to ruffes like wedding-cake icing. The application of those ideas to massee Anderson’s aesthetic translated to the Iberian Peninsula, and to a culine dress feels modern still. language of luxury. A pinstripe top tied with a fey little bow in London, say, What Raf Simons does always feels modern. His Spring collection became a hardier horizontal-striped square-cut T-shirt in Paris. Granted, is the most personal of the season. His models marched out in frenzied it was in silk, but it had a different mood entirely. “Do something which is semidarkness, recalling an early-’90s Antwerp rave, dressed in clothes not expected. Always do what you think,” says Anderson. Is it easier to do pasted and patched with images that could have been scraped from that in menswear than in womenswear, I ask? The answer is defnitive: Yes. Simons’s teenage bedroom wall in his parents’ house in the tiny town of Anderson is a rare remaining example of a split fashion personality. Neerpelt. There was an image of Simons, age 18, printed on the front of He also doesn’t wear his own clothes, preferring to dress anonymously oversize shirts stamped with his initials, while the Japanese undercurrents in Uniqlo and jeans. But he’s an exception to the rule. For all the fighty of Edo-woodcut wave patterns were evocative of a country that offered romance and emotion Craig Green pumps into his clothes, you can abso- the fedgling designer his earliest commercial support. There were even lutely imagine him wearing them. In fact, you don’t have to imagine—he hints of his tenure at Dior—the multiple-buttoned jackets kicking out into frequently does. “I think when people see the shows they get this imag- a feminine peplum, fnding a mirror in his latest variations on the house’s ery and they see the collection as a lot more extreme than it actually is,” Tailleur Bar. It was like an autobiography in cloth. An artful tightrope walk. reasons Green. “I wear this jacket I made almost every day…people are Simons would wear every piece himself. So would I.

54 Vman • report

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56 VMAN • ESSENTIALS

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stuff

dSquAREd20 It’s hard to believe that Dsquared2, the youthful brand founded by Canadian twins Dean and Dan Caten, is now two decades old. Their latest menswear show, which hit the runway this past January in Milan, was an anniversary celebration of sorts, featuring a parade of retrospective looks. “The last collection totally captures the irreverent and glamourous Dsquared2 spirit,” the brothers tell us. “It goes through all the Dsquared2 icons and reveals their evolution over the years. Our evolution.” Their emphasis has always been on pop-star staging and party dressing—celebrity runway models, for example, are truly their thing, especially, interestingly enough, when it comes to their men’s shows.

Sure, Rihanna famously opened their S/S ’08 womenswear collection, but Christina Aguilera, the late Brittany Murphy, and Mary J. Blige all closed menswear shows (S/S ’05, F/W ’06, and F/W ’15, respectively).

Underdogs for the better part of their careers, in the beginning, DS2 was often disparagingly compared to slightly more staunch Italian-based brands Dolce & Gabbana and Versace. Over time, though, sharp focus on practical textiles in impractical proportions proved that the mission here is one of fun (not fast) fashion—as cheeky as a brand for teens, but impeccably tailored to satisfy its adult audience. A strong bond with the largerthan-life characters the Catens have met along the way have given DS2 legs as toned as Madonna’s (who, in 2001 dressed her entire tour via Caten commissions, essentially birthing the line as we know it today). From costumiers to full-fedged designers, DS2 fll a niche that only they saw needed flling: a wearable yet outrageous one, with sparkle and fare as up-to-date as the those subtle silhouettes abundant in less pop-minded fashion focks. “The signature Dsquared2 pieces are defnitely the denim and the leather ones,” the Catens say. “They represent our foundations, our DNA. But the rocky and edgy eveningwear is also part of it.” Picture the partygoers most likely to get bombarded with a mix of negative and positive press—Cristiano Ronaldo, Nick Jonas, and Zachary Quinto are some recent examples—wearing such “edgy” tuxes on the red carpet.

Another step forward the brand has perhaps unwittingly made is letting their innovations be led, quite often, by their men’s shows—an almost unheard of move. This Fall collection, for example, told the history of DS2, they say, including the strong women who have helped to build it. “It is telling a 20-year story: there’s a starting point, the plot, the characters, and two tellers. But there’s not an end. At least not for the moment!” Natasha stagg

S TA G E R I G H T

Prada doesn’t just infuence fashion trends—designer Miuccia Prada has her fnger on the pulse of the worlds of flm, politics, music, and art, too. Her F/W ’15 menswear show, which stomped down the catwalk in Milan in January, came with a full-on gender manifesto. She’s constantly tapping progressive artists to collaborate on her wares or runway sets, and she enlists prolifc directors (cue Wes Anderson) to create her fashion flms. With all that in mind, it’s no surprise that she and her brand have plates spinning in the literary realm, too. Enter the Prada Journal, a contest that aims to champion and support today’s most talented new writers. The second edition of the competition, which is affliated with Prada eyewear and made possible via a partnership with Giangiacomo Feltrinelli Editore, saw hopefuls submit stories in over 20 languages. Each tale aimed to answer the loaded questions, What are the signs of a changing world? and, What situations can we envision?

Out of the vast pool, it was Viola Bellini, Miguel Ferrando, and Anabel Graff who won the hearts of judges Tishani Doshi, Carlo Feltrinelli, Paolo Giordano, and Colum McCann.

Each was presented with a 5,000 euro prize and had their stories read by Ansel Elgort, Miles Teller, and Filippo Timi at the January celebration in Milan, which was hosted by Dane DeHaan. The winners’ work, along with the writings of the other contestants, will be featured in the anthology Prada Journal 2014—Signs of a Changing World, now available for download on prada.com/journal. Happy reading! saM FINE

Written in 1984 and staged in 1986 as an explosive, conceptual love letter to theater and all of its dramatic associations, Jan Fabre’s The Power of Theatrical Madness is the stuff of performance legend. Playing with the timeless duality of truth and fction in a way not seen before on the stage, Fabre’s four-hour production utilized installation, projections, pyrotechnics, dance, music (Wagner and Strauss), and imagery from the work of Michelangelo, Raphael, and Fragonard, to name a few. Upon its debut at The Kitchen in New York City, New York Times theater critic John Rockwell called it troubling, fascinating, alluring, and involving, though he noted it was “built on numbing, often punishing repetition and rituals of psychological and physical cruelty.”

The artist Robert Mapplethorpe’s subsequent photo book from the performances is now a frst-edition collectors’ item, which has served to immortalize Fabre’s vision to this day. In 2012, Fabre revived the production and asked photographer Willy Vanderperre to photograph the performances. The resulting book, The Power of Theatrical Madness II, is a beautiful, 250-edition bound and boxed update that juxtaposes studio with liveaction photography, seamlessly adhering to Fabre’s dualistic vision while emanating the same tenderness of Mapplethorpe’s volume before him. PatRIK saNDBERg

60 vmAN • STuff

The Power of Theatrical Madness II is available at IDEA Books Ltd., 101 Wardour Street, London

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KEISUKE WEARS SUNGLASSES MARC BY MARC JACOBS SHIRT MARC JACOBS

DIGITAL TECHNICIAN TODD BARNDOLLAR PROP STYLIST LISA GWILLIAM (JED ROOT) PHOTO ASSISTANTS COLE SLUTZKY AND GREG KIRKPATRICK LOCATION ROOT STUDIOS

ENTER THE VOID CLEANLINESS IS GODLINESS AND GOD IS EMPTY, JUST LIKE THE ANTISEPTIC, IMMACULATE WHITE SNEAKERS OF THE SEASON. PHOTOGRAPHY DAN FORBES FASHION MICHAEL GLEESON

FROM TOP: GIUSEPPE ZANOTTI DESIGN JIL SANDER JUUN.J x ADIDAS PRADA GIORGIO ARMANI

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GROOMING RAMONA ESCHBACH (JED ROOT) PHOTO ASSISTANT LUCAS LAURENT LOCATION LE RED STUDIO, PARIS

romain ROMAIN KREMER MIGHT BE MAKING HIS BIGGEST STRIDES yET, BRINGING A CLASSIC SHOE BRAND OUT OF FASHION PURGATORy. PHOTOGRAPHy DRIU + TIAGO It’s the age of the clunky shoe. Slick slippers and suave loafers are over. The street-style set and fashion pack now thud and stomp from show to show in thick-soled brogues or spring around town in trainers. Big is beautiful. Big is better. So it’s good timing then that Camper—a brand that was pushing normcore before a trend forecasting collective had even coined the term—is having a reboot.

In June 2014, Camper appointed rising talent Romain Kremer as creative director. A young Parisian menswear designer taking the helm at a mass-market footwear company with a rich Spanish heritage may seem like an odd ft.

Kremer’s forte so far is luxury, avant-garde fashion. He cut his teeth on his own niche label before taking the menswear helm at Mugler in 2011–a brand more known for geometric cuts and theatrics than comfortable ft and orthopedics.

By contrast Camper sells over four million pairs of shoes annually and has over 400 stores across 60 countries. But the pair has been working together for a while. “It’s a very organic story. I’ve been working with Camper for almost fve years,” says Kremer, referring to Camper Together with Romain Kremer, the capsule collection he’s created every season since 2009.

Tired of being the safe and sensible choice, Camper is keen to seduce the notoriously picky style pack. “We want to bring Camper to fashion—we want people to want to have Camper,” explains Kremer. “Because people wear Nike when they go out, or they have a pair of Converse or a pair of Dr. Martens, so why not a pair of Camper?” His comment is telling. The casual shoe market is booming; luxury brands are all creating their own odes to classic sportswear shoes and the once-shocking notion of teaming a trainer with a cocktail frock or suit is now barely remarkable. As Nike and Adidas, with their ubiquitous Stan Smiths, have triumphed, has Camper been overlooked? Indeed, the shoes were never ones Kremer himself wore. “I have to be honest, I only became properly aware of Camper when we started the collaboration back in 2009,” he says. “That is the truth. Of course I had an awareness of the brand because they are in huge capitals and they have huge stores but I didn’t know much.”

So who is the Camper man? He’s creative, argues Kremer, just not a clotheshorse. “Camper didn’t really used to pay attention to fashion, they were always much more into people like artists, or the graphic designers, the architects.” It’s not that this shopper is no longer the priority, or that he’ll be phased out. It’s more that he’s become a style pinup in his own right. Look around: fashion is becoming unfashionable. Anonymity has become synonymous with style—see the unfailing trend for marl sweatshirts, frayed denim, white sneakers, and the success of basics-peddlers like APC, T

by Alexander Wang, and even Marques'Almeida. Kremer is intrigued by the dominance of casualwear. “I remember only 10 or 12 years ago we started to have Chanel shot with a pair of Levi’s jeans,” he says. “When I started to study fashion it was in the year 2000 and you wouldn’t really imagine that H&M would do a collaboration with a big brand. It wouldn’t

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have felt right. Now casual is everywhere.”

Without the confnes of luxury, there’s space to be naughty. To Kremer that’s an integral part of the brand’s identity, something that comes from its Spanish heritage, specifcally the island of Mallorca where Camper has been based since the late 1800s when Antonio Fluxa recruited a team of the island’s best leather craftsmen to start working on shoes (his grandson formed the Camper brand as we know it today in 1975). “Camper has a Mediterranean sensibility; it always has a sense of humor. This is something I would like to keep,” Kremer says.

It’s the cheekier designs in the archive that have seduced him the most. “I am very interested in the ’90s. It was a highly creative moment for Camper. It was when they stopped just being in Spain and opened a store in Paris. At that time there was a very anticonformist attitude that went through their stores, their decisions, their shoes—they always went a little bit against the system,” he explains. “Until recently my perception of the brand was stuck in this idea of the last few years, which were about ergonomics and comfort.

But it’s not always been like that—I’d like to go back to this very creative, punk time.”

But will all those stores and all those sales leave room

for a revolutionary spirit? Kremer is an innovator, known for his passion for combining dance and performance with fashion. Won’t he miss the fashion world? Didn’t he dream of being a luxury leader, the next great fashion designer while toiling away at the ESAA Duperré in Paris? “It’s true that two years ago I would have never guessed that I would be doing this,” he says, and smiles. ‘‘I have to be honest: of course I miss clothing. But at the same time I love how much there is to do here. I am far from being bored.” Just one of the projects occupying his time is the CamperLab stores —10 special shops in key locations such as Hong Kong, Seoul, London, and New York selling exclusive, more adventurous products selected and devised by Kremer himself. These stores offer an opportunity to “experiment in a reduced context,” according to Kremer, and a manageable way to analyze the overwhelming, global Camper audience.

It’s the frst step in moving from being mass to maverick— understanding the diversity of the shopper to offer more challenging, fashion-forward propositions alongside the Camper classics. For Kremer, it’s about world domination, one step at a time. Lou Stoppard SHOES CaMpEr CLOTHING ROMAIN’S OWN

GROOMING GUJA RIGATTIERI (ATOMO) PHOTO ASSISTANT ANDY MASSACCESI

BRENDAN

AFTER BUBBLING UNDER THE RADAR, DESIGNER BRENDAN MULLANE IS READY TO TAKE HIS BOLD NEW VISION FOR BRIONI TO THE STREETS. PHOTOGRAPHY ALESSANDRO FURCHINO Growing up in London in the late ’70s, Brendan Mullane was the first to admit that he wasn’t—or perhaps more importantly, didn’t want to be—like anyone else. “I couldn’t bear to be in the same uniform [as another student],” says Mullane, who was appointed as the creative director of menswear at Italian heritage house Brioni in 2012. “It was that mod period—calf-soled loafers, very skinny trousers—and I was obsessed with architecture and graphics, but also with wanting to be different through the things I wore.”

Mullane calls from Milan, where he’s busy prepping for the house’s first show in over three years—a sort of coming-out for the newly refurbished brand, which had plucked the 39-year-old Brit from his menswear post at the street-infused Givenchy to inject new life into the almost 70-year-old house. The hope was that the Rottweiler and gothic sportswear alum—who logged time at Hermès, Louis Vuitton, and Alexander McQueen before working under Riccardo Tisci—would shake the dust off Brioni and give it a bit of freshness by way of sartorial rebellion.

“When they first brought me in, I was quite excited by the idea of what it was—of what Brioni believed in, [because] it is very specific,” says the designer, who relocated from Paris for the job. The suits—incredibly classic, famously luxe affairs—are crafted over the course of 30 hours or more by a single individual using traditional methods in the house’s giant atelier, explains Mullane. “It’s a minimum between 3,000 to 5,000 hand stitches per item, but it almost looks like nothing until you get up close.”

The goal now is to take Brioni beyond the tailored suit and into a more arts-focused

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domain, a task that Mullane, always more of a man for Comme de Garçons trousers, trainers, and a simple white tee, relishes. “You imagine that Brioni is this very safe, classical house,” he says, “but when I came in and started to put things together, I stumbled upon their archive and saw that, from the ’40s and ’50s, they were all about innovation and were really adventurous. They wanted to be very different from everyone else.” S/S ’15 looks back to this period via houndstooth plaid slacks, floral-patterned silk varsity jackets, and suits that are slightly slimmer than the classic Brioni style. These were inspired by images of Hollywood greats—Cary Grant, Henry Fonda, and Richard Burton—sporting the label in L.A. in the ’50s. “[Brioni] was very attached to the idea of la dolce vita, as well as European and American actors,” recalls Mullane. “So we went to L.A. and researched it. And my job after that is to go for innovation—from the yarn we choose, to the colors, to creating techniques that don’t exist, to bringing in contemporary artists [to collaborate].”

The deeply saturated hues (jeweled fuchsias, sea blues, iridescent greens) and slightly less constricted, tapered silhouettes indeed make for a more youthful look. And an alluring one at that.

“Brioni has really seduced me with its style,” Mullane says. “Before, it would be very difficult to put me in a suit. But Brioni intrigues you, and then it becomes quite seductive, and then they’ve got you. Is the new man a gallerist in contemporary art? A famous architect, or a high-powered businessman? We hope to open up the doors of this private members club and see who walks in. Brioni is not just a suit.” ASHLEY SIMPSON

ken

VesT ADRIENNE LANDAU brieFs DIESEL sHoes NIKE neCKlaCe (on CroWn) ASSAD MOUNSER sunglasses and soCKs Ken’s oWn

PHOTOGRAPHY OmAR mACCHIAvELLI CREATIvE DIRECTOR NICOLA FORmICHETTI “sex is so misunderstood,” raps 22-year-old Candy Ken in the

frst in a series of self-directed videos he and fellow austrian producer lets go radio released late last year. When we speak, Ken explains what is meant by this lyric by addressing the elephant in the room. “i’m actually heterosexual, but still love Hello Kitty and pink. most girls think i’m gay…like every girl i meet, actually. i spent 20 years trying to attract girls. [now] i’m not thinking for one second if girls like my pink nails. and i like grills and rap and i’m white as fuck, but i don’t care.” in fact, this transformation—one he proves was major by pulling up his american football team photo from a high school year abroad—is what inspired his moniker. “i tried to be Ken for 20 years, and now i’m the candy version. and i’m in love with barbie, so it fts perfectly.”

Ken exploded onto blogs in december 2014 and immediately drew comparisons to die antwoord and riff raff (his favorites, he says, along with grimes, brooke Candy, and FKa twigs). While we chat about his brand-new celebrity, he gets a Facebook message from a fan. “u [sic] are amazing babe and so hot u gotit baby, you are arT” it reads. Ken’s found a fan in diesel creative director and star stylist nicola Formichetti, too. “i found [Candy Ken]

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a social outcast, even after fnding like-minded peers, doing music six months ago and already created fve funny can never truly escape the constant questioning of societal self-made videos. We both love Hello Kitty. His next song norms, Ken soon discovered, after a few of his instagram is called ‘Hello Kitty,’ so i’m going to help him do the video images were reported and deleted. “people tell me i’m in Tokyo.” before their Japanese excursion, the two new throwing my life away. Facebook is making us go crazy friends traveled to milan during men’s fashion week for a about female nipples, and on the other hand they’re makphoto shoot. The request, in the form of a direct message, ing us feel nothing while watching someone get beat up came as a complete surprise to Ken. “He was like, big fan, or executed. i’m not here to offend, i’m here to inspire!” can you come to milano in two days?” much like diesel’s other anonymous online interactions, though, he hastens revamped aesthetic and the outré editorials Formichetti to add, have benefted Ken in ways he never dared imagine. styles (often on his own discoveries), Ken’s aesthetic inten- “i’m always attracted to work with people who are true to tionally candy-coats raw emotion. His videos act as a faux themselves,” Formichetti says of his fondness for Ken. “a fur-lined philosophy, enlightening viewers of his opinions on don’t-give-a-fuck attitude feels so fresh these days.” sex (“barbies”), fashion (“basic bitches”), crushes (“Candy barbie and Kitty obsessions aside, Ken insists he is— Crush”), star power (“riffraffsmadaddy”), and fucks given through his music and his lifestyle—projecting an important (“mad or nah?”). His motivation, Ken says, is the oppres- message. “i’m not just trying to provoke or be crazy. i’m being sion he felt growing up in the small town of bregenz. He’s a role model for every young person who is interested in no since moved to berlin, where he feels much more unin- basic things.” He’s at least eliciting some positive responses, hibited, although returning to the u.s. is his goal. “austria and it’s all happening for him as we speak. Just after our and germany are trying to limit you, work your confdence chat during, which he’d mentioned he’d love to work with down, while america works your confdence up. at least Jeremy scott, Ken messages me with an update: “omg he my experience was like that.” just posted me on his insta!” NATASHA STAGG on my instagram feed,” Formichetti says. “He’d just started

Hair and grooming gabriele Trezzi (Closeup) digiTal TeCHniCian Carlo dulla (aurapHoTo) sTylisT assisTanTs FranCesCo deCio and ian milan produCTion JoHanna persson Cordioli (aurapHoTo)

AUSTRIA’S CANDY KEN WOULD RATHER RAID bARbIE’S CLOSET, AND HE’S FINALLY OKAY WITH THAT—IN FACT, HE WANTS THE WORLD TO KNOW.

johan, elias, dan, jakob thE daniSh Punk band iCEagE iS SaShaying and SnarLing itS Way into thE CoLLECtivE ConSCiouSnESS of a gEnEration, from London to L.a.

There’s something feline about Elias Bender Rønnenfelt.

The way he prowls the stage at Austin’s Fun Fun Fun Fest is not unlike a panther, as is his gaze, not so much at you as through you. A well-placed platform in the photo pit allows Rønnenfelt to periodically lunge out over the crowd, like a cat that’s been provoked. And then there’s his roar—the woozy, scabrous voice that has been showcased on three Iceage albums, but never more effectively than on its most recent release, Plowing Into the Field of Love. Riding high on the acclaim of that record, the Danes have been plowing their way across America for weeks, and Austin is the fnal stop in that trek.

“We aren’t really a festival band,” Rønnenfelt admits backstage before a midafternoon set. “I’m normally not too excited about playing them. But sometimes they can pay for a tour.”

The singer and his bandmates—drummer Dan Kjær Nielsen, guitarist Johan Surballe Wieth, and bassist Jakob Tvilling Pless—are packed into one of Fun Fun Fun’s dressing room trailers, and our conversation confrms the reputation that precedes Iceage: a strong-willed bunch of guys that don’t suffer fools and speak their minds in an unvarnished way, but also quick to downplay their own talents. “At one point, we were really bad at playing good shows at festivals,” says Nielsen.

“In fact,” Wieth adds, “we have sucked at many a festival.”

Not so today, and maybe that’s because Iceage’s live set leans heavily on its latest album, as glorious a musical step forward as seen from any band last year. Little from

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the brute force of the band’s 2011 debut, New Brigade, and to write—a trip that didn’t go exactly as planned. “I went its gut-punch successor, You’re Nothing, prepared us for down there on the bus,” he recalls. “And I was like, Okay, Plowing. At times baroque, at times Celtic, the band’s lat- I am gonna go into this apartment and shut the door and I est features its prettiest offering to date, the tinkling piano- am not gonna leave it again. But obviously that didn’t hapmeets-snarling-existentialism of “Against the Moon.” What’s pen at all. I ran out of money, and at some point I couldn’t most remarkable? That the group took this sonic leap in a afford food or even a metro ticket.” short amount of time—only 18 months between releases.

The panic clearly didn’t last for long, and as Iceage looks “I guess we work fast,” concludes Wieth. Rønnenfelt, to what’s next, the band seems none too concerned that however, won’t sugarcoat. “I mean, writing 12 songs a year, the bar of expectations has now been considerably raised. it’s not rocket science,” he says. “And there wasn’t that vast “I think the only expectations we are ever nervous about are a difference between the frst two, so we felt compelled to our own,” says Wieth. The band members insist they’re not jump further. We don’t really rest on our laurels, and we peaking. “Our interest in writing songs is not in just writing quickly grow bored with material, so we need to keep writ- sweet licks that people will bob their heads to,” explains ing in order to be excited about the band.” It wasn’t a 180, Rønnenfelt, “but rather really trying to express ourselves.” but the dramatically evolved sound of the new record def- Nothing is sadder, in his view, than hit makers who are still nitely caught live audiences off guard at early shows. “We cranking out those same hits for audiences 20 or 30 years started playing only new tracks before the record had even later. “We’ve seen plenty of dinosaurs do the sad thing,” he come out,” says Wieth. “We didn’t play any old stuff. So the says, “and it’s rarely a pretty sight.” However, Rønnenfelt is response back then was that they were kind of confused, not one to say that rock music should only be reserved for the and maybe a little disappointed. A lot of them would try and young—provided musicians keep it honest. “People should mosh, but then fgured out that it wasn’t very moshable, and just learn not to be 50-year-old men imitating their 21-yearmaybe even left the room. But then after the record came old selves,” he contends. “I think it’s very valid to be 70 years out, the response completely changed.” old and making music if you’re making it from a 70-year-old With lyrics more poetic, personal, and forthright, song- guy’s perspective. But you’re not really relevant if you don’t writer Rønnenfelt has emerged as something of a punk-rock express what being a 70-year-old is like.” john norris Rimbaud. In search of new headspace in which to create, Rønnenfelt even holed up in a friend’s Berlin apartment Plowing Into the Field of Love is available now from Matador Records

PROP STyLIST LAuREN NIKROOz PHOTO ASSISTANTS SIggy BODOLAI AND ANNA ALEK PROP STyLIST ASSISTANTS ROSIE TuRNBuLL AND JOHN PRICE RETOuCHINg gLOSS STuDIO, Ny LOCATION ROOT STuDIOS

PhotograPhy CharLottE WaLES

VEST BAlmAiN HAT (THrOugHOuT) WILL’S OWN

mike mike will made-it is hiP-hoP’s nUmber-one ProdUcer and also one oF its yoUngest. as PoP Princess miley cyrUs exPlains, when she took his soUnd mainstream, it was a match that coUld only be made in america.

PhotograPhy kevin amato Fashion clare byrne Mike Will [Mike WiLL Made-It] had a vision for me frst, before anyone

else knew I was going to have this revolution. He saw it before he even

knew if I was working on music. He was like, “Someone get ahold of Miley Cyrus. I don’t know if she’s making music, but she’s gonna be working on it when she hears this song!” There isn’t a huge difference between urban culture and country music culture. People don’t realize that cowboys and gangsters are the same thing. I’ve talked to Mike Will about growing up around Johnny Cash and Waylon Jennings, and he would be like, “They’re gangsters.”

In 2013 I did the MTV VMAs. Mike was inspiring me a lot that year. To me, hip-hop was similar to how my mom described the good rock scene when she was young. Hip-hop became the new punk because that was the rebellious place to be making music. The idea of innovators versus imitators is something that he and I battle with a lot. Mike has such a sound now, it’s hard to go to a club without hearing that sound. Even with me, you have to take it as a form of fattery, but people try to make a Mike Will sound—and a knockoff isn’t ever as good. Some people can’t tell, but there is a sophistication to Mike’s sound.

People are shocked by the fact that he’s 24 years old. It’s the same thing with me…people can’t believe, when they talk to me, that I’m only 22. It’s the lifestyle and the ambition. The reason people always listen to me in my business meetings is because nobody knows where young people are going more than young people. He’s like me because when we want something, we don’t take no for an answer. When you have that drive, people forget how young you are. He’s more than a producer. I think he’s building an empire. When you look at what 50 Cent did with Vitaminwater or what Dre did with Beats, it all started with music, and Mike knows how to build himself. That’s like Dolly Parton. It’s funny to mention her, because Dolly is a country star with big titties and glitter, but inside she is a businesswoman. I’m a musician, and at one time I was less credible than I am now—although a lot of people accepted it because this is America—and I know that Mike has so much more he can do within art and fashion and business. He’s only 24 so he has forever to do it.

Of course, we have differences. I never had a problem, with my parents fying me in and out of L.A. to become who I am, but Mike had to do it all himself, out of a basement in Atlanta. He wasn’t born into this, he got here strictly on music, which is more than a lot of people can say. That’s where he got “Mike WiLL Made-It.” He really got here because of himself and that’s the most respectable thing. I love when people are underestimated. He started making beats at 14 and was working as a manager, hustling these three kids around Atlanta. He’s always been above his age and trying to hustle. He would take risks and stay out late from school, and look at how his life has changed. miley cyrus

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“HE’S LIKE ME BECAUSE WHEN WE WANT SOMETHING, WE WON’T TAKE NO FOR AN ANSWER. WHEN YOU HAVE THAT DRIVE, PEOPLE FORGET HOW YOUNG YOU ARE. HE’S MORE THAN A PRODUCER. I THINK HE’S BUILDING AN EMPIRE.” —MILEY CYRUS

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that’s how I learned about publishing and how to build my own company. But after school, I would go and be around all the rappers that everyone at my school wanted to meet. I still didn’t have any money, so in 2010 I told my dad, I can’t eat books. I gotta focus on this music shit for real. I have my plan and I’m gonna stick to it. He basically said, “Fuck that, you gotta go to school.” So instead of going back and forth I just got off the phone. And by the next semester, in 2011, I didn’t enroll. At that time, “Dirty Sprite” [with Future] came out, and then “La La” [with 2 Chainz featuring Busta Ryhmes], and then “Tupac Back” [with Meek Mill featuring Rick Ross]. That was my first song on the Billboard charts. Then my dad said, “Well shit, I guess you were right.” Then from there, I dropped my first mixtape, and after that, Kanye called me to New York in 2012. He reached out and flew me there for what was supposed to be two days, but turned into two months. He let me hear “Mercy” without the drums. He did the drums real quick, not thinking it was gonna be a huge hit like it was. When I was working with Kanye, “No Lie” came out with 2 Chainz. That was kind of my first hit. It was weird when I first met Kanye. I thought he’d be on some shit like what producer is this? But when I walked in the room he said, “It’s about time a producer like you comes through with this crazy sound. All you need is the right voice on top of the beat.

You have the potential to change sound.” Then we just started working. In 2012, “Turn On the Lights” [with Future] and “Bandz A Make Her Dance” [with Juicy J, featuring 2 Chainz and Lil Wayne] were singles.

MC And that’s how I discovered Mike Will. I’ll never forget hearing the fuck-you beat you made in the Greenwich Hotel lobby; I was turning up with my headphones on. Then we met very soon after that, in 2013. But that’s quick for you. Once you popped off, it was quick.

MW I used to go down to strip clubs in Atlanta, and I’d walk to the DJ booth, grab the mic, and say, “Stop the music, I got some new shit with Juicy, 2 Chainz, and Lil Wayne.” Then the whole club would go off. I had to go back and forth with program directors telling us it didn’t work on radio and the song was just cool, but I kept pushing and that shit popped off. After that, I was able to meet with labels and I would tell them that I got every sound and could work with any artist. After “Bandz,” that’s when I started working with Wayne. He just got out of jail. I had the “Love Me” hook on my phone and was in the studio with Drake and Future. It was kind of a weird vibe because Future and I have our thing. I told Drake to listen to what Future is doing and that’s when Drake said, “Yo, bro, I think you should say some shit like…‘long as my bitches love me.’” I knew I wanted them both on the hook so Future went in and said, “I got some good kush and alcohol.” Drake went and laid down his part and I just had that hook for a long time. Future was about to put it on his mixtape, and I said, “You have to get Lil Wayne on it so he can put it out as his single.” When I was working on “We Can’t Stop,” I kept saying, “Damn, this shit is the next ‘Party in the USA,’ and fuck, if I keep saying that shit, why the fuck don’t I just give that shit to Miley?” So I hit my manager up and said, “I need to get in the studio with Miley Cyrus.” He said, “I don’t know if Miley Cyrus is even doing music right now.” I said, “I don’t give a fuck. If she hears this song she’s gonna do music.” So I went to New York to meet with all the different labels.

My last meeting of a cold ass day was with RCA, and at that point I had no idea who Miley Cyrus was signed to. Labels didn’t even really mean nothing to me at this point. So I went and played a bunch of shit and when I played “We Can’t Stop” I said, “This song is a fucking smash. I don’t know who y’all got, but this shit is ready to go.” Peter Edge said, “This will work with Miley Cyrus.” I was stunned. I said, “Hell yeah man, Peter, I already fuck with you, we already on the same page, dog.” I showed them my text from not even a week before to my team looking for Miley fuckin’ Cyrus. From there, your little wild ass heard the shit and they put us in the studio and I thought that maybe that was the only song we’d do, but then I played you “23” and you were with that shit. So we just knocked it all out, first day. After we worked, I said, “Miley cool as fuck, dog. You gotta keep putting us in the studio together because I think we can come up with some hard shit.”

MC And I was deep in with Pharrell at the time.

MW I got a whole catalog of pop shit that everyone’s scared of and you ain’t scared to try shit. So let’s just keep getting in. Even with “We Can’t Stop,” that was our first time working and a lot of producers want the artist to come in and sound just like the demo but you got that country twang, man, so I just wanted you to do your own thing. That was just the beginning. We made history.

MC Too many chiefs, not enough Indians!

MW You can’t have anyone in the middle. You need direct communication. Talk about ideas and keeping beats on deck so you can work any hour and any state. [Bangerz] was our attention grabber, to get them talking and to have some safe hits. I would play people beats and they would think they were too trap for Bangerz and I’d say, “Just let us work.” I think the whole thing with me is I represent the misunderstood. I’m a misunderstood motherfucker.

I always think left as fuck. The easier way of thinking, man, I always think the opposite of that. No one really understands why I do what I do until they hear the finished product. Or it’s topping the charts.

Mike WiLL Made-It’s debut LP is out later this year from Ear Drummer/Interscope Records

GROOMING LAURA DE LEON USING CHANEL (JOE) STYLIST ASSISTANT CLEO BENNETT EQUIPMENT RENTAL K&M LOCATION DRIFT STUDIO NYC

Miley Cyrus How did you start making music?

Mike Will I started making beats at 14, in a group with three other friends. We would go to the studio over the weekend. The whole school would buy all the CDs from me and the homeboys. We’d sell them for five bucks a record. We’d end up with maybe a couple hundred dollars each. After that group didn’t work out, I just started moving around. That’s when I met Gucci Mane, at about 15 or 16. He heard a bunch of my beats and he started freestyling on one. He was trying to buy it from me for a thousand dollars. My dad would drop me off at the studio and I would be out there by myself and Gucci just happened to be at the same studio as me. He pulled me into the room and asked me if I was the little dude with the beats. I said, “Mannnnn, you’re gonna have to holler at my people!” He knew I didn’t have no people. No manager. No nothing. Me and Gucci fell out of contact when he got locked up but Waka and I met each other and just became real cool. But back then, Waka wasn’t even a rapper yet. We just met in the club. We were about to fight each other but somehow we just got cool. We started chopping it up and he was asking me what I do and I said, “I do music. I make beats.” That’s when he said, “My cousin is Gucci Mane.” I said, “Shit, Gucci Mane!? That’s my homeboy.” So Waka and I exchanged numbers and just ended up getting cool and then when Gucci got out of jail he linked us back up. Waka and I would hang with each other every day. I would sleep on his mama’s couch, he would sleep on my mama’s couch. He really wanted to be my security guard. His mom was an OG manager in the business, and his uncle managed Nas and all them cats in New York. So Waka just wanted to make sure my business was all the way straight. At the time, Gucci started saying Waka’s name in his raps, and shouting me out. Then I told Waka, “Yo Gucci making us a name bro!

You might gotta start rapping!” Before you know it, he became a rapper overnight. I was still making beats for Gucci, and the underground took off. But I didn’t really get my commercial break through Gucci, I got my underground break through him. After all this shit was out I brought him another CD full of beats and he told me, “You don’t needa bring me beats no more.” He told me I had to take my sound to the next level, and that he’s trying to go to the next level. I didn’t really understand. I was mad as hell, because those beats were hard as fuck to me. Then next thing you know he started popping off and having bigger hits. Then I understood what he was talking about.

MC So I can really thank Gucci Mane for us ever even working together. I guess subconsciously he got you to want to fuck with more mainstream shit.

MW When I first started working with Gucci, we would do 20-something songs in three days. He would just go into the booth and rap on that shit. There wasn’t too much thought put into it. I was just used to working that way, so when he told me I had to take my sound to the next level I was just like, Man what the fuck? But then when he started popping off and doing songs with Mariah Carey, that’s when I realized what he was trying to do. But Waka was telling me the opposite. Waka was telling me I needed to go back to the old Mike Will. Waka’s career was where Gucci’s was at when I first met him, so I was kind of torn between the two. That’s what got my sound where it is right now, though. It’s a polished slash ratchet sound.

MC People who stay around forever are those who know that you have to evolve and change.

Like me being from Nashville, they think I threw away my roots.

MW I was torn between the two, and then it got political. People were trying to sign me, but I had my own vision. I wanted my own production company. EarDrummers came about when I was doing all the songs for Gucci. I had about 30 songs with him and about 10 songs with OJ da Juiceman. I had all these songs out in the streets but I wasn’t making a dime off of ’em.

MC So, for those who don’t understand the “eardrummers” tag, Made-It Mafia.

MW When I went to go get a publishing deal, I wrote down all the songs I had out and the dude balled up the paper and just threw it in the trash. He said, “All this shit is just mixtape records.” But I thought, How are motherfuckers like Lil Jon or Drumma Boy—producers I was looking up to at the time—how are these people breaking through? I just started doing my homework and realized, these cats got teams. I already had my homeboys I made beats with for fun but then I knew I needed to start my own team. I wanted EarDrummers to be a team full of writers and producers with the next-level ear. Always on the next shit.

Trendsetters. It started with just me and my boy A Plus. He would make his beats and I’d make mine. Then, I wanted to build the team up even more. My boy Pnazty, who is dope as hell on melodies, was a missing piece to my super gritty, turnt-up puzzle. Pnazty knew Marz and brought him to the table and then we all just started vibing and coming up with this sound and it just became distinctive. A lot of rappers didn’t even know how to write to our shit. A lot of rappers thought our beats were too weird. But that’s when Gucci and I got back in the studio. Even Future told me at first he didn’t really get the beats. All of our beats were always super knocking and distorted and then we came through with a new sound for Atlanta, the whole underground shit. That’s when it started cutting through, and getting on the radar of Kanye West. I graduated from high school in 2007 and started going to Georgia State in ’08. But by 2010, I was kind of fed up. I didn’t really have friends in school.

I would leave class and go straight to the studio. I went to school for my dad because both of my sisters graduated from college. I was learning Introduction to the Music Industry, and

“I USED TO GO DOWN TO THE STRIP CLUBS IN ATLANTA, AND I’D WALK TO THE DJ BOOTH, GRAB THE MIC, AND SAY, ‘STOP THE MUSIC, I GOT SOME NEW SHIT WITH JUICY, 2 CHAINZ, AND LIL WAYNE.’” —MIKE WILL MADE-IT

VEST BALMAIN JACKET AND PANTS OPENING CEREMONY X JONATHAN HOROWITZ BOOTS GIVENCHY BY RICCARDO TISCI

JACKET AND SHIRT saint Laurent by hedi sLimane SCARF TOBIAS’S OWN

Tobias

WHEN A sEriEs of uNfortuNAtE EvENts iNtErruPtED His lifE iN l.A., toBiAs JEsso Jr. MovED HoME to vANCouvEr, tAuGHt HiMsElf PiANo, AND stArtED WritiNG soNGs. littlE DiD HE KNoW HE’D BE PiCKED uP BY A lABEl AND PositioNED to BE tHE BiGGEst BrEAKout of tHE YEAr. PHotoGrAPHY HEDi sliMANE

78 vMAN • MusiC

a busted, bleating horn as a coda on “Hollywood”—Jesso’s from-a-distance ode to the city that didn’t kill him, but in fact made him stronger. Elsewhere, the album is an indie who’s who: The Black Keys’ Patrick Carney produced two tracks; Aaron Sperske (Ariel Pink’s Haunted Graffti, Father John Misty) is on drums; Danielle Haim (the HAIM girls see Jesso “about fve times a week”) sings; and Ariel Rechtshaid (Sky Ferreira, Vampire Weekend, HAIM) produced “Without You,” a lump-in-the-throat late album addition that is devastatingly beautiful.

The real star, though, is Jesso’s writing. His songs have evoked comparisons to fractured troubadours like Harry Nilsson, Randy Newman, and John Lennon—there are even touches of Billy Joel and Honky Château-era Elton John. Those notes are all “fattering,” says Jesso, but in truth, he was hardly a student of the piano men of the ’70s. “Not at all, not even close. JR got me into all that stuff,” he explains. “He started feeding it to me. I mean, I had obviously heard Randy Newman, I always thought he had a cool thing going on, but I defnitely wasn’t like, Harry Nilsson’s my go-to. I didn’t know much about him.

When JR started sending them to me, I was kind of like, I’ve got to try to get a little further away from that. I didn’t want to be a ’70s guy, I want to be a current guy.”

In terms of buzz and affection, Jesso is plenty current. If there’s one area that’s a work in progress for him, though, it’s live performance. He still has qualms about his reedy voice, but he’s taken some inspiration from other unconventional singers, like Lou Reed and Sparklehorse’s Mark Linkous. And apart from the aforementioned house parties, he’d only played three live shows as of early January: an evening set at Pitchfork Paris in November and two shows at L.A.’s famed Roxy Theatre opening for his friends, indie rockers Foxygen. “I don’t think of myself as much of a live performer,” he says, adding that going out onstage alone—as he will appear on tour in March and April, before adding backing musicians for summer festival appearances—is a strange feeling. “I think the live thing is gonna be touch and go with me until I fnd myself. I’m sure I’ll get to the point where I can play a show anywhere, but for now it’s nerve-racking.”

Jesso has already had a few starkly different leanings in his young life, but it seems that career-wise, he’s settled on the right one. “You just never know,” he says of sudden success. Take, for instance, what happened to a former neighbor of his in a downtown warehouse space in Los Angeles. “I shared a bathroom with Skrillex,” he recalls. “But he was just Sonny to me. This was before that stuff. I think he was just writing then. Two years later, I see him and I’m like, Oh my God, that’s Sonny! It’s so crazy and so random.

It’s like a lottery. And I play the lottery. I’m one of those guys.”

Even if Jesso hasn’t yet hit the jackpot, you’ve got to like his odds, and he owes it all to what he calls his “reinvention” of 2012. “I was like, I can either go back to school and get a job, or I can play piano for at least fve or six hours a day and just write as many songs as I possibly can, and see if something happens in a year,” he recalls. “And something happened two weeks later. I was on a new sort of path. And looking back, I’m just so glad that it did work out, because I’m sure that it could have gone the other way.” john norris Goon is available now from True Panther/Matador

PRODUCTION YANN RZEPKA AND KIM POLLOCK

Goon. It’s a word you just don’t encounter that often, and when you do, it’s usually in reference to either a) a fool, or b) a strong-armed enforcer. Canadian singer-songwriter Tobias Jesso Jr. is neither dimwit nor thug, but he has another reason for naming his debut album—one of the most eagerly awaited releases of 2015, out this month—Goon.

“I like that word,” Jesso explains over the phone from his home in Los Angeles. “I loved The Goonies. That was my favorite movie back in the day. And they were all hopeless romantics like me. Part hopeless romantic, but part dumb and simple—the goon. And that’s how I write lyrics: as simple and to the point as I can possibly get.” It’s the disarming simplicity of Jesso’s music—plainspoken observations of career struggles, heartbreak, and the promise of love, set to the sort of immediate piano-based melodies that we haven’t heard in decades—that has made Goon, for just about anyone who’s heard it, as irresistible as the movie that inspired its name. For more than a year, buzz was slowly building around Jesso thanks to two singles released online: “Just a Dream” and the tender, us-against-the-world “True Love.” There were video performances of two songs for La Blogothèque and a series of house shows for tastemakers in London, New York, and L.A. Cue the critical praise, the best-of lists, the “names to watch in 2015” write-ups. “It’s just blowing my mind,” he says of the attention. “I really don’t expect any of it. So when I’ll wake up and there will be, like, 20 tweets or whatever, and then I’ll see a best-of list or something, I’ll be like, Oh my God, what is going on?”

What’s going on is the just reward for a young musician who’s paid his dues and who took a while to fgure out what he wanted to say and how he wanted to say it. After knocking about his native Vancouver in numerous bands post-high school, Jesso made his way to L.A. in 2008 to play bass in a prefab backing band for Melissa Cavatti, a synth-pop singer whose dad had deep pockets. “It was a job,” he admits. “A good, paying job. It was the best money I had ever made.” That job soon went south though, and Jesso spent the next couple of years spending what money he had saved couch surfng and trying to fnd something that would stick. His number-one goal at the time? To write songs for major pop stars. “The Katy Perrys of the world, you know? I thought, When am I gonna get to write a song for her?”

But L.A. eventually took its toll, and in 2012, when all in a matter of days Jesso broke up with his girlfriend, was the victim of a hit-and-run, and found out his mom had cancer, he returned home to Vancouver. What he says initially felt like a retreat in failure, though, turned out to be the best thing for his output. Jesso began writing for the frst time on the piano, an instrument he’d never seriously played, and more signifcantly, writing from a place that was more honest, open, and personal. “My whole approach was different,” he recalls. “It became, I’m gonna do the best that I can do, for me, instead of, I’m gonna try and show off a good song to somebody else. And I still wasn’t thinking I was gonna be the musician who’s singing these songs. That’s just what happened.”

Jesso managed to get a four-song demo to former Girls bassist and producer Chet “JR” White just after that beloved band had broken up. White was immediately interested. He ended up producing the majority of Goon, adding touches like organ and backing vocals on the soulful “How Could You Babe,” Beatles-y strings on “Can We Still Be Friends,” and

ryan

as he prepares to open the 2015 new museum triennial—amid a smattering of solo shows between berlin, new york, and l.a.—digital phenom ryan trecartin gives an ecstatic, telematic glimpse into our post-binary future, with a series of artworks premiering in vman. artwork ryan trecartin vman • art 81

82 vman • art

No one has ever accused Ryan Trecartin of being simple. On the contrary, the 33-yearold Los Angeles–based artist’s work is so unyieldingly loaded with content that people often talk more about its intensity than what it actually depicts. Since he began showing his videos and sculptures in the mid-aughts he has been lauded as a digital prophet, and in 2011 The New Yorker critic Peter Schjeldahl checked him as essentially the great hope for his generation. Last spring, the venerable weekly followed up with a lengthy profle by Calvin Tomkins, the 88-year-old biographer of Marcel Duchamp and other avant-garde legends. It was a discovery piece, the re-re-re-re-discovery of Ryan Trecartin, bearer of the new, and hopefully the last profle of its kind.

By now, whether via the early days of YouTube, a museum, or a Los Feliz health food store—one of the only places you’re likely to see Trecartin IRL besides the studio he shares with his close collaborator, the artist Lizzie Fitch, whom he also lives with by Griffth Park—you’ve probably had an encounter with him and his work, and you probably haven’t forgotten it. I lived with Trecartin in that house from 2010 until about a year ago and I can vouch that over that span of time it was a hive of activity. A wildly generous and adventurous spirit of collaboration has always guided his undertakings. He and Fitch have now been settled in L.A. for almost fve years, and with the creation of Fitch-Trecartin Studios (FTS), they have instrumentalized their freewheeling fervor into a laboratory for constant production. Their plan for the near future is to keep FTS going in L.A. as they resume a migratory practice, stationing themselves in locales yet to be determined.

“It’s hard to say how many movies are being made right now,” Trecartin says, “but I’m working with material shot across a sprawl of years: during high school in 1999 to 2000, on a set made in Burbank from 2012 to 2014, various shoots that happened across the Midwest on an RV road trip in 2014, at a lake house in 2005, and in a Masonic temple in 2014.” He alludes to various settings that have made their way into recent movies “which are all exploring similar ideas through different forms of limited reality.” Whereas Trecartin sees Any Ever, the seven-movie series he made circa 2010, as concerned with personality, consciousness, and behaviors as transient values—casting existence and interaction in a transactional light—in his new work “the movies themselves are the interiors of educational gaming systems, ideological recollection centers, real-time diversity spots, and relativity parks that have been repurposed for off-label modes of recreational existence and observation.” In this sense, the mechanics of the games demonstrate the evolution of character and drama more than narrative through-lines. “A big distinction between my previous work and what I’m making now is that characters no longer exactly embody ideas or act as vehicles for conceptual transformations—they’re more like fxed proxies being accessed by outside sources. Sources that are not necessarily revealed narratively and which may take multiple forms or may be in fux. The characters that are viewable in the new work are more tool-like,

usable but limited felds of access where the degree and the quality of the freedom ‘available’ is masked by modes that function more like players, or guests, or hosts, or ghosts.”

The videos included in his most recently exhibited installations, Site Visit, shown at the KW Institute for Contemporary Art in Berlin, and Ledge, at Regen Projects in Los Angeles, were shot at the Wilshire Boulevard Scottish Rite Masonic Temple in the fnal weeks of the building’s life as a cavernous mausoleum. Abandoned for decades, it is now under construction as the future home of the Maurice and Paul Marciano Art Foundation, a private museum for the collection of the founders of Guess Jeans, who availed the 200,000 square feet of forlorn hallways, meeting rooms, and an opera house to Fitch, Trecartin, and a host of other collaborators. “In a way the protagonist is the building itself,” Trecartin says. “The realities proposed inside the temple shoots function similarly to a horror movie, or a horror mode, accessed to explore new types of fear that might emerge from a different relationship to time—one that is more generous than our biological limitations can comfortably afford us.”

Another project coming to fruition for Trecartin this spring has required him to shift into a new and unfamiliar mode. Together with curator Lauren Cornell he has curated the New Museum’s 2015 Triennial exhibition, which opened on February 25 and runs through May 24. The show’s title is Surround Audience—a multivalent phrase that touches on the artist’s observations about how culture is created and consumed today. “The need to make and share things with people is always changing form,” he says. “Ten or twenty years ago, identity politics was essential to creating a space for diversity. We are heirs to the potential consequences of those battles and many now assume that we can simply declare—or behave as—who and what we are in more mutable ways, without a need to always state these things in opposition to some prevailing norm. You no longer need to create dichotomies to catalyze progress or be the embodiment of a movement. There is more room to simply utilize a movement as an application or instigate contextual innovation.” Skipping the binary us vs. them identifcations. “Many people seem to be seeking both a personalized diversifcation of self and a more complexly collaborative investigation of existence,” he says. In this sense, the roles of makers and audiences of all kinds are overlapping into expansive spheres of experience with unlimited peripheral vision.

“Another thing about Surround Audience,” says Trecartin, “is how extremely conficting ideas can coexist functionally not only in the same show but in the same body of work by the same artist—to have something fgured out or mastered seems to be less of a goal for many emerging artists, it’s more about rigorously inclusive explorations and inventive adaptability.” kevin mcgarry 2015 Triennial: Surround Audience is on view at the New Museum through May 24 3D models/animations Rhett LaRue Models Ryan Trecartin and Rhett LaRue Photography (this page) Anthony Valdez

vman • art 85

italo with a laser focus and influences ranging from club culture to american athleticism, calvin klein collection creative director italo zucchelli is carving out menswear’s crystalline future.

PhotograPhy inez & vinoodh 86 vman • fashion

88 vman • FaSHIOn

Italo Zucchelli is an unlikely minimalist.

Born in San Terenzo, Italy, the 49-year-old creative director of menswear at Calvin Klein Collection—a brand built on streamlined American sportswear—grew up pouring over indie British publications like i-D, The Face, and BLITZ. While he studied architecture and design in Florence, the ’80s music scene and the dawn of MTV provided Zucchelli with his initial fashion education. “It was the frst time in history when an artist’s image—what they were wearing—was just as important as what they were singing. I was always inspired by that,” says Zucchelli. He still is, though now Zucchelli’s not just observing—he’s the one doing the image making. Most recently, he outftted Sam Smith for his In the Lonely Hour tour.

Equally as impactful as the glammed-up characters Zucchelli observed in magazines and on his television screen were the ones he encountered during late nights at London’s Taboo and Camden Palace, Paris’ Les Bains Douches, and Milan’s Plastic, among other New Romantic era hot spots. “The frst big city I ever visited was London. I was 16, just learning English, and I’d see all these crazy people in the clubs wearing crazy outfts. It was then that I developed this passion for clubwear and clothes related to music,” recalls Zucchelli. As it turns out, the same man sitting across from me in black jeans and a V-neck sweater assembled some rather extraordinary evening ensembles back in the day. “One that was pretty recurrent—and you need to imagine it, because it was actually quite masculine—involved a skirt,” he says. “It was a black latex pair of jeans, a jean jacket, and a red tartan miniskirt with S&M images that I applied with safety pins. I’d wear a scarf with it.” Zucchelli also divulged that he did “everything you could imagine” to his hair. “I was platinum blond for years. That’s actually why I’m bald now.” That explains the dome (which is considerably becoming on Zucchelli, I might add). But this aesthetic history makes the designer’s current pared-down tendencies—or rather, their origins—all the more mysterious.

“I’ve always enjoyed artists that have clean aesthetics,” he says when pressed on the subject. “Even when I used to go out, there was a crispness that I appreciated. And I’ve always enjoyed a spare room without a lot of stuff.”

Zucchelli’s offce at Calvin Klein’s Manhattan headquarters is just that.

When I meet him there on a miserable December afternoon, Zucchelli greets me with a zealous hello before taking a seat at his meticulously organized desk. Behind him is a print of a cloudy sky with a sharp rectangle in the center—the same motif that appeared on S/S ’14’s James Turrell inspired tees and sweatshirts. (Drake, if you’ll remember, wore a customized hoodie version throughout his Would You Like a Tour tour.) To Zucchelli’s right are two Steven Klein photographs of a naked, oiled-up David Agbodji. Both are outtakes from Calvin Klein Collection’s Spring ’10 campaign, which depicted the chiseled model both in the label’s slick suits and separates and in the buff. “Those ads were inspired by Grace Jones,” Zucchelli notes, adding that the singer’s Nightclubbing album cover—the one where she’s posed in an angular Armani jacket with a cigarette dangling out of her mouth—is minimalism at its best. “I gave Steven a picture of that album and said, ‘This is it.’”

Zucchelli cut his teeth assisting Italian designer Romeo Gigli, a man known for his romantic, understated creations. “He was a genius, and he really revolutionized fashion,” professes Zucchelli before slicing the air with his hands to demonstrate his former boss’s masterful (albeit frenetic) cutting techniques. A brief stint at Prada came next, followed by two years designing menswear at Jil Sander, where he learned about fabric experimentation and the importance of wearability. It was during his time working alongside minimalism’s main madam that Calvin Klein came knocking. After a six-month courtship, Zucchelli signed with the American house—and the timing couldn’t have been better. “Every time I talk about it I get goose bumps,” he whispers, leaning forward. “The day I received my contract from Calvin Klein, Jil resigned from her own company. I remember thinking, Okay. This is meant to be.”

Zucchelli moved into the top menswear spot after Klein sold his company and stepped down in the early aughts. S/S '04 was his frst solo season, and, despite the label’s deep American roots, it was immediately evident that Zucchelli’s eclectic youth and Italian upbringing groomed him well for the gig. “I think as an Italian, I idealize America,” Zucchelli muses. “That brings a little bit more of a fantasy element to my designs.”

The Calvin DNA—simplicity, masculinity, and inescapable sexuality— is woven into each of Zucchelli’s collections. “I believe in repetition,” he says. But don’t mistake repetition for regurgitation. Zucchelli’s design approach is studied and cerebral, and though he always respects house codes, he rarely revives the past without a wink and a twist.

Consider F/W ’14, for which Zucchelli turned the brand’s Obsession, Eternity, and Escape fragrances on their heads. Sweatshirts embroidered with those monikers were shown alongside sporty separates, wool trousers, and classic overcoats. “I nod to the past to bring a little bit of irony, because there hasn’t always been much of it at the collection level.

But it’s very contained. It’s tasteful. And it’s playing with youth and pop culture, which is very Calvin Klein, if you think about it.”

Indeed. Calvin Klein has a history of driving the zeitgeist. Those 1992 ads starring a topless teenage Kate Moss straddling a bare-chested Mark Wahlberg (which were recently replicated with Lara Stone and Justin Bieber) are up there with Clueless when it comes to pillars of ’90s pop culture.

“For me, they really defned the core essence of the brand,” Zucchelli says of the Herb Ritts-lensed photos. “They defned the American-ness, the crispness, and the cleanness of Calvin Klein. They’re timeless.”

So timeless, in fact, that they had a conceptual hand in Zucchelli’s fesh-toned S/S ’15 outing, which toyed with the idea of underwear.

“It was about skin,” says the designer. “I wanted to celebrate sexiness and again play with pop culture to have a little bit of fun.”

Sexiness is tricky territory these days, especially for a brand like Calvin Klein, which broke the mold with its controversial ’80s and ’90s campaigns. (Let’s not forget when Brooke Shields told the world that nothing comes between her and her Calvins in 1981.) Thirty years ago, a nearly nude model on a billboard was shocking. In 2015, it’s the norm.

“Today, I think something’s sexy when it’s effortless,” suggests Zucchelli.

“It’s tougher to express that in a new way now because we’re constantly bombarded by images. But it’s still something that’s very relevant for this brand, because it’s what Calvin Klein was founded upon.”

One need only look at Calvin Klein’s menswear models—all of whom go through Zucchelli’s fastidious casting process—to see that.

Forget those waifsh, sunken-cheeked boys favored by so many top-tier houses—Zucchelli’s catwalkers are strong-jawed, broad-shouldered hunks. “Looking good and having a great body is still relevant for this brand,” says Zucchelli. “My guys are always handsome, and it’s a specifc casting that takes a lot of time to develop. The guys also need to wear the clothes, so they’re muscly, but they’re lean. That masculinity is very important.”

Just like the concept of “sexy,” the nature of masculinity is constantly evolving—as are men’s sartorial desires. Much of Zucchelli’s success lies in his understanding of that. “Until 10 years ago, men had a different approach to clothes. Now, thanks to the Internet, they are very aware of what’s going on in fashion. Their wives don’t pick out their clothes anymore. They know what they want, and it doesn’t matter if they’re gay or straight—they’re looking for quality,” Zucchelli argues. “It’s no longer about just another gray suit.”

That became abundantly clear during the S/S ’15 shows, when “athleisure” (in layman’s terms, a cross between luxury sportswear and gym clothes) ruled the runways. But Zucchelli presented this style long before the Internet came up with a cute word for it. “I began doing it because Calvin Klein is quintessentially an American sportswear brand,” he says when questioned about his signature innovative tech fabrics and laid-back–meets-high-end threads. “As for why the rest of the industry is obsessed with this direction, I think it’s rooted in reality. It’s what people wear in everyday life. Everybody wants to express more of who they are, be more comfortable, be themselves. You don’t have to prove that you’re rich by wearing a suit today—actually, it’s quite the opposite. Thank God the world is moving on from those rules… because rules are made to be broken.”

Zucchelli has been at the helm of Calvin Klein Collection’s menswear range for over a decade now, which is certainly long enough for him to have made and broken a few rules of his own. So what, in Zucchelli’s opinion, has been his crowning Calvin achievement? “I updated what was already there and I made something that is more me,” he offers.

“I needed to do that. But I kept the core integrity of the brand alive. I just added to it to make it right for this moment.” This moment, and the next. KATHARINE K. ZARRELLA

GROOMING WENDY ROWE (TIM HOWARD) MANICURE DARIA HARDEMAN LIGHTING DIRECTOR JODOKUS DRIESSEN DIGITAL TECHNICIAN BRIAN ANDERSON STUDIO MANAGER MARC KROOP PHOTO ASSISTANT JOSEPH HUME VLM PRODUCER JEFF LEPINE GROOMING ASSISTANT ALIANA LOPEZ RETOUCHING STEREOHORSE LOCATION ROOT STUDIOS

VMAN 33 STOCKISTS

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THIS IS MENSWEAR NOW

MEET THE NEW MARQUEE NAME ON THE BRINK OF FAME BASK IN THE BEAUTY OF SUMMER WITH BRUCE WEBER AND FRIENDS HEDI SLIMANE CAPTURES HOLLYWOOD’S NEW HOPEFULS

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VMAN 91

driving force aDam DrIVEr Is LIVINg ProoF that aCCIDENts haPPEN. whEN aN INjUry haD hIm DIsChargED From thE marINEs, hE stUmbLED INto aCtINg sChooL, thEN oNto hbo’s gIrLs. Now hE’s CarEENINg hEaDLoNg INto hoLLywooD’s LEaDINg maN stratosPhErE. what wENt wroNg? PhotograPhy INEZ & VINooDh FashIoN CarLyNE CErF DE DUDZEELE tExt LogaN hILL 92 VmaN

jacket COACH

SHIRT LOUIS VUITTON

JACKET SALVATORE FERRAGAMO TURTLENECK BRIONI

“I defInItely feel dIsconnected from my generatIon. the need to share everythIng doesn’t make sense to me.”

—adam drIver

JACKET COACH T-SHIRT DIOR HOMME JEANS (THROUGHOUT) FRAME DENIM x INEZ & VINOODH

SWEATSHIRT ADIDAS orIgInAlS T-SHIRT PrADA RING (THROUGHOUT) DRIVER’S OWN

“I’m petrIfIed of the Internet anyway.

It doesn’t quIte make sense to me, that mass shamIng wIthout any empathy.”

—adam drIver

this spread: clothing and accessories LOUIS VUITTON

“ThaT’s jusT The shiTTy parT abouT creaTing someThing from noThing. you geT The job, Then iT’s sheer Terror and disbelief unTil iT’s over.”

—adam driver

Three years ago on Girls, Adam Driver burst onto the scene as a lanky tangle of explosive compulsions and pervy passions: all id, no chaser. In the final shot of the season three finale, consoling the show’s spiraling star, he emerged as Lena Dunham’s dream man and anchor: sweaty, shirtless, and somehow permanent. “I was always here,” he says.

Not long ago, nobody knew what to make of the sixfoot-three kid from Indiana. He’d joined the Marines after September 11 in search of “retribution,” then broke his sternum after 32 months of service, before being deployed to Iraq. He then trained at Juilliard and showed up for his Girls audition carrying a motorcycle helmet: Was this strange kid just a flash in the pan? Another nut job character actor? Or could he really be a leading man?

His role on Girls wasn’t supposed to last for more than an episode; he became a pillar of the show. Driver’s longterm career, which once seemed dubious, now has that same feeling of rock-solid inevitability. Soon, it may be hard to imagine Hollywood without the 31-year-old, who, by the way, is a certified Gap model.

As the raves and breathless comparisons pour in—De Niro! Pacino! Brando! —the world’s best directors are backing them up: Steven Spielberg picked him for Lincoln.

The Coen brothers cast him in Inside Llewyn Davis. J.J. Abrams and George Lucas tapped him for their new Star Wars reboot in a role that fanboys hope may be the next Darth Vader, which virtually guarantees global stardom.

Meanwhile, Noah Baumbach, the new Woody Allen of Brooklyn, cast him in the wry midlife-crisis drama While We’re Young (opening this month) as the ambitious upstart to Ben Stiller’s fuddy-duddy filmmaker, a role that showcases all of his rangy charm and danger. This fall, he joins heavy hitters Michael Shannon, Joel Edgerton, and Sam Shepard in Jeff Nichols’s Midnight Special.

But those films are all in the can. When I caught up with Driver, he was in a serious mood and packing for his trip to Taiwan, where he will tackle his meatiest part yet: the lead role in Martin Scorsese’s Silence, in which he and Andrew Garfield play two 17th-century Jesuit priests who go to Japan in search of a missionary (Liam Neeson) who has renounced his faith.

LOGAN HILL I can see why Scorsese cast you: your stepfather is a Baptist minister. What’s your take on the film?

ADAM DRIVER It’s about the anguish of faith and how much doubt really plays a part in everything. In our culture, though I feel very divorced from it, there’s an urgent need to know everything right away. Faith is not that— it’s not knowing an answer. Even people who very much believe in God or religion or whatever it is still have doubts.

Questioning is part of faith. I’m not a religious person, but that makes sense to me, even with acting.

LH How so?

AD Whenever you think you know the right answer, or think there is a correct way to do something, with relationships, friends, family, it always closes off something. No one knows the right answer about anything, and that’s the great and terrible thing about acting—you never really figure it out.

LH You’re not religious. Is acting your way of making meaning in your life?

AD Definitely. As you get older and life starts to happen more, why not go down to the bottom as much as possible?

But there can also be a danger in trying to find meaning in acting, which I’m also learning: that you take it way too seriously, and yourself too seriously. That’s a tricky thing: How do you take it so seriously that your stakes are life and death, but at the end of the day you can let it go?

Talking to older actors, they never seem to figure it out.

LH Having worked with some greats, like Daniel Day-Lewis on Lincoln, what have you learned?

AD I learned a lot from Daniel Day-Lewis in just a short amount of time, almost entirely by example. He’s constantly exploring. I’ll never forget that. Dianne Wiest and I did a play [The Forest] and I’ll never forget watching her be torn up by the process. That was both comforting and

terrifying, just seeing how fearless she was every night to get it wrong. Frank Langella, same thing.

LH Who else?

AD Even talking to Martin Scorsese, you feel this need in him, this drive to get it better, and the doubts and anguish of putting a movie together. That’s just the shitty part about creating something from nothing. You get the job, then

not coming from a community, in Indiana, where language and expressing yourself was really important—and watching people I’ve served with not be able to express themselves, and seeing how easily violence came from that.

LH You’ve said you joined the Marines because you wanted

“retribution” after September 11 and because you wanted to “be a man.” How has your idea of manhood changed it’s sheer terror and disbelief until it’s over. since then?

LH Speaking of Scorsese, you’re getting rave reviews say- AD When you’re in your 20s, you’re just fucking angry about everything. You saw Funny People? Adam Sandler’s ing you’re the next Pacino, De Niro, Brando. And calls from directors like Scorsese and Spielberg. How does it feel? like, in your 20s it’s “Fuck my girlfriend!” And in your 30s AD It’s a little surreal. I love Scorsese and Spielberg—I it’s “Fuck the government!” Then in your 40s, it’s like, “I’m hungry!” That’s so true. Life happens, you get married, probably watch Jaws twice a year. To work with them is a little out of body. It’s obviously extremely flattering, you get a dog, and suddenly the things that you think are a and weird. I’m a straight, white male, and I’ve had more priority just shift. I guess my idea of manhood has changed opportunities than other people have, unjustly. And I’ve because it’s less about you and more about other people. been lucky on top of that.

LH Sounds like being manly isn’t as much of a goal?

LH Hollywood changes so slowly, doesn’t it?

AD Yeah, especially in the military, it’s much more about AD It’s so insane to me. That’s why I like being a part of how aggressive you are. I was a completely different perGirls, because it’s such a female-driven show. I see so son back then. many actors and friends who are so fucking good—but for LH So let’s talk about Noah Baumbach’s While We’re one reason or another, because they’re female or African Young. You play Jamie, a Brooklyn documentary filmAmerican, there aren’t as many opportunities for them. It’s maker who lives in Bushwick. I feel like Jamie and Adam total bullshit. My wife is an actress. She’s had to audition from Girls could be stepbrothers, or roommates. Did you for, you know, “Blonde Girl #3.” There’s just such shitty see them as similar characters? writing and not as many opportunities.

AD First, Noah sent it to me a few years ago and I read it LH Girls has been a lightning rod for talk abour your gen- and was like, “Yes, I’ll do anything,” because he’s fuckeration. But you feel disconnected from it. Why? AD It’s not really my job to go to set thinking, “This means something for our generation!” It’s really about, “How do we make all this stuff make sense and be truthful?” But I definitely feel disconnected from my generation. The need to share everything doesn’t make sense to me. Or that idea that you’re somehow not speaking by not texting fast or e-mailing a certain amount.

LH What’s it like to see so many conservatives cry for Lena’s head on a spike?

AD It’s hard for me to say. I mean, I still haven’t seen the show.

LH You don’t watch it yourself?

AD I try not to watch anything because I don’t have control over it. But I get what she’s going for and I’m excited to be a part of that. I’m petrified of the Internet anyway.

It doesn’t quite make sense to me, that mass shaming without any empathy…I guess it goes back to being so certain about being right or wrong.

LH Speaking of privacy, I just Googled you and read this shocking headline: “Adam Driver Stocks Up on Edward Hopper Books in Rainy New York City!”

AD Christ! That’s on the Internet now? That was a couple of days ago! No one can buy a book about Edward Hopper?

LH You got married in 2013 to your Juilliard classmate Joanne Tucker. How are you and your new wife negotiating privacy?

AD We’re both figuring it out. I value privacy and it’s impossible to say that without sounding like a total pretentious asshole. Losing anonymity is a real thing and it makes your job difficult because when you are what people are looking at, you start thinking about yourself as opposed to taking things in. And selling who you are as a person doesn’t make sense to me. At the same time, you almost want to figure out a way to leverage some of it and do something good.

My wife and I run a nonprofit, Arts and the Armed Forces, where we do monologues from contemporary American plays and do readings for a diverse military audience. A lot of people are like, “We’ll donate to that if you come take a picture with my niece in front of this bank!”

LH When an Arts and Armed Forces program works, what does that look like?

AD We’re giving them something not military-themed at all, and indirectly exposing them to theater and the arts. This audience hasn’t seen A Doll’s House 13 times. It’s great hearing responses like, “We can’t afford theater.” “This is the first time my husband’s been to a play.” To be involved in that process is meaningful, because I remember how meaningful discovering theater for the first time was to me,

ing brilliant…Jamie and Adam are both in Brooklyn and in their 20s, but the core of who they are is totally different. Adam is definitely passionate about something and runs full force at it and I guess they share that similarity, but Jamie is more of a networker, a mover and a shaker.

Adam is more interested in discipline, and Jamie is more interested in appropriating.

LH In the movie, your character asks Ben Stiller’s character, “Who influenced you?” So, who influenced you?

AD There’s so many people! I’d say Edward Hopper, but you fucking know that shit already! [laughs] De Kooning is pretty inspiring. Cy Twombly is pretty fucking great.

Actor-wise…Judd Hirsch is great. Mark Ruffalo is a pretty brilliant guy. Apartamento, do you know that magazine?

It’s great. Then there are just performances that are the best I’ve ever seen.

LH What’s the first one that comes to mind?

AD Bill Irwin in Who’s Afraid of Virginia Woolf? That was the second play I ever saw on Broadway. I’d never read it before and I was working as a waiter. I got a ticket for 20 bucks. I sat in the mezzanine, way in the back, and it was incredible.

LH In the film, Jamie is asked, “Are you a hipster?” Are you?

AD I think the answer I give in the movie is pretty funny. “I’m of a certain age and I wear tight jeans…but no.” I’m very boring! I like the idea of staying indoors and not talking at all.

LH Last question: directors often cast you as men driven by some propulsive momentum. Where does your drive come from?

AD Oh, Jesus. There’s something about not being satisfied…I think some of it is probably genetic. I really enjoy the process. Which is a lie, I guess, because I hate the process! I hate the waiting to actually do the thing. Then while we’re doing it I hate it, because I’m not satisfied. It’s torturous. And you’re trying to find a way to live your life better while you’re doing it, and then your emotions get the better of you—and then you have to sell the things and walk down a carpet in a fancy suit that makes you feel uncomfortable. Or you go to the store and walk out with a bag and somebody chases you! (I remember that day, that guy.) And you can’t act alone in a room, you know?

So you have to rely on other people, as much as talking to people scares the shit out of me. So that’s all bad.

LH And the good part that keeps you going?

AD The collaborative part of it: the brief, little moments where you’re all going after the same thing, and you find something nobody planned. You create something that other people catch on to. Those moments. That’s reason enough to go, “Let’s do that again.”

HAiR Jimmy PAUL (SUSAN PRiCE) GRoomiNG AARoN dE mEy (ART PARTNER) mANiCURE dEboRAH LiPPmANN (mAGNET) CREATivE movEmENT diRECToR STEPHEN GALLowAy (THECoLLECTivESHifT) LiGHTiNG diRECToR JodoKUS dRiESSEN diGiTAL TECHNiCiAN bRiAN ANdERSoN STUdio mANAGER mARC KRooP PHoTo ASSiSTANT JoSEPH HUmE vLm PRodUCER JEff LEPiNE STyLiST ASSiSTANTS fRANCiSCo ovALLE JR., STELLA EvANS, AmiRA RASooL HAiR ASSiSTANT LUCAS wiLSoN GRoomiNG ASSiSTANT TAyLER TREAdwELL TAiLoR mALiSA (iN-HoUSE ATELiER) PRodUCTioN STEPHANiE bARGAS, LAUREN PiSToiA, diSCo mEiSCH (THECoLLECTivESHifT) PRodUCTioN ASSiSTANTS TUCKER biRbiLiS ANd izzy CoHAN REToUCHiNG STEREoHoRSE LoCATioN RooT STUdioS CATERiNG diSHfUL

JACKET BERLUTI TURTLENECK BRIONI

106 vman

By Bruce WeBer

Just another day at LittLe Bear studios GoLden Beach, FLorida

JORDAN WEARS SWIMSUIT VINTAGE JEWELRY (THROUGHOUT) HIS OWN BLANKET CHANEL

“Come rain or Come shine.”

My studio in Golden Beach is open every day, around the clock. our teaM coMes froM near and far, soMewhat like a travelinG circus.

Bo is froM sweden; his rooMMate BoBBy hails froM oreGon. Jordan Just arrived froM australia and paiGe flew down in a snowstorM froM new york city. Grace, froM naples, florida, and Garrett, froM clearwater, florida, MiGht end up GoinG to their senior proMs toGether. Braeden loves playinG hockey in canada and aBdel Just arrived froM alGeria via paris.

PhotograPhy Bruce weBer Fashion deBorah watson

Hair THom Priano for r+Co (Garren new York) GroominG and makeuP reGine THorre (1+1 manaGemenT) models PaiGe reifler (nY models), GraCe CorTon (fronT manaGemenT), Jordan BarreTT, Bo develius, BoBBY rake (imG), GarreTT TaBer (nexT miami), Braeden wriGHT (soul), aBdel makHloufi ProP sTYlisT dimiTri levas PHoTo assisTanTs Joe diGiovanna, CHris domuraT, Jeff TauTrim, sean JaCkson, rYan Brinkman sTYlisT assisTanTs Caroline sHin and JessiCa esTrada Hair assisTanT riCHard Blair GroominG and makeuP assisTanT marlene CasTro ProduCTion dawn Boller ProduCTion assisTanTs Brosi mCnerTneY, reYnaldo Herrera, dave BeGleY, ron GiBBs Tailor roxanne HarveY laYouT desiGn Joe diGiovanna loCaTion Golden BeaCH, florida

FROM LEFT: BO WEARS SHIRT LOEWE UNDERWEAR CALVIN KLEIN GRACE WEARS DRESS SAINT LAURENT BY HEDI SLIMANE BRAEDEN WEARS CLOTHING PAUL SMITH GARRETT WEARS FASHION TK SWIMSUIT SOLID CREDIT & STRIPED BOBBY WEARS TANK RAF SIMONS SWIMSUIT PAUL SMITH

JORDAN WEARS COAT PAUL SMITH SWIMSUIT VINTAGE

PAIGE WEARS JACKET SAINT LAURENT BY HEDI SLIMANE SHORTS HER OWN HEADPIECE JUAN HEREDIA

GARRETT WEARS SWEATSHIRT BIANCA CHANDÔN PANTS OLATZ SHIRT (AROUND WAIST) SAINT LAURENT BY HEDI SLIMANE HAT MARTINE AND JUAN

FROM LEFT: GRACE WEARS DRESS BOTTEGA VENETA HEADPIECE GIGI BURRIS JORDAN WEARS SHIRT (OFF WRISTS), PANTS, SCARF GUCCI T-SHIRT, BOXERS, BOOTS VINTAGE PAIGE WEARS CLOTHING CHANEL

JORDAN WEARS JACKET TODD SNYDER T-SHIRT VINTAGE PANTS BOTTEGA VENETA

FROM LEFT: PAIGE WEARS JACKET AND JEWELRY SAINT LAURENT BY HEDI SLIMANE SWIMSUIT MARA HOFFMAN HAT RYAN ROCHE BRAEDEN WEARS (THIS SPREAD) SHIRT SAINT LAURENT BY HEDI SLIMANE JEANS DIESEL

GRACE WEARS SWIMSUIT SOLID & STRIPED

FROM LEFT: BOBBY WEARS SWIMSUIT SOLID & STRIPED BO WEARS SWIMSUIT MARC JACOBS

FROM LEFT: PAIGE WEARS SWIMSUIT MARA HOFFMAN BOBBY WEARS TANK RAF SIMONS SWIMSUIT PAUL SMITH

OPPOSITE PAGE, CLOCKWISE FROM LEFT: BOBBY WEARS PANTS OLATZ SWIMSUIT SOLID & STRIPED HAT MARTINE AND JUAN GARRETT WEARS SHIRT OLATZ SWIMSUIT SOLID & STRIPED HAT NICK FOUQUET BRAEDEN WEARS PANTS OLATZ SWIMSUIT SCOTCH AND SODA BEANIE MARTINE AND JUAN BO WEARS SHIRT OLATZ SWIMSUIT MARC JACOBS HAT MARTINE AND JUAN JORDAN WEARS (THROUGHOUT) ROBE OLATZ SWIMSUIT SOLID & STRIPED HAT NICK FOUQUET PAIGE WEARS SHIRT OLATZ HAT NICK FOUQUET BRIEFS HER OWN

GARRETT WEARS JACKET LOUIS VUITTON JEANS NUDIE JEANS

By the time we take the first photograph, our dogs have already eaten Breakfast and taken their daily swim in the ocean. they run to Be the first to dive into the pool and afterward make a wild dash for the white couches. they are then showered and have their hair Blow-dried and want to jump into the picture. But i like how they look all wet and sandy, sitting on a girl dressed in couture. in the evening friends are sprawled out on the grass and sitting in our white wooden Beach chairs looking up and trying to find the Big dipper. sometimes as the full moon rises over the water we forget everything that’s going on around us and take a moment to catch the moonlight on the water as the waves lap and the palm trees sway in the wind. then it’s time to Begin again.

—Bw little Bear studios, golden Beach, 2015

CLOCKWISE FROM LEFT: PAIGE WEARS CLOTHING MICHAEL KORS BO WEARS SHIRT LOEWE UNDERWEAR CALVIN KLEIN ABDEL WEARS ROBE TOM FORD SWIMSUIT VINTAGE

FROM LEFT: BOBBY AND BO WEAR SWIMSUITS VINTAGE

from left: BrAeDeN, GArrett, GrACe, JorDAN, PAIGe, Bo, AND BoBBY WeAr ClotHING givenchy by riccardo tisci

ACTing UP nine FUtUre heartthroBs taKe a moment to asK themselVes What they’re in For. PhotograPhy hedi slimane 130 Vman

Jedidiah Goodacre Are you single? I am in love with my dog, Zooko. If I could, he would be my plus one everywhere.

Since he’s a big Doberman-Rottweiler, he’s not exactly easy to take out. Most nights we dine in.

Jedidiah Goodacre appears as Buddy in Disney’s adventure flm Tomorrowland, in theaters this May Jacket SAint LAurent by Hedi SLimAne, t-ShIRt GooDacRe’S own

Blake Jenner Have you wrestled with temptation in Hollywood? The biggest temptation there is trying to “ft in,” you know?

Molding yourself into a hybrid version of yourself in order to please others. You’ve got to stick to your guns.

Blake Jenner appears as Tommy in the thriller Crawlspace, in theaters later this year

Antoine-Olivier Pilon What was your frst acting job? My frst paid job was an advertisement announcing hockey night in Canada.

Antoine-Olivier Pilon appears as Steve in the Cannes Jury Prize–winning flm Mommy, in theaters now ClOthing PilOn’S Own

Liam Walpole What is the toughest job you’ve had? Before working on The Goob, I was working in a chicken factory.

It was crazy because of the hours. I stood for 12 hours at a time in a really cold room packaging meat.

Liam Walpole plays Goob in the BBC flm The Goob, out now.

CLothInG saint laurent by hedi slimane

Josh Wiggins What’s your favorite urban legend? The one with the hanging dog and the creep under the bed always scared the crap out of me when I was little. Is it bad if I say it still does?

Josh Wiggins appears as Justin in Max, in theaters this summer Jeans saint laurent by hedi slimane, T-shIrT WIggIns’s oWn

Ben Rosenfeld When did you realize you wanted to become an actor? I was four years old, sitting out on my front stoop pretending to be cold, shivering. My dad walked outside and said, “Ben, why don’t you put a jacket on?” I turned to him and said, “I’m acting.”

Ben Rosenfeld appears in Woody Allen’s forthcoming as-yet-untitled picture, in theaters this summer jAcket vIntAge, t-shIRt RosenfIeld’s oWn

Ellar Coltrane What has been the most surprising element of working as an actor?

Realizing that acting can be such a therapeutic exploration of yourself.

Ellar Coltrane appears as Mason in the critically worshipped Richard Linklater flm Boyhood, available on DVD now jaCkEt anD t-shiRt VintagE, shiRt VintagE wRangLER

Hair DiDier Malige Hair assistant rebekaH eDDy ProDuction yann rzePka anD kiM Pollock

Evan Bird When did you realize you wanted to become an actor? When i was about four i watched Star Wars. My mom explained that it wasn’t real and that it was people pretending. she said you can be anyone you want to be as an actor. evan bird gives a breakthrough performance as benjie Weiss in David cronenberg’s Maps to the Stars, in theaters now clotHing vintage

Will Peltz Who is the greatest actor who ever lived and why? Meryl Streep. Her ability to completely shed herself and transform into somebody else is unparalleled.

Will Peltz appears in the indie ficks Safelight and The Outskirts, both out later this year SHirt saint laurent by hedi slimane

ALL FOR ONE as lord henry said to dorian gray, “to be good is to be in harmony with one’s self. discord is to be forced to be in harmony with others.” why tangle yourself uP with mixing and matching when you can Purify the Psyche in the season’s full looks?

PhotograPhy sharif hamza fashion robbie sPencer 140 vman

Clothing Raf SimonS

Shirt Louis Vuitton

Clothing Calvin Klein ColleCtion

CLOTHING AND BOOTs Givenchy by RiccaRdo Tisci sOCks (THrOuGHOuT) calvin klein collecTion

CLOTHING AND SHOES Loewe

CLOTHING Saint Laurent

by Hedi SLimane

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Clothing Salvatore Ferragamo

Clothing and shoes Prada

Clothing BurBerry Prorsum

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CLOTHING AND sHOes Maison Martin Margiela

CLOTHING Berluti

CLOTHING GiorGio ArmAni SHOeS Louis Vuitton

HaIr HOLLI SmITH (TOTaL) GrOOmING FraNkIe BOyd (TIm HOward) mOdeL dOmINIk SadOCH (SOuL) dIGITaL TeCHNICIaN NICk rapaz pHOTO aSSISTaNTS maTT HawkeS aNd aNdrew SmITH STyLIST aSSISTaNTS aLISON ISBeLL aNd VICTOr COrderO HaIr aSSISTaNT yuHI kIm GrOOmING aSSISTaNT JeFF SaNTIaGO prOduCTION aSHLey HerSON reTOuCHING BLaNk LOCaTION pIer 59, New yOrk

KARL WEARS T-SHIRT PIETER JERSEY UMBRO SHIRT BRIONI PANTS POLO RALPH LAUREN

Shirt and pantS Dolce & Gabbana JerSey Umbro cuStomized by maxine beiny ShoeS (throughout) comme Des Garçons

jersey boy INSPIRED BY INTRICATE LACEWORK SEEN IN GIOVANNI MORONI’S 16TH CENTURY PAINTINGS, SPORTSWEAR’S NEXT LEVEL PAIRS CUSTOM CLASSIC JERSEYS WITH FASHION’S CUTTING EDGE. PHOTOGRAPHY BENJAMIN ALEXANDER HUSEBY FASHION MAX PEARMAIN 155 VMAN

TANK RAF SIMONS JERSEY NIKE SHIRT HACKETT PANTS ERMENEGILDO ZEGNA COUTURE

Shirt Calvin Klein ColleCtion JerSey Umbro cuStomized by maxine beiny PantS versaCe

TANK DIOR HOMME JERSEY UMBRO CUSTOMIZED BY MAXINE BEINY SHIRT TURNBULL & ASSER PANTS BRIONI

Shirt AlexAnder McQueen JerSey uMbro cuStomized by maxine beiny PantS dior HoMMe

TANK RAF SIMONS JERSEY NIKE SHIRT TURNBULL & ASSER

SHIRT GIORGIO ARMANI JERSEY UMBRO CUSTOMIZED BY MAXINE BEINY PANTS CERRUTI 1881 PARIS

TANK RAF SIMONS JERSEY NIKE SHIRT AND SOCKS GIEVES & HAWKES PANTS DUCKIE BROWN

SHIRT DIOR HOMME JERSEY UMBRO CUSTOMIZED BY MAXINE BEINY PANTS GIORGIO ARMANI

TANK CERRUTI 1881 PARIS JERSEY NIKE SHIRT BERLUTI PANTS PRADA

HAIR MATT MULLHALL (STREETERS LONDON) MODEL KARL KOLBITZ (TOMORROW IS ANOTHER DAY) SET DESIGN LIANNA FOWLER DIGITAL TECHNICIAN DIMITRI RAMAZANKHANI PHOTO ASSISTANTS JAMES DONOVAN AND MAXYME DELISLE STYLIST ASSISTANT NATASHA ARNOLD PRODUCTION LIANNA FOWLER (LOCK PRODUCTIONS) & CHANTELLE-SHAKILA TIAGI (REP LTD.) PRODUCTION ASSISTANT IZZY JENKINS LOCATION ONE RED EYE STUDIO, LONDON

Shirt DsquareD2 JerSey umbro cuStomized by maxine beiny PantS Louis Vuitton

this is moscow youthFul rebellion is aliVe and well in modern-day russia. designer gosha rubchinskiy takes his own and other coVeted outerwear Pieces to the soVietsky hotel and dynamo stadium to show us how muscoVites make a statement with style.

PhotograPhy gosha rubchinskiy Fashion lotta VolkoVa 166 Vman

Yan wears Coat Gosha Rubchinskiy Pants botteGa Veneta Belt PRada earring (throughout) his own

Petr wears Clothing Comme des Garรงons

Artem weArs shirt Comme des Garรงons shirt tANK raf simons PANts dior homme Belt Prada

Grisha wears ClothinG Prada

YAN WEARS JACKET AND JEANS DIOR HOMME TOP VINTAGE ISSEY MIYAKE PLEATS PLEASE

Yan wears CLOTHInG Bottega Veneta BeLT Prada

Grisha wears Coat Vetements shirt Brioni pants gosha ruBchinskiy

Artem weArs JAcket And pAnts Emporio ArmAni shirt BlEss

models nnAn, lovech (lumpen men), pyotr (point), yAn (tAnn)

Grisha wears Top Maison Martin Margiela panTs BurBerry ProrsuM

IDENTIFYING MARKS FROM TATTOOS TO ROSARY BEADS, EXTRA ADORNMENTS HAVE ALWAYS MAPPED OUT THE TRIBE TO WHICH A WEARER SUBSCRIBES. CREATE YOUR OWN SECRET SOCIETY THIS SPRING WITH FASHION’S MOST ECCENTRIC ARTIFACTS. PHOTOGRAPHY RICHARD BURBRIDGE FASHION NICOLA FORMICHETTI 176 VMAN

VIN WEARS JACKET BALMAIN NECKLACES (TOP AND AROUND NECK) AURÉLIE BIDERMANN NECKLACE (MIDDLE) DAVID YURMAN NOSE RING CHRISHABANA

EDDIE WEARS BLANKET AND NECKLACES SAINT LAURENT BY HEDI SLIMANE NOSE CUFF CHRISHABANA ROSARY (THROUGHOUT) HIS OWN

GEORGE WEARS SHIRT ROBERTO CAVALLI DRESS (ON SHOULDERS) PAULA CHENG NECKLACE AND ARM CUFF ANNDRA NEEN BRACELETS EDDIE BORGO NOSE CUFF BRUTE

EDDIE WEARS SHIRT LOUIS VUITTON VEST LIAM HODGES NECKLACE SIBLING HEADPIECE (ON SHOULDERS) DARRELL THORNE

MICHAEL WEARS TOP VERSACE JACKET SIBLING EARRINGS CHRISHABANA SKULLS BRITT BY BRITT NECKLACE (ABOVE) WXYZ NECKLACE (BELOW) LIAM HODGES

GEORGE WEARS TOP J.W. ANDERSON NECKLACE (AS HEADBAND) LANVIN APRON (AROUND NECK) FROM ETHNIX

NATE WEARS TOP KTZ EARRING EDDIE BORGO CHOKER ANNDRA NEEN NECKLACE (GOLD WITH PENDANT) VERSACE NECKLACES DAVID YURMAN

HAIR YANNICK D’IS (MANAGEMENT ARTISTS) MAKEUP AND GROOMING SAMMY MOURABIT (STREETERS) MODELS EDDIE SCHIMERMAN, DANIEL OH, MICHAEL LOCKLEY, NATE CARTY (RED), GEORGE (WILHELMINA), VIN LOS DIGITAL TECHNICIAN KEVIN KUNSTADT PHOTO ASSISTANTS KIM REENBERG, ENRICO BRUNETTI, BASIL FAUCHER STYLIST ASSISTANTS IAN MILAN AND DEREK MURDOCK HAIR AND BRAIDING ASSISTANTS QUINTA AND CAMERON RAINS MAKEUP AND GROOMING ASSISTANT KAYA HALL PRODUCTION JESSICA DALY AND COLLEEN CULLEN (ART + COMMERCE) LOCATION MILK STUDIOS, NEW YORK CATERING MONTERONE

DANIEL WEARS TOP LANVIN HARNESS HOOD BY AIR SCARF SIBLING NECKLACE (ABOVE) CHRISHABANA NECKLACE (BELOW) ANNDRA NEEN EARRINGS HIS OWN

meta modern In hIjackIng the graphIc sImplIcIty of Bauhaus and modernIst archItecture, fashIon houses sImultaneously suBvert and salute the classIc geometry of ratIonal desIgn, reImagInIng the mundane Into somethIng quIte remarkaBle. photography Walter pfeIffer fashIon hannes hetta

From leFt: erik wears Coat Casely-Hayford shirt raf simons soCks (throughout) falke liam wears Clothing Comme des Garรงons soCks (throughout) falke simon wears Clothing alexander mcQueen soCks (throughout) falke

184 vman

ERIK WEARS TURTLENECK TOM FORD PANTS J.W. ANDERSON SHOES ACHILLES ION GABRIEL

Liam wears CLothing and shoes Dior Homme

Erik WEars sWEatEr Carven shirt Dior Homme

FROM LEFT: LIAM AND ERIK WEAR CLOTHING BALENCIAGA SHOES LOUIS VUITTON

SIMON WEARS JACKET ERMENEGILDO ZEGNA COUTURE TURTLENECK TOM FORD SHORTS DSQUARED2 SHOES CERRUTI 1881 PARIS

Hair Marc loPez (artlist) GrooMinG adrien Pinault (ManaGeMent artists) Models siMon Fitskie (elite), liaM Gardner (select), erik Van Gils (16Men) set desiGn Jean-MicHel Bertin (streeters london) diGital tecHnician Henri coutant PHoto assistant aline BlocMan GrooMinG assistant laura kasadoarino set desiGn assistants Marie-Béatrice FruGier and laurène Gitton Production MicHael lacoMBlez (Prodn) and ian BauMan (art + coMMerce) Production assistant Wendy HuynH location studio zéro, Paris caterinG Pierre k., Paris

Pants Gucci sandals Bally

SLEEP NO MORE NEW ROOMMATE? MAKE A FASHIONABLE FIRST IMPRESSION WITH THE BEST IN VERSATILE DRESSING. PHOTOGRAPHY PIERRE DEBUSSCHERE FASHION TOM VAN DORPE 192 VMAN

SAM WEARS CLOTHING LOEWE

FROM LEFT: LOGAN WEARS CARDIGAN BURBERRY PRORSUM SWEATER (AROUND NECK) COACH SWEATER (AROUND WAIST) BRUNELLO CUCINELLI SAM WEARS CARDIGAN BURBERRY PRORSUM SWEATER (OVER SHOULDER) BRUNELLO CUCINELLI SWEATER (AROUND WAIST) DOLCE & GABBANA ALL BRIEFS (THROUGHOUT) ACNE STUDIOS

JACOB WEARS SWEATER VALENTINO SWIMSUIT DAN WARD PANTS J.W. ANDERSON BELT PRADA

LOGAN WEARS JACKET AND PANTS LANVIN SWIMSUIT DAN WARD BELT PRADA

LUKA WEARS cLothing And AccESSoRiES PRADA

JACOB WEARS ClOthing GIORGIO ARMANI

HAIR MARKI SHKRELI (TIM HOWARD) GROOMING ADRIEN PINAULT (MANAGEMENT ARTISTS) MODELS JACOB MORTON (DNA), AIDEN ANDREWS, LOGAN FLATTE (FORD), LUKA SABBAT (RE:QUEST), SAM WORTHEN (RED) MANICURE GINA EDWARDS (KATE RYAN INC.) LIGHT TECHNICIAN JAMES GILES DIGITAL TECHNICIAN MARY FIX PROP STYLIST PIERS HANMER (ART + COMMERCE) PHOTO ASSISTANTS ISMAEL MOUMIN, BRIAN HAHN, ALEXANDRE HERTOGHE STYLIST ASSISTANT CARRIE WEIDNER HAIR ASSISTANT KELLY OLIPHANT GROOMING ASSISTANT SAE-RYUN SONG PROP STYLIST ASSISTANTS MORGAN ZVANUT AND JAMES LEAR TAILOR CHRISTIAN DETTLOFF PRODUCTION LEONE IOANNOU AND NANCY HONG (PONY PROJECTS) PRODUCTION ASSISTANT SIRI SANDEN LOCATION ROOT STUDIOS CATERING MARTIN AND FITCH

AIDEN WEARS SWEATER AND PANTS (ON ARM) HUGO SHIRT (AROUND WAIST) VETEMENTS SWIMSUIT NIKE

FROM LEFT: JACOB AND AIDEN WEAR CLOTHING BOTTEGA VENETA

rei kawakubo takes the gaucho shoe to the rive gauche, in black leather iterations for comme des garçons— perfect for treading sharply into the coming season. photography robin broadbent

200 vman • vision

PostProduction rich imaging

one giant step for mankind