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a man’s fragrance tells e v e ry t h i n g a b o u t h i m without WORDS. are you s o p h i s t i c at ed, i n n o va t i v e , e l ec t r i c , s t r o n g ? choose your own aura and spray it, don’t say it. ph oto g raphy robin broadbent

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FROM LEFT: TO M FORD NOIR ER ME NE GILDO ZE GNA UOMO PR AD A LUNA ROSSA JOH N VAR VATOS PLATINUM EDITION

GROOMING EDITOR julian antetomaso postproduction Lutz + Schmitt

t h eesse n ce o f l i fe

Prop stylist Noemi Bonazzi (Brydges Mackinney) Photo assistants Ward Price and Evan Schafer Prop stylist assistant Anna Surbatovich Location Fast Ashleys Studios Catering Monterone

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whether you’re paying homage to the prince of p op o r j u s t p l a i n w i l d f o r t h e n i g h t, ces a r e pa c i o t t i h e l p s yo u s t e a l t h e s p o t l i g h t w i t h t h ese b l a c k s u ede , batt ery-p ow ered, led-lit loafe rs. photography daniel lindh 64 vman

Hair Diego Da Silva (Tim Howard Management) Grooming Maud Laceppe for NARS Cosmetics (Streeters) Model Jacob Scott (NY Models) Digital technician Chris Luttrell (Haute Capture) Photo assistants John Guerrero and Ian Rutter Stylist assistants Carrie Weidner, Jitske Nap, Lauren Lewis Grooming assistant Lisa Campos Retouching JWL Casting Samuel Ellis Scheinman Location Haute Capture Studio, Brooklyn

UN C OMMON S C E NT S S ta y s l i c k a n d s m e l l se x y w i t h a f u t u r i s t i c t w i s t o n B u r be r ry ’ s c l a ss i c t r e n c h a n d n e w f r a g r a n ce , b r i t R h y t h m , a p r o v o c at i v e r e v i ta l i z at i o n o f t h e c o lo g n e , i m b u ed w i t h t h e a d r e n a l i z ed s p i r i t o f l i v e m u s i c t h r o u g h h e a rt n o t es o f b l a c k l e at h e r a n d He a d y pat c h o u l i S t y r a x r es i n .

PHOTOGRAPHY nathaniel goldberg fas hion tom van dorpe 68 vman

coat b u rb err y pr o r s u m fragrance b u rb err y b ri t r h y th m

r e m e m be r t h e t i m e something feels impermanent about the digital age and our collective reliance on virtual memory. i t ’ s n o t t h at h a r d t o i m a g i n e t h e d a y i t a l l crashes, resulting in cultural amnesia . leave it to institutions like the metrop olitan museum of art to preserve our precious trove of rock star memorabilia . many years ago, photographer richard burbridge was granted special permission by the met to shoot the clothing of king edward VIII, and he happened up on a drawer of iconic sartorial pieces that led to a new collection of images, some of which are shown here for the first time.

PHOTO GRAPHY RI C HARD BUR BRIDGE

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zi gg y stardu st ’s co dp iece American Jockstrap, 1973 Blue cotton twill with blue, black, and red plastic sequins Worn by David Bowie during his Ziggy Stardust tour Gift of Serendipity 3 Denim Clothing Collection, 1977

Special Thanks Zaldy goco, Harold Koda, Jessica Glasscock

MI C HA E L J A C K S ON ’S lo a fe r s “These were the first fit samples from the shoe manufacturer for all of the shoes I made for ‘This Is It.’ Michael wore these in the fitting at The Forum. My logo for the tour was ‘MJ,’ made with Swarovksi crystal shapes and the O2 arena above it.” —Zaldy Goco

vivi e n n e w es two o d an d ma lcolm m clar en’ s sed itio n aries bon dage t rouser s Vivienne Westwood (British, born 1941) and Malcolm McLaren (British, 1946–2010) “Bondage” Trousers from Seditionaries (1976–80) Trousers and kilt of multicolor wool tartan twill with self-fabric straps and silver metal buckles Gift of Simon Doonan, 1986

h e r e c o m es s u ccess the next generation of hollywood heavies resists r eg ular p op corn fare in purs uit o f risks, range, and ultimately respect. Ring in ten years of vman’s unwavering celebration of young hollywood with thi s y e ar’ s biggest b reakout names .

P h oto g raphy Mark Abrahams Fa s hion Simon Robins text patrik sa ndber g

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JACKET DS QU ARED 2 SHIRT BO TTE GA VE NE TA PANTS GU CCI SHOES CHRIS TIAN LOUBOU TIN BOW TIE ROBER TO CAVALLI socks b ro o ks b ro th e r s (available at mrporter.com)

c al eb la n d ry j o nes WIL D AT HE ART

Q: What’s your favorite movie made in the past ten years?

A: The Master An accomplished musician as well as an actor, CALEB LANDRY JONES follows up Neil Jordan’s Byzantium with next year’s gay melodrama Tom à la ferme. And in a bit of exciting casting news, he’ll join Philip Seymour Hoffman, Christina Hendricks, Richard Jenkins, and John Turturro in John Slattery’s directorial debut, God’s Pocket.

mi c ha e l b. j or dan A S TAR IS B ORN

Q: What sort of advice would you give yourself ten years ago?

A: Slow down. The race is long, but it’s only with yourself.

It’s a marathon, not a sprint. Get a haircut.

After taking the Sundance Film Festival by storm, Fruitvale Station, starring MICHAEL B. JORDAN and directed by firsttimer Ryan Coogler, brought down the Palais at Cannes, with a jaw-dropping 10-minute standing ovation. It was the festival’s buzziest moment, and one Jordan has described as the greatest in his life. Now speculated to be a serious award-season contender, he’ll likely be revising that assessment very soon.

TUXEDO LOUIS VUI TTO N SHIRT PR AD A TIE GIVE NCHY BY RICCARDO TIS CI SOCKS GAP SHOES VICINI

JACKET B ALMAIN SHIRT ER ME NE GILDO ZE GNA PIN MS FTS

j a de n s m i t h TH E G OO D S ON

Q: How do you see yourself ten years from now?

A: Releasing my tenth album, second novel, fifth volume of poetry, and twentieth movie.

JADEN SMITH has a thing for numbers, but don’t be surprised if he makes a few more movies than he thinks. If this summer’s M. Night Shyamalan epic After Earth taught us anything, it’s that young Smith is nothing if not a chip off the old block. His father, Will Smith, has been described as the biggest movie star on the planet, and Jaden likes to keep it in the family. His next rumored project? A fantasy flick about a sibling duo, costarring his adorable sister, Willow.

JACKET VALE NTINO SHIRT U NITED CO LORS O F BE NE TTO N PANTS AND bow TIE DIOR HO MME

TH E HE ART BRE AK KID Q: What sort of advice would you give yourself ten years ago?

A: Trust your instincts.

LOGAN LERMAN’s instincts have paid off in a big way.

Having appeared in more than a dozen films in the last decade, he broke through with a poignant performance in the destined-to-be-a-classic coming-of-age film The Perks of Being a Wallflower. This year, Logan blazes a streak across IMAX screens in another of his wildly popular Percy Jackson films, but next year should be even more mythic as he stars alongside Russell Crowe, Jennifer Connelly, and Sir Anthony Hopkins in Darren Aronofsky’s hotly anticipated Noah.

Production assistants Jennifer Hook and Rachel Hardisty Equipment rental Milk LA and ASD Party Rentals Retouching Gloss Studio, NY Location (Michael B. Jordan and Shiloh Fernandez) Bar Marmont and Chateau Marmont, Hollywood Location (Caleb Landry Jones, Logan Lerman, Jaden Smith, Evan Peters, Patrick Schwarzenegger) Lautner Harpel House (Image Locations, Inc.) Catering City Kitchen

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UN D E F E ATA B L E Jon “Bones” Jones, the 26-year-old light heavyweight c h a m p i o n o f t h e U F C ( a n d t h e yo u n ges t e v e r t o hav e h e l d that titl e) i s believed by many to be the gr e ates t figh ter in the worl d, and by some to be t h e g r e at es t o f a l l t i m e . L a d i es a n d ge n t l e m e n , what tomorrow ’s sp orts legend looks like today. photography cedric buchet fashion brandon maxwell T EXT Eu ge n e S. R obins on It was a moment so significant it announced itself. It’s 2009, at a post-fight press conference for the premier combat sports league, Ultimate Fighting Championship, and what the press was conferencing about was the UFC 94 title fight. A tall, skinny, 22-year-old kid fighting in only his second ever UFC match, had just laid waste to one of the sport’s legendary bangers, Stephan Bonnar. Textbook definition “laying to waste,” as in Bonnar was thrown, spinning-elbowed, kneed, outclassed, outgunned—the ignominious victim of some Real Bruce Lee type of shit (if Bruce Lee was 6'4", 205 pounds with an 85-inch reach). Bonnar went from being the much-favored pick to a historical footnote while the world wondered how, what, and, most important, who. All questions that would need to be asked only once, and provided with the very same answer: Jon Jones.

Standing on the dais at the press conference, Jones was asked what he would do now that he’d arrived via an unexpected win over a serious competitor. Jones paused, and with a certain degree of quiet aplomb said, “Go back to Rochester and commune with nature.” It was the perfect punctuation mark on what he had just done in the cage, a sui generis moment that smiled at you like some sort of emoticon at the end of a sentence, saying “now it begins.”

Quick backgrounder for the cave dwellers: we’re not talking about boxing or fake pro wrestling or even wrestling. We’re talking mixed martial arts (MMA). A Frankensteinian mash-up of boxing, kickboxing, wrestling, Brazilian jiu jitsu, and a half dozen other martial arts disciplines. To top it off, all fights occur in “the octagon,” an eight-sided chain-link cage. It’s the fastest growing sport in America for men between the ages of 18 and 49 and has been featured in some form or another on CBS, NBC, Showtime, Spike, MTV, Facebook, and PPV. Cage-side you can spot fans as varied as the styles used in combat: Holly Hunter, Cindy Crawford, Anthony Kiedis, Mickey Rourke, Stanley Tucci, and a passel of pro athletes from other sports (Shaq is a longtime fan and practitioner).

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Today, the 26-year-old Jon Jones is the brilliant glow coming off an already brilliant brand. After becoming the youngest champion in UFC history, in March of 2011, the upstate New York wunderkind boasts a record of 19 wins and one loss, that loss a universally voided blemish that came as the result of a disqualification (illegal elbows): Jones’s opponent was unmoving on the canvas at the time of his “win.”

“I feel like I’m dreaming,” says Jones while cruising around Los Angeles, doing the Hollywood stride as studios have come a’calling to see if this affable and movie star–handsome ass kicker has any more than ass kicking in him. (Early adopter Nike thinks so and has signed Jones to a global deal.) “Like, I’ll wake up and find that none of it’s happening.”

Which is a thoughtful and understandable take on what life’s been like since his meteoric rise to the top. Not bullshit “meteoric,” where the guy’s been slaving away in obscurity and then is finally discovered. No, not that. Jones walked into his first martial arts school four months and six fights before he got the call from the UFC to show up.

Which, if you’re doing the math, means that he fought his first fight mere weeks after stepping through the door of a gym.

As astonishing as that is (and it obviously fucking is), if you dig a little deeper you see something of a pedigre and preestablished tradition of winning. Not only was Jones a state champion wrestler and national junior college champ, but two of his brothers are in the NFL. But how did he actually do it? “YouTube,” he says. What? “I started watching YouTube videos,” Jones chuckles, not joking at all. “After training, I watched everything I could. Top guys mostly.” Not a prescription for greatness, no, but certainly a prerequisite for getting started. This is where the old fight game, where desire was the only real qualification needed, meets the new fight business, where fighters of Jones’s ilk are knee-deep in a collective understanding of their sport that wasn’t yet established for their predecessors.

jon jones wears jacket AND vest LOUIS VUI TTO N NECKLACE BO ND H ARD WE AR

CAPE AND SHORTS VIVIE NNE WES TWOOD

But pundits and prognosticators are struggling to figure out what it means when you There’s also the refreshing sense that Jones is coming increasingly into his own, talk about fighters of Jones’s “ilk.” There are none, really, a fact made blatant as we comfortably not giving a shit what anyone might say since anything he has to say can witness the cavalcade of competitors stepping up and getting knocked down by Jones, be said in the cage. “I’m focused on beating Tito’s record,” Jones says, referring to the with his wildly different, improvisational shit that makes what you’re seeing much more former light-heavyweight champ Tito Ortiz’s record for most successful title defenses. art, though no less martial. His creativity has already led to whispers (and likely eventual “And after that? I think I’d like to try some heavyweight matches.” shouts) from certain quarters about “the greatest of all time.”

Like a big kid in an increasingly large candy store, Jones, father of two and engaged Eugene “The Wolf” Jackson, early UFC vet, defines greatness as “a function of time” to be married, is not burdened by either destiny or a sense of his place in it. His underand has yet to see this in Jones. “Even though,” he continues, “[Jones] has the thing that standing is complex, but broken down into its basic elements, can be very simply put: makes fighters great: the ability to zone out and zone in.” Jackson is referring to Jones “I find it amazing,” he says. “It’s all very surreal.” breaking his toe in his last fight, with trash-talking Republican and convicted felon Chael Though all devils have advocates, our concurrence is total: it’s too early (and pretty Sonnen. After a first-round TKO, in the midst of the crowd’s chorus of boos, denouncing much impossible) to close the betting window on Jon Jones now, but this fighter is witha possible early stoppage, the entire tone and tenor of the evening changed when Joe out a doubt the greatest of this time, his time, in the world.

Rogan entered the ring to interview the champ and they both realized, at the same time, And when he next steps into the octagon to fight, this September, at UFC 165 (against that Jones had broken his toe. The crowd collectively gasped, then erupted, when the the mighty Swede Alexander Gustafsson), the possibility of mind-blowing genius gets 60-foot jumbotron zoomed in on Jones’s mangled toe, twisted at a 90-degree angle, way more than probable for those with the discernment to recognize it. For the rest of the bone burst through his skin. the world: you might not like Guernica, but you’re going to be moved by it and Picasso’s Jones just hadn’t noticed. He’d been too busy clubbing the overmatched Sonnen awesome power anyway. into probable retirement (seriously). There’s your zoned in. “I just got the stitches and Yup. Just like that. staples removed from my toe,” he says. “I’m about two weeks from full-on training again.”

Amazing. Surreal. Indeed.

HOODIE MAR C JACOBS SUNGLASSES PERSO L WATCH JON’S OWN Hair Diego Da Silva (Tim Howard Management) Grooming Justine Purdue (Tim Howard Management) Digital technician Kyle Lacy Photo assistants Paolo Stagnaro and James Giles Stylist assistant Hayley Pisaturo Videographer Keaton Ventura Location Dune Studios

dese r t i s l a n d w o r k o u t IN TH E ARM S RA C E THAT I S TH E F ITN E S S IN D U S TRY, EVERYONE IS CONSTANTLY TRYING TO SELL A SILVER BULLET WORKOUT THAT D O E S TH E MO S T F OR YOUR B O D Y IN TH E L E A S T AMOUNT O F TIM E . F OR G E T E V E RYTHIN G YOU ’ V E R E A D OR S E E N ON IN F OM E R C IAL S , TH E C L E AN AN D J E RK I S THAT S ILV E R B ULL E T. He r e , M at t Te r r y de m o n s t r at es t h e l i f t. photography sharif hamza t ext to dd cavallo

fashion tom van dorpe

For too long the clean and jerk has languished in obscurity, meaningfully considered only every four years when the Chinese and Russian teams dominate at the Summer Olympics. But strength coaches have known for decades that the clean was the best way to develop explosive power in their athletes, and it has been a large part of many collegiate and professional strength and conditioning programs.

In addition to the posterior chain activation on the pull, the legs and core are hit during the concentric portion of the squat and while standing the weight up. Add to that the shoulder strength and stability developed by the jerk and you have a perfect full-body workout in a single movement.

Essentially this is the most efficient way for a human to move a maximum load from the floor to overhead, and as such it can cause a stress adaptation greater than any single joint or isolation movement. In the 2012 Olympics, North Korean Om Yun-Choi, weighing in at 123 lbs, was able to lift about 370 lbs—that’s three times his bodyweight—over his head.

The movement is less finicky than its more nuanced cousin, the snatch, but still benefits from the eyes and cues of a good coach. Find a gym with barbells and bumper plates in your area and get to work.

(Note: In the event that you are actually on a desert island, variations of the movement can be done with fallen trees, ships’ masts, animal carcasses, etc.)

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following a controlled pull from the floor to just above t h e k n ees , t h e sec o n d p u l l is an explosive extension of the hips, which elevates the b ar a s you imm ed iat ely pull yourself underneath it and‌

BRIEFS CALVIN KLEIN

Image assistants Jonathan Fischnaller and Salla Pesonen

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F OR G E T E V E RYTHIN G YOU KNOW , IN D O C TRINATION I S THE ONLY SIN. AS STATES restrict CIGARETTE SMOKING, they are LEGALIZing MARIJUANA . meanwhile artisans are elevating tequila from the stigma of shots to an elegant rival of whiskey. yes, SOME OF THE MOST D E MONIZ E D e a rt h ly t r e at s a r e bec o m i n g s o c i a l ly a cce p t ed — e l eg a n t n o o t r o p i c i n s t ru m e n t s f o r a n e w cla ss of intellectual sensualis ts.

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Digital technician Will Styer Photo assistants Rocky Luten and Cole Slutzky

G R E E N LIVIN G

The benefits of marijuana have long been empirical fact, and finally the social stigma is going to ash: a record-high majority of Americans support immediate decriminalization and eventual legalization. Yes we cannabis.

PHOTO G RAPHY D AN F OR BES

Prop stylist Noemi Bonazzi (Brydges Mackinney) Photo assistants Ward Price and Evan Schafer Prop stylist assistant Anna Surbatovich Location Fast Ashleys STUDIOS Catering Monterone

S MOKIN G S E C TION

It’s not just a trend, it’s a treatment for an epidemic.

The ridiculousness of e-cigs has been swapped for its sensibleness. Charge ’em if you got ’em. electronic cigarette b lu

PHOTO G RAPHY D ANI E L LIND H

RAWPOW E R K i r i n J . C a l l i n a n e m b o d i es t h a t n e a r- e x t i n c t feral spirit of rock and roll : pain, exploration, innovation, and rampant talent. Now he wants to bring you with him, back Into the wilds of the mind.

PHOTOGRAPHY HEDI SLIMANE

TEXT Sam Hockley-Smith

Last May in New York at the 13th Street Repertory Company, Sydney-based artist Kirin J. Callinan sat on a small stage, a hands-free microphone jutting out from the side of his skull. The 30 or so audience members looked at him expectantly, their musty chairs creaking. He looked back, his breath coming heavy and damp through the microphone hovering inches from his mouth.

Callinan seemed nervous. It’s not like this was his first show, and it certainly wasn’t his largest, but he looked exposed. In fact, every time he gets on stage, often in just his underwear or spandex, or some other combination of ill-fitting clothing, he looks exposed. It’s part of his act, or it’s sincere, or the sincerity is part of his act. It’s hard to tell, but considering Callinan has made a new life out of laying himself on the line with intense honesty, it’s more fun to take his cold-sweat nervousness at face value.

His album, Embracism, is an act of pure, highly specific emotional nakedness. It teems with jagged masculinity that bubbles and explodes above guitars that slash their way across skittering drum machines. His voice is a hoarse, baritone yelp of barely controlled aggression and confusion, except on the other half of the album, where he sounds exhausted and lovelorn, belting out depressed wisdom over weeping strings.

In both modes he’s barely singing, more just growling elliptical thoughts. “I used to wonder why anyone would ever want to listen to my voice,” he says. “It’s over the top and ridiculous. It’s not a pleasant experience.” But after hearing ’60s pop star turned fractured crooner Scott Walker, Callinan’s perception of what he could do with what he had changed. “It gave me confidence and it validated, in a sense, that vision I had of my own voice. I wasn’t ready for anyone to hear it before.”

His voice, his stage show, and his halting candidness in interviews feel like a line in the sand. A new way of living that spits in the face of everything that came before. And what came before Embracism was Callinan’s old life, with his girlfriend and her child.

“We lived off in this tiny little town a couple hours out of Sydney,” he says. “I’d invested a lot emotionally, and bought into these ideas of what I wanted and what was a good

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lifestyle or something. What was healthy. Not that we were particularly domestic, our life was in shambles and we were kind of outsiders, I guess, living a pretty strange life.”

When the relationship ended, Callinan began to reevaluate his entire perception of himself. “I found myself single for the first time as an adult male,” he says. “It made me question everything. I wanted to embrace myself as a physical entity rather than someone connected to someone else through some intangible idea of love. I had to do away with all this excess bullshit. I’m just a piece of meat back on the market again. And that was…wanting to connect with someone else but needing to connect with myself first.”

On an airplane in the U.S., Callinan wrote “Embracism,” the title track. It’s a gnarled song made up entirely of pulsing jags of guitar skronk and uncomfortable drum machine fits, with Callinan narrating a scrappy school yard fight as a way of exploring the way human beings strive to connect. “It was a very physical experience transporting my body and my whole life at that stage. I was kind of homeless and drifting around the world. [“Embracism”] was about finding myself through my own physicality. You’re trying to literally connect with the opposing force in a scrap. It’s more about your identity in the jungle, in the hierarchy of your peers,” he says. “Drama is what binds us together.”

It’s not just school ground pugilism that manifests that drama. Sometimes there’s something larger at stake. The first words on “Chardonnay Sean,” a song that comes midway through the album, are “Stay alive / we’ll lace up our boots and go kick a ball.”

Callinan’s desperate plea for his friend to keep living after a car accident is hard to hear, and then he gets more specific: “I don’t see your mum anymore / she thinks I was the one, but I’ll visit your grave / with the tiny shards of glass…” It’s a small moment, but in it Callinan voices the looming drama and tangled interpersonal relationships of life and death in a shared city or neighborhood. His request for Sean to stay alive is a blocky statement that blooms from the rickety specificity of the rest of the album. It’s specific to his life, but it’s relatable too. It feels like a shared experience, a road map through grief that makes the passage of time a little easier to face.

Set design Peter Klein (Frank Reps) Digital technician Joseph Borduin Photo assistants Rudolf Bekker, Joey Trisolini, Nick Krasznai Production Kim Pollock and Yann Rzepka Production assistant Ashley Sky Walker Equipment Rental Bathhouse Studios and Root [EQ_Capture] Location Bathhouse Studios Catering Monterone

h i p h o p o l i g a r c h s young princes and a legendary king, these are the rappers who rule the game: future, wiz khalifa, A$AP Rocky, and big boi—self-described here by some of their favorite lyrics. see the video on vman.com. photog raphy Carlos serrao fas hion maryam malakp our

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f ut ur e

If you’d like to change the weather If you wanna live better We can buy a crib, wherever Don’t get too thirsty, get used to this cheddar I wanna tell the world about you just so they can get jealous And if you see er ’fore I do tell ’er I wish that I’ve met ’er JACKET VERS ACE BRACELET CAR TIER WATCH RO LE X SHIRT AND OTHER JEWELRY FUTURE’S OWN

t h e s h a d o w o f t h i n gs t o c o m e George Lewis Jr., who performs under the stage name twin shadow, makes pan-genre, cross-generational, postracial music that defines the sound of tomorrow photo g raphy c arlos se rrao fas hion maryam malakp our t ext patrik sa ndber g “I purposefully made it so that I wouldn’t do anymore interviews about it. It’s been six or seven months since I’ve talked,” says George Lewis Jr., coyly sipping an espresso in the lobby of the Mercer Hotel. The topic in question is that of Confess, his critically acclaimed and acutely stylized 2012 sophomore album, made under the name Twin Shadow. It was widely reported that the record was cut in the wake of a life-altering motorcycle accident, an event largely misconstrued in the press.

“It’s funny. That motorcycle accident actually happened way before Twin Shadow was even formed. It was misread. I got into a motorcycle accident a long time ago and then I kept riding, but when I lived in New York it got too hard to maintain a bike there. I was broke and I had to sell it. So when I got to L.A. and made that record, I had just bought a new motorcycle and it was kind of like the bike of my dreams. It made me think about being on a bike again and brought back a lot of memories of when I was really young and irresponsible.”

He describes that first accident as his own fault, riding on a snowy street and falling, “because I was stupid,” he says. It wasn’t his last brush with death on the road, however.

“I actually got hit recently,” he says matter-of-factly. “This time it wasn’t my fault, and it was just another one of those things. You either become more fearful or you become more fearless. You fall on either side of a fine line. It’s always interesting to see what it does to you. [Fear] is pointless. It truly is. I got my bike fixed and kept riding.”

But Lewis’s attraction to motorcycles and the recklessness of youth rides sidecar to his emotionally resonant, highly melodic brand of pop rock, one that has earned him comparisons to symbols of both coming-of-age angst (John Hughes films) as well as the American dream (Bruce Springsteen). What’s often missing is an acknowledgment of the clear influence of English post-punk; his dark lyrics, echoing guitars, and howling vocals are more in line with The Comsat Angels or The The than with the plaintive earnestness

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JACKET E MPORIO AR MANI NECKLACE (THROUGHOUT) LEWIS’S OWN

Grooming Daniele Piersons (Exclusive Artists) Digital technician Damon Loble Gaffer Roger Pittard Photo assistant Ron Loepp Stylist assistants Catlin Myers and Manuel Parra Grooming assistant Alison Christian Location BOXeight Studios

JACKET E MPORIO AR MANI

of the Boss. Either way, the decade that bore The Breakfast Club, Ronald Reagan, and did everything. It was really hectic, so there are some vocal performances on the record The Replacements looms large over many of Twin Shadow’s reviews, despite his feeling that I am not so in love with, because they were kind of rushed. It’s not something I can little affinity for the era on the whole. This irony is likely to be exacerbated by the news change, it’s the beauty of that time.” he lets slip that he is working in the studio on the next Billy Idol record.

As for now, Lewis is determined—for once in his high-speed career—to take his time.

“You heard it first,” Lewis says with a laugh. “It’s funny because I just don’t think of “I’m trying to teach myself to be patient and let it come,” he says of his new material. He’s my music as ’80s and I never have, but I am sure working with Billy is going to ham- even contemplating moving from Silverlake to Venice Beach, so he can get into surfing mer the idea in a little bit more. But he’s just a fucking great guy. He’s a sweetheart. He and live closer to the ocean. “I was in a really weird place when I made [Confess]. You rides motorcycles and we get along great.” Lewis is careful not to paint Idol as one of could probably say I was going through a depression or something. I think I am back in his…well…idols, stressing more his appreciation for him as a person. “I was never a a different place now—not necessarily positive. The world is still a spinning shithole. But huge fan, but then again, when I listen to his hit songs, these are all classic songs and I feel better with where I’m at musically, and better about my peers. I’m excited to move they’re all great tunes. He was like the original punk-rock pop star, and I don’t know on from Confess. This third record is really going to be an important piece of all this.” how punk-rock that makes him, but he really believed in all that stuff and he talks about When pressed for a jumping-off point in terms of his current inspiration, Lewis cites that time with a lot of passion. To me he’s just a real dude. He really embraces that time the destruction of friendships. “Over the last three years with Twin Shadow I’ve had a as his own, and that’s cool.” lot of friendships fall apart,” he says. “Of all the types of artists, I think musicians gain While the lyrics on Confess volley between the impassioned, the impassive, and the recognition the fastest. It makes breaks happen, because it’s kind of like an earthquake borderline vitriolic, the record’s ambitious pop songcraft has still managed to alienate and it throws people for a loop.” some of Lewis’s 4AD-assigned indie-rock audience. “With Confess I have heard tons Somehow, even with the shadow of destroyed friendships hanging over his psyche, of critical things, like, ‘He is now trying to be pop and trying to be on the radio.’ But I Lewis is able to make things sound bright. “I understand that there are new people comstill don’t have songs on the radio…and I would love to have songs on the radio! I don’t ing into my life. There’s the energy of knowing new people and trying to figure out who care. I do think there is a huge thing happening where bands are really polishing up I really want to have in my extended family and all of that. I come to New York and my their stuff so it can be on the radio, and I think cotton-candy crap like that is also really impulse is to see all of these people, when really there are maybe two or three people annoying. Can’t we push it a little, can we eek in the nastiness a little bit more before that I have a true desire to see. It’s something that’s not necessarily inspiring, but a good giving up and getting your check? I didn’t have engineers, I didn’t have producers. I just place to start thinking about where I’m at in terms of opposition in my universe.”

JACKET GIOR GIO AR MANI tank top E MPORIO AR MANI PANTS DIESE L HAT lewis’S OWN

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vman 30 the future is unwritten HOLLYWOO D’ S ONCE AN D FUTUR E king RE TURN S a star o n the ri se and a h eavy metal legend HOW TO TRANSLAT E TH E LAN GUAGE O F HAIR A S UP ERMO DE L REVE ALS H ER MANY TRUTHS a rain co at by any ot h er nam e FALL FASHION’ S CA S T O F CHARA CTE R S travel THROU G H TIM E WITH IC ONS O F TH E RUNWAY THE 10 TH VMAN/FORD MODEL SEARCH WINNER REVEALED 119 vman

T h i n gs Y o u H a v e To Do To Get Back H o m e Jake Gyllenhaal on consciousness, craft, and the se ar c h for e xperi ence.

PHOTOG RAPHY hedi s limane t ext e lliott david It’s been raining, and the truck is trying to hit full speed from a dead stop, spitting earth and gravel at the limitations of torque and physics. The words “I’m not gonna let this motherfucker get away” are running through Jake Gyllenhaal’s mind as he gets dragged, one hand on the tailgate, about the length of a first down. Thing is, nobody on the set of his next film, Prisoners, told him to do this: not director Denis Villeneuve, not the guy behind the wheel (Hugh Jackman), not even himself. But it’s what would have been true.

In the film, the driver of the truck is a father pursuing his child’s abductor and Jake plays a detective set on—in this moment—preventing homicidal vigilantism. If this wasn’t fiction—if the father was real, if the cop was real, if the kidnapped children were real—the truck is there, so he’d grab the truck. “So I grabbed the truck, he drove off, and I just held on. Everyone was like, ‘Oh my god!’ And I said, ‘Did you get that? That was crazy.’ And it wasn’t even in the frame.”

It’s not the decisions you make but the decisions you witness yourself act upon that reveal your real nature. A glimpse of the subconscious can articulate identity at its core. So the question is: how do you manifest that? Jake Gyllenhaal loves this question. And so he ends up getting dragged by a truck, out of frame, without even realizing what he’s doing.

“I was searching for an experience. I was looking for an experiment,” he tells me over beers at Spain bar in the West Village, legendary authentic shithole for the New School writer and philosopher set. He’s referring to his motivation to sign on to Enemy, directed by Denis Villeneuve, with whom Jake would immediately work again on Prisoners. “I needed something way out of the box and I didn’t know what that was necessarily, and I wasn’t really sure what I was looking for. I feel like that’s always a good place for me. Whenever I’m not sure what I’m looking for, I always find something interesting.”

With the September release of Prisoners, and Enemy about to make the festival circuit, Jake is well into his second decade of filmmaking. His Hollywood heritage has been rehashed a hundred times, but quickly: son of director Stephen Gyllenhaal and Oscar-nominated, Golden Globe–awarded screenwriter Naomi Foner, Jake and his sister, Maggie (both of whom have Oscar nominations themselves), grew up around a top tier of actors and filmmakers like Sidney Lumet, Steven Soderbergh, and Paul Newman. “I come from a family of people who make films,” he says. “When I think about the most important thing I took away from my family, it’s the idea of the power of a story, and the influence that it can have in all of its many forms. I believe there’s nothing that can make you discover what love is more than a story.”

Jake began acting at the age of 11. Child stardom is a masticator of identity from which few have gone unconsumed and fewer still have gone on to find artistic or professional success, both of which Jake has maintained since the beginning. The 32-year-old has been one of Hollywood’s most cherished leading men since the turn of the millennium. After breaking out in 2001 with Donnie Darko, Richard Kelly’s quintessential teenangst tale of metaphysical wanderlust in the 1980s, Jake began amassing an oeuvre of personally and culturally challenging films created almost exclusively with auteurs,

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legendary writers, and co-stars all attempting to progress their own artistic output and the limits of their medium. Jake seems to draw out an experimentalist nature in his collaborators—iconic directors have done some of their most exploratory and refined work with him: Ang Lee was awarded his first Oscar with Brokeback Mountain; Sam Mendes’s adaptation of Anthony Swofford’s cult memoir, Jarhead, gracefully imbues Gulf War ennui and Camusian existentialism with visceral tension by focusing solely on the perspective of Jake’s character rather than anything geopolitical. Zodiac arguably marks Fincher’s graduation from bombastic punk to a subtle and harrowing master of the psychological. Jim Sheridan broke a four-year silence to work with Jake in an adaptation of Susanne Bier’s Brothers. And Denis Villeneuve has created something in Prisoners that is even more powerful than the gut-wrenching tragedy that is Incendies, his 2010 Best Foreign Oscar–nominated film, which firmly established Villeneuve as a crucial voice in a new generation of emerging visionaries, like Jeff Nicholas, Shane Carruth, and Steve McQueen. “Jake Gyllenhaal inspires me,” Villeneuve tells me over e-mail while putting the finishing touches to the films. “When he is in front of my camera, I feel I can push boundaries.”

Since 2003, seven of Jake’s ten films have been helmed by Oscar-winning or -nominated directors, and his own nomination for Brokeback in 2005 marks the last time a male actor under 25 was bestowed that recognition. As well known as he is for these roles, Jake is equally celebrated for being an early practicioner of a now well-respected method of working: not working. He’s been making films at a rate of about one per year. Compare that to his omnipresent contemporaries like Ryan Gosling or Channing Tatum—brilliant actors capable of great depth, no doubt, but a subconscious byproduct of our oversaturation with them is a sensitivity to their existence as actors while on-screen; the act of their acting becomes increasingly difficult to un-see. Jake’s selectivity (and unpredictability) might enable the audience to connect to his characters on a deeper level. Plus, it makes sense that his approach is an anti-approach, to aimlessly wander until a project strikes intuitive passion and offers a window into himself. Because, at this point, what’s left for him to do but go further inward, having done laps around an industry he was born into.

“As a young actor, you come up, but you take what you can get. You fight for it. You do the best you can do and you’re grateful for what you have,” he says, reflecting on his early work. “I still feel that way. But more so I feel like there’s a ticking clock, that life is a set of experiences, and I want to have experiences I feel are worthwhile. At this point in my life, I don’t have a family to support, so I can make choices based on how I want to live. And the things I get from my experiences with making movies—when I think about what makes me happiest, it’s those experiences.”

The fact is that he’s never not lived a life rooted in storytelling, which is to say a perspective of reality illustrated by representation. So what, then, is real when your concept of self is mapped through the experiences of invented personalities? It’s a challenge Jake attacks by ensuring that each of his roles proves revelatory about his own identity, at whatever the cost.

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Jake’s practicing kung fu. Jake’s at a juvenile boys detention center. Jake’s sitting inside a burning building. Jake’s getting punched in the face. Jake’s having live ammo fired just past his head. Jake’s watching suicide videos. Jake’s on his bike in the middle of nowhere. Jake’s being dragged by a truck.

room for the complexity of another. So after the filming and promotion and release, a sabbatical of restorative soul-searching and recovery was more than just another break from filming, it was something more personal.

“I made a number of changes in my life,” he says when I ask how he filled the year that followed Watch. “I moved from Los Angeles to New York City, really to be closer to my family, and also—I had made a lot of promises to myself about getting back to theater, which is what I love, and I really wanted to follow that. I wanted to be around that community. So I just made this sort of big move out East, which is the opposite move people usually make, and I basically took some time.”

A couple days later, Jake sends me an e-mail that says “I had reached a point in my life and career where I had to ask myself what I really believed in, what I wanted to leave behind. I felt like those questions warranted exploration. I believe deeply in the reality of both the light and dark side of things and everything in between. I am interested in exploring people and situations without a filter.” And when a director’s mission statement about an upcoming project made its way to Jake, asking, “How unbearable is it to be in front of yourself, to totally recognize yourself in another being?” he knew he’d found his experience, his experiment.

Jake’s a solid six feet tall, and his body is massive in a deliberate, invented sort of way, like it’s very clearly an object of his own discipline. Whereas most people live in bodies that just happened to them, his is this hulking creation, which he hunches over like he’s carrying the plight of the wild American buffalo on his shoulders.

We’re eating cheeseburgers.

“For a number of years, I felt physically into the character before I felt internally into the character.” Jake has famously bulked up by working with elite trainers for roles in Jarhead, Brothers, and Prince of Persia, but it’s a method he’s less focused on these days, acknowledging that an external transformation is never as powerful as an internal one, which he approaches with equal if not more intensity.

“Sometimes it’s already been written for you, sometimes it’s just there and you’re like, got it, perfect,” he says, then references the work of Nicole Holofcenter, with whom he worked on Lovely & Amazing, and the playwright David Auburn, who adapted his 2001 Pulitzer Prize– and Tony award–winning play, Proof, for director John Madden Attached to the front of the script for Enemy, adapted from the Portuguese Nobel in 2005, starring Jake, Gwyneth Paltrow, and Anthony Hopkins. “[But] I need my way Prize–winning author José Saramago’s novel, O Homem Duplicado, is an essay from in,” he continues, “because I don’t want to fake it. Some people can just jump. I need Villeneuve in which he describes his vision of the film as “an existential erotic thriller” at least 150 yards of sprint.” and that “this movie is in fact a subconscious experience.” He writes that “it’s a film Prisoners arrives almost a year to the day after End Of Watch, David Ayer’s intimate, about the power of the subconscious and the misdeeds of this power on intimacy. humanistic portrait of present-day Los Angeles gangland police wars—which is more It’s a subject that deeply concerns me because it has such a strong influence on our about man’s tribal nature than violence or race. It was also a film in which Jake pushed his personal lives and a real impact on society. If you aren’t aware of this force and its limits the furthest yet in terms of physio-emotional preparation: fight training at a Kenpo side effects, you would never know who’s making decisions—who’s really in charge Karate dojo every morning; sitting in a controlled burning building with co-star Michael inside yourself.”

Pena so the two could feel the true godless heat of being engulfed in flames; practice “And so I went like, what is this?” Jake remembers. “It was a manifesto, which I on the shooting range that included having live ammo fired at him; plus ride-alongs with loved, that basically said, What you’re about to read will not seem like it’s about this. cops three nights a week, on the very first of which someone was killed.

[But] this is what it’s about to me, and here is why I want to make this movie. It was “My experience on End of Watch…” he says, pausing, an expression of cherished amazing. Then Denis came to New York and we sat down and we had one of the most pain washing across his face. “It redefined for me how I wanted to make movies. It was extraordinary meetings I’ve had with a director.” an experience I had no idea was going to be as influential on me as it was.”

In Enemy, Jake plays a high school teacher who sees his exact doppleganger in Jake, it seems, has always been an extremist, but his evolution in off-screen acting a movie, and after finding the actor, their lives and notions of selfhood become inexwas gradual: For an emotionally climactic scene in Jarhead, where he points a gun at tricably fucked. Jake, of course, plays both characters. “This existential crisis, this another Marine, played by Brian Geraghty, Jake took it so far that Geraghty felt actually depression,” Denis writes, “would be part of the main character, even if it isn’t menattacked and didn’t speak to him for a month. (Jake also chipped his own tooth during tioned in the dialogue.” that scene, when he turns the gun on himself.) In Brothers, his character had just been “It’s about somebody searching for themselves,” Jake says. “It’s about dual idenreleased from a jail stint that occupied the end of his adolescence, and despite it being tities and the search for identity in all of us. I’m not even sure I would call it a movie. an unfilmed aspect of the backstory that would only live inside the character, Jake went It’s one of those films that’s about a question, and I wonder if it’s ultimately anything to juvenile detention centers. “First I went to state jail and L.A. county and got the typical more than a question.” tours. But then I met up with Scott [Budnick, a film producer and celebrated volunteer At this point, it should be no surprise that Villeneuve’s perspectives on subconfor California State prisoner advocacy]. He’s friends with someone in the juvenile system, scious connectivity resonated deeply with Jake, particularly as he was searching for and he took me through a real tour of the facilities and to this one class he had with incar- a vehicle with which to explore the unfiltered recesses of his mind. But there’s one cerated juveniles, and I became fascinated with these boys and their stories. And I went crucial aspect of the story we haven’t yet touched on: The Boss. back over and over again, not just for filming the movie, but years after that.”

For Source Code, an underrated sci-fi puzzle directed by Duncan Jones (Moon; son of David Bowie), Jake spent a majority of the production acting by himself, much of the film “I don’t give a damn for the same old played out scenes. I don’t give a damn for just the taking place inside his character’s mind—he used the art of Wing Chun kung fu, famously in-betweens. Honey, I want the heart, I want the soul, I want control right now. You practiced by Yip Man and Bruce Lee, “which is about using one’s energy. It’s a lot of touch better listen to me baby: Talk about a dream, try to make it real. You wake up in the reflex exercises that I found, when repeated, would really get me into a scene.” night with a fear so real. You spend your life waiting for a moment that just don’t come.

Watch was sort of the culmination of his approach to off-and-on-screen acting that Well don’t waste your time waiting.” had become increasingly fundamental to his process: a self-obliteration that makes –Bruce Springsteen, “Badlands,” from Darkness on the Edge of Town

T-shirt Saint Lau r e nt b y H e d i Slimane Necklace and ring (throughout) Jake’s own

“ I ’ m l o o k i n g f o r t h e r o l es t h at w i l l a m o u n t t o m y e x p r ess i n g a s much as p ossible. What I’m looking f or i s a ll s i des of m yse lf.”

—Jake Gyllenhaal

When I ask Jake if he can pinpoint any big epiphanic moments in his life, he points to the year-plus after filming Source Code and before his balls-deep approach to End Of Watch.

His publicist, Mara Buxbaum, told him to watch the documentary The Promise, about the making of Bruce Springsteen’s seminal record Darkness On The Edge Of Town. “Which may seem like a strange irony,” Jake says, “one’s publicist instigating a search of one’s soul, [but] she has a way of recommending things at the right time. She could see that I was searching and offered [the film, which premiered at the 2010 Toronto International Film Festival] as a bit of a guide.” He continues: “I have listened to Springsteen since I was a boy. My father was always a big Springsteen fan. The “Born in the USA” tour was the first concert I went to.”

The story goes like this: In 1975, Springsteen and his E Street Band had finally found success with their third studio record, Born To Run. A group of guys who spent years scraping by playing clubs on the Jersey Shore finally felt the reassurance of success.

And the first thing Springsteen wanted was full creative freedom, to be the master of his own output, which resulted in a legal battle and contractual obligation that prevented the band from recording for three years. Springsteen spent the time ruminating on the role instinct plays in the artistic development that comes with age and conviction.

When they finally got back in the studio, the band partially recorded about 52 songs, 10 of which became Darkness On The Edge Of Town, an album Springsteen himself defines as “a meditation on where are you going to stand?”

“The success we had with Born To Run immediately made me ask, Well, what’s that all about, what’s that mean for me?” Springsteen says in the documentary. “The success brought me an audience, it also separated me from all the things I’d been trying to make my connections to my whole life, and it frightened me because I understood that what I had of value was at my core...That’s what a lot of people I admire drifted away from: the essential things that made them great. And more than rich, and more than famous, and more than happy—I wanted to be great.”

Jake says: “You constantly have to stay alive, stay awake, listen to yourself. I want to try and make choices that, no matter how they turn out, I can always say I know where this started in me.”

Denis says: “Truth in a performance comes from the actor’s instinct, his subconscious. But to let that happen, he needs to lose control.”

Bruce says: “What’s the part of yourself that you can’t compromise or you’ll lose yourself?”

Jake says: “I was looking for an experience. I was looking for an experiment.”

During the filming of Enemy, in early summer of 2012, Villeneuve approached Jake about playing the role of Detective Loki in his next feature, Prisoners, slated to start filming in the new year. “He came to me on set and was like, ‘Look, I’ve been talking to the producers and we think you’d be great to play this part, and I would love to work with you again,’” Jake says. “And I was just like, ‘Sure.’”

This uncharacteristic nonchalance obviously speaks to his confidence in Villeneuve as a partner in alchemy, but it more so elucidates Jake’s recent hunger. Immediately after filming Enemy, he made his New York stage debut with Nick Payne’s “If There Is I Haven’t Found It Yet,” keeping his promise to himself to return to the theater. “We finished [the play] January first, and we started filming [Prisoners] January eighth.”

Much as how the plot of The Shining is just Man Attacks Family, the plot of Prisoners is purposefully simple: two children are abducted. The emotional veracity of the story is communicated through Villeneuve’s blend of neorealism and Kubrickian abstraction, and the environment he creates that encourages actors to boldly challenge themselves.

“More and more, I’ve tried to ask myself about myself,” Jake says, then acknowledges that for all the yards of sprinting he endures to find his way into a character, that this is a sort of potential energy made kinetic during interaction with his castmates—that instinct only exists as a response system. “That’s one of the reasons I love other actors.

I discover what I want to talk about when I begin to exchange with someone else.”

Jake probably couldn’t have found a more excellent ensemble than the one in Prisoners: Terrence Howard, Viola Davis, Melissa Leo, Paul Dano, Maria Bello, and, especially, Hugh Jackman, who gives perhaps the performance of his career.

“What always impressed me about Jake was his steadfast commitment to connection,” Jackman tells me over e-mail. “His work ethic is like mine: he loves to explore, dig, and extract every ounce of depth in a scene. He has the courage to follow his instincts, and helps create an atmosphere where anything is possible. He is open, always striving for truth and complexity. What he has pulled off in Prisoners is extraordinary.”

“Jake loves the sensation of having given everything in a shot,” says Villeneuve. “Like, he would die at the end of each take, [and] doing sometimes 35 or 40 takes. Again.

Again. Again. Searching. His generosity was very moving. I think actors are better when they are free, [and] in danger.”

“I’ve been waiting for that for years,” Jake says. “I’ve been waiting for a director to be like, ‘Oh yeah, get hurt.’”

“He can go really deep into a performance and totally lose control,” Villeneuve continues. “Too many actors are not able to deal with this. When you lose control, you also deal with your own ugliness.”

When we were all but powerless, all was made whole. It was made whole when the truth came out. At that point, then, in the well-wrought play (and perhaps in the honestly examined life), we will understand that what seemed accidental was essential, we will perceive the pattern wrought by our character, we will be free to sigh or mourn.

And then we can go home.”

–David Mamet, Three Uses Of The Knife: On The Nature of Drama

Jake’s devout practice of acting as a method for self-revelation is ultimately one that benefits the audience, as well as the equity of the craft itself. Because what he seems to have learned from a life spent in film is that, despite all the emotional agility and behavioral flexibility with which actors express themselves, nothing is more real than real. And for all its rewards, for any artist to get close to something like truth in representation—it comes with its costs.

“Maybe people can be fooled, but I’m not interested in that,” Jake says. “I think it’s possible to be intimate in your work. It means asking questions of yourself, it demands trust. And that is scary because you never know if you’re completely safe, and it’s not always pretty. But I’m pretty damn sure that it’s the only way to go. I’m looking for the roles that will amount to my expressing as much as possible. What I’m looking for is all sides of myself.”

Ever since I started writing this, I’ve had an idea for my own experiment: walk over to the bookshelf, choose a character from a novel, and try to make myself cry as that character.

For one thing, I’m just sort of curious as to whether or not I can do it: sure, I can make my eyes water, maybe even convincinly fake it, but a true emotional moment? As a personality explored distantly within my own sense of self? (Can we take a moment to consider how insane the idea of acting is?)

But the real purpose of my experiment is that if I can manifest even a small genuine expression of feelings by proxy—accessing, in the process, I’m sure all kinds of terrible shit I’d rather not think about—I want to know how it feels to recover. I want to know how much of it will stay a part of me.

I get up, look at my books, and suddenly remember something: When Jake first started to personalize how storytelling informs self-awareness, he footnoted that this has always been its purpose in culture, and then cited Homer’s Odyssey, “which so many stories are still similar to. It’s about the things that have to be done to get back home—they change you for the rest of your life. You don’t get back home unscarred.

And whatever those things are that scar you, whatever mistakes you’ve made, they’re lessons. The movies I’ve tried to make are like that, they say it’s an imperfect journey.

No one will get back to where they need to be without scars. No one will get back without having to sacrifice something.”

Jacket Gio r gio Ar mani

“I believe deeply in the reality of both the light and dark side of things and everything i n be t w ee n . I a m i n t e r es t ed in exploring people and situations without a filter.”

—Jak e Gyl l e n h aal

jacket and t-shirt Saint Lau r e nt b y H e d i Slimane

Hair Didier Malige Grooming Aaron de Mey Digital technician Joseph Borduin Photo assistants Rudolf Bekker, Joey Trisolini, Aaron Lippman Hair assistant Takashi Yusa Grooming assistant Armando Guajardo, Jr. Production Kim Pollock and Yann Rzepka Production assistants Ashley Sky Walker and Nick Etre Catering Monterone Location Brooklyn Studios

t-shirt Saint Lau r e nt b y H e d i Slimane

r i de t h e l i g h t n i n g Dane D e Haan is the most provocative young actor t o h i t t h e sc r ee n i n y e a r s . W i t h d i a m e t r i c a l ly o p p o sed r o l es t h i s fa l l — t h e 3 - D c o n ce rt f i l m M etallic a : Through The Never an d be at p oet biopic Kill Your Dar lings—he prov es to be a s talented a s he i s unpred ictable.

PHOTOGRAPHY RYAN M c GINLEY FASHION BEAT BOLLIGER int ervi e w lar s ulri ch t ext elliott dAvid Dane DeHaan’s exposure to Metallica began on the set of Derek Cianfrance’s The Place Beyond The Pines, a film in which his character’s absent father rocks a Metallica shirt for half the movie. It’s maybe a perfect metaphor for Metallica’s power to transcend generations, how their music resonates in your blood, ever-relevant. This year, which marks the 30 th anniversary of one of the greatest debut records of all time, Kill ’Em All, the band is releasing a 3-D concert film, Metallica: Through The Never, starring the 27-year-old actor. DeHaan, who’s widely considered to be a frontrunner talent among today’s emergent stars, first loosed his incendiary intensity on mainstream celluloid via the award-winning HBO drama series In Treatment, but he’s perhaps best known for his role in 2012’s more-millenial-than-millenial superhero sleeper hit Chronicle.

That year also saw DeHaan working with legendary actors and filmmakers, such as Daniel Day-Lewis and Steven Spielberg (Lincoln), and Jessica Chastain, Tom Hardy, and Gary Oldman, in John Hillcoat’s Nick Cave–penned Lawless. It seems inevitable that he’ll become a tasteful Hollywood brand, a neo-DiCaprio vehicle starter, if not because of his unique talent then as a consequence of sheer exposure: this fall he showcases his range with two batshit opposite roles, in the aforementioned Metallica 3-D metal apocalypse sensory assault and in John Krokidas’s Kill Your Darlings, a tragic story about the inner turmoil of gay lover poets in the 1940s. In Through The Never, DeHaan plays a roadie on a mission from (and through) hell, and in Darlings he plays Lucien Carr, the mostly forgotten member of a now way-too-famous group of New York writers, including a freshman from his Columbia dorm named Allen Ginsberg (played fearlessly by Daniel Radcliffe) and the two friends Carr brings to meet him, Jack Kerouac and William S. Burroughs.

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Top that mercurial mélange with the fact that DeHaan just wrapped filming Sony tentpole The Amazing Spider-Man 2, rebooting the part of Harry Osborn, the role that launched a thousand Francos. Even more evidence of the lasting impression the actor leaves: This past June, at Orion Music + More, Metallica’s music and arts festival, fans waiting to see an unknown band on a tiny side stage were gobsmacked when Metallica’s lead singer, James Hetfield, walked up to the mic to make an introduction and suddenly the rest of Metallica rushed the stage and proceeded to play Kill ’Em All, from start to finish. The name of this fictional band impersonated by musical legends?

DeHaan. Here, Dane raps out with Metallica’s legendary drummer and autodidactic cinephile, Lars Ulrich, and VMAN editor, Elliott David.

LARS ULRICH So Dane. Let’s talk. Are you in New York?

DANE D e HAAN Yeah. I’m in New York City.

LARS Are you doing the Spider-Man grind still?

DANE Yeah, we have one week left exactly.

LARS And how has that experience been?

DANE It’s been really crazy. I’ve never had this much time to make a movie, which is kind of a luxury, having six months to do something. You can truly take your time to make sure you’re totally ready to do the things you have to do. And it’s all, just in terms of budget and production value, pretty mind-blowing at times. So I’ve found it’s in some ways easier, because you don’t have to pretend as much. The sets are amazing and they kind of just put you there.

LARS Are you doing a lot of green screen?

DANE Now we are doing more green screen, but for the most part—for the first, like, five months or so—it was actually pretty heavy acting work. What I like about SpiderMan is how human it still is. There are special effects and stuff, but the actual relationships are really strong and people’s problems are real, so the acting work ends up being very fulfilling.

LARS Obviously it’s the first time you’ve done something of this size. Where does it lie compared to some of the more independent films that you’ve done, in terms of the stress level of being in the moment?

DANE When making an independent movie, and you’re shooting it in 24 days and it’s a feature-length movie, you’re shooting probably like seven plus pages a day, every single day, and you’re working 14-hour days. So you have to go in ready to do that.

But on Spider-Man, you’re filming anywhere from an eighth of a page to three pages a day. And you’ve probably had a couple of weeks or a month to prepare just that

specific scene. So it takes pressure off simply because there’s more time to prepare.

LARS You’re fairly well known for all the In Treatment stuff, and you also had a stint on True Blood. So you’ve done theater, you’ve done television and independent films, and now a super-big-budget big-studio film. Talk a little bit about the television element.

DANE In Treatment is definitely a unique television experience for an actor because those episodes are like 30 pages [of] just dialog between two people. You get the next script as soon as you’re done shooting, and you probably have like five days before you shoot another 30 pages. It’s very formulaic and consequently very fast-paced in nature.

But when you’re working with Derek [Cianfrance], all of those rules no longer exist. You show up on set and he doesn’t even call action. He just kind of lets the camera roll and by the end of the day you get something. But ultimately the acting work is very similar, in terms of my job within that world. It’s just about adapting to different circumstances.

LARS Are you happy to have left television or even theater behind? Or do you feel you’d like to go back to that intensity at some point?

DANE I think theater is something I’ll always want to do because that’s where I started.

But I also feel that I spent the first 25 years of my life in theater and film is a whole new world. I like the freedom that film gives me verses the formulaic nature of television.

But I guess never say never? There are exceptions to every rule, but right now I’d like to continue to capitalize on my momentum in the film industry and then go back to the theater when the time is right. When you play those different stadiums, do you find that your performances change a lot, given the size of the venue?

LARS I realize now that one of the things that keeps Metallica alive is that we always try to alter our experiences and explore environments. We’ll play anything from stadiums down to backyard BBQs. When you play stadiums, you really have to project out to the people who are just little dots on the horizon, and that’s the main reason we always play arenas in the round: to stay closer to a bigger portion of the audience and really feel an experience of sharing the moment. I love the smaller places because it’s incredibly fulfilling to look right into the eyes of the people you’re playing to. Last weekend, at our live festival [Orion Music + More, in Detroit], we played two sets: one was on the main big fuck-off stage in front of like 30,000 people, and the other was on a small side stage about the size of a hotel room under the suspicious name—I know you know this—of DeHaan. It was super intimate and just fun and old-school. So to be able to go flip around all these different experiences all the time is sort of what keeps it alive. I had Derek [Cianfrance] in my film tent at Orion last year. Talk a little more about what you said earlier, that he sometimes doesn’t even yell action, he just lets you guys run with it.

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DANE Derek has this amazing way of capturing real moments. If the scene is stealing prescription drugs, what he’ll do is hire the guy from the counter who actually works in the Schenectady pharmacy and he won’t tell him what the scene is—he’ll just start rolling the camera and I’ll rob the store. After the first take he’ll go up to him and say, “Do you know what’s going on?” And the guy will be like, “He’s robbing my store,” and Derek is like, “Why didn’t you do anything about it?” You’re really affected by a performance when somebody is actually doing something, not pretending to do something. When I act, I don’t normally think about my mannerisms or that kind of thing, it comes more from finding the character within myself, it’s about creating that reality inside my head and making those relationships real. And then hopefully that’s what will inform the performance. When you’re on set, it’s really about fooling yourself into believing what’s happening, and if you do your body will react appropriately. You know, Derek is the one who gave me my first Metallica album, and it was during Pines that I really listened to you guys.

LARS That’s great. Derek would send me these texts, like, “I’m in a minivan with the kids and we’re listening to ‘Blackened’ and it’s 7:15 in the morning,” and it just puts a big smile on my face.

ELLIOTT DAVID Lars, is Derek the one who introduced you to Dane?

LARS I see a lot of films with my kids, and we saw Chronicle when it came out. There are a lot of great actors out there, but when Dane shows up in Chronicle, there’s a different kind of reality to what he brings to the character. He’s at a different level than all his peers, and I don’t mean that disrespectfully to his peers—it’s just about Dane’s intensity. So when it came time to cast Trip, just about a year ago, Dane, you were the first name that came up. So I got in touch with Derek and I said, “We are going to reach out to Dane and could you also help me reach out?” I wanted to make sure it didn’t get lost between the agents and the casting directors. I wanted to get to you personally that we really feel that you are Trip, and we’re going to basically lay down in front of a train until it becomes a reality. And then [Through The Never director] Nimród reached out and the whole thing just sort of ended up working out fairly effortlessly.

DANE When I got sent the script, it was this crazy story and I remember being, like, this is just so insane that I can’t not read further. I’d never read anything remotely like this— it really piqued my interest, just from its pure insanity. Then I sat down with Nimród for lunch in Culver City and he had the storyboards for it and it all started to make sense. It went from this thing on first reading, like, Seriously, what the fuck? I have no idea what this is, to an epic, insane one-of-a-kind journey that really means something, especially to Nimrod. It was his passion about it—and obviously my want to be around you guys and see what it’s like to be in that world—that drove me to be a part of it.

LARS In the last couple years, it’s dawned on me that I get way more inspired by film then I do by music. Film makes me want to be creative and when I see a great performance or a film that’s really well written, it makes me want to make music. When you see a movie like Blue Valentine [directed by Cianfrance], it makes you want to create whatever it is you create. When I see a movie like The Place Beyond the Pines, it makes me want to write songs with James Hetfield and make another Metallica record. Having your eyes open to what goes on around you and what sort of culture you gravitate toward is the stuff that inspires you.

ELLIOTT Dane, do you participate in any other artistic mediums that inspire you creatively—especially with research for Kill Your Darlings, since it’s a period piece about Ginsberg and the beat poets during their college years?

DANE I’ve always just been obsessed with acting. I like reading, but I can’t play any instruments. I can sing, but I have like a third-grade drawing level, so it’s always been about acting. But I’m glad you mentioned Kill Your Darlings because, Lars, what you were saying about challenging yourself and keeping it different—I honestly feel that I couldn’t have two more polar opposite movies coming out in the fall, between Through the Never and Darlings. So I really hope to get some Metallica fans to go see Kill Your Darlings and get some people who saw Darlings to go to the Metallica movie.

LARS And then we are contributing to the fucking widening blurring of our culture, that’s perfect.

“When I act, I don’t normally think about my mannerisms... it comes more from finding the character within myself, it ’s about creating that reality inside my head.”

—dane d e haan

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Grooming Holli Smith for Wella (Total Management) Stylist assistant Lindsey Hornyak Grooming assistant Vi Huynh

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PHOTOG RAPHY DAVID SIMS HAIR BY guido

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the coal miner’s d a u g h t e r Supermodel Irina Shayk opens up to Derek Blasberg a b o u t g o i n g f r o m l i fe a s a s i m p l e fa r m g i r l i n N o w h e r e R u ss i a t o a g l o b a l ce l eb r i t y w i t h a s up e r s tar footballer boyfriend. photo graphy sebastian faena fas hion j ulia von bo ehm

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Derek Blasberg I’ve got you on holiday. That makes me jealous.

Irina Shayk You should be! I’m in Portugal, on a lake, and it’s so beautiful. You’re the first person I’m talking to today, in fact. When I go away I like to be quiet, but I made a special exception for you.

DB Are you Portuguese?

IS No, but my boyfriend is.

DB We’ll get to the boyfriend in a minute, but if you’re not from Portugal, where are you from?

IS People think I’m Brazilian, or they think I’m Italian, or Spanish. So I say I’m an undercover Russian. I grew up in Emanjelinsk, which is a small village in the middle of nowhere. It is very simple and quiet. I had a garden, and after school I would plant potatoes and tomatoes.

DB Really? Or are you just saying that for effect?

IS No, really. I’m completely a village girl. Sometimes I miss that. Well, I don’t miss planting the potatoes.

DB How did you get in the fashion game?

IS My mother is a musician, so as a child I played the piano. But when I was older I got bored, and my sister, Tatiana, was always in love with beauty products. She would test her hair and makeup products on me all the time, dye my hair, pluck my eyebrows. One day she took me to her beauty school, and Guia Jikidze was there. He was the scout who found Natalia Vodianova and Eugenia Volodina. He got me started.

DB Would you consider yourself a glamorous child?

IS No way. Do I need to remind you about the potatoes? I thought a lot about my garden.

My cucumbers. My father was a coal miner. I did not grow up with an American childhood. In Russia, we planted that garden because we had to eat. I didn’t know this world existed. I never thought I would live in Paris or New York. I couldn’t even have dreamed it.

DB What did you think you would do?

IS I was going to be a journalist. So you should be happy this worked for me or else I’d steal your job! Although when I was little I knew I wasn’t going to be a village girl forever. I didn’t think I’d be a model who lived in New York, but I knew I was going to leave the village.

DB We hear so often of an ugly duckling who turns into a swan. Were you teased as a little girl?

IS Sure, kids made fun of me because I was so skinny and I always had these free haircuts from my sister. I remember when I was 14 I wanted high heel boots and they cost $25, but we couldn’t afford them. So I worked in a hospital for 20 days painting the walls to make the $25. I remember the other kids making fun of me for that: Who is this weird, skinny girl in those high heel boots? But I didn’t care.

DB So you would say you’ve realized your sexual appeal and potential today, right?

IS I started modeling late. I was almost 20. I went to Paris and had bad English. I didn’t know how to pose. I did my first picture for my first portfolio and didn’t feel pretty at all. I guess I felt special because, of all the other girls in the world, I was chosen to go

to Paris, but I never thought I was beautiful. I lived in the models’ apartment, and the other girls would laugh at me because I was different than them. They were very pale, very skinny editorial girls, and I had curves and a tan.

DB What made you stick it out?

IS I said to myself I would never go back to my village with nothing. And that’s how I decided to go to New York. In 2007 I moved and Sports Illustrated discovered me.

That was my first client. That’s when it all began.

DB But today you’re more than a swimsuit model.

IS I started very commercial and doing sexy stuff, like Victoria’s Secret and Guess Jeans. Then last year, when I was 27, I did a Givenchy show, and then Mario Testino and Carine Roitfeld, and Carlyne Cerf de Dudzeele booked me. It is nice to see how my career has changed and progressed. Maybe it’s an example for other girls: If you’re stuck in one genre, you can cross the lines today. It doesn’t matter if you’re 17 or 27, sexy models are back!

DB You still live in New York. What do you like about the city?

IS It’s the best city in the world. You can wake up in the morning, walk out of your apartment and feel like everyone is so alive. I just spent three years renovating my apartment, so now I’m happy to spend time at home too. I have five TVs and a theater.

I love watching movies. It’s a good place to relax.

DB I know you’re busy being a supermodel and working on your charity. What’s that about?

IS Remember the hospital that I painted to get my high heeled boots when I was a teenager? That’s the only hospital in my village, and there have been times when young people need to stay for long stretches but they can’t afford the treatments. So we set up an organization that helps send foods and medicine. You can find out more about it on the website Pomogi.org.

DB Do you go home often?

IS Not as much as I would like to.

DB Do you still play the piano?

IS Not as much as my mom would like me to.

DB I guess you spend a lot of time at football matches, don’t you?

IS Trick question! But yes, my boyfriend plays football, so I go and support him.

DB Is watching Cristiano Ronaldo play football like watching an artist do a painting?

IS Absolutely! I’ve always been a big sports fan, though. I shouldn’t say this, but I might even like watching tennis matches more than football. Ha! DB How is it to date one of the world’s most famous footballers?

IS The day I made the decision I was going to be a successful model, I knew I would deal with people wanting to know about my personal life. So it didn’t come as a shock.

And if you love someone and you are in a great relationship, you don’t feel the pressure. People can try and disturb that, but if you’re happy you build a wall around you.

What’s important to me stays behind that wall.

DB I’m sure whatever happens behind the wall would be nice to look at.

IS Well, yes. I don’t mind confirming that.

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makeup Jeanine Lobell (Tim Howard Management) Hair Kevin Ryan (Art + Commerce) Model Irina Shayk (Women management) Manicure Honey (Exposure NY) Set design Bryn Bowen (The Wall Group) Digital technician Patrick Klinc Photo assistants Carlos Ruiz and Alex Austin Stylist assistants Clare Joan Bryne, Allison Bornstein, Chris Lee, Anny Choi makeup assistant Chisa Set design assistant Kori Hellebust Videographers Patricio lima Quintana and Agostina Galvez Production Helena Martel Seward Production assistants Eric Reeves and Ben Shapiro Retouching Blank Digital Equipment rental Root [EQ_Capture] Location Brookmill Farm, Lambertville, New Jersey

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a celebration of men’s fashion is a celebration of individuality, of character , of the crucial role style plays in articulating the inexplicable: identity.

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Hair (Sean O’Pry, Will Chalker, Tony Ward, Matthew Avedon, Aiden Andrews) Peter Gray for Shu Uemura Art of Hair (Home Agency) Hair (Mathias Laurdisen, Andrés Velencoso Segura, Cole Mohr) Shon (Julian Watson Agency) Hair (Dylan Fosket AND David Gandy) Rudi Lewis (Management Artists) Grooming (Mathias Laurdisen, Andrés Velencoso Segura, Cole Mohr) Adrien Pinault (Management Artists) Grooming (Sean O’Pry, Tony Ward, Matthew Avedon) Karan Franjola (Marek and Associates) Grooming (Dylan Fosket AND David Gandy) Maki Ryoke (Tim Howard Management) Grooming (Will Chalker AND Aiden Andrews) Ayami Nishimura Models Sean O’Pry (VNY), Matthias Lauridsen, Dylan Fosket, Andrés Velencoso Segura (IMG), Will Chalker (NY Models), Cole Mohr (Request), Tony Ward, Matthew Avedon (DNA), Aiden Andrews, David Gandy (Ford NY) Digital technician Sally Griffiths (Milk Digital) Photo assistants Lorenz Schmidl, Lewis Hayward, Sam Rock, Sam Nixon, Alex Lockett, Lucas Florespiran Stylist assistant Olivia Kozlowski Production Betty Kim (CLM) Locations Dune Studios and Fast Ashleys Studios

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through the years s o m e m e n see a g i n g a s a t h i n g t o be fe a r ed , b u t w e see i t a s a n o p p o rt u n i t y t o r e i n v e n t t h e se l f. embrace your ever-evolving identity, and let your tim e lin e o f style be a history of your life. photo graphy nathaniel gol dberg fas hion tom van dorp e

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J oh n Pear s o n, 4 9 COAT FE NDI turtleneck e qui pme nt ring his own Hair Diego Da Silva (Tim Howard Management) Grooming Maud Laceppe for NARS Cosmetics (Streeters) Models Hudson Kroenig (FORD NY), Mingus Lucien Reedus, Joseph Matone (Re:Quest), Louis Steyaert (VNY), Janis Ancens (Elite Milan), Simon Nessman (Soul), Jarrod Scott (FORD NY), ClĂŠment Chabernaud (Wilhelmina), paolo roldan (SOUL), Brad Kroenig (FORD NY), Jason Shaw (IMG), Tyson Beckford (Soul), ben shaul and John Pearson (DNA), Matt Norklun (L.A. Models)

M att N orklun, 57 JACKET ROBER TO CAVALLI SHIRT AND BOW TIE GIOR GIO AR MAni Digital technician Chris Luttrell (Haute Capture) Photo assistants John Guerrero and Ian Rutter Stylist assistants Carrie Weidner, Jitske Nap, Kristine Souza Hair assistants Taichi Saito and Sean Mikel Grooming assistant Lisa Campos Retouching JWL Casting Samuel Ellis Scheinman Locations Pier 59 Studios, New York, and Haute Capture Studio, Brooklyn

ERIC FLOOD AGE 24, RALEIGH, NC NORTH CAROLINA STATE UNIVERSITY “Winning this is like winning the Hunger Games, right?” clothing and shoes Gu c ci

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SHAUN DENNISON AGE 20, OCEAN SPRINGS, MS “I’m a very respectful young man from the South.” clothing and shoes Jo h n Va rvat o s

BRIAN ANTALEK AGE 20, ENDICOTT, NY Broome Community College

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Director of Image Eric Pfrunder Hair Marc Orsatelli for Shu Uemura Art of Hair (Agence Aurélien Paris) Grooming Peter Philips (Art + Commerce) Models Taylor Ashmore, Eric Flood, Jonathan Glass, Shaun Dennison, Brian Antalek, Rasmus Haag, Thomas neil, Philip Witts (FORD NY) Photo assistants Olivier Saillant, Bernard Sollich, Xavier Arias, Frederic David Stylist assistantS Coline Bach and Audrey Michaud Missegue Hair assistant Sandra Sanzabi Grooming assistants Elodie Barrat and Odile Subra Personal butler to Karl Lagerfeld Frederic Gouby (Manpower) Video Ivan Olita Retouching Ludovic d’Hardiville Location 7L Studio, Paris Catering Histoire des Sens Special thanks Katherine Marre and Océane Sellier

PHILIP WITTS MODEL SEARCH WINNER AGE 20, AMHERST, MA UNIVERSITY OF MASSACHUSSETS “Fashion is incredibly competitive, from a model’s standpoint. I knew my chances were slim going into it, but I also knew it couldn’t hurt to try.” clothing Jil Sa n d e r Shoes CE SA RE PACIOTTI

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