Innholdsfortegnelse for 26 i Vogue Hommes English Version

— His face was seen all over the walls of Paris as summer drew to a close. His eyes blue as lakes, a slender, straight nose, golden brown hair cut in a shoulder–length bob, and a disconcertingly androgynous look that is very much in vogue. Oliver Sonne, just seventeen, is astonishingly photogenic and already has the makings of a cover–boy. Vogue Hommes made no mistake in offering him his first cover, photographed by Inez & Vinoodh. "I have wonderful memories of the Parisian posters you mentioned,” he says. "They were for the Loewe campaign shot by Steven Meisel. It was a great honour for me to work with such a genius. It was Steven and Jonathan Anderson who discovered me.” Before that, on Christmas day 2016, Cesar Perin of the…

…

…

Irving Penn (un) filtered — He never departed from his personal rule of working behind closed doors. Right to the end, Irving Penn chose to take his photographs in a studio, whereas all the new photographers, the New Wave, the New Hollywood, were advocating going into the street with ever–lighter cameras. It is said that until his last breath, he went to his studio on 5th Avenue every day. It was nicknamed "the hospital”, as everything was so methodically tidy. There, Irving Penn produced original prints with the same manic attention to detail that made him a legend in the years when he worked with Vogueunder Alexander Liberman in the 1950s. The exhibition at the Grand Palais in Paris celebrates what would have been his hundredth birthday (he died in…

— Almost overnight, he was suddenly in every film: a sly, lascivious young sexual predator in Eva Hus-son’s Bang Gang, an introverted son in Les Cowboys by Thomas Bidegain and then a stylish, inscrutable terrorist in Bertrand Bonello’s Nocturama. Six films in two years and, in September, he is playing the lead in Anne Fontaine’s new and keenly awaited film, Marvin, which is freely inspired by Edouard Louis’s best–selling autobiography En finir avec Eddie Bellegueule (The End of Eddy). Finnegan Oldfield admits that he went to the screening organised for the crew in a total state of anguish. He hadn’t seen any rushes and more than any of his previous roles, the work with the director consisted in bringing him out of himself, in a role of composition, whereas it…

— This issue’s cover is Oliver Sonne, 17, a delicate, androgynous resonance of the young Joe Dallesandro, his black leather outer skin is bursting with the first flush of youth, the pellucid blue of his eyes pulsating with the blazing fire of youth. Youth and daring. Two inseparable words, clinging to each other, limpet–like. The gold standard of fashion, words that have had a sacred ring since the dawn of man. Cast your mind back. Which advertising campaigns are the most memorable, in any period? No contest: those that sell youth, or burn their transgressive message deep into the visual cortex. Remember those incendiary Calvin Klein ads in the declining Seventies? And Hedi Slimane in his Saint Laurent days, or Tom Ford dallying with classy soft porn? And, these days,…

Rare specimens — Why is it that, every season, you have to move heaven and earth to get your mitts on the perfect, original topcoat that suits you down to the ground? Once you’ve ticked off the classic number in navy blue or anthracite cashmere, the fall–back solution to sidestep a fashion faux pas, you have to acknowledge that a wearable coat with just the right amount of originality and eccentricity is pretty hard to come by. Nothing daunted, your editors have unearthed six miraculous specimens. In no particular order we found a loose–fitting take on the trench coat in coffee–coloured leather at Louis Vuitton; a camel neo–Loden with a shearling collar for student dandies at Gucci; a cleverly deconstructed canvas mac from Craig Green; a brilliant reinvention of the…

"Most fragrances today have multiple facets, so that we can wear them to suit our mood. Consequently, we don’t want to wear the same fragrance from morning to evening. Which is why it’s important to work on how a composition evaporates, once its skeleton and ornaments have been defined.” FRANÇOIS DEMACHY, Perfumer for Dior THE ASCETIC EPICUREAN DARK SIDE Absolute determination, coupled with a weakness for all things dark. For black clothes in general, and jackets in particular. BRIGHT SIDE As soft, luminous and refreshing as a white cotton, perfectly tailored T–shirt worn under the above–mentioned jacket. Y by Yves Saint Laurent, 60 ml,€65. THE ICONOCLASTIC LEADER DARK SIDE Impulsive and enigmatic, unhindered by any form of dialogue, it offers a truly enhanced experience… BRIGHT SIDE Smart, dynamic, cajoling, with…

— With his angelic looks that could set reels of film on fire, and his sensual, haunting voice, Théo Mercier refuses to be drawn on the theory behind his work. He perpetuates the mystery behind his vocation. But it doesn’t matter. It’s up to the readers, spectators and collectors of his otherworldly creations to appropriate it. "My mission as an artist is to challenge or disturb without being provocative. In a society that serves up a mishmash of information daily, leaving little room for the people watching, listening or sifting through it to take it in, the work of art exists precisely to stimulate the way they look at it, their minds and their freedom to interpret it.” Imagine a garage, the roar of a monster motorbike revving up, a…

— As the first sweltering heat of summer descended on Paris, César Chouraqui shut himself away in the cool of a Left Bank studio. If this was a holiday, it was a working one: César was in the middle of recording his first album. After a memorable acting debut in The Origin of Violence, directed by his father, Élie Chouraqui, it seemed César had his career all mapped out. Or not, as the 22–year–old now reveals his talent behind a microphone. This isn’t some passing fad, either. "My entire family is involved in film. My dad’s a director. My mum’s a screenwriter. I got into music from an early age. It was my thing, it belonged to me. Nobody at home played an instrument. It was like being in a…

— It was back in 2000. I was in the Haute Couture house of Yves Saint Laurent. The studio door was open — that famous studio with the trestle tables, Monsieur Dior’s storied cane, the cork mood board, a few bolts of fabric, and Monsieur Saint Laurent in person was sketching, hunched over his table. So that was where he sketched his designs, in a white lab coat, a cigarette dangling from his lips. It was explained to me that he sketched in spades, far more than he ever showed on the catwalk. This idea that there were a lot of unseen sketches, that never became dresses convinced me that there must be a treasure trove in the archives that didn’t just feature frocks preserved, museum–style, since the label’s creation.…

…

VOGUE HOMMES What did you know about Berluti before they approached you? HAIDER ACKERMANN The shoes, only the shoes. I also knew a bit about the story of Olga Berluti, who shod some of the world’s most intriguing, sexy, and eccentric men, from Andy Warhol, to Churchill, Saint Laurent, and Cocteau. She has always surrounded herself with beautiful souls. That was all I knew about Maison Berluti. Not a lot. Plus its reputation for know–how and craftsmanship… VH … and those fabulous patinas. HA No, I didn’t even know about those at that point. VH For a long time, you used to say that men’s fashions were not your subject. But you got involved gradually and finally launched a men’s line, and then that offer came along from Berluti. Was…

— While men have worn brooches — formerly known as fibulas — since time immemorial, the 19th century brought a dose of austerity and soberness to the masculine wardrobe. Since that time, brooches have regained respectability and are proudly shown off on a lapel or, more eccentrically, on a bottom pocket, a belt or a hood. The idea is to use them to soften a rough texture, such as denim or tweed, or, on the contrary, to add a touch of chic to the fabric of a sweatshirt. Three experts enlighten us on this distinct item of jewellery, which doesn’t enhance the skin, but rather the clothes it adorns. VOGUE HOMMES Why now? ELIE TOP Because glam rock styles, coupled with the gradual disappearance of gender stereotypes, have created a…

— After the success of his first two books, Everything Is Illuminated and Extremely Loud and Incredibly Close, which established him as the Wunderkind of American literature, Jonathan Safran Foer, 40, turned to nonfiction with the still topical Eating Animals. Now he returns to the novel with Here I Am, the story of a Jewish American family — Julia, Jacob and their three sons — who live what is, on the surface, a happy life in Washington DC. However, Julia contemplates having an affair, Jacob secretly sexts a colleague, and their eldest child spends his days online, pretending to be someone else. Is it time that wears a couple down? Or does modern life and its attendant technology estrange family members? Is it not essential for individuals to maintain a…

…

— Harmony Korine is probably the closest thing American cinema has that could be dubbed "revolutionary”. The word may sound quaint, these days, but the man in question is still young, and aiming to stay that way, like a gently ageing Rimbaud. In other words, he hasn’t sold out on his dangerous — idealistic, pure, extreme, and often rage–filled — youth. He burst onto the world scene at age 19 in the credits of Kids, as co–screenwriter of Larry Clark’s first feature film. Two years later, at just 21, he directed his first film, Gummo, shot in the Nashville where he grew up (he was born in California in winter 1973), whose ramshackle poetics showed that Korine was more than just a Larry Clark mini–me, fated to imitate his mentor:…

…