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30 Articles

—On the subject of the term “conversations” used on the cover of this issue, other related words come to mind. In no particular order, these include: dialogue, confrontation, exchange, collision, transversality, interaction, stimulation, fluidity, open–mindedness, collaboration, emulation and sharing. Over the past fifteen years, Vogue Hommes has taken these words as its premise. By reconciling past and present, youth and maturity, classic and avant–garde, masculinity and femininity, fashion and style, identity and personality, convention and rebellion, here and elsewhere, “normal” and bizarre, essential and superficial. With creativity at heart, always. There are also conversations in the literal sense, and those published in Vogue Hommes have a certain je–ne–saisquoi that the others haven’t. Over and above a glittering line–up — Karl Lagerfeld, Calvin Klein, Brigitte Bardot, Pierre Bergé, Joan Collins, Charles…

O’KEEFFE, OH MY…

—When Alfred Stieglitz met Georgia O’Keeffe, he was a 52–year–old photographer, painter and gallery–owner internationally renowned for his avant–garde spirit. She, on the other hand, was an art teacher in Texas and an unknown 28–year–old. The artistic and physical passion they shared swept them into a tumultuous wave of shared experiences, including a single, unique exhibition of their combined works at the Anderson Galleries in New York in 1924, which was also the year of their marriage. That period also featured an incredible exchange of correspondence comprising 4,500 letters, some of them up to 40 pages long! He wrote in a staccato style, while hers was a more free–flowing language, and it resulted in a verbal joust with copious notes in the margin, back at a time when pen and…

O’KEEFFE, OH MY…

OTHONIEL, ART AND DIOR Elected to the Académie des Beaux–Arts in 2018, Jean–Michel Othoniel will soon be ready to take possession of seat number 5 (left vacant by Eugène Dodeigne): Kim Jones for DIOR HOMME has designed his Académicien’s uniform. There are strict specifications: a black tailcoat and trousers (collectively referred to as an habit vert since codification in 1801), embroidered with green olive branches along the legs, around the cuffs and on the lapels and front of the coat. For Jean–Michel Othoniel’s uniform, the Dior atelier hand–painted the branches directly onto the fabric, which they then embroidered with metal, silk and cotton thread before adding embellishments of glass pearls: the sculptor’s hallmark. This was a first for Dior — it’s not every day you get to dress an Immortal…

FRAGRANT FOOTPRINT

LIQUID CONCRETE The top of the bottle — like a block of cement — and the colour give a foretaste of what to expect from this perfume that is full of layers. Sensual tuberose melts into raw extracts of black forest with juniper, gaiac, agar and birch wood as well as oak moss… The bottle itself is crafted by the last French glassblower still plying his trade — the kind of outlandish touch that only a niche perfumery can truly pull off. BLACK TAR, PARFUMERIE PARTICULIÈRE 100 ML, €245 AT NOSE PARIS METAL AND MISCHIEF If mischief had a fragrance, it would be this. Nasomatto (which means “crazy nose” in Italian) has created a perfume that is incredible in every way. The scent itself features very unusual notes of calamus,…

FRAGRANT FOOTPRINT

—Creation does not happen in a void. It is not an illumination or a spark given from above. Creation is intuition and feeds from dialogue, debate, process, even just within oneself. Fashion-making is a much more hands-on and confrontational process than fashionable pundits want you to believe. It is a plural act. Sometimes as plural as two. This one is probably not for Diet Prada or all the censors out there decrying the copycats. What these moralists fail to understand, in fact, is that there is copy, and there is copy. Creation needs conversation and confrontation in order to truly flourish, exchanges being either real, with a living being one can actually have an argument or a laugh, or imagined, with an ideal muse or model of sorts, from the…

WHEN FASHION ICONS HIT THE BOX OFFICE

—After All the Money in the World — which traces events surrounding the kidnapping, by the Mafia in 1973 in Rome, of John Paul Getty III, the grandson of oil magnate John Paul Getty, against a $17 million ransom which the patriarch refused to pay — Ridley Scott is again scratching the underbelly of the rich and famous. This time, his subject is the tragic destiny of Maurizio Gucci, who was shot dead by a hitman in the lobby of his office in Milan, in March 1995. The news shook the Italian public as much as it did the fashion world. The country was proud of the brand, established in Florence in 1921, that had grown from a small shop selling leather goods to a luxury giant acquired three years…

WHEN FASHION ICONS HIT THE BOX OFFICE

Parker, Mingus, Toan and Tarka are the sons of supermodels André van Noord, Helena Christensen, Tanga Moreau and Zoe Gaze, respectively. True genetic miracles and a discourse on beauty.…

VIRGIL ABLOH & NIGO DYNAMIC DUO

—On one side of the planet, American Virgil Abloh, artistic director of Louis Vuitton menswear, creator of the Off–White brand (recently bought out by LVMH), friend of rappers and — despite turning 40 — a veritable icon for the today’s youth fascinated by the language of a fashion that has freed itself of cultural complexes. On the other side, Nigo, born at the beginning of the 70s in Japan, DJ for the Teriyaki Boyz, producer, stylist and founder of the A Bathing Ape clothing line (or Bape for those in the know) that influenced the streetwear universe and beyond. Virgil and Nigo have combined to create a capsule collection for Louis Vuitton, LV2, with the second part — combining Japanese and western influences — scheduled for this autumn. Here they…

VIRGIL ABLOH & NIGO DYNAMIC DUO

TOM FORD LARRY CLARK

VOGUE HOMMES You’ve given hundreds of interviews throughout your career. Is there one question you’ve never been asked? TOM FORD I honestly think I’ve been asked just about everything. Possibly no one has ever asked me about my favourite sex acts… VOGUE HOMMES And they are? TOM FORD Not on the phone… VOGUE HOMMES At bottom, you’ve always tried to stay outside the system, independent. LARRY CLARK I grew up admiring the Beat Generation, Jack Kerouac, Allen Ginsberg, William Burroughs, Greg Corso and those guys who stood by a single watchword: “Don’t sell out!” I see myself as a post–beatnik. The other day an old school friend I hadn’t seen for years rang me and asked me what I’d been doing all these years, and I said to her: “At…

TOM FORD LARRY CLARK

KATE MOSS CALVIN KLEIN

VOGUE HOMMES What is the quality you like most in a man? KATE MOSS Humour. VOGUE HOMMES Could it be said that you taught America minimalism? CALVIN KLEIN If that’s the case, it was involuntary. I just designed what I wanted to wear myself. Purity is an obsession with me, and I don’t like it when too many details clutter up clothing. It should stand up on its own. You could never count on me to design bags or accessories. VOGUE HOMMES You must think you’re dreaming today when you see that a model never ventures on to the catwalk without a bag? CALVIN KLEIN I simply don’t understand it. Does the designer think it’s more exciting, more fun, if he puts bags everywhere? Is he trying to tell us…

KATE MOSS CALVIN KLEIN

VOGUE HOMMES What was your first impression when you landed up in Hollywood in the mid–1950s? JOAN COLLINS It was intensely glamorous. Everyone was beautifully dressed, including the crew. Everybody had a cigarette hanging out of their mouth. I used to have a packet of Lucky Strike stuck down my blouse. I smoked all the time. I was the “new girl in town”, and I was invited everywhere. Darryl Zanuck and Jack Warner, the emperors of the studios, used to organise these incredible parties at their homes on Friday and Saturday nights. I met Rita Hayworth there, and, Marlon Brando, Lana Turner, Gary Cooper… VOGUE HOMMES And how did you feel? JOAN COLLINS Like a fish in water! VOGUE HOMMES Even at that age, you were already well prepared to…

VOGUE HOMMES You have a reputation for your caustic wit, and for your taste for revenge, which, they say, is the pleasure of the gods. As time goes by, do you have a sense that you are mellowing? KARL LAGERFELD I’m absolutely not mellowing at all, it’s just that there aren’t many people around I want to pull the rug out from under. I lack the opportunities, so I’m nice, despite myself. The new generations have done nothing to me and I’m surprised to see how friend ly young designers are to me. Back in the day, it could really be vicious. People have often held up such and such a person as one of my victims, but I’ve never attacked anyone. I give as good as I get, that’s…

LARRYFLINT ALBERELBAZ

VOGUE HOMMES W hat’s your definition of happiness? LARRY FLINT It’s written in gold letters in my aeroplane. “Happiness is not a destination, it’s a way to travel.” VOGUE HOMMES What is elegance? ALBER ELBAZ You can’t define it. I refuse to be drawn into clichés about attitude and whatnot. It sticks out a mile, but you can’t explain it. You can’t buy it, either. Some people have it, others don’t. It’s unfair, but that’s how it is. VOGUE HOMMES What are your feelings today about your stint at Saint Laurent? ALBER ELBAZ It brings us back to the loneliness. Everyone I knew stopped calling me. They were intimidated. They probably thought that I was too busy, or too important, whereas it was probably the one time in my life…

LARRYFLINT ALBERELBAZ

CHARLES AZNAVOUR

VOGUE HOMMES What makes a good song? CHARLES AZNAVOUR I don’t believe a song is ever completely finished. There is always a comma in the wrong place, a word that needs to be refined, or added to create rhythm, musicality. I have songs stashed away from twenty years ago that haven’t yet had their moment on stage. The key to a good song is the opening, the first couple of lines that rivet the attention: “La mer, qu’on voit danser, le long des golfes clairs…” [“The sea that dances before our eyes, along the shores of clear bays…”]. It’s like the opening shot of a film. The song grows from this. Then you have to tell it like it is, and not be afraid to use harsh, even crude language.…

CHARLES AZNAVOUR

VOGUE HOMMES Serge in private? JANE BIRKIN “He looked dark, ‘mad and dangerous’ as people said of Byron, but he was a clown. I don’t know any writer–poet of his ilk with such imagination. He loved entertaining the children and did it like no one else could. He wasn’t a brooding artist who sat alone bored in a corner. He wanted people to come and see him; he was very accessible. And, at the same time, very sarcastic, brilliant, sometimes cruel for the pure pleasure of making a pun. I refused to speak to him for several days after he wrote on an album cover: ‘Take women for what they’re not and leave them for what they are’. I found it ugly and hurtful, and he said: ‘What did you…

IGGY POP JAMES NACHTWEY

VOGUE HOMMES The Iggy Pop of the 1970s meant danger.The stories you can read in “Please Kill Me” arescary, like the one where after rollingin crushed glass, you tried to go and see a womanon the other side of town. But you couldn’t find a taxi to take you therebecause of all the blood, and you walkedfor miles, losing a lot of blood, and finally gotto the woman’s place half-dead. IGGY POP It was pretty scary, yeah. But I think the worst stories aren’t even in the book! I was in Rio on a beach a couple of years ago, and I saw two young guys, about 20, probably from wealthy families. They looked good, and they were carrying Please Kill Me. I thought to myself, shit, there’s all that…

IGGY POP JAMES NACHTWEY

BRET EASTON ELLIS

VOGUE HOMMES In “American Psycho”, you wrote about the cynicism of the Reagan era. Has the world changed, do you think? BRET EASTON ELLIS These days, everything is so much easier. It’s so much easier, for example, to create a fantasy self on the web than to be yourself in real life. We live in an era of easy come, easy go, a time of frenzied narcissism. Everyone wants to show they exist and has the means to do so with the Internet. Everyone can become the hero of their own story and can lie about their lives on Facebook. Facebook is a pack of lies. VOGUE HOMMES Are you on Facebook? BRET EASTON ELLIS Yes, but my page is very minimal. It just says “Bret Ellis”. [Opens his Facebook…

BRET EASTON ELLIS

VOGUE HOMMES Was Saint Laurent an artist? PIERRE BERGÉ My usual answer to that is that fashion isn’t an art form and is special in that it is ephemeral. It has the decency to die young. That said, you need an artist to create fashions, certainly. And they are few and far between. Balenciaga was an artist to equal Braque. Christian Dior and Gabrielle Chanel were artists. And Yves Saint Laurent was a tremendous artist. Yves had the greatest colour sense of them all, including the artists – the equal of Matisse. His eye and his immediate grasp of something so that he could transform it were extraordinary. But Saint Laurent’s greatest talent was his understanding of zeitgeist. While Balenciaga, Dior, Madame Grès, and Schiaparelli were great couturiers, they were…

GÉRARD DEPARDIEU MICHEL HOUELLEBECQ

VOGUE HOMMES No baggage but a past. You took an early interest in psychoanalysis. You met Lacan… GÉRARD DEPARDIEU Lacan had Courbet’s The Origin of the World in his office. I used to go there to shit on his couch. He had a wallet stuffed with dosh. I wouldn’t say I had more than five or six sessions to be honest. Mostly I went to seminars. I’m not interested in psychoanalysis, there’s been too much abuse, too many quacks after the didactics got in on things. But people believe it works. All that matters is that they benefit from it. We’re all in the same boat after all. Having psychoanalysis, getting on with life, pffff. My baggage has been empty for a long time, but I did meet a Freudian,…

GÉRARD DEPARDIEU MICHEL HOUELLEBECQ

JOSH O’CONNOR

VOGUE HOMMES You were magnificent as Prince Charles in “The Crown”. How did you manage to get the part? JOSH O’CONNOR I’m good friends with Vanessa Kirby, the actor who played Margaret in the first two seasons, and I’d heard via her that they were planning to do a third season and were looking for someone to play Charles. My agent called me to say that he was going to put me up for the role. I was filming an adaptation of Victor Hugo’s Les Misérables near Brussels and I said no straight away. I’m a republican, and at that particular moment the royal family was of no interest to me. Three weeks later, they called and insisted on meeting me so that they could at least outline the project…

BRIGITTE BARDOT

VOGUE HOMMES It’s often been said that you had an almost masculine charm about you — the self–assurance of a man and the curves of a woman… BRIGITTE BARDOT I’ve always done as I pleased, that’s all. And I know that I have more balls than a lot of men. They should follow my example. I’ve always assumed responsibility for what I’ve said or done. You mustn’t be afraid of who you are. VOGUE HOMMES You will always be seen as the blonde femme fatale, like Marilyn Monroe, although you’re poles apart. Did you ever meet her? BRIGITTE BARDOT Just the once. But you can’t compare us. She was unique. So sublime. I felt I was light years behind her. VOGUE HOMMES How did you meet? BRIGITTE BARDOT We were…

BRIGITTE BARDOT

CHRISTINE & THE QUEENS KIM JONES

VOGUE HOMMES What kind of teenager were you? CHRISTINE & THE QUEENS Very imaginative, reading a lot. Quite insecure, too. Lots of self–loathing. But I did a very curious thing negotiating with those torments; I would actually make myself even more noticeable by trying to hide them. I wore very colourful, baroque clothes, because I think I was too ambivalent in my femininity and I had no idea how to perform a gender correctly — I actually enjoyed it more by overplaying the theatrics of it. I did a lot of theatre, I wrote a lot. I was also the clown of the group, the one that plays all the Shakespearean fools, or the cherubs. VOGUE HOMMES Who were your idols? CHRISTINE & THE QUEENS I loved Björk, I listened…

CHRISTINE & THE QUEENS KIM JONES

JULIETTE GRÉCO RICK OWENS

VOGUE HOMMES You also met Marlon Brando? JULIETTE GRECO Brando came to Paris after triumphing on Broadway with A Streetcar Named Desire, as he had had an offer to make a film in France, an adaptation of Stendhal’s The Red and the Black, I think. He was infatuated with Eartha Kitt and with the delicacy he was renowned for, he never failed to mention certain lewd details of his anatomy in public. He was 25, he had a motorbike, and it was really convenient for riding back home with him. I had a fine-looking mount and a perfect rider… He was very screwed-up, and I think he was one of those people endowed with extraordinary beauty who are destined to be forever dissatisfied sexually. And who probably don’t satisfy other…

JULIETTE GRÉCO RICK OWENS

ISABELLE HUPPERT

VOGUE HOMMES What does it mean to be an actress? ISABELLE HUPPERT What a question! That’s a really tough one. We’ll come back to it. I have to think. Why do you ask me the question so directly? VOGUE HOMMES Because you seem to be one of the few actresses who have thought long and hard about your experience, your career, and in general you express it very well. ISABELLE HUPPERT Well, it’s a tall order… But we’ll get there. VOGUE HOMMES Is it a vocation, being an actress? ISABELLE HUPPERT Probably. Even if I don’t like the word — it’s got slightly religious, outdated overtones VOGUE HOMMES I use the word vocation because cinema seems like second nature to you — it never seems to be an effort? ISABELLE…

ISABELLE HUPPERT

FRANCIS FORD COPPOLA MIUCCIA PRADA

VOGUE HOMMES Are you fed up with being treated as the Godfather of cinema? FRANCIS FORD COPPOLA The idea supposes that I have an answer for everything. And I don’t have any solutions at all! I’m like a beginner. I write something, and I really have no idea what it’s going to look like on screen. VOGUE HOMMES Elitism has a negative connotation, nowadays. Yet, Prada is a language of the elite, the highly educated, in which one is able to play with the notions of poverty, shoddiness, bad taste, the contrary of the traditional formula, turning it on its head. But elite is the opposite of inclusion, the mantra of our time. MIUCCIA PRADA Inclusion makes sense, but we mustn’t forget we are a so–called luxury brand, and speaking…

FRANCIS FORD COPPOLA MIUCCIA PRADA

ERRI DE LUCA ISABELLE ADJANI

VOGUE HOMMES Do you feel nostalgia for time gone by? ERRI DE LUCA I am totally lacking in any sense of nostalgia. I do not want to return to any stations back along the line, to any embrace, or any sunset. VOGUE HOMMES The list of films you turned down makes edifying reading: “That Obscure Object of Desire” by Luis Buñuel, “Loulou” by Maurice Pialat, “Rendez–vous” by André Téchiné, “The Piano” by Jane Campion. Any regrets? ISABELLE ADJANI You don’t judge it like that. Obviously, if I drew up the list, starting with That Obscure Object of Desire and ending it with I don’t know which American film, it looks like an aberration. Jeff Berg, one of the biggest American agents, who runs ICM, used to say you could organise…

VOGUE HOMMES Do you go out a lot? XAVIER DOLAN I go out when I’m in love, when I’m chasing after someone I met during the day who’s somewhere else at night. But generally speaking, no, I don’t go out much. I hate to sound dull, but I’m past that. When I was 16 or 17 I had fake ID that got me into bars. Every night from Thursday to Saturday I would stay out until the small hours. I carried on like that until I was 20. I partied as much as I could and took every drug under the sun. Now I’ve “been there, done that” enough to know that when I do it again, it has to be with people I love. Not just for the sake…

HELMUT LANG NILE ROGERS

VOGUE HOMMES What’s your aim in life? HELMUT LANG My aim is to have an authentic life, whatever that involves. VOGUE HOMMES How did the idea for Chic come about? NILE RODGERS In the mid–1970s, my girlfriend took me to see her favourite group, Roxy Music. I’d never heard of them before. I was blown away. They were extremely elegant, and so was their audience. They were wearing designer suits on stage, and I’d never seen that before, a group dressing in tune with their music. I said to myself, if we adapted the idea to black music, if we created our own version, it could be very powerful. At the end of the 70s, America was going through one of the worst crises since 1929 and Blacks were still…

HELMUT LANG NILE ROGERS

CATHERINE DENEUVE

VOGUE HOMMES The writer James Baldwin said something to the effect that the myth leaves one’s existence in pieces. What does that mean to you? CATHERINE DENEUVE You don’t necessarily have to be caught up in the myth. It’s a trap to believe in your own myth. It condemns you to be what people project on to you. You have try to hold on to yourself at all costs. And be there for yourself, to use your expression. I was lucky, thanks to my upbringing, and my entourage, made up largely of intelligent people with a sense of irony, to be immune to this type of pretence. VOGUE HOMMES Is love the realm for all kinds of freedom? CATHERINE DENEUVE Let’s say that it’s the most egalitarian realm for men…

CATHERINE DENEUVE

JONATHAN ANDERSON & RUSSELL TOVEY

LIVING ART —Londoners Jonathan Anderson and Russell Tovey are great friends and even greater fans of contemporary art. For this “Conversation” issue, therefore, it went without saying that they should have free rein to converse about their shared passion. Anderson, 36, spent his formative years between Northern Ireland and Ibiza — a real contrast in colours and inspirations for his unique sensibilities. After cutting his teeth with Prada as a visual merchandiser, alongside Miuccia Prada’s faithful lieutenant Manuela Pavesi, he struck out on his own in 2008. His first JW Anderson menswear collection was an instant success. Things moved to the next level for him in 2013 when LVMH took a minority share in his JW Anderson brand and gave him control of Spanish luxury fashion house Loewe. He has…

JONATHAN ANDERSON & RUSSELL TOVEY

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