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FANTASTIC MAN
A Decade of Spectacular Masculinity


THE OFFICES OF FANTASTIC MAN —

AMSTERDAM
Recht Boomssloot 7
1011 CR Amsterdam
The Netherlands
Phone +31 20 320 9032
Fax +31 8 4224 8511

LONDON
1 Tavistock Chambers
40 Bloomsbury Way
London WC1A 2SE
United Kingdom
Phone +44 207 242 8802

office@fantasticman.com
www.fantasticman.com


SOCIABLE —
To stay in touch with Fantastic Man, readers are also invited to engage with its lively FACEBOOK and TWITTER pages.


SUBSCRIBE —
Subscriptions are available worldwide. A one year subscription of two issues will be €22 for Europe, $35 for the USA and $33 for the rest of the world (airmail). Please visit our subscription service BRUIL & VAN DE STAAIJ to get your subscription online, or compose an e-mail to info@bruil.info for more information. For subscriptions in the USA, please visit EXPRESSMAG immediately.


BACK ISSUES —
Past issues of Fantastic Man may be purchased conveniently using the most futuristic of all platforms, the internet. As well as the most recent issue for Autumn & Winter (No. 20), certain back issues remain available in limited quantities. Issues No. 19, No. 17, No. 13, No. 12 and No. 9 are currently available to order from Bruil & van de Staaij and can be delivered worldwide.


The designer JONATHAN ANDERSON and his brave new fashions.
Photographed by David Sims, issue no. 21
HAMISH BOWLES —
“The fashion writer Caroline Kellett and I were wearing the same Chanel jacket.”
Photographed by Juergen Teller, issue no. 10
THOM BROWNE —
“I think it’s so chic to get smashed and end up on the floor in your three-piece suit.”
Photographed by Marcelo Krasilcic, issue no. 1
STEFANO PILATI —
“You can work out your obsessions in your work. That’s what I’m doing.”
Photographed by Inez van Lamsweerde & Vinoodh Matadin, issue no. 3
HELMUT LANG —
“I’m perfectly happy.”
Photographed by Bruce Weber, issue no. 4
Dr. BRANDT —
“I don’t like to look like everyone else. You can see that right?”
Photographed by Andreas Larsson, issue no. 9
SPARKS —
“We are inspired by the mediocrity of everything else in pop music.”
Photographed by Andreas Larsson, issue no. 2
BRET EASTON ELLIS —
“My mother sends me all these links. So that’s really how I keep up.”
Photographed by Jeff Burton, issue no. 9
XAVIER DOLAN —
“I start on a subject and start yakking and never finish.”
Photographed by Benjamin Alexander Huseby, issue no. 20
DAVID BECKHAM —
“I’m just lucky”
Photographed by Alasdair McLellan, issue no. 13
— FENN SEAN opening The Super Show, photographed by Jonathan de Villiers, issue no. 12
TOM FORD —
“Paris is not a priority for us. Parisian men don’t know how to dress. ”
Photographed by Jeff Burton, issue no. 7
THE DANCER —
Ander Zabala, Photographed by Heinz Peter Knes, issue no. 1
— NATE SUN photographed in Beijing by Daiel Riera, issue no. 14
LORD SNOWDON —
“I very much believe in privacy.”
Photographed by Alasdair McLellan, issue no. 19
TOM BACHTELL —
“I often feel like I’m learning to draw again from scratch every day.”
Self-portrait, issue no. 18
DAVID COPPERFIELD —
“I had some bad clothing choices... what can I say.”
Photographed by Roger Deckker, issue no. 14
— DANIEL and DOMINIC KING walking on Benidorm beach, photographed by Andreas Larsson, issue no. 15
MATTHEW SLOTOVER —
“The NME was my bible. I still have every issue from 1982 to 1989.”
Photographed by Alasdair McLellan, issue no. 15
— MATTHEW MONEYPENNY wearing city suits, photographed by Daniel Riera in New York City, issue no. 10
PETER YORK —
“I can’t bear those fake elbow pads that seem to be on everything these days. You should only mend things when they need it.”
Photographed by Andreas Larsson, issue no. 18
TIM BLANKS —
“Some people wanted a Mercedes or a Rolex when they were growing up and I was, and am, perfectly happy with a loud shirt.”
Photographed by Roger Deckker, issue no. 15
GILES DEACON —
“I’ve been wearing glasses since I was about five.”
Photographed by Viviane Sassen, issue no. 2
BRYAN FERRY —
“Yes, it’s about being fabulous.”
Photographed by Juergen Teller, issue no. 12
DAVID WALLIAMS —
“She didn’nt know I was on TV.”
Photographed by Alasdair McLellan, issue no. 12
LUCAS OSSENDRIJVER —
“The style is quietly quirky, softly washed, casually elegant.”
Photographed by Daniel Riera, issue no. 5
LESBIAN LOOKS —
Photographed by Andreas Larsson, issue no. 8
AI WEIWEI —
“Yeah, I’m anti-China. What’s the big deal?”
Photographed by Ai Weiwei, issue no. 12
TOBIAS MEYER —
“I can’t judge. I’m an auctioneer. I can only accept. I have to suspend judgement.”
Photographed by Terry Richardson, issue no. 7
OLIVER SIM —
“Not lonely, just a bit confused.”
Photographed by Willy Vanderperre, issue no. 16
— ADAM KIMMEL: “We’ll see how it goes.”
Photographed by Alexei Hay, issue no. 6
AMANDA LEAR —
“My ambition is to pay the rent and to paint and sing and act.
And to sometimes be able to walk into the PRADA store and buy myself a nice new handbag.”
Photographed by Todd Cole, issue no. 2
DIEDERIK VERMEER — photographed by Viviane Sassen in Cape Town, issue no. 3
— JAMES WELLS in The 11th Look, photographed by Andreas Larsson, issue no. 14
RAF SIMONS —
“I want new, new, new, new, new.”
Photographed by Willy Vanderperre, issue no. 14
— KARL KOLBITZ photographed by Liz Collins, issue no. 20
ROMAN COPPOLA —
“You hit the end and a ball of smoke would fly out.”
Photographed by Todd Cole, issue no. 16
WIM CROUWEL —
“Design was so interesting and full of spirit in 1928, the year of my birth.”
Photographed by Viviane Sassen in the Rietveld Schröder House in Utrecht, issue no. 3
— ROBERTO BOLLE: “I always liked the idea of having superpowers”, photographed by Andreas Larsson, issue no. 17
CHRISTOPH WALTZ —
“I can’t run about every day thinking that I have two Oscars.”
Photographed by Alasdair McLellan, issue no. 20
PIERRE CARDIN —
“I’m not much of a womaniser, as you’d probably gathered, even though I do own Giacomo Casanova’s Venetian palazzo.”
Photographed by Paul Wetherell, issue no. 9
OKWUI ENWEZOR —
“When I look at a picture of myself at 17 it seems that I’ve worn the same type of clothes ever since.”
Photographed by Terry Richardson, issue no. 8
— ADRIAN BOSCH doing some spring cleaning, photographed by Andrea Spotorno, issue no. 17
STEVE McQUEEN —
“When you’re filiming something, it’s like feeling your way through a house in the dark.”
Photographed by Viviane Sassen, issue no. 6
— JAMES WELLS photographed by Benjamin Alexander Huseby in Maspalomas, issue no. 11
JEFF WALL —
“It’s a balancing act.”
Photographed by Blommers & Schumm, issue no. 19
ALEXIS TAYLOR —
“They thought it was a girl singing.”
Photographed by Paul Wetherell, issue no. 11
REM KOOLHAAS —
“It’s essential to have mystical experiences. I have them all the time.”
Photographed by Wolfgang Tillmans, issue no. 6
— CHRIS BEEK and MORGAN WATKINS playing chess
Photographed by Robi Rodriguez, issue no. 16
AIDEN SHAW —
is perfectly boring
Photographed by Daniel Riera, issue no. 9
— STEPHEN GALLOWAY photographed in Berlin by Paul Wetherell, issue no. 13
EWAN McGREGOR —
“I don’t understand the idea of just delivering lines. I find it boring.”
Photographed by Alasdair McLellan, issue no. 10
— ALBERT REED, LOGAN MACRAE and JORDAN STENMARK in Palm Springs, photographed by Daniel Riera, issue no. 15
— HAIDER ACKERMANN photographed in Paris by Willy Vanderperre, issue no. 13
PETER SAVILLE —
Photographed by Blommers & Schumm, issue no. 3
— GIBRIL GEORGE wearing a summer suit, photographed by Viviane Sassen in issue no. 9
JEREMY DELLER —
“I’ve been interested in prehistory since I was a kid.”
Photographed by Alasdair McLellan, issue no. 17
FRANCESCO VEZZOLI —
“To think about what’s going to happen after you’re dead is nonsense.”
Photographed by Matthias Vriens, issue no. 8
JONATHAN SAUNDERS —
“What I love about menswear is the subtlety and detail.”
Photographed by Benjamin Alexander Huseby, issue no. 16
WOLFGANG TILLMANS —
“You know, I see myself as gentle.”
Photographed by Alasdair McLellan, issue no. 11
ANDRÉ BALAZS —
“In my childhood I wanted to be a sculptor. Part of the attraction was the ability to create something out of nothing, but one of the things I found frustrating was working in a vocabularly that very, very few people understood.”
Photographed by Terry Richardson, issue no. 5




TEN YEARS IN PRINT —
      Remarkable but true: Fantastic Man has provided a whole decade of entertainment and excitement in magazine form. Throughout its anniversary year and beyond, the original style journal for men will continue to redefine the genre.

21
starring on the cover JONATHAN ANDERSON

Spring and Summer 2015
338 pages

The spectacled fashion designer and former horseback champ GILES DEACON graces the cover of the second-ever issue of Fantastic Man. Who else is in the issue? Indeed, the interior design star JONATHAN ADLER, various older male models, the inimitable Italian gentleman CARLO ANTONELLI, and mademoiselle AMANDA LEAR in the latest men’s fashions as styled by KIM JONES and photographed by ANDREAS LARSSON. Fans of the following people might also want to try to lay their hands on this impressive issue of Fantastic Man, given that each one of them makes an appearance on its pages: the artist CERITH WYN EVANS, the actor ADAM DUGAS, the model BRAD FISHER, the brothers RON and RUSSELL MAEL of the pop group SPARKS, the actor JEROEN WILLEMS and the mysterious menswear designer ADAM KIMMEL. It’s a wonderful issue!

21
starring on the cover JONATHAN ANDERSON

Spring and Summer 2015
338 pages

The first of two issues celebrating Fantastic Man’s tenth anniversary year looks excitedly to the future, with a bold new design direction, plenty of colour and a focus on the fantastic men of tomorrow. Who better to star on its cover, then, than JONATHAN ANDERSON, the creator of the most adventurous clothing in the fashion firmament and the possessor of a totally modern business brain? JONATHAN became known for his own label J.W.ANDERSON and is now hitting his stride as creative director of LOEWE. He won’t rest until everyone knows how to pronounce that brand’s name.

Also interviewed are the splendidly-named entrepreneur MATTHEW MONEYPENNY, the astounding artist MARK LECKEY, the promising actor ALFRED ENOCH, and the energising SoulCycle disciple MARVIN FOSTER Jr. The future of masculinity is explored in an unprecedented photo series by ALASDAIR McLELLAN; the wardrobe of the future is unveiled by designers, among them KIM JONES of LOUIS VUITTON, who kindly reinvent a menswear staple especially for Fantastic Man; and an excursion to rural Italy reveals the tailors of tomorrow. A new section, bearing the title of Man Chat, gets to grips with the pressing topics de nos jours, which include rabbinical matchmaking and domesticated hens. It’s all such a breath of fresh air.





SUGGESTED FURTHER READING —
More marvellousness on paper from the makers of Fantastic Man

Pictured below is a delectable spread of enlightening printed matter from the same stable as Fantastic Man. From left to right: THE GENTLEWOMAN is our cherished sister publication, of course. Produced from the heart of fashionable London, it carries exquisite style suggestions as well as conversation and writing contributed by the world’s most amazing women. That vision in pink is FOREVER BUTT, the new hard-backed compendium for TASCHEN of the best and baddest bits of BUTT, our celebrated magazine for homosexuals. COS magazine is a chic cultural biannual produced for the retailer of the same name, featuring insightful interviews with luminaries from the worlds of art, design and technology. Next: two collaborations with the book publisher PENGUIN. From 2013, BUTTONED-UP is a book exploring the fashions of East London. THE HAPPY READER is a bookish quarterly devoted to the pleasures of devouring the written word. The second issue is out now.






SOME FILMS —
Moving images from the makers of Fantastic Man

Sometimes, the foxiest fashions are best appreciated in motion. Seen above, 2010’s SUPER SHOW is a spectacular menswear catwalk extravaganza staged in a secret location in front of an audience of zero. For SPINS, which won the prize for Best Artistic Direction at the A SHADED VIEW OF FASHION FILM festival, professional men of the ice rink perform incredible athletic manoeuvres in slow-motion, dressed, of course, in the latest skin-tight styles. ROTATION is a dazzling compendium of startling modern dance to herald the arrival of DIOR HOMME’s Autumn & Winter 2013 collection. Please enjoy them all.

THE DAILY RECOMMENDATIONS —
      Fantastic Man has dispensed approximately 1,500 ingenious and instructive online Daily Recommendations since 2009. Please scroll down the page to enjoy a random assortment of helpful good advice.

— A Bona Fide Pin-up Book

Originally published Wednesday, the 23rd of October, 2013

New York based biannual publication PIN-UP, the self-described “magazine for architectural entertainment”, has given birth to a brilliant book that consists of (almost) all of the interviews from the magazine’s seven years of existence. It’s a bold block of words on paper, without visuals – such a stark proposition in an age when everything is so easily translated into a SNAPCHAT photograph. The delightful chatter with REM KOOLHAAS, HEDI SLIMANE, DANIEL LIBESKIND, PETER MARINO, ZAHA HADID, RICK OWENS and many others is gathered together in one comprehensive and handsome book, available from powerHouse Books for a sympathetic $29.95. Congratulations to PIN-UP’s founding editor, Mr. FELIX BURRICHTER, whom I spoke to last night through FACETIME software.

Gert Jonkers: That old-fashioned telephone you’re talking through looks so fancy!

Felix Burrichter: This handset? We all have one here at the office. It looks much nicer than headphones.

Absolutely. Is everything nice and quiet at the PIN-UP offices?

Well, maybe acoustically, but emotionally it’s crazy right now.

Really? What’s going on?

We have two more weeks until the new issue goes to print.

Which issue is that?

The 15th. I think you’re really going to love this one because it’s all about interiors.

Do you think that, more and more, PIN-UP is moving away from architecture and towards interiors?

I don’t know, but for a magazine the visual representation of architecture is always harder; there are so many variables. There’s people, there’s cars, there’s ugly trees… It can be a lot more precise, a clearer vision, when you only photograph the interior.

When I think of PIN-UP I think of a distinct kind of interior. Quite ornate, angular, hysterical. Do you agree?

I think that’s a tricky question because so much of what you may recognise as a distinct style is just my personal taste. (Laughs) What I’m really interested in is statement interiors. That’s why, for example, for this upcoming issue most of the houses we photographed are second homes. They’re pied-a-terres, or they’re big houses and they really don’t look as if they’re super lived in. There’s no half-empty bowl of cereal on the table, or a bunch of cacti, if you see what I mean. It’s like a super anal vision of what an interior should look like, down to every single detail. They’re all a bit extreme; they’ve all got a very strong personality. If there is a common trait in all the interiors that have ever been in PIN-UP, it would be that they all have extreme personalities.

Which is of course a perfect bridge to this great PIN-UP book full of interesting personalities. What struck me is that in a lot of the intros for the interviews it is mentioned what the interviewee looks like…

…and their age; somehow everybody in the book is 66 years old!

So why this fascination for appearances?

It may have to do with the fact that usually those are frivolous details that you’re not meant to mention in an architecture context. I think that’s where it may have come from originally. It’s something for a fashion publication to describe what people look like, what they’re wearing. You wouldn’t normally see that in an architecture publication.

That’s the ‘entertainment’ part of your subtitle, I reckon.

Yeah, thank you.

How much thinking and designing went into the shape of the book? For an architect I guess it’s important that the dimensions and the weight are just perfect.

To be honest, we had some constraints from the publisher – there were certain parameters that we had to operate within, but we also somehow wanted to keep the square format of the magazine, but at a smaller scale. It’s like PIN-UP in a bible format.

(Photograph by Adrian Gaut.)