Don’t miss

Mu­sic, books, exhibitions … : a look at the sea­son’s high­lights.

VOGUE Hommes International (English) - - CONTENTS - By olivier lalanne, di­dier péron and olivier gra­noux

trop­I­cal nIghts

Now for some­thing com­pletely dif­fer­ent: after a de­but al­bum of stripped–back, heart–rend­ing folk, Ir­ish singer–song­writer James Vincent McMor­row has taken him­self off to a no man’s land some­where by the Mex­i­can bor­der, and set aside his gui­tar to wan­der through more com­plex, ab­stract mu­si­cal lands. Still driven by McMor­row’s goose–fleshy falsetto, the al­bum is lush with melan­cholic tracks and ripe with sump­tu­ous ar­range­ments. Soar­ing soul mu­sic that finds in­spi­ra­tion in Bon Iver as well as James Blake. post trop­I­cal ( Va­grant ).

Ital­Ian style

For cen­turies, Italy has amassed ex­per­tise in clothes–re­lated crafts, from spin­ning, dye­ing and weav­ing to cut­ting cloth. Build­ing on the ro­bust health of th­ese in­dus­tries, Ital­ian haute cou­ture rose to world­wide fame in the 1950s un­der the en­er­getic im­pe­tus of en­tre­pre­neur Gio­vanni Bat­tista Giorgini. After the dark years of fas­cism and de­feat in 1945, Italy was ready to hold its head high again, and chal­lenged Paris on its home turf of lux­ury and pres­tige. Spon­sored by Bul­gari, The Glam­our of Ital­ian Fash­ion 1945–2014 at the Vic­to­ria and Al­bert Mu­seum in London tells of this ir­re­sistible as­cen­sion through sump­tu­ous en­sem­bles from the mu­seum’s own col­lec­tions of Ital­ian fash­ion, as well as in­ter­na­tional loans from pri­vate foun­da­tions and haute cou­ture houses. 5th April to 27th July at the V& A Mu­seum ( London ).

mIxed me­dIa

Robert Hei­necken started out as a fighter pi­lot in the Amer­i­can Marine Corps, stuff­ing his shoes with mag­a­zine pages to make up the few cen­time­tres he lacked to reach reg­u­la­tion height. Tram­pling the print press un­der­foot seems to have given him artis­tic ideas: his work re­volves around the re­con­tex­tu­al­is­ing of images taken from news­pa­pers, cat­a­logues, mag­a­zines, etc., and in many cases de­liv­ers a politico–ironic state­ment about the im­age’s dic­ta­to­rial rule. Hei­necken, who de­scribed him­self as a “para– pho­tog­ra­pher”, em­barked on a crit­i­cism of mass– me­dia so­ci­ety. “I do some­thing to see what it looks like, and to see if it can look like some­thing else.”

robert heI­necken: ob­ject mat­ter 15th March to 22nd June at the MoMa ( New York ).

soul bar­Ing

Jock Sturges sold his first photo when he was 11, to the mother of a board­ing–school room­mate. He pho­tographed a lot of boys be­fore dis­cov­er­ing the fe­male body, when Amer­ica had its sex­ual revo­lu­tion. He learned about fem­i­nism, then dis­cov­ered na­tur­ism, which be­came cen­tral to his work. One of Sturges’s aims is to have us view nu­dity in­de­pen­dently of any sex­ual sub­text, and Fanny con­veys this Edenic ap­proach of a time be­fore sin and shame. For twenty–three years he made por­traits of his god­daugh­ter Fanny, naked be­cause she had grown up in a na­tur­ist en­vi­ron­ment. Jock Sturges lives in Seat­tle. He has pub­lished sev­eral fa­mous mono­graphs, in­clud­ing The Last Day of Sum­mer ( 1992 ) and Evo­lu­tion of Grace ( 1994 ), after he was cleared of FBI ac­cu­sa­tions of violating child–pornog­ra­phy laws.

Fanny Steidl, €80.

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