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VOGUE Hommes International (English) - - GUEST LIST -

Glen luch­ford

is a reg­u­lar vis­i­tor to the dream des­ti­na­tions of the world. After vis­it­ing Cuba a year ago, he flew off to Kenya, re­turn­ing with a sear­ingly beau­ti­ful Out of Africa port­fo­lio ( p.192 ). “I came here fore the first time in 2009,” says the Bri­tish pho­tog­ra­pher. “I have never felt so im­me­di­ately and so vis­cer­ally at­tached to a coun­try. You can’t ex­plain it — you have to ex­pe­ri­ence it.” A reg­u­lar fix­ture in the pages of Vogue, W and Vogue Hommes In­ter­na­tional, Glen Luch­ford came back from Kenya with an in­deli­ble mem­ory. “Iain Dou­glas–Hamil­ton, the great zo­ol­o­gist who spe­cialises in ele­phants joined us for lunch one day. He touched down in this small air­plane on a nearby airstrip cov­ered in wa­ter buf­falo. We had a fan­tas­tic time to­gether, seated un­der an aca­cia tree, lis­ten­ing to his end­less tales about pro­tect­ing ele­phants and the con­stant strug­gle against poach­ers. What a life he has!”

MArk se­GAl

set foot for the first time in Aus­tralia thanks to Vogue Hommes In­ter­na­tional ( p.264 ). “The area around Mel­bourne re­minded me right off of South­ern Cal­i­for­nia,” said the Los An­ge­les–based pho­tog­ra­pher. Very few artists as aware of the en­vi­ron­ment as Mark Se­gal could have cap­tured top model Jar­rod Scott in his nat­u­ral el­e­ment with as much sen­si­bil­ity. “The deeper we got into the bush, the more the land­scapes took your breath away. They were more than ex­otic: vir­tu­ally pre­his­toric. I kept think­ing of Peter Weir’s Pic­nic at Hang­ing Rock, a film that ob­sesses my friend, Véronique Bran­quinho. “How can you for­get the dizzy­ing cas­cade at Ersk­ine Falls, with its squadrons of cock­a­toos and its watchful kan­ga­roos?” Se­gal, who has done spreads for Dazed & Con­fused and Lui, is putting the fi­nal touches to a book of photographs in aid of the Chee­tah

Con­ser­va­tion Fund in Namibia ( www.chee­ ).

Arthur drey­fus

is h and­some, young ( 27 ), i ntel­li­gent, a nd en­tranced by the ques­tion of the re­la­tion­ship of his own in­ti­mate his­tory to the body, seen as an ag­gre­gate of sen­sa­tions and rep­re­sen­ta­tions, shot through with nar­ra­tives, images, plea­sures, and suf­fer­ing. “There are no lit­er­ary prob­lems that can­not be solved by lit­er­a­ture,” said An­dré Gide in his Di­ary. Drey­fus likes to quote this in con­nec­tion with his own ques­tion­ings as he was writ­ing His­toire de ma Sex­u­al­ité, his lat­est au­to­bi­o­graph­i­cal novel, pub­lished by Gal­li­mard. Arthur Drey­fus, who can be heard ev­ery day on ra­dio sta­tion France In­ter in his En­core Heureux ( Still Happy ) pro­gramme of ideas, seemed to us to be the right man for the job of ex­am­in­ing the case of Robert Map­plethorpe ( see p.256 ), the leg­endary pho­tog­ra­pher, S& M ho­mo­sex­ual, part–an­gel, part–de­mon, who died young after a me­te­oric ca­reer in the deca­dence of 1970s and 1980s New York.

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