Esquire UK - 09.2026.pdf

Esquire For Better Men

安德鲁·加菲尔德

是一个不断进化中的作品

风格之艺 (THE ART OF STYLE)

如何偷走蒙娜丽莎：揭秘历史上最伟大的盗窃案 匠心大师：雷·温斯顿，朱利安·克劳斯纳，亚伦·索金，邦·乔维 遇见创造者：英国最酷品牌背后的操盘手

路易威登 (LOUIS VUITTON)

未来属于创造它的人。

剔除冗余，直至仅剩精髓

GIORGI

杜嘉班纳 (DOLCE & GABBANA)

摄影：史蒂文·迈泽尔

Selena Forrest, Robert Forrest, Colin Otto, Jean-Charles Blais & Long Li 左图：罗斯科礼拜堂，右图：梅尼尔收藏馆，2026年5月于德克萨斯州休斯顿

卡纳利 (CANALI)

芬迪 (FENDI)

Speedmaster

自1957年起成为经典

SPEEDMASTER FIRST OMEGA IN SPACE 同轴天文台认证

Ω 欧米茄 (OMEGA)

CHRONOMAT

百年灵 (BREITLING) 1884

浪琴 (LONGINES) 经典系列 (MASTER COLLECTION)

浪琴精品店

6 James Street • Covent Garden 400 Oxford Street, Selfridges • 伦敦

BOSS 认同 BOSS

BOSS BOTTLED BEYOND 全新浓香淡香水

Church's

英伦之鞋

2026年9月 — 10月

欢迎阅读“风格之艺”特刊

风格 (STYLE)

第 47–69 页

阿玛尼的秋季大衣是一件可穿戴的杰作 / 埃尔温·库尔姆带我们体验贡多拉之旅 / 与安迪·沃霍尔一起穿越回1979年 / 回到演播室 / 博物馆级别的科技产品选购 / 翻出你的九十年代牛仔裤，致敬青年英国艺术家 (YBAs) / 一场绝佳穿搭的装置展 / 像绘画般纯净的腕表，洗涤视觉审美 / 斯堪的纳维亚设计驶向高速公路 / 以艺术家的方式存储你的文件 / 值得被展出的理容产品 / 风格心理医生关于如何用低预算打造高级感的精明方案

THE CODE (法则)

第 89–97 页

圣地亚哥·拉斯特拉 (Santiago Lastra) 与约塔姆·奥托伦吉 (Yotam Ottolenghi) 教你如何惊艳晚餐派对宾客 / 每个体面的男人都该知道的事：从值得参观的展览到牡蛎开壳技巧 / 避免衣橱尴尬的教程 / 拯救你的肌肤，掌控生活，并小睡 40 分钟 →

LIFE (生活)

第 73–87 页

硬汉雷·温斯顿向我们展示其温柔一面 / 来自达西先生的约会建议，以及现在值得阅读的译制小说 / 伦敦新一代画廊主 / 黄油吐司是通往主厨乔迪·威廉姆斯 (Jody Williams) 之心的捷径 / 在吧台前就座 / 邦·乔维的生活准则 / 一位艺术电影导演与一位电子游戏创作者联手打造普拉达项目

HERMÈS PARIS

爱马仕，启程！

FEATURES (专题)

第 98–157 页

我们的封面之星安德鲁·加菲尔德，拥有多面人格 / 如何盗走百万之财：我们的艺术品盗窃万无一失指南 / 关注幕后的手工艺者 / 亚伦·索金再次在《社交网络》续作中抨击技术官僚 / Dries Van Noten 的新任设计师登场 / 回顾 Esquire 星光熠熠的温布尔登活动 / 巴黎、罗马和米兰的无与伦比的酒店

FASHION (时尚)

2026年9月 — 10月

第 132–149 页

即将售罄：加入这场竞标战，抢购值得争夺的新季男装

封面造型：安德鲁·加菲尔德穿着短上衣夹克 2,600 英镑；针织衫 1,590 英镑；风衣 2,950 英镑；长裤 1,430 英镑；德比鞋 1,170 英镑，全部来自普拉达

材质大师

ANATOM SKELETON

Paul Smith

编辑寄语

每当人们问起我为何从事现在这份工作时，他们往往会假设我学的是英国文学或新闻学（显然他们没看过我的初稿）。其实并非如此。我的学位是美术。我最初想成为一名画家，但我的课程负责人告诉我，绘画已经死掉了。不过，那是另一个时候该讲的故事了。

当我在《Wallpaper*》杂志获得第一份新闻业工作时，我起初写的是艺术，随后迅速将目光转向男装。这并非因为我对前者感到厌倦或幻灭，而是因为在参加该职位所需的时装秀和媒体预约的过程中，我意识到最顶尖的时尚拥有与任何伟大艺术作品相同的创造野心。而且，最伟大的男装就是你可以穿在身上的艺术。

这就是《Esquire》“风格之艺”（Art of Style）这一期的核心理念。这个主题在今年六月的巴黎男装秀期间在我心中成型，当时正值热浪袭来。气温飙升至地狱般的 41℃，看着过热的模特走在灼热的 T 台上，感觉有些诡异。然而，在所有这些繁杂之物中，依然能发现真正的艺术造诣。

对我而言，本季最出色的系列来自 Dries Van Noten。这家比利时时装屋目前由 34 岁的朱利安·克劳斯纳（Julian Klausner）执掌，他为其注入了一种轻盈且低调的美感。我在时装秀后见到了克劳斯纳，并为本期杂志采访了他。您可以在第 130 页阅读我们的对话。

最顶尖的时尚拥有与任何伟大艺术作品相同的创造野心；最顶尖的男装就是你可以穿在身上的艺术。

我们的封面之星则是一位不同类型的艺术家。近年来，安德鲁·加菲尔德巩固了他的电影资历，接演了一些出人意料的角色，并追求一些与他的

LAUREN

他在漫威电影中饰演最受欢迎的体操运动员，度过了他的成名岁月。本月，他主演了保罗·格林格拉斯的新片《起义》（The Uprising），在片中饰演一名篡位的中世纪耕种者。随后，他将在卢卡·瓜达尼诺备受讨论的 AI 剧情片《人工智能》（Artificial）中饰演 OpenAI 创始人萨姆·奥特曼。Esquire 的副主编米兰达·科林在第 98 页采访了加菲尔德，随附由摄影师罗布·拉斯林和 Esquire 特约时尚编辑朱利安·加尼奥打造的精美大片，后者将这位演员重新构思为普契尼歌剧《波希米亚人》中罗道夫式的人物。这同样是一件真正的艺术作品。

在我们这个日益由机器驱动的时代，庆祝由人类双手创造的事物显得尤为重要。随着 AI 变得越来越普遍，工艺的价值——无论是通过文字、画布还是手工缝制的衣边来表达——似乎比以往任何时候都更加紧迫。

在第 116 页，我们的风格总监扎克·马奥伊和摄影师菲利普·辛登会见了英国一些最令人兴奋的时尚设计师，以及帮助他们将愿景变为现实的工艺师。从比安卡·桑德斯及其世界顶尖的舞美设计，到 Dunhill 创意总监西蒙·霍洛威偏爱的定制西装裁剪师，我们向品牌背后的双手致敬。

在其他版块，Esquire 之友乔什·海特的时尚故事想象了一家充满艺术气息人物的幻想拍卖行，他们身着本季最出色的 Gucci、普拉达和迪奥。而在第 126 页，美国版 Esquire 总编辑迈克尔·塞巴斯蒂安与亚伦·索金进行了对话，后者是今年除《人工智能》之外最受讨论的电影《社交清算》（The Social Reckoning）的创作者。

制作杂志同样是一门艺术。在过去的一年里，我对我有幸委任并共同工作的才华横溢的作家、摄影师、造型师、设计师和编辑们深感敬佩。每一期杂志都是无数双巧手共同打造的产物，每个人都贡献了某种独特、美妙且带有不完美人性色彩的东西。

TEO VAN DEN BROEKE

天才之笔（从上至下）：来自我们“Going, going, gone”时尚故事的 Boss 造型；封面之星安德鲁·加菲尔德（第 98 页）；索尔·纳什和查理·卡特洛（第 120 页）

TUDOR

BLACK BAY 58 GMT

WATCHES OF SWITZERLAND WWW.WATCHES-OF-SWITZERLAND.CO.UK

Mappin & Webb

GOLDSMITHS WWW.GOLDSMITHS.CO.UK

TOM FORD 眼镜

总编辑 Teo van den Broeke

副主编 Miranda Collinge 艺术总监 Geri Dempsey 奢侈品总监 Johnny Davis 网站总监 Nick Pope 风格总监 Zak Maoui 文化编辑 Henry Wong 高级设计师 Laura Sheppard 社交媒体与风格撰稿人 Josh Osman 时尚助理 Lauryn Doherty

特约风格编辑 Ben Cobb, Caroline Issa, Gianluca Longo, Charlie Teasdale

特约腕表与珠宝编辑 Nick Foulkes

特约设计编辑 Charlene Prempeh

特约时尚编辑

Jeanie Annan-Lewin, Crystalle Cox, Rose Forde, Julian Ganio, Catherine Hayward, Felicity Kay, Dan May, Kk Obi, Robert Rabensteiner, Ben Schofield

特约剪裁编辑 Charlie Casely-Hayford

特约美食编辑 Jackson Boxer

特约文学编辑 Jack Edwards

特约编辑

Richard Benson, Alex Bilmes, Peter Bradshaw, Mick Brown, Joseph Bullmore, Ed Caesar, Joe Dunthorne, Liam Freeman, Will Hersey, Dylan Jones, Jeremy Langmead, Tabitha Lasley, Tim Lewis, Stuart McGurk, Simon Mills, Max Olesker, Rosa Rankin-Gee, Raven Smith, Philippa Snow, Lou Stoppard, Alfred Tong, Jethro Turner

特约摄影师

James Anastasi, Tom Craig, Charlie Denis, Clay Stephen Gardner, James Harvey-Kelly, Matt Healy, Valentin Hennequin, Josh Hight, Danny Kasirye, Yis Kid, Jessica Madavo, Ben Parks, Rob Russling, Philip Sinden, Paul Zak

编辑运营总监 Sophie Wilkinson 工作流总监 Carly Levy 编辑业务总监 Connie Osborne 编辑业务经理 Jessica Borges 代理编辑业务经理 Delilah Moses

艺人管理

集团娱乐总监 Lottie Lumsden 奢侈品娱乐编辑 Olivia Blair 娱乐编辑（特别项目） 兼代理奢侈品娱乐编辑 Nicola Fahey 娱乐邀约员 Natalie Zannikos 代理娱乐邀约员 Furvah Shah

社交媒体负责人 Amy Brewster

编辑制作

集团首席副编辑 / 制作编辑 Dom Price 首席副编辑 Amy Davies-Adams, Michele Jameson 副首席副编辑 Camilla Redmond, Kirtey Verma 副编辑 Katie Baxter, Dina Nagapetyants, Daniella Parete Clarke, Fiona Surfleet

图片与邀约

图片制作编辑 Gemma Roberts 图片编辑 Abi Hollister 图片研究员 Leila Fredrichsen 邀约编辑 Tom Casey 图片助理 Jody Kindoki

总编辑助理 Ellie Henniker-Horn

首席商业官 Alex Unitt

作品集总监 Sharon Davies-Ridgeway

首席执行官 Jacqueline Euwe

英国及全球中心

时尚与美容关键客户负责人 Maria Iordanou 全球负责人 Anna Ketter 腕表与珠宝负责人 Anna O'Sullivan 全球客户总监 Steph Tomlinson 客户总监 Shauna Callahan 腕表与珠宝客户总监 Lauren Bolter-Booth

赫斯特商业 (HEARST COMMERCIAL)

客户合作伙伴负责人 Jamie Doubleday 交易与代理负责人 Amy Brown 赫斯特全球解决方案负责人 Joe Grimsdale

HEARSTMADE

HEARSTMADE 总监 Sarah Newton Boyd 品牌内容总监 Isabel Frederix

公关与传播

公关与传播负责人 Ben Bolton 品牌作品集公关合作伙伴 Cristina Wyatt

制作

制作经理 Stephen Osborne 印刷规划负责人 Kathryn Fairbairn

赫斯特英国 (HEARST UK)

首席执行官 Katie Vanneck-Smith 首席财务官 Julien Litzelmann 首席客户官 David Robinson 内容总经理 Toby Wiseman 公关与传播总监 Alison Forth 人力与文化总监 John Athanasiou

赫斯特国际杂志 (HEARST MAGAZINE INTERNATIONAL)

Jonathan Wright, 赫斯特国际杂志总裁 Kim St Clair Bodden, 高级副总裁 / 全球编辑与品牌总监 Chloe O'Brien, 全球编辑与品牌总监

国际版本

澳大利亚、巴西、德国、希腊、香港、印度、意大利、日本、哈萨克斯坦、韩国、墨西哥、中东、菲律宾、卡塔尔、沙特阿拉伯、新加坡、西班牙、台湾、泰国、土耳其、美国

Hearst Magazines UK, House of Hearst, 30 Panton Street, London SW1Y 4AJ 编辑部 +44 20 7439 5000 / 广告部 +44 20 7297 3480 / 访问：esquire.com / uk

ALPINE EAGLE

这款直径 41 mm 且配备一体式表带的模型，体现了 Alpine Eagle 系列纯净且精致的美学，由 Chopard 独有的高品质 Lucent Steel™ 打造。它搭载了经过天文台认证的 Chopard 01.01-C 自动上链机芯。这款卓越的时计由我们的工匠自豪地开发并手工打造，展现了我们在 Manufacture 内部培养的顶尖专业技术与创新。

Chopard

情感的匠心之作 —— 始于 1860

撰稿人

JULIAN GANIO 这位造型师为《Esquire》撰写了第三篇故事，他与安德鲁·加菲尔德合作完成了该演员的封面人物特写（第 98 页）。 我希望由我创作的艺术品：迈克尔·海泽（Michael Heizer）的《City》。

PHILIP SINDEN 这位摄影师曾为 Paul Smith 和美国运通（American Express）服务，在本期中拍摄了我们的设计师与工匠作品集。 我希望由我创作的艺术品：马丁·斯科塞斯（Martin Scorsese）的《出租车司机》。

JOANNE JOO 这位插画师兼动画师曾为爱马仕（Hermès）、Tod's 和《纽约客》（The New Yorker）工作，她为《艺术品盗窃之艺术》（第 112 页）创作了插图。 我希望由我创作的艺术品：亨利·马蒂斯（Henri Matisse）的《舞蹈》。

ROB RUSLING 这位出生于布拉德福德、常驻巴黎的摄影师为我们的封面拍摄了安德鲁·加菲尔德。此前，他曾与 Maison Margiela 和索尼（Sony）合作。 我希望由我创作的艺术品：莫奈的《睡莲》。

SIMON GARFIELD 这位作者的最新著作《笔：一部人类历史》（The Pen: A Human History）将于 9 月出版，他撰写了第 112 页的《艺术品盗窃之艺术》。 我希望由我创作的艺术品：“芭芭拉·赫普沃斯（Barbara Hepworth）在圣艾夫斯家中和花园里的所有雕塑。”

ZAK MAOUI 《Esquire》的风格总监为我们的时尚拍摄“Going, going, gone”（第 132 页）担任造型，并为《遇见你的创造者》（第 120 页）采访了创意合作伙伴。 我希望由我创作的艺术品：哈尔·费舍尔（Hal Fischer）的《Gay Semiotics》。

MIRANDA COLLINGE 为了本期的封面故事（第 98 页），《Esquire》的副主编与演员安德鲁·加菲尔德在伦敦南岸共度了一个下午。 我希望由我创作的艺术品：皮耶罗·曼佐尼（Piero Manzoni）的《艺术家之粪》。

MICHAEL SEBASTIAN 美国版《Esquire》的主编在《西翼》（The West Wing）创作者亚伦·索金的新电影《社交清算》（The Social Reckoning）上映前（第 128 页）采访了他。 我希望由我创作的艺术品：弗兰克·斯特拉（Frank Stella）的黑色绘画。

2026 年 9 月 – 10 月

JOSH HIGHT 这位摄影师曾与 Margaret Howell 合作，并拥有自己的报纸《Idle Pages》。他拍摄了第 132 页的时尚故事。 我希望由我创作的艺术品： 杜尚的《泉》。

BRUNELLO CUCINELLI

“……然后我们走出，再次看见星辰”

Dante

GLENMORANGIE 单一麦芽苏格兰威士忌

“最伟大者”

HARRISON FORD

照片：Michael Ward / Getty Images

Y S

编辑：Johnny Davis

摄影： Joe Hume

外套，2,900 英镑；衬衫，£680；裤子，1,500 英镑；领带，£185；腰带，£390，全部来自 Giorgio Armani

约瑟夫·博伊斯（Joseph Beuys）演绎了一场关于知识分子着装的示范。

每年秋天，总有一件外套似乎预示着情绪的转变。今年，Giorgio Armani 提出了一种长款、宽松且富有艺术感的方案。这款采用水洗灰褐色羊毛打造的外套，肩线柔软，长度及踝，其动态更像针织衫而非传统的剪裁西装。搭配宽大的褶皱裤装和松开的领带，这套造型让人想起 20 世纪 80 年代末米兰或纽约市中心艺术家和建筑师的非正式制服。优雅、随性且略带波西米亚风情，这种着装风格是 Armani 几十年来比几乎任何人都理解得更透彻的领域。 JOHNNY DAVIS

ERWIN WURM

这位在福图尼博物馆（Museo Fortuny）举办今夏展览的奥地利艺术家，分享了那些让他一次次回到“最宁静之城”（La Serenissima）的餐厅、画廊、书店和漫步路线。

对于埃尔温·武姆（Erwin Wurm）来说，威尼斯是一座能让他回到童年的城市。他八岁时第一次随父母访问这里，此后便一直往返于此。他在奥地利第二大城市格拉茨（Graz）长大，学生时代可以轻松地乘坐夜车抵达威尼斯并停留数周。如今，他和妻子在那里拥有一套公寓，每年都会在那里度过很长一段时间。“我们九月份回来，感觉太美妙了，”他说。

今年夏天，威尼斯对这位艺术家而言具有了额外的意义。武姆最新的展览正在福图尼博物馆举行，这里曾是设计师马里亚诺·福图尼（Mariano Fortuny）非凡的故居。这座博物馆坐落在一座威尼斯哥特式宫殿内，充满了原主人热忱的痕迹，从舞台设计、纺织品到建筑和收藏。他将其描述为“在威尼斯的语境下，就像一次前往 19 世纪或 20 世纪初的时间旅行”。

在那里创作展览与在传统的画廊空间展出作品截然不同。他发现自己并非在占据一个空白的“白盒子”，而是在直接回应这座建筑及其历史。“这是[福图尼]、旧时光和我之间的一场对话，”武姆说，“这非常令人兴奋且迷人。我热爱它。”

从上至下： 威尼斯。埃尔温·武姆。 埃尔温·武姆作品 《Mind Bubble Leg Up》 (2024)。 格拉西宫（Palazzo Grassi）

VENICE

① 书店

马可波罗书店（Libreria Marco Polo）是一家独立书店，精选了文学、文化书籍和当代艺术作品。我也很喜欢托莱塔书店（Libreria Toletta），它是这座城市历史最悠久的书店之一。

我现在买的书比以前少了。我有一个巨大的图书馆，而且随着年龄增长，你会开始思考所有这些书最终会如何。尤其是艺术目录，过时得很快。小说则不同，它们会一直陪伴你。

② 博物馆

除了福图尼博物馆，我想我会说学院美术馆（Accademia）是我最喜欢的博物馆。你可以在那里看到所有早期的文艺复兴绘画，包括贝里尼（Bellini）等人的作品。他们甚至有三幅希罗尼穆斯·波希（Hieronymus Bosch）的画作，这非常罕见。威尼斯的情况就是你会被完全地“宠坏”。这里有双年展、建筑双年展、电影节，还有数十座教堂和所有这些博物馆。这座城市充满了艺术。

③ 最被高估的景点

坦白说，我不认为有什么是被高估的。威尼斯实在太美了。我唯一可能会跳过的是在夏天登上圣马可广场的钟楼，因为每个人都想去，那里简直人太多了。但广场本身和圣马可大教堂是非常非凡的。

4 约会地点

在威尼斯，几乎任何地方都可以变得浪漫。如果你想获得完整的体验，可以预订一艘贡多拉，让船夫为你划行一小时。有时船上甚至有歌手。当他们从我们公寓的窗下经过时，我们能听到他们的歌声。这就像有一个意大利广播站在城市中漂浮一样。

5 美术馆

Punta della Dogana [位于大运河入口处的艺术博物馆] 非常出色，Palazzo Grassi 同样如此。这就是我热爱威尼斯的地方——当代艺术与所有这些历史共存。前一刻你还在欣赏文艺复兴时期的杰作，下一刻你就在观看欧洲最顶尖的当代展览。

6 交通方式

步行。我和妻子在威尼斯时，通常每天在不知不觉中走 16,000 到 18,000 步。我们在其他任何地方都不会这么做，因为通常你要么坐在车里，要么站在地铁里。威尼斯不同。你走到哪里都是步行，而这正是其魅力的一部分。如果你累了，就乘坐 vaporetto [威尼斯的公共水上巴士]。对游客来说价格较贵，但非常实用。

7 餐厅

靠近里阿尔托桥的 La Madonna 是一家传统的威尼斯名店。他们提供蜘蛛蟹、塞维切以及极佳的威尼斯烩饭，由大量帕马森干酪、芦笋和海鲜制成。它是那种感觉完全地道且从未让人失望的地方。

8 被低估的街区

Dorsoduro [大学与艺术区] 非常美妙。那里有很多学生，感觉比威尼斯的其他部分更具当地生活气息。

但另一方面，也许我不应该太强烈地推荐它，因为它如此迷人的原因之一就是游客不多。

9 健身房

在奥地利 [我的生活和工作地]，我每周见三次私人教练，随着年龄增长，这变得越来越重要。在威尼斯，我在公寓里准备了一些哑铃和长凳，自己训练。然后我把一天剩下的时间用来步行。当你走完 16,000 步时，运动量已经足够了。

上方：“Untitled” (2024)，作者 Michael Armitage。下方：Ca’d'Oro 宫殿

10 景观

最好的景观往往是最简单的。站在大运河边，向任何方向眺望即可。

我喜欢坐在 Giudecca [威尼斯中心对面的岛屿] 上，隔水眺望城市。你可以端着一杯咖啡坐在那里，看着威尼斯在眼前展开。

11 酒吧

当然是 Harry's Bar。它成为经典是有原因的。我也喜欢 Dorsoduro 的酒吧。它们并不奢华，而这恰恰是它们优秀的原因。那里充满了当地人、学生、交谈和欢笑。

12 散步路线

Giardini [举办威尼斯双年展大部分活动的花园] 非常美丽。有时我会去那里单纯地漫步。我也喜欢沿着 Giudecca 走。你可以没有特定目的地地一直走下去。威尼斯会给予这种行为回报。

13 建筑

这里有太多美丽的建筑，但 Ca'd'Oro [大运河上的哥特式宫殿] 堪称非凡。圣马可大教堂则令人叹为观止。你面对的是一座拥有超过一千多年历史的建筑，而它依然能给人带来震撼。

14 工匠

自 2011 年起，我就与位于 Murano [以玻璃制造闻名的岛屿] 的 Berengo Studio 合作。你直接与玻璃大师合作并共同开发创意。这是一次真正的协作。

“Erwin Wurm. Dreamers”展览在 Museo Fortuny 展出至 11 月 22 日；fortuny.visitmuve.it

沃霍尔之表

皮亚杰与安迪·沃霍尔如何将奢侈腕表转化为一种远比计时工具更为强大的存在

作者：Nicholas Foulkes

当安迪·沃霍尔在 1979 年遇见伊夫·皮亚杰（Yves G Piaget）时，两人在彼此身上认出了某种本质的东西：一种共识，即奢侈并非一个与日常生活相隔离的独立类别，而恰恰是欲望的极致民主化。

沃霍尔通过丝网印刷将金宝汤罐头和可口可乐瓶封圣，将杂货从厨房转移到了公园大道公寓的墙上。正如中世纪的虔诚者使用圣物箱来展示其美德与虔诚一样，20 世纪后期的“货币化创意”宗教倡导通过购买和展示艺术品来获得双重投资回报：一是艺术品本身的增值，二是笼罩在所有者身上的文化品味光环。这确实是一个典型的凡勃伦循环。

当然，几个世纪以来，艺术一直被用作赋予地位的媒介，但现在的艺术家不再掩饰其买家不过是寻求认可、渴望地位的收藏家这一事实。这并非侮辱；沃霍尔会将其视为事实。（如果你对此有任何怀疑，请看看他的美元系列，无论在字面还是比喻意义上，都用金钱覆盖了墙壁。）沃霍尔与皮亚杰之间的关系之所以格外耐人寻味，是因为他们都在从事同一项根本事业：将日常物品情色化。

在 20 世纪 70 和 80 年代，皮亚杰专门使用黄金材质，且其关注点不仅在于为需要知道时间的人制造手表。皮亚杰手表的首要功能是令人惊叹——其流畅的表壳设计在侧面观察时几乎消失，而最显著的是，表盘经常闪烁着钻石的光芒。这些是迪斯科时代极致奢侈的终极表达，其存在超越了理性的解释。与沃霍尔一样，皮亚杰明白，一个物体之所以变得极具吸引力，恰恰是因为它被他人所渴望。

“地位在我们的哲学中非常重要。在我们事业的定义中亦然。”

这句话像是一句出自沃霍尔之口的格言，但这并非安迪在谈论他的“工厂”（Factory）。这是伊夫·皮亚杰在 1983 年接受沃霍尔创办的《Interview》杂志采访时的原话：“我认为如今地位非常重要。不仅是对手表，而且是对一切事物。许多人被所有这些地位所代表的含义所吸引。我们的一些客户是艺术品收藏家。他们喜欢我们的手表是因为这些手表是艺术品，而他们购买这些手表是因为他们生活在能够认同这种价值的人群中，我们的客户希望向周围的人证明他们是有文化的，是有能力的，他们买得起一只皮亚杰手表。”

简而言之，这是为少数具有鉴赏品味且能负担得起的人准备的“可穿戴财富”。

正如沃霍尔的作品从根本上改变了艺术生产与消费的性质，皮亚杰的超薄机芯也改变了佩戴手表的体验。讽刺的是，现在被正式称为“沃霍尔”的那款手表，其实是皮亚杰试图掩盖一个庞大机芯的尝试：Beta 21。

在 20 世纪 70 年代初，Beta 21 是瑞士对石英危机作出的首次回应，由瑞士几个最负盛名的制表品牌共同开发。问题在于它体积非常大，因此需要一个巨大的表壳。皮亚杰将 21 机芯的庞大比例转化为手表美学论点的一部分。但 21 在推出之前就几乎已经过时，因此早期的皮亚杰 21 样本现在非常罕见。

这款手表很快便淡出了人们的视线并被遗忘，被其在 70 年代末取得巨大成功的顶级奢侈“运动”表——Polo 系列所掩盖。

当阶梯状表圈的 Beta 21 在 2014 年重新进入产品目录时，它搭载了 Piaget 现代的 534P 自动上链机芯，并提供玫瑰金配缟玛瑙表盘或白金配孔雀石表盘两种选择。这是一枚精美的腕表，与我们今天所熟知的风格非常相似，但名称是个问题。它被命名为 Black Tie，听起来充其量只能说是平庸。在蒙特卡洛发生一件非凡的事情之前，它的销量并不理想。

从左上角起顺时针方向：伊夫·皮亚杰（Yves Piaget）；配有绿宝石表盘的 Andy Warhol；安迪·沃霍尔本人；配有陨石表盘的 Andy Warhol

一位收藏家出现在 精品店，询问是否可以订购 10 枚此类腕表（严格在目录之外），且每枚都要配备不同的宝石表盘。由于这类订单对 来说是未知的领域，相关细节必须上报给管理层。新任首席执行官本杰明·科马尔（Benjamin Comar）决定满足客户的要求，并且对结果如此印象深刻，以至于他要求将这些腕表在日内瓦的年度 Watches and Wonders 表展上展出——并非为了销售，而仅仅作为 所能成就之能力的示例进行展览。

这是一个罕见的案例：一款经过精炼和更新的复刻版竟然比原版更好，随后 便迅速走红。唯一的问题还是名称：Beta 21 不准确，而 Black Tie 则显得缺乏灵感。每个人都将其称为 Warhol，但并不被允许这样称呼。最终，在 2024 年底， 与匹兹堡的安迪·沃霍尔博物馆达成协议，这款腕表终于可以正式以该名称命名。随后推出了一系列庆祝款腕表，其表盘采用装饰性石材镶嵌工艺，包括黑缟玛瑙、粉欧泊、绿屈折石和黄岫岩，灵感源自 1986 年的拼贴自画像。这些作品是现代市场上最炙手可热的单品之一。

与安迪·沃霍尔博物馆之间正式建立的合作伙伴关系承认，奢侈品在以信念和智慧执行时，几乎与艺术无异。 的 Warhol 存在于功能与美学达到完美平衡的临界空间，在那里，机械性与超越性合而为一。这是一枚用沃霍尔和 都能流利表达的语言来讲述时间的腕表：关于欲望、美与地位。它从未像现在这样令人向往。

工作室生活

《Esquire》特约设计编辑查琳·普雷姆佩（Charlene Prempeh）表示，艺术家的工作空间能提供丰富的设计灵感。

唐纳德·贾德（Donald Judd）汤碗，价格请洽，贾德基金会（Judd Foundation）

尼古拉斯·赛德·托尔西达（Nicolás Said Torcida）茶具，£160，House of Voltaire 独家发售 野口勇（Isamu Noguchi）Akari 1AS 灯光雕塑，£168，野口博物馆（Noguchi Museum）

橡木纸托盘，£70，Present & Correct

唐纳德·贾德（Donald Judd） 建筑师办公桌， 价格请洽， 贾德基金会（Judd Foundation）

手工雕刻勺， 特米塔约·奥贡比伊（Temitayo Ogunbiyi） 与罗伯特·赛心·鲁鲁普（Robert Seishin Rurup）作品，价格 请洽， 野口博物馆（Noguchi）

La DoubleJ 绗缝穆拉诺玻璃杯套装，£470，Mr Porter

三菱 Hi-Uni 铅笔，£60，Niwaki

我们即将进入艺术与设计日程中一个格外繁忙的阶段。在艺术领域，我们从 9 月纽约的 Armory Show 开始，接着是 10 月伦敦 Frieze 艺术博览会——那是观察人群的梦想之地，随后这场盛会将移师 10 月的巴黎巴塞尔艺术展（Art Basel Paris）和 12 月的迈阿密巴塞尔艺术展（Art Basel Miami）。与此同时，Pad London、Design Miami 和 Design Miami Paris 则扮演着与艺术博览会相对应的可收藏设计展角色。在这样一个充斥着交易、晚宴和重量级机构开幕式的时期，组织一次工作室访问可以成为在混乱中寻找定力与滋养的平衡点。除了能有幸了解艺术家或设计师的实践并欣赏新作之外，观察他们如何构建创作环境同样令人着迷；如果足够细心，我们还能从中获得可引入自己家居空间的灵感。

创意公众一直以来都痴迷于艺术家工作室的浪漫色彩。安迪·沃霍尔（Andy Warhol）的“工厂”（Factory）这一物理空间与其作品具有同等的分量，

其中标志性的红色沙发和“银色工厂”中覆盖着铝箔的物品，代表了文化影响力的巅峰。在纽约苏豪区（Soho），唐纳德·贾德（Donald Judd）的工作室和生活空间被精心维护，以呈现其最初的愿景，这里已成为极简主义者的圣地，他们仔细研究其三楼的工作区，那里摆放着一张铺满铅笔的建筑师办公桌。在城市的另一端，皇后区，野口勇（Isamu Noguchi）的老工作室现已成为一座博物馆，馆内商店销售他于 20 世纪 50 年代初开始设计的 Akari 灯光雕塑。

在如今访问当代艺术家和设计师时，我被他们对空间居家感的关注所触动：穆拉诺玻璃杯、收集的餐具，以及对功能性物品的策展。大多数情况下——这并不令人意外——这些物品暗示了对构成我们宇宙的所有细微与宏大之物的审慎审视，这种方法值得我们所有人借鉴。

从雕塑感十足的扬声器到具备画廊水准的高保真设备，顶尖技术如今正借鉴艺术与设计领域 摄影：乔·休姆（Joe Hume）

多年来，消费电子技术一直基于这样一个假设：每个人都希望自己的家看起来像宇宙飞船的驾驶舱。然而，最令人向往的科技产品正日益向相反的方向发展。最出色的新型扬声器、耳机和桌面物件，与其说借鉴了硅谷的未来主义，不如说更多地借鉴了家具、建筑以及那些最终进入画廊和博物馆的工业设计作品。

迪特·拉姆斯（Dieter Rams）时代的博朗（Braun）影响力笼罩其上：拉丝铝材、触感控制、暖色灯光以及灵感来自模拟设备的细节。Bang & Olufsen 的扬声器宛如雕塑。Loewe 的电视旨在优雅地融入房间之中。甚至无线充电器和闹钟现在也采用了柔软的面料、柔和的色彩和宁静的造型。一个信号正变得清晰：如今最顶尖的科技产品不再看起来像“科技产品”。JD

ALCATEL EPURE ICONIC 无线电话 由贾斯珀·莫里森（Jasper Morrison）设计，其精简的轮廓、触感柔软的饰面和直观的控制证明，即使是平凡的座机也可以成为一件艺术品。£50, alcatel-home.com

RUARK TALISMAN-R 落地扬声器 ECOUTE 耳机 这款在法国设计的无线耳机将雕塑般的造型与温暖、均衡的音质相结合。£349, ecouteaudio.com

Ruark 重新激活了其最出色的设计之一，Talisman-R 将精美的橱柜工艺与现代工程相结合。1,499 英镑 / two, ruarkaudio.com

LEAK STEREO 230 功率放大器

230 凭借其复古外观，在致敬高保真音响黄金时代的同时，提供了完全现代的性能。£999, leak-hifi.co.uk

FELLOW STAGG EKG PRO 电水壶

这款水壶让手冲咖啡变得酷了起来：温度控制和精致的壶嘴让每一次冲煮都显得深思熟虑。£195, selfridges.com

Camden calling

20世纪男孩 达米安·赫斯特 (Damien Hirst) in 1993

⑨

Our Legacy 2. 裤装，£85, COS 3. 太阳镜，£123,

4. Odelay by Beck, £34.99, Rough Trade
5. Walkman, available

on eBay 6. Exhibition by Alex Hyde, £14.99,

7. 夹克， £65, Adidas
8. CK One Eau de Toilette, £38 for 50ml, Calvin Klein

Ralph Lauren RRL 10. 胶片相机，£249,

Pentax 11. What Artists Wear by Charlie Porter, £16.99, Waterstones 12. T恤，£25,

14. 大衣，5,060 英镑, The Row
15. 夹克， £700, NN07
16. 包袋，£695, Mulberry

What Artists Wear Charlie Porter

随着 The 90s: Art and Fashion 展览将于10月在英国泰特美术馆 (Tate Britain) 展出，那个十年间艺术学院圈子中邋遢且充满知识分子气息的制服风格再次回归。

如果你记得九十年代，你就会知道那种造型：刻意地选用亮眼的运动上衣、水洗牛仔裤、破旧的邮差包以及穿到磨损的耐克运动鞋。当时最酷的人都打扮得像艺术系学生，无论他们是否就读于金史密斯学院。想想达米安·赫斯特 (Damien Hirst) 和特蕾西·艾敏 (Tracey Emin) 穿着灰色麻花针织衫在苏豪区漫步的样子，或者理查德·阿什克罗夫特 (Richard Ashcroft) 在《Bittersweet Symphony》MV 中那棱角分明的颧骨和刻意营造的凌乱感。那是带着宿醉感的极简主义：略显冷漠且隐约反时尚。这种造型可能会赢得赫尔穆特·朗 (Helmut Lang) 或科琳·戴 (Corinne Day) 的认可。随着泰特美术馆的展览以及包括普拉达 (Prada) 和 Lemaire 在内的品牌都在推崇同样的轮廓，这种风格再次显得合时宜。以下是现在的穿搭指南。JD

Bell & Ross

BELL & ROSS 为 DEFENDER 拉力赛车队配备了 BR-X3 黑色钛金属腕表，它是制表卓越工艺与精密工程的极致体现。设计、性能与冒险的完美结合。伦敦梅费尔精品店 +44 (0)207 629 6464。BELLROSS.COM

MR MARVIS

MR MARVIS 2026 秋冬系列现已上市，为您重返办公室提供精致的风格。尝试 The Straight Fit Chinos 打造新造型，或探索 The Coolerdays、The Flannels 和 The Cords 等热门款式。用我们永恒的衬衫和针织衫完善您的衣橱。葡萄牙制造。立即在 mrmarvis.co.uk 选购，或莅临我们位于 52 King's Road, London 的旗舰店。

绘画界“门面担当”简史

Esquire 风格专栏作家表示，艺术家们早已深谙强有力造型的威力

作者：Ben Cobb

时尚界对艺术的痴迷由来已久。今年以“服装艺术”为主题的 Met Gala 舞会，不过是这种迷恋最新的——且略显尴尬的——公开展示。2001 年，马克·雅各布斯（Marc Jacobs）在路易威登（Louis Vuitton）行李箱上覆盖斯蒂芬·斯普劳斯（Stephen Sprouse）的涂鸦，在当时看来具有革命性，但设计师们与艺术家的“床戏”（当然，是比喻意义上的）其实已持续了数十年。回溯到 1965 年，伊夫·圣罗兰（Yves Saint Laurent）推出了他的蒙德里安连衣裙；而在此之前的 30 年，艾尔莎·夏帕瑞丽（Elsa Schiaparelli）就已在与让·考克托（Jean Cocteau）和萨尔瓦多·达利（Salvador Dalí）进行合作。但就像最狂热的约炮一样，这种关系是双向的。

艺术家们一直懂得服装在叙事上的力量。他们意识到，被画者的风格与他们的表情同样重要。走进任何一家像样的美术馆，你都能看到他们：身着最华丽服饰的皇帝、政治家、思想家、花花公子和圣徒；那些塔夫绸和丝绸散发着权力与气场。像盖恩斯伯勒（Gainsborough）的《蓝衣男孩》这类历史肖像画，如果不是早期的“网红自拍”，那又是什么？18 世纪的社交名流画家约书亚·雷诺兹（Joshua Reynolds）又是什么，除了一个

尤尔根·泰勒（Juergen Teller）：向来如此……别担心，这不会变成一场枯燥的艺术史讲座。接下来的内容是我个人心目中画布上顶级风格偶像的私人导览。

约翰·辛格·萨金特（John Singer Sargent）因其极具时尚感的肖像画而备受推崇。泰特英国美术馆（Tate Britain）甚至为此举办过一次展览。但在所有那些姿态精准的宏大被画者中，我更被一系列关于作家罗伯特·路易斯·史蒂文森（Robert Louis Stevenson）在多塞特郡家中生活的作品所吸引——尤其是其中一张史蒂文森瘫坐在椅子上的画作。

这幅画出奇地随意，像是一个被捕捉到的瞬间，一张早到了 140 年的 Instagram 快照。香烟、胡须、戒指、西装外套和喇叭裤：他是一个超越时代的嬉皮士。他交叉的双腿——面料被精美地还原——低语着一种慵懒的优雅。几乎完全相同的姿势出现在大卫·霍克尼（David Hockney）为好友奥西·克拉克（Ossie Clark）创作的著名肖像画中。在这里，我们看到了这位“摇摆伦敦”时期的设计师在诺丁山公寓里，与妻子、纺织设计师塞莉亚·比特韦尔（Celia Birtwell）以及白猫珀西（Percy）在一起。他穿着喇叭牛仔裤和罗纹毛衣，手持香烟，光脚陷在深色的地毯中。这幅画瞬间流露出一种腼腆且极致酷的感觉。霍克尼创作的另一幅穿着费尔岛毛衣和高腰牛仔裤的奥西的淡彩肖像，也是我灵感板上的常客。

每位艺术家都有自己的缪斯，对于霍克尼的当代艺术家好友帕特里克·普罗克特（Patrick Procktor）来说，那就是格尔维斯·格里菲斯（Gervase Griffiths）。格里菲斯是一名牛津大学毕业生，曾是心理民谣歌手，也是一个像贾格尔（Jagger）那样漂亮的男孩。格里菲斯在 1968 年 2 月的一场慈善时装秀上结识了普罗克特。普罗克特被他迷住了，并在接下来的两年里致力于为这位新恋人作画；我最喜欢的一幅《格尔维斯 IV》中，格里菲斯完全处于贾维斯·考克（Jarvis Cocker）式的英伦摇滚模式，在绿意盎然的公园里做倒立，他那双带古巴跟的条纹靴成为了全画的焦点。

在《流浪者》（The Itinerants）中，迈克尔·伦纳德（Michael Leonard）捕捉到了一个更微妙的场景：一对年轻情侣站在门口。那个身份不明的男人透过飞行员眼镜凝视着我们。他穿着牛仔裤、牛仔衬衫、天鹅绒西装外套，帽子压得很低，肩上挎着一个巨大的旅行袋，展现出好莱坞式的英俊。他是一名艺术指导

还是一个音响工程师？包里装了什么？他要去哪里？我想知道。而在美国艺术家巴克利·L·亨德里克斯（Barkley L Hendricks）的作品中，那些超级时髦的男人则没有这种模糊感：他们正处于绝对的中心。他那些等身大的绘画将街头选取的模特描绘成自己命运的王者；他们庄重且强大，他们的

衣橱——三件套西装、风衣和软呢帽——以一种近乎恋物癖的细节被赞颂。

若论极致的精准风格，我会看向贝尔纳·布特·德·蒙维尔在 1929 年创作的耶什万特·劳·霍尔卡二世大君肖像。他披风的锐利剪裁、白色领结燕尾服，完美的手势，以及整体呈现出的装饰艺术风格的华丽感……这种造型在 Met Gala 上怎么没出现：

摆好姿势 从上起顺时针方向依次为：贝尔纳·布特·德·蒙维尔创作的《身着西装的印多尔大君耶什万特·劳·霍尔卡二世》（1929）；帕特里克·普罗克特创作的《格瓦塞四世》（1968）；大卫·霍克尼创作的《穿着费尔岛毛衣的奥西》（1970）；约翰·辛格·萨金特创作的《罗伯特·路易斯·史蒂文森》（1887）

柔和色调研究

奢华腕表轻盈转身

OMEGA Speedmaster 38, 9,800 英镑 Speedmaster 系列的最新成员采用了 38 毫米表壳，并搭配品牌专有的 Sedna 金，旨在确保其色泽经久不衰。

TUDOR

Black Bay Chrono 39 "Bumblebee", 5,230 英镑

全新的 39 毫米表壳响应了爱好者们长久以来的请求，使 Tudor 的旗舰计时码表能够适配更多尺寸的手腕。

不要把这归咎于 AP x Swatch 的 Royal Pop 系列。那只不过是将腕表品牌一直暗示的事情明确化了：色彩回归了。亮绿色和信箱红是脱离腕表制造中由黑色、银色以及（如果你敢于冒险的话）海军蓝组成的严肃色调所迈出的初步尝试。而现在，似乎任何颜色都可以尝试。

今年秋天，包括 Tag Heuer、Hublot、Grand Seiko 和 Omega 在内的品牌正开始采用温暖的柔和色调，这些颜色通常让人联想到迈阿密酒店、艺术晚间课程、霍克尼的游泳池或 Farrow & Ball 的色卡，而非传统的瑞士钟表业。开心果绿、淡黄色、洗净的天蓝色、薰衣草紫。这些色彩通常与亮面陶瓷表壳和漆面表盘相配，比起主导过去十年的单色运动腕表，它们显得更轻盈、更柔软，且有趣得多。

你可以将其视为奢华腕表界的“选择最爱冰淇淋口味”。唯一 remaining 的问题是，拥有一块是否足够。

TAG HEUER

Formula 1 Solargraph，1,650 英镑 完全由光能驱动，其 TH50 Solargraph 机芯在充满电后可运行数月，且在需要更换能量电池前可维持约 15 年。

SEIKO King Seiko KSK 6L "Tenjin-Fuji Violet"，2,930 英镑 灵感源自东京龟户天神神社周围盛开的紫藤花，它将精工（Seiko）最迷人的表盘之一与超薄的自产 6L35 自动机芯相结合。

瑞典 之梦

北欧之速 60 亚历山大· 斯嘉加德（Alexander Skarsgård）感受 速度的需求

RDN76X

极星（Polestar）这款充满未来感的全新旗舰车型，与其说它是硅谷的电子产品，不如说它是一件斯堪的纳维亚设计艺术品。

当我们早在 2019 年首次访问极星位于哥德堡的专用总部时，它还没有推出任何车型。好吧，确实有一辆 Polestar 1，一辆外观凶悍的混合动力 GT 跑车停在接待区，但它更像是一个限量版的设计宣言，旨在引发人们的讨论。而事实证明，这招非常奏效。

不过在那个阶段，讨论是唯一的筹码。计划很明确——一个从沃尔沃（Volvo）剥离的品牌，纯粹专注于可持续电动汽车，秉持极简主义、设计主导的理念和运动性能；一个自诩为颠覆者、采用创业方式的品牌，重新审视 21 世纪的汽车公司可以做出哪些改变，从如何解锁车辆到最初在何处购买。

“这不仅仅是一个营销口号，”时任首席执行官托马斯·因格拉特（Thomas Ingenlath）当时告诉我们。

就第一印象而言，极星做到了。品牌形象完整，目标客户明确，每个细节都考虑周全。但它真的能成功吗？从零开始创建一个成功的汽车品牌是否可能？极星似乎在平静地告诉我们：“等着瞧吧。”

在随后的七年里，Polestar 2, 3 和 4 相继问世，赢得了评论界的赞誉并吸引了新的客户群——它们全部在跨界车和 SUV 市场中找到了定位——并开辟了一个在去年取得突破的细分市场。

在英国，2025 年的销量增长了 95%；现在我们的道路上有超过 50,000 辆极星汽车。考虑到最初推广品牌所面临的挑战，这种大幅增加且仍在增长的普及度本身就足以说明问题。

现在，随着旗舰车型 Polestar 5 在今年夏天到来——这是新产品线中首款真正的性能车型——我们终于迎来了那个决定性的“拭目以待”时刻。

它完全从零开发，包括轻量化铝制底盘、自产电机、定制刹车以及最新的 800V 电池技术，使电量从 10 到 80% 仅需 22 分钟。

进入车内，第一印象就像是在乘坐前往月球快车的商务舱。由极星设计、Recaro 制造的运动座椅提醒你，虽然这辆车感觉充满未来感，但它是为了有目的的驾驶而打造，而不是为了在自动驾驶模式下毫无灵魂地被司机接送。纺织品 100% 为回收材质，塑料使用量被降至最低，这体现了在不断努力通过每一个细节来减少汽车碳足迹的决心。

从材料的质量到灯光设计以及关键控制按钮的布局，你会意识到每一个决定都经过了深思熟虑。或许唯一的问题是，在一辆售价约为 10 万英镑 的汽车中，中控台是否应该得到不同的对待。在 Polestar 2 中，中央平板电脑的简洁感显得大胆，但现在在旗舰车型中，这种感觉略显不足。不过，其 Google 集成的简洁性是另一个持续产生效益的创始原则。

在后排，一个中央控制台将两个座椅分开，提供扶手和独立的气候控制。它可以巧妙地折叠，以便在需要挤进另一名乘客时创造出第三个座位。

可选配的 Bowers & Wilkins 音响系统配备 21 个扬声器，结合主动降噪功能，带来近乎超凡脱俗的行驶体验。极具标志性的两米全玻璃车顶让整个座舱豁然开朗，同时能阻挡 99.5% 的紫外线辐射。

人们对 Polestar 可能较少了解的是其性能方面。这个品牌源自房车赛，而 5 是首款完全兑现这一承诺的量产 Polestar 车型。它天生速度极快，但真正的核心工作——由包括性能车工程师和赛车手在内的开发团队共同完成——集中在车辆高速行驶时的乘坐感和操控性上，其目标直指保时捷 Taycan。

对面： 5。下方：可见的充电条位于后窗后方。左下方，从上至下：空气动力学轮廓。极简但高科技的座舱。

所有竞争对手（不仅是保时捷）都将注意到这一点。 为豪华电动汽车的体感定义了新标杆。在这个级别上，那种无形的氛围决定了最终的差异，而 从一开始就意识到了这一点。下次当你听到朋友说所有现代汽车看起来和感觉都一样时，可以向他提及这款车。

颠覆者的心态依然存在，公司内部的情绪自然十分乐观。“ 继续挑战汽车工业，”现任首席执行官 Michael Lohscheller 表示，“现在我们正以创纪录的速度进入快速增长的高价值细分市场。”

正如我们在过去几年中所发现的，你可以信任 兑现其承诺。

而 5 是一款彻头彻尾的惊艳之作。车身修长、低矮且优雅，拥有此前在 车型上从未见过的曲线，它成功地在极简之美与细节丰富之间取得了平衡。

事实上，它最初是以概念车——Precept 的形式在 2020. 年公布的。 起初并没有将其量产的计划；它只是另一个面向未来的声明，展示了某种可能性。但由于每个人都热爱它， 改变了主意，并使其在量产时极大地保留了最初的设计。

一些概念车的奇特之处也被保留了下来，例如侧面的可见充电条以及后窗的缺失——取而代之的是一个安装在车顶的高清摄像头，将外部视野投射到后视镜中。这绝对不是所有人的口味，但 并不打算讨好所有人。

为了实现人们已经倾心的设计与性能，几乎所有的一切都已被

汽车必知信息

最高时速：155mph

马力：884hp

0-60 MPH加速：3.1秒

不宜驾驶场合：在埃索（Esso）加油站外的接送孩子高峰车流中缓慢爬行

宜驾驶场合：前往瑞典湖区木屋的途中

穿搭参考：在斯德哥尔摩休息时的亚历山大·斯卡斯加德（Alexander Skarsgård）

欧莱雅 男士专家

更好的你， 在状态最佳之时。 全新 健康 光彩凝胶 提升肌肤 自然光泽

使用前 使用后

欧莱雅男士专家 Hydra Energetic 健康光彩保湿凝胶

Folio society

优雅皮具回归

手机本应消除这一切。笔记本、文件夹、文件袋。那些精美皮革套中装着的纸质文件，本可以轻易地以 PDF 形式存在。然而，情况似乎恰恰相反。现代生活越数字化，实物对象就越显得迷人。

在创意领域，这种情况或许尤为明显，那里依然保留着素描本、印刷参考资料和折角笔记本的某种浪漫色彩。奢侈品牌也随之做出回应，重新聚焦于精致的皮具：柔软的文件夹和拉链文件夹，它们暗示的是画廊开幕式、工作室访问或漫长的午餐，而非季度财报电话会议。

或许这就是为什么它们在一年中的这个时节显得如此恰当，因为会议回归了，精致的配饰以及重新穿衣打扮的小仪式也随之而至。JD

摄影：Joe Hume。模特：Dew (PRM Agency)

文件夹，1,550 英镑，Dunhill

公文包，7,400 英镑，爱马仕（Hermès）

文件夹，£65, Kate Sheridan

搁架美学

从雕塑般的瓶身到原石除臭剂，新一代理容产品旨在被直接摆放在显眼处展示

如今，展现最佳状态不再仅仅关乎护肤。理容品牌也开始提升其美学水准，打造出近乎雕塑的瓶身、由稀有材料制成的刷具，以及即便用完后你也想保留的沐浴露包装。剃须刀本身已成为设计对象。甚至除臭剂也迎来了奢侈升级。

① 线香套装

在 Loewe 备受推崇的家居香氛系列中，大地气息且出人意料的香气被转化为华丽的物件。这款番茄叶线香套装将品牌标志性的绿色香调与西班牙手工制作的釉面陶土底座相结合。£153, loewe.com

② 剃须刀

这款直剃刀采用了由 1906 年创立的德国刀具制造商 Dovo Solingen 打造的刀片，将传统工艺与抛光的仿象牙手柄相结合。 £319, truefittandhill.co.uk

③ 沐浴露

巴黎香氛品牌 Buly 可追溯至 1803 年，其产品至今仍带有某种旧世界的奢华感。

这款香气浓郁的 huile de savon（字面意思为“皂油”）感觉不像沐浴露，而更像是一个从 19 世纪梳妆台上取下的物件。£43, buly1803.com

④ 洗发水

诞生于萨默塞特的独立品牌 Commune 将其沙棘洗发水装在时尚的奶油黄铝瓶中，旨在实现无限循环或永久重复使用。£60, commune.cc

⑤ 除臭剂

每款 Rollr 除臭剂都配备了一个由天然原石雕刻而成的宝石滚珠，因此每件产品的颜色和纹理都略有不同。这是保持清新最具雕塑感的方式。 £30, rollr.co.uk

⑥ 发刷

由英国制造，DR Harris & Co 的这款厚实军用发刷采用野猪鬃毛和手工完成的牛角手柄，其天然的虹彩意味着没有两把刷子是完全相同的。£80, drharris.co.uk

风格心理医生

我们的内部风格专家将为你解答秋季穿搭疑问

你好，风格专家（Style Shrink）， 我注意到所有时尚的人 似乎都在穿棕色。 我该如何尝试这种颜色， 而又不至于看起来像个地理老师？ Albie，霍夫（Hove）

亲爱的 Albie，棕色其实是一种出人意料地容易驾驭的颜色。它能衬托暖色调的皮肤，也能为冷色调的肤色带来沉稳感。如果你厌倦了蓝色和灰色，但又还没准备好全面拥抱彩色，那么这种色调的大地富矿感将是完美之选。

就我个人而言，我非常喜欢穿棕色剪裁服装，因为这种色调的柔和感能瞬间让那些传统的正式服装显得低调且随性。我拥有几件来自 Studio Nicholson 和 Our Legacy 的极佳棕色廓形亚麻西装外套，这两件我整个夏天都在穿。到了冬天，我最喜欢的单品之一是几年前在 Hackett 定制的一套棕色羊毛西装，搭配一件骨白色丝绸衬衫，甚至只穿一件白色 T 恤，效果都非常出色。

或许将棕色引入你的造型最简单的方法，是选择一件深可可色或咖啡色的简约衬衫。Ralph Lauren 出品了一款极美的胡桃木色亚麻衬衫，搭配浅黄色斜纹棉布西装会非常好看；而在奢侈品的顶端，The Row 的巧克力色水洗丝绸衬衫无论是单独搭配白色牛仔裤，还是搭配一件同色系的廓形西装外套（当然是来自 Studio Nicholson 或 Our Legacy），效果都同样出众。只需记得在两次穿着之间将其放入冰箱冷冻，因为没有什么比 The Row 的衣服更能吸引飞蛾了。

你好， 我厌倦了穿运动鞋，但在心理上还没准备好穿硬底鞋。有什么折中方案吗？Aaron F，迪德科特（Didcot）

你好 Aaron。对我来说，在正式与休闲鞋类之间，一个极佳的折中方案就是经典的驾驶鞋（driving shoe）。好消息是，现在驾驶鞋随处可见。在普拉达（Prada）2026 春夏系列中，Miuccia Prada 和 Raf Simons 将经典款和流苏款驾驶鞋置于造型的核心（鞋底）位置；而 Tom Ford 的 Haider Ackermann 则推出了一系列色彩鲜艳的麂皮驾驶鞋。在古驰（Gucci），Demna 以其标志性的“预磨损”风格重新诠释了该品牌标志性的驾驶乐福鞋。

若想寻找最适合穿到秋季的经典驾驶鞋，无需远求，直接看意大利巨头 Tod's 即可。他们推出了一系列干练的“City” Gommini（因其标志性的鹅卵石橡胶底而得名），专为天气不那么晴朗时穿着而设计。

至于为你的新驾驶鞋选择服装，我的建议是效仿普拉达夫人的模特，将它们与对比色袜子以及剪裁利落、长度刚好在脚踝之上的烟管裤搭配。再加上一件普拉达风衣，这就是必备造型。

自然之风

上图：罗伯特·雷德福（Robert Redford）低调奢华的造型。左图：Tod's Gommino 乐福鞋。下图（从左至右）：来自 Polo Ralph Lauren 和 The Row 的棕色衬衫；Ralph Lauren 2026 秋冬系列

风格专家！我想在这个秋天让自己看起来比实际更有钱。哪些细节能让我的穿搭显得昂贵？Rollo，克拉普顿（Clapton）

在我看来，2026 年显得“昂贵”的关键在于，看起来你其实并不在乎。

举个例子：最近我乘坐了一趟从斯坦斯特德（Stansted）飞往伊比萨岛的极其糟糕的航班，我的每一位同行乘客都穿着带有奢侈品牌醒目 Logo 的衣服。他们每个人看起来都渴望给人留下深刻印象，但没有一个人看起来显得“昂贵”。

因此，我的建议是避开品牌标识，转而重复穿着那些永恒的单品，让它们看起来像是由一系列富有的年长亲戚传给你的——这些衣服自带一种微妙的奢华感。

拥抱你那些布满蛀洞的旧羊绒衫，像围巾一样将它们披在肩上。选择廓形宽大的粗花呢夹克搭配牛仔裤。无论穿什么都配上乐福鞋，而且——最重要的是——投资一块真正精美的古董正装表。任何卡地亚（Cartier）或积家（Jaeger-LeCoultre）的腕表都能瞬间让最乏味的装扮显得昂贵（并让你在气质上与 Jet2 航空的乘客拉开尽可能远的距离）。

Polestar 5

等待结束。 探索纯粹性能 GT

SHAI GILGEOUS- ALEXANDER

文字：TIM LEWIS 摄影：TEX BISHOP

主演 演技传奇兼 伦敦老炮 雷·温斯顿

Life

依然是个猛兽

回归荧屏，雷·温斯顿正处于事业高峰期

我在伦敦市中心与雷·温斯顿见面时，正值五月一个酷热得令人窒息的早晨。为了打破僵局，我告诉他，每当天气如此之热，我的脑海中总会不由自主地浮现出他 2000 年的电影《性感野兽》（Sexy Beast）：在那段标志性的开场戏中，他仅穿着一件金黄色的小鸟图案紧身泳裤，像一块肉一样在日光浴躺椅上被烤得滋滋作响。温斯顿的旁白低吼道：“你可以在我的肚子上煎鸡蛋……简直太特么棒了（fan-daby-dozi-tastic）！”

今天，他似乎不知道该如何回应我的评论——这算是一种赞美？还是某种……挑逗？

——而我不能完全责怪他。“我以前从未这样想过，”他沉思道，“我以为我应该是最后一个——我穿着一件 Speedos 躺在那儿——你想要在脑海中想象的人。”

“但这就是我在酷暑中的感觉，”他继续说道，对这段回忆产生了共鸣。“我就躺在那儿：‘这太舒服了……简直太特么棒了。’比在周四晚上待在那个该死的怀特教堂（Whitechapel）要好得多。这不需要多少演技。”

如果你能想象出上午 10 点与温斯顿一起喝卡布奇诺的画面，那么现实情况可能与之非常相似。

雷·温斯顿很快将通过 Netflix 回归，饰演热爱桑拿的犯罪头目鲍比·格拉斯（Bobby Glass）。

我到达时，他正坐在角落的桌旁，穿着一件开到了三四颗扣子的佩斯利花纹衬衫，搭配米色短裤和跑鞋。他戴着飞行员墨镜，脖子上挂着一条粗金链，结婚戒指就吊在链子上：温斯顿在几年前戒了酒和烟（大致如此），体重减轻了很多，以至于戒指经常从手指上滑落。“我瘦了 35 磅（two and a half stone），”他说，“戒了酒，受够了那玩意儿。这不是因为害怕死亡，而是你想看着你的孩子和孙辈长大。我觉得这可能是我做过最简单的一件事。”

那么，这件事大约发生在五年前吗，我问道。“不，是两天前！”他大笑着回答，随后承认实际上是在 2024 年初。

我提前得知，现年 69, 岁的温斯顿状态极佳（in butcher's-dog shape），因为我刚刚看完盖·里奇（Guy Ritchie）在 Netflix 上的热门剧集《绅士们》（The Gentlemen）第二季的前三集。在第一季中，温斯顿饰演的角色——犯罪头目鲍比·格拉斯——名义上在监狱里，但享受着私人寿司厨师等奢侈待遇，与其囚犯身份完全不符。这一次，他在这座“陛下豪华住所”中的待遇又提升了一个档次，鲍比大多数非法商业会议都在他的私人桑拿房中进行，对方则是他的女儿苏西（Kaya Scodelario 饰）以及哈尔斯特德第 13 代公爵埃迪（Theo James 饰）。

这种新安排很适合温斯顿。“是的，我不讨厌桑拿，”他说，“然后再做个简单的按摩，这没什么不好的。他们讨论过在本季让鲍比出狱，但我说，‘喔，喔，喔！’因为那会改变苏西和公爵之间关系的动态。如果鲍比出狱，他就不需要他们了。所以，我说，‘让他留在原处。’而且实际上我在那里挺开心的，我有桑拿房，日子过得美滋滋。”

如果你没看过第一季的《绅士们》，请允许我们为你快速补课。在里奇略带超现实的讲述中，我们遇到了一群资金短缺且无能的英国乡绅；随后格拉斯家族出现了，他们更像是一个白手起家的王朝，将这些破败的庄园变成了巨大的地下大麻农场。温斯顿擅长扮演精明强干的硬汉，是格拉斯家族族长的显然之选，尽管这确实需要他与里奇之间进行一些关系修复——两人在 90 年代末导演拍摄《两杆大烟枪》（Lock, Stock and Two Smoking Barrels）时曾有过一次小摩擦。

“我本来要演《两杆大烟枪》的，但因为种种原因没成，”温斯顿回忆道，“然后我们就分道扬镳了。你知道的，我们当时并不怎么合得来。但我接到了一个电话，然后我去《绅士们》的片场见到了盖。我们聊了聊，拥抱了一下，就这样，和好了。”

温斯顿倾向于避谈分歧的细节。“我们那时还年轻，生意就是生意，”他说道，完全进入了布兰多式的状态。“所以这很好。这就叫成长，不是吗。噢，我那时候真是个混蛋。如果我觉得某件事不对或者做法不对，我就直说。你并不总是正确的，但你要对你说过的话负责，对你的行为负责。但这就是年轻人的样子。”

《绅士们》（The Gentlemen）的第二季展现出一种极强的野心。在2024年播出的第一季并非完全出人意料的爆款——里奇的名字从未失去过大众吸引力——但该剧那种政治不正确、回归传统硬汉的基调深受观众喜爱，使其在播出的前两周内就以2157亿小时的观看时长登顶流媒体排行榜。一个巨大的吸引力在于其荒诞的不羁，最典型的例子是一个由丹尼尔·英格斯饰演的吸毒贵族，为了偿还欠下的一帮毒贩的债务，被迫穿着鸡装跳舞。

“该死的带状疱疹”，他如此称之。这场病来得令人意外，部分原因是他的身体状态一直非常好，但带状疱疹也可能由情绪压力诱发。“我想，我当时并没有什么压力，”他说道。

“谢天谢地，只是带状疱疹，”他继续说道。“我说‘只是’，但你得过吗？伙计，你绝对不想经历那个。我的岳母说了一句绝妙的话，她问：‘是不是只在一个地方？’我说：‘在我的背上。’然后她说：‘噢，好吧，如果你前面也长了，然后两边接头，那就糟了。’我问：‘你什么意思？’她说：‘你就死了。’好吧，太感谢她了！因为这让我压力更大了。”

不过总的来说，温斯顿承认生活很美好。他和结婚超过45年的妻子伊莱恩一起，在埃塞克斯和西西里岛的房子之间往返。他们有三个成年女儿，全部都是演员——其中最有名的是杰米——而且孙辈们也开始陆续出生了。其中一个被取名为小雷蒙德（Raymond Jr）：“我没要求他们这么做，”他说，“他们就这么做了。”他笑了笑，“他们知道怎么讨好我。”

工作也接踵而至。一部为Netflix拍摄的恐怖片已经杀青——“我以前从未拍过恐怖片”——片名叫做《雪人》（The Yeti），由克里斯·派恩主演。他还拍摄了一部关于斯诺克选手吉米·怀特的传记片，在片中他饰演了“旋风”的三位经理的综合体。此外，他还为一部名为《学习技巧》（Learning the Ropes）的纪录片配音，该片聚焦于东伦敦传奇的雷普顿拳击俱乐部（Repton Boxing Club）的一位教练托尼·伯恩斯。温斯顿与伯恩斯很熟：从12岁起，他在该俱乐部打拳十年，在次中量级比赛中赢得了88场中的80场。

现在他还涉足足球经纪人领域。2020年，他与好友加里·佩蒂特共同创立了Integral Sports Management，旨在给那些在青少年后期被俱乐部抛弃的球员第二次机会。“这其中涉及很多自杀倾向，”他说，“那些16、17岁的孩子，被告知在足球界没有前途。在那个年纪，你的梦想就破灭了。”该经纪公司在将男女球员安置到职业俱乐部方面取得了一些成功。“我们会失去一些孩子，他们去了更大的经纪公司，”温斯顿说，“旧的棕色信封一出现，任务就完成了。”

但即将年满70岁，拥有超过半个世纪职业生涯的温斯顿并不打算退休。“你不能！”他惊呼道。“能用一件真正美丽的作品在巅峰时谢幕当然很棒，但你必须坚持工作。你可能会接一个活儿，然后想：‘这简直是一堆垃圾！该死的，我真的不想再做这个了。’这种情况确实会发生，但你完成了工作，也许是为了付房租。”

此时，温斯顿眼中闪过一丝光芒，他搓着手掌，或许在思考《绅士们》，或许在思考未来的另一个项目。“然后你会做一些能让你找回兴奋感的事情，”他说，“因为你是在与真正优秀的人共事，而那感觉真的太棒了。”

《绅士们》（The Gentlemen）将于 9 月回归 Netflix。

“我最喜欢的电视场景之一就是那个关于鸡的场景，”温斯顿说道，“表演得非常精彩，拍摄得也非常精美，而且它有个巧妙之处：我们是在看一部喜剧吗？因为其中蕴含着阴暗，蕴含着爱，以及由此而生的幽默。”

在第二季中，《绅士们》依然将基地设在英国乡村，但还将前往意大利湖区，事实证明，那里有一些可以被改造成毒品农场的宫殿。鲍比·格拉斯（Bobby Glass）比之前参与得更多，但他的判断力变得越来越不稳定：“你会觉得他可能有点失去理智了，”温斯顿说。在他的古怪行为中，确实能听到一些《李尔王》的共鸣。“但对于任何你想在电视上看到的角色，我们都可以这么说，”他补充道，“这就是所有剧情的来源。”

一名服务员经过我们的桌旁。“我再要一杯卡布奇诺，”温斯顿说，“你知道为什么吗？因为我想。”

这位演员在过去的几个月里过得“很古怪”，自从去年 11 月被诊断出患有带状疱疹，或者

“我接到一个电话，然后就去了《绅士们》的拍摄现场见盖。我们聊了聊，拥抱了一下，就这样。”

奥利弗·斯宾塞 (Oliver Spencer)

oliverspencer.co.uk

书架推荐

奥斯汀的力量

我们依然热爱达西先生——极其热烈地热爱。下图：戴西·埃德加-琼斯 (Daisy Edgar-Jones) 与乔治·麦凯 (George MacKay) 在《理智与情感》中。

两部大预算的简·奥斯汀改编作品凸显了我们对这位作家及其笔下男人们持续不断的痴迷

这是一个普适的真理：地平线上必须永远有一部奥斯汀的改编作品。我们需要一部在筹备中的作品来维持我们国家的价值感。今年秋天，为了保险起见，我们有两部。一部是以 Netflix 的《傲慢与偏见》剧集形式呈现，由艾玛·科林饰演伊丽莎白·班内特，杰克·劳登饰演她的达西先生。令人心醉。另一部是电影版的《理智与情感》，由黛西·埃德加-琼斯饰演埃莉诺·达什伍德，乔治·麦凯饰演爱德华·费拉尔斯。双倍心醉。

为什么这些关于婚姻、家庭以及随之而来的复杂纠葛的摄政时期故事能占据如此之大的文化版图？一方面是因为熟悉感带来的慰藉（我想这里不需要发布任何剧透警告），另一方面是原著素材无疑是顶级的（即使是一个业余编剧也很难毁掉奥斯汀的对话）。但也许——并不是要否定任何女主角的功劳——是因为我们无法忘记奥斯汀笔下的男人。这些家伙——每隔几年就被一个新的荧幕帅哥赋予新生命——依然对文化有着不可撼动的掌控力，而且这种情况看来不会改变。

这很奇怪，因为在某些方面，这些角色似乎体现了一些现代的“红旗”（即预示着重大缺陷的缺乏吸引力的特质）。以《理智与情感》中的爱德华·费拉尔斯为例，他是个不错的小伙子，但在现在看来，他要么显得缺乏雄心（得益于他舒适的家庭背景），要么显得不诚实（他与露西·斯蒂尔的订婚）。《爱玛》中的英雄乔治·奈特利，可能会被谴责为一个自以为是的“好为人师者”。更不用提达西先生了。当然，他是个英俊的年轻人，但他的沟通技巧实在不敢恭维——他会非常适应萨莉·鲁尼的小说世界——而且他身上有一种明显的自命不凡之感。很有可能，老菲茨威廉在这个现代世界里连第一次约会都过不去。

他们的行为如此依赖于继承权和抵押贷款等乏味的实际问题，因此最好被限制在过去，而这恰恰就是你今年秋天能找到他们的位置。这两部改编作品最耐人寻味的一点是，参与其中的所有人似乎完全不担心现代化问题。由多莉·阿尔德顿改编、尤罗斯·林执导的《傲慢与偏见》，甚至被宣传为一次“忠实”的改编——在一家全球流媒体平台上，正如简所希望的那样！——其先导预告片看起来也恰如其分地充满了渴望与乡村气息。从《理智与情感》的早期剧照来看，导演乔治亚·奥克利显然追求的是一种时代感。这意味着不会出现像达科塔·约翰逊在备受诟病的 2022 年版《劝导》中那样，像《伦敦生活》（Fleabag）一样对着镜头眨眼。我们离《独领风骚》（Clueless）还很远，在那部电影中，《爱玛》的情节被移植到了九十年代的比弗利山庄。这些改编作品旨在强调一种大写的“真实性”（Authentic）。

这有什么好奇怪的吗？当现代约会变成了 WhatsApp 沟通误会以及解读模糊的 Instagram 动态的雷区时，这些幻想中的男人就显得格外令人耳目一新，他们存在于

一个没有手机、尚未发明“fuckboi”（渣男）这个词的社会中。当然，你可能会写错一封信，或者在当地舞会上被听到说了些不谨慎的话，但没有发光的折磨设备让范妮·普莱斯彻夜难眠。而且，当局面陷入令人心碎的僵局时，那些英雄实际上会直抒胸臆。试着让一个 Hinge 约会对象说出一段清晰流畅的表白吧。要传达这样一个离奇的幻想，即使是奥斯汀可能也会感到吃力。亨利·王（HENRY WONG）

安娜·保拉·迈亚（Ana Paula Maia） 在地球上 正如在地下

译作文学

翻译的艺术不容小觑。来自不同语言的故事挑战着我们英语世界的叙事观念。今年的国际布克奖获奖翻译家林京（Lin King）用一个关于橙汁的比喻完美地解释了这一点：“我希望我们都能开始将翻译视为‘果肉’而非‘残渣’……并在包装盒上自豪地标注出来。” 杰克·爱德华兹 (JACK EDWARDS)

《地上如地下》(ON EARTH AS IT IS BENEATH) 作者：安娜·保拉·迈亚 (Ana Paula Maia)，由帕德玛·维斯瓦纳森 (Padma Viswanathan) 从葡萄牙语翻译 (2025)

每逢满月，两名囚犯被要求从巴西一个偏远的惩教殖民地开始逃跑……在一名持枪警卫追捕他们之前，他们有 30 秒的领先时间。这是一部对权力失衡和暴力结构的强力剖析。

《拉扎尔》(LÁZÁR) 作者：内利奥·比德曼 (Nelio Biedermann)，由杰米·布洛奇 (Jamie Bulloch) 从德语翻译 (2026) 这部令人印象深刻的处女作讲述了一个匈牙利家庭在 20 世纪经历贵族制度、共产主义和法西斯主义体制变迁的故事。一部真正波澜壮阔的史诗。

《在床上抽烟的危险》(THE DANGERS OF SMOKING IN BED) 作者：马里亚纳·恩里克斯 (Mariana Enríquez)，由梅根·麦道尔 (Megan McDowell) 从西班牙语翻译 (2009)

这部阿根廷恐怖短篇小说集既令人心惊胆战，又具有政治色彩。恩里克斯是一位敏锐的记录者，捕捉了人类处境中最紧张的时刻。文字痛苦且令人恐惧，但对受害者却充满温柔——一部邪典经典。

《留存之人》(SHE WHO REMAINS) 作者：雷内·卡拉巴什 (Rene Karabash)，由伊齐多拉·安格尔 (Izidora Angel) 从保加利亚语翻译 (2026)

女性贝基亚 (Bekija) 转型为男性马蒂亚 (Matija) 并成为一名“宣誓处女”，根据古老的阿尔巴尼亚部落法律，这对他们的家族血统施加了诅咒。具有毁灭性，原始且充满诗意。

《诅咒兔子》(CURSED BUNNY) 作者： Bora Chung，由安东·许 (Anton Hur) 从韩语翻译 (2021)

从第一行起就令人疯狂，这部韩国短篇小说集超越了类型限制，利用超自然元素来挑战现实生活中的社会和政治恐怖。

亨利·王 (Henry Wong) 探讨了新一代伦敦画廊主如何重塑这座城市的艺术版图

一个惬意的去处

在距离威尔斯登交汇站（Willesden Junction Station）几分钟路程的地方，一家挤满了行李箱的家居用品店和一家连锁咖啡店之间，可能就藏着伦敦最酷的画廊。西北区的这片地带并非人们预想中会出现此类场所的地方；这里远离考克街（Cork Street）的那些机构。但哈莱斯登高街（Harlesden High Street）就坐落于此，这家小巧的画廊以其所在的3区主干道命名。这个空间只有个普通客厅那么大，但它或许预示着伦敦艺术界的走向。

乔尼·坦纳（Jonny Tanna）于2020年创立了哈莱斯登高街，同时还经营着名为“微小吸引力”（Minor Attractions）的艺术博览会。他与有色人种艺术家合作，通常展出具有实验倾向的作品。“大多数画廊不会展出那些凭空出现的新人，”坦纳告诉我，“他们展出的是那些已经小有名气或已有一定地位的人。”在我到访的那天——一个酷热的五月银行假期——他正在布置孟加拉裔艺术家莱苏尔·霍克（Laisul Hoque）的一件装置作品，其中包括一个木制展架，用来放置几盘 jhuri bundiya（一种油炸面食），这是艺术家父亲最喜欢的零食。宾客们可以在欣赏手工艺品的同时，一边品尝这些甜咸交织的食物一边聊天。这是一个不落俗套且发人深省的构思，而且出奇地温柔：霍克的作品促使坦纳和我分享了各自的家庭历史。

“我以前认为（传统画廊）就像汽车展厅，你走进去会担心销售员想向你推销东西，”坦纳说。他希望哈莱斯登高街能给人不同的感觉——他坚持认为“这里没有愚蠢的问题”。至关重要的是，这里感觉很酷。去年，美国杂志《艺术新闻》（Artnews）宣布它是“英国首都最纯粹、最真诚且最令人兴奋的画廊之一”。“我的工作是帮助人们，”坦纳告诉我，“艺术治愈了我，所以现在我想通过艺术来治愈他人。”

哈莱斯登高街只是近期将伦敦繁荣的艺术场景从梅费尔（Mayfair）邮编区向外转移的画廊案例之一。克莱肯威尔（Clerkenwell）有 Ginny On Frederick；贝斯纳尔格林（Bethnal Green）有 Neven 和 Rose Easton；沃尔沃斯（Walworth）有 Soup Gallery。这是一个出人意料的牛市景象：根据英国艺术市场联合会的数据，经销商和画廊企业的数量在2019年至2023年之间增长了14%。去年，在伦敦举办的为期两天的“伦敦画廊周末”（London Gallery Weekend）吸引了数万名游客，其中有15个新参与者，其中11个是新画廊。

近年来，这些展览不仅

右上：Cedric Bardawil。下方：Alice Macdonald 的作品《每一扇窗户都是假期》，展于 Cedric Bardawil。右侧：索荷阅读系列（Soho Reading Series），参与者为长号演奏家彼得·祖莫（Peter Zummo）和作家马修·霍尔曼（Matthew Holman）

上方：画廊主乔尼·坦纳（Jonny Tanna）与画廊经理索菲·巴雷特-普勒（Sophie Barrett-Pouleau）；哈莱斯登高街。下方：由奥因坎索拉·达达（Oyinkansola Dada）创立的 Dada Gallery

位于更偏远的地点，而且还呈现出一种不同寻常的温暖。诚然，这波新空间中的一些是由拥有知名姓氏的人创立的——例如玛丽勒本（Marylebone）的 Angelica Jopling 的 Incubator（她的父亲 Jay 创立了白立方 White Cube），以及西区由查尔斯的女儿菲比（Phoebe）共同创立的 Saatchi Yates——但很难否认一种新精神的出现，一种愿意尝试不同做法的意愿。

在参观完哈莱斯登高街（Harlesden High Street）的第二天，我来到了苏豪区（Soho）拜访塞德里克·巴尔达维尔（Cedric Bardawil）。他以自己名字命名的画廊成立于2022年，位于奥尔德康普顿街（Old Compton Street）与查令十字路（Charing Cross Road）交汇处的一栋建筑二楼：这是一个双面采光的房间，即使在伦敦最阴郁的日子里可能也阳光充足。我到访时，艺术家爱丽丝·麦克唐纳（Alice Macdonald）刚刚布置完一场名为《每一扇窗都是假期》（Every Window is a Holiday）的展览。这次装置展以麦克唐纳家族中的田野、动物和面孔的质感绘画为特色，非常适合夏季。作品呈现出一种乐观且亲切的特质：它是城市中心的一处田园避风港。

摄影：Cedric Bardawil / Alex Natt, Gloria（由哈莱斯登高街提供）, Jonny Tanna, Alice Macdonald, 由Frieze和Jukka Ovaskainen提供

随后，在意大利酒吧（Bar Italia）喝咖啡时，巴尔达维尔告诉我，他想创造一个让访客进入就能“闻到油彩味”的地方。他解释说，其展览计划在职业早期至中期的艺术家，以及国际知名且成熟的艺术家之间进行分配。“我的愿景，”他说，“一直是为文化景观增添一些新东西。”这里的地理位置确实为这种浪漫感提供了绝佳条件。“苏豪区有着强大的社区意识——乍一看，这里似乎到处是游客或为了娱乐而在此集会的人，”巴尔达维尔说，“但实际上，支撑并维持许多企业生存的是那些常客。”

一个例子就是：通过曾为其举办展览的艺术家安东尼·班克斯（Anthony Banks），巴尔达维尔与查理·梅勒（Charlie Mellor）成为了朋友，后者是一位前歌剧演员，在附近开设了意大利餐厅Osteria Vibrato。现在，班克斯那些色彩鲜艳的船只绘画就挂在梅勒的餐厅里。在画廊，巴尔达维尔还与由汤姆·威利斯（Tom Willis）主持的、正处于上升期的文学之夜“苏豪阅读系列”（Soho Reading Series）共同举办活动。正如他所言，这一切都是巴尔达维尔使命宣言的一部分，“在苏豪区创造一个神奇的地方”。

挑战依然存在。我接触到的所有画廊主都谈到了伦敦不断上涨的租金：这些令人望而却步的价格对行业内的每个人都产生了连锁反应，尤其是艺术家们，他们因价格过高而失去了工作室空间。再加上脱欧后成本的上升以及不稳定的国际市场，人们学会迅速变得灵活应变也就不足为奇了。

以奥因坎索拉·达达（Oyinkansola Dada）为例，她在拉各斯和伦敦之间往返，并通过达达画廊（Dada Gallery）支持来自离散群体的艺术家。达达在11月于拉各斯设立了自己的空间，但她还在伦敦出版一本年度杂志并经营一个受众日益增长的艺术俱乐部。保持敏捷帮助她继续在艺术界探索——她此前曾全职担任律师——她表示，她注意到伦敦艺术界的协作方式发生了转变。

“我认为，很多时候，现在的画廊意识到，能够真正坚持工作的唯一方法就是共享信息并开始彼此沟通，”达达说道。

她最近在皮姆利科（Pimlico）的一家古董店招募空间，为埃巴科·乌格博杜（Ebako Ugbodu）举办展览，后者是一位通过西非视角探讨酷儿主题的画家和雕塑家。这是该艺术家与达达之间持续合作关系的一部分。

一个永久性的伦敦空间可能会在以后出现，但现在，为什么不利用这座充满历史的城市中一个意想不到的空间呢？人们显然对这种打破常规的方式有需求：在手机屏幕之外接触艺术，共同体验某些事物。“人们一直能感受到缺乏连接的影响，”达达带着标志性的坚定说道，“所以我们试图弥补那些孤独度过的时光。”

乔迪·威廉姆斯（Jody Williams）掌控着纽约一些最抢手的餐桌。她与妻子丽塔·索迪（Rita Sodi，同样备受瞩目的 I Sodi 餐厅的主厨）共同经营着位于西村的 Via Carota 小餐馆，泰勒·斯威夫特（Taylor Swift）和梅丽尔·斯特里普（Meryl Streep）等名流经常光顾于此。她还经营着附近的 Buvette，一家轻松的法式小酒馆，在那里你经常能看到蒂莫西·查拉梅（Timothée Chalamet）在享用早午餐。但这不仅仅关乎明星。威廉姆斯在加利福尼亚长大，通过在意大利和法国的厨房工作学习烹饪，她是一位深思熟虑且热情的故事讲述者，无论是在她餐厅温馨的室内设计，还是在恰到好处的菜单中都能体现。

难怪世界想要更多。Buvette 在巴黎和东京设有受欢迎的分店，现在在伦敦的尼尔之庭（Neal's Yard）也开设了新分店。这里既私密又随意：你可以和好友一起吃个可颂，或者在约会时分享一份红酒炖鸡。“这一切都关乎这段美好的旅程，”威廉姆斯在谈到她的“英国入侵”时说道，“为什么不把它变成一场冒险呢！”

我的深夜零食是涂了黄油的烤面包配鳀鱼。那是我最喜欢的，但通常我只会发发呆，吃点薯片。

早餐大概是……烤面包，从边缘到边缘涂满优质黄油，

撒上一小撮马尔顿盐（Maldon salt）和果酱。

我的下班后晚餐大概是我没吃完的午餐——这就是现实。或者是一些非常轻盈快捷的东西，比如配开心果的法式胡萝卜丝（carottes râpées）。 我最喜欢的约会地点是 Raoul's [一家位于纽约、富有传奇色彩的巴黎风格小酒馆]。实际上，我和丽塔最早的几次约会之一就在那里。

这位常驻纽约的主厨会为了冰淇淋前往罗马（但她在飞机上不会吃太多东西）

作者：Henry Wong

Jody

我最喜欢的点心餐厅是纽约唐人街的 Golden Unicorn。

让我感到挫败的一道菜是舒芙蕾。太精细了。我会操之过急，永远不会精确地称重，也不会足够地打发或翻拌。

我点的咖啡是卡布奇诺。

我最喜欢的连锁店是 Los Tacos No 1。你可以提前一天预订大约 10, 所以也许我会订 10 份，然后大家一起吃塔可。

我记忆最深刻的一餐是在 I Sodi 的第一次用餐，我独自坐在吧台，因为有人说你一定要去这家餐厅吃。那里有一份手写的小菜单——当时是春天——大约有三种不同的芦笋菜肴。那真的是纽约市对意大利美食最好的诠释。

我常点的鸡尾酒是 Negroni。

我常点的鸡尾酒是 Negroni。 我最喜欢的三明治是搭配卷心菜沙拉、瑞士奶酪和那种粉色酱料的熏牛肉三明治。

在飞机上，我不吃东西。我们应该吃吗？我口袋里可能会有一袋花生或杏仁。或者我带了一个苹果。

我最喜欢的饼干是曲奇。

我最喜欢的电视厨师是 Bobby Flay，一个甜心。Jamie Oliver 对我来说也非常酷。

我最喜欢的荧幕美食出现在《黑道家族》（The Sopranos）中。他们将食物巧妙地编织在所有角色之间。

我橱柜里的常备食材是茴香花粉。你可以改变极简食物的复杂程度。

我的周日烤肉是鸡肉、绿叶沙拉，以及手工切块、用大蒜和鼠尾草浅煎的土豆。

我最喜欢的冰淇淋来自罗马的 Il Gelato di San

Williams

Crispino。不允许用蛋筒，只能用杯子和勺子，没有颜色，没有染料，一切都低调而美妙。你会吃到最好的桃子味或最好的开心果味。你会走在罗马某个古怪街区的一座小山坡上，然后在那里停下，那感觉将是极尽精美的。

我的临终大餐是……直接跳到甜点吧。给我拿个蛋糕。

MANOLO BLAHNIK

9 HARRY KANE

SKECHERS PERFORMANCE™

COMFORT THAT PERFORMS

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Counter culture

靠背椅已过时 By Henry Wong

伦敦最时髦的用餐地点在哪里？在一段时间里，是位于梅费尔（Mayfair）的 The Dover，这是马丁·库兹马尔斯基（Martin Kuczmarski）打造的纽约风格热门场所，深受时尚圈、名流以及任何寻找既有排场又性感且食物美味之地的人们喜爱。但如今，答案可能是 Dover Street Counter，这家餐厅最近开设的姊妹店。它就在隔壁，风格更俏皮，而且——我们敢这么说——更有趣。至于桌子？那已经过时了。

“我总是尝试‘倾听’建筑的声音，”库兹马尔斯基在向我介绍这个空间时说道，这里的空间比邻居更长、更窄。因此，吧台式设计就显得合情合理。库兹马尔斯基从 20 世纪 50 年代的洛杉矶餐厅中汲取灵感，他表示自己致力于“重新思考人们通常与吧台用餐联系在一起的所有烦人部分”，例如不舒服的座椅（在最终决定采用一款带扶手的定制设计之前，他测试了大约 11 种不同的凳子）以及尴尬的用餐布局（他说，这里的台缘位置处于“餐桌和传统吧台之间”）。这一点，再加上库兹马尔斯基所谓的“国际化客房服务菜单”（想象一下：芝士汉堡和金枪鱼融化三明治），创造出了一种一流的用餐体验。这就像是在爱德华·霍普（Edward Hopper）的画作中用餐，但没那么压抑。

与我们的欧洲表亲不同，伦敦传统上并不是出产优秀吧台的地方。我们没有罗马那种时髦的浓缩咖啡中转站，也没有巴黎那样随处可见的可以点当日特餐（le plat du jour）的高脚吧台。当然，这座城市也有几个奠基性的例子——比如 Bar Italia 拥挤的台缘、Barrafina 的大理石台面、The Palomar 华丽的台面——但情况可能正在发生变化。同样在梅费尔，有格鲁吉亚餐厅 DakkaDakka，以及位于佩卡姆（Peckham）的亚欧融合餐厅 Hausu。在这两家店的高脚座上，你可以直接看到

Side by side Joon digs Benny's buns

厨房内部。当然，这对厨师来说压力稍微大了一点，但能看到食物是如何准备的，感觉很新鲜。而对于预算有限的食客来说，会有一种感觉，即你支付的不仅仅是食物。这是一种体验。这是一场戏剧。

然而，如果要找一个最适合晚餐约会的地方——无论是纪念日，还是想在第一次约会中给人留下深刻印象——我想不出比东伦敦伊朗-伊拉克餐厅 Logma 那座阳光黄色的吧台更好的选择了。这家小店由法辛·拉比（Farsin Rabiee）和齐亚德·哈卢布（Ziad Halub）于去年共同创立，晚餐必须预约，而他们周三晚上的晚餐俱乐部可能是这座城市最抢手的门票。

而且，并非偶然：挂在吧台对面的倾斜镜子绝对是伦敦最适合拍自拍的地方。拉比告诉我，他以前经常光顾苏豪区（Soho）伊朗餐厅 Berenjak 的吧台，在那里你可以看到厨房并一边用餐一边观察操作。“对于我们的吧台，我们想创造一些略有不同的东西，”他说，“我们在前面放了一面镜子，让客人们面对镜子，这自然地营造出一种更私密的氛围，非常适合约会之夜或浪漫时刻。”

他没说错。无论吧台如何改善用餐体验，它们真正起到的作用是提升对话的质量。你只能两人一组地进行这种交流，这意味着对方要么是亲密好友，要么是非常有趣的追求者。不需要一直保持直接的眼神接触，这会让对话变得像在密谋，有时甚至像在忏悔。最近，在 Logma 的一次晚餐俱乐部活动中，两名坐在公共长桌上的朋友询问工作人员是否可以改坐吧台：他们想要一段属于自己的时光。“氛围，”拉比说道，指出了一个既简单又具有启发性的细节，“确实会根据你坐的位置而改变。”

令人惊叹的发型 1985年身在东京的 乔·邦·乔维

乔恩

音乐人，64岁

我从来不是任何方面的佼佼者。我从未成为伟大的运动员，也从未成为最受女孩欢迎的那个男生。但我总是那个会问“为什么我不能进球队？为什么我不能成为那样的人？”的人。我虽然在任何方面都不是最强的，但我最擅长的是寻找解决办法。

新泽西距离纽约只有35分钟车程。这给了我们：纽约的广播、纽约的电视、纽约的报纸，以及靠近大型演唱会场馆的便利。但成长在郊区同样让我们受益。你可以在远离聚光灯的地方磨练技巧。那时没人关注。

在我17、18岁的时候，我是一个异类。我从未上过大学，甚至从未考虑过。那时人们要么参军，要么从事真正的蓝领工作。但我的父母看到我有一种专注力，所以他们说：“去吧，追逐你的梦想。”他们常说：“我们知道你在酒吧混，而且你还没到法定年龄，但至少我们知道你在哪儿。”

我的母亲曾是一名海军陆战队员，也曾是一名《花花公子》兔女郎。这简直是极端的反差。她会说：“新兵训练营一点都没吓到我。”所以当她说“卡米洛特（Camelot）是真实的，而且你可以登上月球”时，对我来说这就足够了。她在一年半前去世了。她很强悍，有时很麻烦，但我们之间最终达成了真正的和解。

现在，我成了那个在山顶大喊的人：“去吧，追逐吧。”每当看到父母给孩子的梦想设定时间表，或者说“那绝不可能实现”时，我就快疯了。这让我感到非常愤怒。

我们在新泽西很幸运，因为就在街对面就有“耶稣和门徒”般的人物。还在读高中时就能让布鲁斯·斯普林斯汀（Bruce Springsteen）和你一起登台；让南侧约翰尼（Southside Johnny）为我的第一支乐队 The Rest 制作专辑；因为要给 The [Asbury] Jukes 做开场表演而没去参加高中毕业舞会，这简直太酷了。

布鲁斯和我现在是好朋友。但这里不要产生误会：他是新泽西的领军人物。现在依然是。我们仰视他。我不认为自己与他是同辈。

名气越大的人，为人越友善。1981年初，我和我的小乐队刚下出租车。我看到闪光灯，闪光灯，狗仔队。滚石乐队（The Rolling Stones）刚好开车抵达准备进入录音室，摄影师们像往常一样从垃圾桶里跳出来大喊着“米克！米克！”。基思进去了，比尔·怀曼（Bill Wyman）帮着开门，然后米克一把抓住我和我的伙伴们说：“瞧，这是我的新乐队，The Frogs。”为了那张该死的照片，我愿意付出任何代价。

八十年代的风格？我认罪。巨大的垫肩，紧到极致的牛仔裤，短到极致的短裤。但时尚不是我们创造的：那是当时商场里每个孩子穿的样子。人们谈论那种大波浪发型，但其实是因为我父亲是个理发师，所以，你知道的，我的发型看起来很棒。

你无法在写完一首歌时就知道它是否伟大。真的不知道。很多次我都觉得“成了！”，结果错了。而有些歌我起初没听出来。《Livin' on a Prayer》的词、和弦结构和旋律全部写完了，全部完成了。但第二次副歌结尾的高音、最后的转调，以及让整首歌真正出彩的贝斯线，都是在排练时才产生的。所以我之前完全没意识到。

我很庆幸这件事没有太早发生在我们身上。我很庆幸我们出了三张专辑才成功。因为那时我们已经准备好了。我们知道如何巡演，知道如何赢得人们的心。

我也经历过那些陈词滥调般的挥霍：一辆红色法拉利，几辆摩托车；我的第一套房子里摆着黑漆家具，贴着蛇皮壁纸。但在当时，这对我来说绝对合理。

乐队经历过几次挑战期。1990年，我们在精神和身体上都严重疲惫。2000年这种情况再次出现，但这次是正向的，因为当时我拍了很多电影。然后是2013年，里奇（Richie [Sambora]，邦·乔维的吉他手）出了问题且再未回归。而[2024年的]声带手术又是另一段艰难时期。人生有严重的起伏，但这就是真正的职业生涯：有巅峰，亦有低谷。

手术后的恢复时间比我预想的要长得多。这让人很沮丧，因为我并没有做错什么。如果你说：“过去 25 年你把嗓子用废了，这就是后果，”我会说：“没错，你说得对。”但除了手指，从来没有任何东西进过我的鼻子。

很长一段时间里，我们是美国的乐观主义专家。我想说，我们在全球输出乐观主义超过 40 年了。不过过去几年情况变得困难了一些。困难得多。

我父亲四年前中风了，那个混蛋绝不向病魔投降。在接近 87 岁的高龄，他拒绝接受失败。在我傲慢的时候，我以为我的动力和意志是我自己创造的，但自从他中风后，我想：“噢，不不，你这个大傻瓜。看看你从谁那里继承的这些。”

依然存在很多天主教式的愧疚感，但我现在比以往任何时候都更亲近我的信仰。我不向上帝祈求恩惠，但我经常与他对话。

我有一个不可思议的妻子，她比我更强大、更优秀、更聪明。她知道我有“主唱综合征”——总是自我中心——而她能容忍这一点。但我知道什么时候该做一个好的倾听者。

我以前不擅长放松，但我在网球运动中找到了一个简单的发泄口。直到 59 岁我才第一次接触网球拍；现在我每周打四次。我依然打得很烂，但如果我能取得一点点、微小的进步，我就会感到非常快乐。

我是所谓的“领域专家”。我从未成为一名出色的木工、园丁或类似的人。我甚至连灯泡都不会换。但我绝对是最适合被邀请参加晚餐的人。我一点都不会做饭，但我会洗碗。

邦·乔维将于 8 月 28 日起在英国和爱尔兰进行巡演

Esquire

致力于成就更好的男人

Esquire 是英国男性的终极风格指南：在腕表、时尚、理容与文化领域拥有权威地位。我们的存在是为了倡导“更好的男人”，这一使命贯穿于我们所做的一切——从我们合作的撰稿人到我们致敬的封面之星。每一页都致力于帮助您更好地生活、展现更好的形象并成就更好的自我。

TEO VAN DEN BROEKE 总编辑

年费 £39.99

- 包含纸质版与数字化访问权限

- 英国境内直接送货上门

- 可访问 Esquire 档案库

- 可随时取消

特殊的

关系

爆炸性、血腥且出人意料地绚丽，这是描述尼古拉斯·温丁·雷夫恩（Nicolas Winding Refn）独特风格的唯一方式。这位丹麦导演执导了《驾驶》（Drive）和《霓虹恶魔》（The Neon Demon）等现代邪典经典之作。同样地，没有人能像小岛秀夫（Hideo Kojima）那样讲述故事，这位日本电子游戏设计师是《合金装备》（Metal Gear Solid）和《死亡搁浅》（Death Stranding）系列的创作者。有些人甚至声称，在所有人讨论 Covid-19 疫情和大规模监控兴起之前的 19 年，小岛秀夫就预言到了这些现象。

从表面上看，这两位执拗的讲述者似乎截然不同。然而，他们不仅是亲密的朋友，更是才华横溢的合作伙伴。去年，两人共同打造了《卫星》（Satellites），这是意大利时尚品牌普拉达（Prada）年度文化节 Prada Mode 的一部分展览。温丁·雷夫恩在受邀创作一件装置艺术时，确定希望与小岛秀夫共同完成。两人已相识十年，而要在东京共同策划一场展览，还有谁比当地人更合适呢？

随着近期在纽约举办的 Prada Mode 展演，电影导演尼古拉斯·温丁·雷夫（Nicolas Winding Refn）与游戏设计师小岛秀夫（Hideo Kojima）继续他们的宇宙级合作

作者：Josh Osman

《卫星》（Satellites）在普拉达（Prada）青山店展出，其布景灵感来自电影，通过两台复古电视机上显示的两人对话，探讨了沟通与集体体验的概念。近期在 6 月，他们在纽约的 Prada Mode 展演中创作了第二个迭代版本——《卫星 II》（Satellites II）。这一次，他们接管了切尔西酒店（The Chelsea Hotel）举办展览，探讨了类似的主题，但规模更大，正如他们在此所解释的。

小岛秀夫：我们大概在 12 年前第一次见面。从那时起，我们开始一起共进晚餐，关系变得非常亲密。我们创作的东西完全不同，但作为创作者，我们说着同样的语言。当我们见面时，感觉并不像是在协作，而像是在玩耍。即使在创作《卫星》时，我们也真的只是在普拉达那里玩闹。那就是当时的感觉。尼古拉斯·温丁·雷夫：我们的关系就像一段非性关系的婚姻。存在着相互的尊重和理解，但同时也意识到彼此都是拥有各自奥德赛之旅的个体。协作是很微妙的，因为我们两个都非常有主见，且对自己想要创作的东西有清晰的愿景，我们非常尊重这个过程，因此不想强行推进。

HK：《卫星》是一次实验：我们设置了一个电视频道、一个舞台、一座电影院和一家餐厅。这些都是我孩提时代的技术，但年轻一代拥有智能手机，可以同时获取所有信息。他们体验技术的方式不同。我不希望人们仅仅是对过去感到怀旧，而是希望他们能以此思考未来：20 或 30 年后，沟通会变成什么样子？

NWR：当《卫星 II》来到纽约时——讽刺的是，那里是我成长的地方——它开始构建一种叙事，即前往彼此的过去，像窥视者一样去体验。我们需要将其扩展，因此我们引入了 Prada Mode 节庆的所有元素，包括音乐、体验和讲座。

HK：任何不是来自东京的人都梦想来到东京并大展宏图。一旦他们征服了东京，他们会想要更宏大的目标。如果说东京是日本的中心，那么纽约就是世界的中心。接下来，我们得思考宇宙的中心。那可能是国际空间站（ISS）、月球或一艘宇宙飞船。

NWR：我有一种预感，我们最终可能会在土星上。HK：土星的某颗卫星可能会更合适。

RITUALS

RITUALS...

男士 面部防护霜 crème visage SPF 20 / 烟酰胺 + 维生素 E

你的肌肤将永远感激你

Renan Pacheco 我们最喜爱的演员

新款 SPF 20 面霜

Look better, think better, be better: your manual for stylish living （外在更美，思考更深，成就更好：你的时尚生活指南）

编辑：Nick Pope

墨西哥美食

（带点创意）

在圣地亚哥·拉斯特拉（Santiago Lastra）的新食谱《墨西哥之魂》（Mexican Soul，现已出版）中，这位 Kol 和 Fonda 的主厨将一系列食谱汇编在一起，将英国的日常食材与传统的地区美食相结合。在这里，拉斯特拉准备了两道简单的菜肴，值得将其加入你的工作日晚餐轮换清单中。

腰果莫莱酱 (CASHEW MOLE)

通常情况下，莫莱酱（mole）是一道菜的主体成分之一，这与莎莎酱（salsa）不同——后者是一种次要的添加物，由用餐者根据个人喜好决定是否添加。这款腰果莫莱酱能为任何质地浓郁的菜肴（如生鱼、熟鱼或海鲜）增添奶油般顺滑、带有坚果香气且辛辣的收尾。我最喜欢这款莫莱酱的一点是它的多功能性。它可以冷食或热食；我尤其喜欢将其用作海鲜的腌料，因为在烹饪时，它能在蛋白质表面形成一层漂亮的焦壳。

分量：250g

100g 腰果 1tsp 植物油 2g 干指天椒（或根据口味调整） 45g 烤洋葱 2 瓣烤大蒜 1tsp 开延辣椒粉 (cayenne pepper) 90ml 水 海盐片

制作方法

将烤箱预热至 $200^{\circ}$ C（风扇模式）。

将腰果放在烤盘上，在烤箱中烘烤 4 分钟，然后取出备用。

用中火加热平底锅中的油，将辣椒烘烤 2 分钟。

倒入食物处理器中，加入腰果和所有剩余食材，搅拌至顺滑。如果你想控制辣度，可以逐颗加入辣椒。 存放在冰箱中（每件产品均可找到）。

存放在冰箱中（可保存 3-4 天），食用前搅拌均匀。

腌制海鲈鱼配大黄根塞维切 (CURED SEABASS AND RHUBARB CEVICHE)

塞维切（Ceviches）在整个墨西哥都被食用。虽然其起源通常被归功于秘鲁或菲律宾，但墨西哥的塞维切往往比秘鲁或亚洲的同类菜肴更辣。这类菜肴最常使用肉质丰满的鱼类，通过在柑橘汁混合液中腌制，使鱼肉呈现出弹牙的质感；根据当地新鲜食材的不同，也可以用虾、蛤蜊或章鱼来制作。你应该保持鱼块或海鲜块较大的尺寸，以便品鉴其质感，且柑橘类食材应包含甜味来源，以平衡酸度和辣味。

分量：4 人份

350g 海鲈鱼柳< / td><>酱汁配料< / >< / tr><><>300g 精盐< / ><>250g 大黄根，粗切< / >< / ><><>180g 细砂糖 (caster sugar)< / ><>100g 黄瓜，粗切< / >< / ><><>100g 大黄根，切成< / ><>3 颗完整干指天椒，或 1tsp 辣椒碎< / >< / ><><>1cm 方块< / ><>< / >< / ><><> $\frac{1}{4}$ 份量 腰果莫莱酱< / ><>100ml 青柠汁（约 3 个青柠）< / >< / ><><>4tsp 橄榄油< / ><>< / >< / ><><>10g 香菜叶或细叶芹叶< / ><>150ml 水< / >< / ><><>海盐片< / ><>海盐片< / >< / table>

制作方法

首先制作酱汁。将所有配料放入食物处理器中搅拌至顺滑，然后通过细筛过滤，存放在冰箱中备用。

将海鲈鱼与盐和 150g 砂糖放入容器中混合，盖好，放入冰箱腌制 15 分钟。腌制完成后，轻轻冲洗掉盐和糖。

将腌制好的海鲈鱼切成 1cm 的方块，放入冰箱冷藏。在一个大碗中，将切好的大黄根与剩余的 30g（2 汤匙）砂糖混合，在室温下腌制 30 分钟。腌制完成后，准备蒸锅，将大黄根蒸 3 分钟。待蒸好的大黄根冷却后，存放在冰箱中直到准备上桌。

放入冰箱直到准备上桌。在盛菜盘上铺上腰果莫莱酱，覆盖盘子的大部分区域。将切丁的海鲈鱼和大黄根摆在上面，然后在上桌前，淋上酱汁，最后点缀橄榄油、香菜叶并撒上少许海盐片。在室温下食用。

如何将一盘食物变成一件艺术品

（根据 约塔姆·奥托伦吉 的观点）

选择合适的画布

在我的职业生涯中，我扮演着多种角色，而最让我兴奋的一项——我知道，我可能不应该这样挑剔——就是编写食谱书。在编写书籍的过程中，有一个绝对的高光时刻：拍摄。在为期 3 周的关键时间里，我们将两年扎实的食谱研发转化为一系列诱人的图像，而这正是我大显身手的时候（本质上是以食物造型师的身份）。

我想起最新一本书《Simple Too》中的一张照片：一个跨页双页展页，画面中是配有味噌、橄榄和松子的烤芦笋——盛在一个带有精致叶绿色边缘图案的复古椭圆形白碗中——旁边是一堆焦香的四季豆，配以柑橘味酱汁和碎芝麻，盛在一个橄榄绿的陶瓷盘里；既现代又质朴。这一切组合在一起，就像是对“绿色”的一种研究。

这种美感——不那么刻意，更偏向于日常的有机感——也是我在家中尝试创造的东西。有时，为了激发烹饪灵感，我会先选择想要用来盛装的盘子。我的收藏非常杂糅：有旅行带回的器皿，也有几件我在陶艺课上制作的作品（当时我的热情远高于技巧）。还有一些来自跳蚤市场的心头好——它们不配套，且承载着我永远无法知晓的历史。

留出足够的空间

同样的理念也适用于工作。在我们的伦敦熟食店里，我们使用带有宽边的大盘子，在食物周围创造负空间。留白越多，菜肴看起来就越丰盛。如果盘子被填满到边缘，会给人一种局促感。而同样分量的食物放在更大的表面上，周围有呼吸空间，则会像一场盛宴。克制——即：少即是多——往往能传达更多信息。

约塔姆带来风味

美丽的混沌 奥托伦吉的四季豆与芦笋

停止过度整理

我看到最常见的错误就是想要把一切都弄得整整齐齐。整洁并不是目标。目标是丰盈，而丰盈看起来应该是略带混沌的。一旦能看出刻意地痕迹，事情就出错了。在我的芦笋和四季豆碗周围，有一些散落的芝麻、一个装着酱汁的炖锅、一个盛菜盘——一切都忠实于那一刻的状态。

考虑色彩

一道菜可以有调味和质感，但如果看起来暗淡无光，就很难称其为完工。浅色、奶油色的菜肴需要在顶部点缀一些深色或鲜艳的元素；浓郁的棕色炖菜则需要一些绿色且充满生机的点缀。色彩应该告诉你你正在吃什么。

分层是关键

尤其是对于沙拉和烤盘菜，我会采用分层法。首先是基础层：谷物、烤蔬菜或厚厚的一层铺底。中间层增加浓郁感，且绝不能均匀铺开（这就是“溅洒勺”发挥作用的地方：一种带孔的金属盛菜勺，将其悬在盘子上方，轻轻敲击手背，使奶油状元素以一种看似偶然实则深思熟虑的方式散落）。最后是顶层点缀：完整的香草叶、淋上一圈能捕捉光线的优质橄榄油（如果有调味油更好）。撒上一把苏马克、黑芝麻或阿勒颇辣椒，在增加风味的同时点亮色彩。

不要过于矜持

食物应该看起来像食物。一旦它开始看起来像一幅静物画，它就失去了最初让它值得被食用的特质。下次当你准备再添加一个元素时——请停手。

约塔姆·奥托伦吉的《Simple Too》将于 9 月 3 日发行

如何避免晚餐派对崩溃

（根据圣地亚哥·拉斯特拉的建议）

最好的菜肴是那些尝起来能让人感觉到烹饪者享受其中之作。享受过程的方法就是在不同阶段进行品尝。在烹饪时品尝它。食物——以及在某种程度上，艺术——最令人惊叹的事情之一就是食材如何融合在一起。我认为这能让你不再钻牛角尖。你不再思考：“天呐，人们会怎么说？”或者担心所有事情，而是变得像：“天呐，我真的很享受这个。”烹饪有点像绘画。你先画背景，然后是山脉，接着是河流，最后是主菜。活在过程中。

升级你的味觉

（根据《如何品味》作者曼迪·纳格利奇的建议）

接受苦涩的真相

“超级品味者”（super taster）这个词具有误导性。它类似于“近视”这样的分类：完全由一个人的基因决定，与天赋或专业知识无关。大约 25% 的人口是超级品味者，这意味着他们拥有一种特定的基因 TAS2R38，使他们能够品尝出某些苦味化合物。这通常使他们成为挑食者。另外 50% 是“品味者”，具有平均水平的苦味敏感度。最后的 25% 是“非品味者”，苦味敏感度极低，且倾向于成为冒险的食客。

进行薄荷测试

判断敏感度的一个简单迹象是薄荷。超级品味者倾向于拥有更多的“触觉受体”，这使他们对辛辣感和清凉感很敏感。如果薄荷糖让你觉得刺激甚至近乎疼痛，那么你体验大多数食物的强度比其他人更高。另一个迹象是味觉疲劳快：敏感的味觉通常在吃几口之后就准备尝试其他食物。

味觉是可以训练的

你绝对可以通过训练成为一名更好的品味者。简单的练习，比如关注咖啡的香气，或者说出你在酱汁中品尝到的香料名称，随着时间的推移会改变大脑的形态。几天的练习，或者几周时间每天嗅闻和品尝几样东西，能让人们明显地成为更好的品味者。

一个可靠的测试是使用一条对照条和一条涂有苦味化合物的测试条，只有超级品味者对此极其敏感。但味觉是完全可以训练的。把香气想象成闪卡。闻咖啡并说“咖啡”。嗅你的香料架并说“肉桂”、“红椒粉”、“牛至”。盲品一杯风味独特的拿铁或复杂的鸡尾酒。或者比较两种绿茶：草本感、木质皮感、花香感、丝滑感、涩感。

但练习是有极限的

许多味觉与我们的基因绑定。如果你没有 TAS2R38 基因，你无法训练自己去感知那些特定的苦味化合物。如果你天生没有特定的嗅觉受体 OR5A1，你就闻不到紫罗兰的主要香气。此外，还有一种感知雄烯酮（androstenone）的基因 OR7D4：那是汗湿健身袜的味道。

顺着你的鼻子走

如果我们试图精准定位那些特别擅长识别风味的人，我们真正需要的是“超级嗅觉者”，因为我们感知到的风味中大约 80% 来自于嗅觉。

人类 DNA 中大约 20% 致力于解码香气。任何人都可以成为一名流利的品味者。这只需要练习、经验和自信。

如何开牡蛎

在家里……开牡蛎？这是可能的，但乐趣的一半在于亲手开启你所吃的东西，而对于外行来说，这可能是一场危险的游戏。只要确保你的客人们知道自己在做什么。告诉他们这个：

1. 固定牡蛎

将牡蛎放在桌上。拿一条毛巾，用它用力压住牡蛎。使用牡蛎刀撬入铰链处（即两壳连接处）。

2. 扭转并撬开

扭转刀具，直到听到“啪”的一声。 将刀尖向上倾斜，在壳内移动以切断连接肌肉。

3. 打开并享用

用大拇指将壳完全打开。加入塔巴斯科辣酱、柠檬或加入切碎的干葱的红酒醋（即所谓的 mignonette 酱汁）。尽量不要发出吸溜声。

今秋必看

SANLÉ SORY, COLOUR YEARS

摄影师画廊（The Photographers' Gallery），14 October–21 February

这是一个近距离欣赏布基纳法索摄影师罕见的彩色照片的机会，捕捉了 20 世纪 70 和 80 年代后殖民时期布基纳法索生动的时尚与夜生活。

照片：Sanlé Sory Voita Photo Studio, Bobo-Dioulasso, Burkina Faso。娜奥米·坎贝尔身着 Vivienne Westwood AW94 'On Liberty' 系列。Juergen Teller 拍摄的 'Young Pink Kate London' (1998)，Nan Goldin 拍摄的 'Young Love' (2024)

THE 90S: ART AND FASHION 泰特英国馆（Tate Britain），8 October–14 February

前《Vogue》主编 Edward Enninful 带领我们回顾那个变革之十年，展出近 70 位具有颠覆性的艺术家、摄影师和设计师的作品，涵盖从青年英国艺术家（YBAs）到 Juergen Teller 和 Alexander McQueen。

南·戈尔丁，你从未做错任何事

海沃德美术馆，南岸中心，11月24日–3月7日

这位美国艺术家的首次机构展览（自2002年以来）由两部全新的影像作品和大量新照片组成，以其标志性的亲密方式探讨成瘾、政治激进主义和酷儿生活。

书籍 你的咖啡桌 现在就想要

Ministry of Sound 选集

MINISTRY OF SOUND (ANTHOLOGY) 发行日期：10月20日

通过舞池照片、浩室音乐（house-music）文物以及关于过去的“那是另一个时代”的故事，创意总监西蒙·摩尔（Simon Moore）揭示了一座废弃仓库是如何成为伦敦顶级俱乐部之一的。

路易威登

LOUIS VUITTON EDITION

发行日期：10月12日 出版商：Helmin Publishing

一场图文并茂的旅程，回顾这家标志性时尚之家的历史，从其作为巴黎箱包制造商的创立之初，一直到现任男装创意总监法瑞尔·威廉姆斯（Pharrell Williams）的统治时期。

绘制 法国里维埃拉

发行日期：现已发行 出版商：皇家艺术学院

法国的地中海海岸激发了历史上许多最伟大艺术家的无数画作，这并不令人惊讶。本系列汇集了马蒂斯、毕加索和克莱因等大师的作品。

卡罗琳·伊莎（Caroline Issa）是《Esquire》的驻场衣橱管家，也是英国最时尚的女性。本期主题：如何为你的造型注入艺术感

作为本杂志的读者，我知道你明白时尚与艺术并非远亲，而是自我呈现这一事业中的亲密合作伙伴。如果你关注本季的动态，你会注意到普拉达（Prada）2026年春夏系列的广告活动——这是一次关于奢侈时尚品牌如何利用当代艺术家来重新定义“穿着一个系列”之含义的示范课。缪齐亚·普拉达（Miuccia Prada）和拉夫·西蒙斯（Raf Simons）邀请安妮·科利尔（Anne Collier）来审视我们与时尚影像本身的关系，而乔丹·沃尔夫森（Jordan Wolfson）的机械动画梦境则将此次广告活动变成了一个更像画廊装置而非传统广告的作品。普拉达长期以来一直是扩展时尚宇宙的旗手，为不同媒介的艺术家能为我们的衣橱带来什么留出空间。

但如果你认真地想要理解时尚在何处与文化遗产（以及收藏价值）相遇，那么最近格蕾丝·威尔士·邦纳（Grace Wales Bonner）的 A / W 25 Selah 系列应该引起你的注意。她与艺术家西奥斯特·盖茨（Theaster Gates）的合作直接借鉴了“黑色图像公司”（The Black Image Corporation）——这是盖茨一个长达十年的项目，旨在利用标志性的《Ebony》和《Jet》杂志档案。结果如何？出现了采用莫内塔·斯利特二世（Moneta Sleet Jr）和艾萨克·萨顿（Isaac Sutton）摄影作品的牛仔提花和钴蓝色印花——这些单品既是无可挑剔的剪裁之作，也是可穿着的文化评论。我敢打赌，一些精明的买家会买两件：一件用来穿，另一件用来装裱。

现在，我意识到并非每个男人在周二早晨都有能力（或者坦白说，没有意愿）在胸前穿着档案摄影作品。但问题在于：艺术日程表为你的衣橱提供了在预期之外进行重新调整的天然机会。无论你是参加威尼斯双年展的派对，逛 Frieze London 艺术博览会，还是仅仅会见一位恰好收藏当代雕塑的客户，这些时刻都要求一种更深思熟虑的着装方式，一种在不至于变成“角色扮演”的前提下，能够传递出文化素养的风格。

[...OMITTED...]

请将此视为一种许可，让你去探索那些运用艺术思维的单品，而不会显得像个“时尚牺牲品”。一件三宅一生（Issey Miyake）的衬衫凭借其标志性的面料处理，提供了极具质感的趣味，给人以洗练而非张扬之感——其褶皱工艺与结构创新传递出一种对工艺的欣赏，而这正是艺术界人士能立即识别的特质。同样，一件点缀着宝石纽扣的 God’s True 羊绒衫能提供那种微妙且出人意料的亮点——它确实奢华，但同时也证明你明白细节的重要性。

这种与艺术接轨的穿搭之美在于，它允许你在不放弃良好品味之基础的前提下，传递出对知识的好奇心。你并非在重塑自己的整体审美，而仅仅是引入一些经过深思熟虑的元素，来提升你的日常造型。一件来自 Qasimi 季度艺术家联名系列的印花衬衫，能与你现有的西装裤完美搭配。一款限量版包袋或一条爱马仕（Hermès）丝巾则成了无需解释的谈资——它本身就是一种表达。

最后我想给出的建议是：那些艺术家联名单品——印花衬衫、限量版配饰，甚至是这些文化合作项目中的珠宝——并非轻率的消费。它们是对衣橱的投资，反映出一个人与世界更广泛的接轨。当爱马仕与艺术家合作推出限量版丝巾时，它们在几分钟内便被抢购一空，这证明了这些单品同时具有文化价值和财务价值。审慎购买，自信穿着，并记住，那些穿着最出色的男性，是那些明白艺术并非仅仅挂在墙上的东西——而是你可以随身携带的东西。

顶部：Grace Wales Bonner A / W 25 Selah 系列造型。上方：S / S 26 普拉达（Prada）秀场 上方：S / S 25 Qasimi 秀场

穿衣艺术

秋季衣橱

维护指南

雨伞

修理：如果雨伞价值较高。国内仍有少数几家专业店（如 James Smith & Sons）可以修理你心爱的雨伞——无论损坏程度如何。

更换：如果打开或关闭雨伞需要超过 30 秒。 升级：如果只要不是飓风天气，雨伞就会被吹翻。

手套

修理：如果皮革干燥需要重新保养，或者接缝处有洞。

更换：如果其他地方也出现了破洞。

升级：如果是连指手套（mittens）。

袜子

修理：如果是羊绒材质，请学习缝补。如果不是，请直接扔进垃圾桶。 更换：一旦出现破洞就更换。或者如果连续两次洗涤后仍找不到配对的那只。或者如果弹性已经失效。 升级：如果颜色暗淡，或主要由腈纶和涤纶制成。（建议选择羊毛或羊毛丝绸混纺材质。）

外套

修理：如果纽扣缺失或内衬撕裂，请立即去找裁缝。更换：如果裁缝只是茫然地看着你，因为损坏程度已无法修复。升级：如果内衬是粘合在面料上的而非缝制的。

针织衫

修理：如果沾染污渍，请送到干洗店。如果接缝处有洞，请尝试找裁缝。如果开始脱线，请剪断线头。（绝对不要用力拉扯。） 更换：如果

更换：如果有飞蛾蛀蚀的迹象（除非你采纳 Style Shrink 的建议，将破洞的针织衫重新利用为俏皮的围巾）。或者如果毛衣被撑大或缩水。 升级：如果是棉质或腈纶材质。

裤装

修理：如果口袋破了洞。 更换：如果拉链坏了——这项服务的费用通常比卷边要贵得多。或者如果臀部或裆部开始磨损，而且，咳，开始走光。 升级：如果是靴型裤（boot-cut）。

鞋类

修理：如果鞋底有洞或鞋底与鞋身脱离。（这就是为什么认识一个优秀的鞋匠很有用。） 更换：如果皮革开裂，或者你已经更换了三次鞋底。 升级：如果是方头鞋。

BREW

护肤不应在就寝时停止

哈里斯·里德（Harris Reed），设计师：“关键在于眼霜和丝绸眼罩——这些是不可或缺的。”

丝绸睡眠眼罩，£40，Bonsoir of London

投资韩国产品

索尔·纳什（Saul Nash），男装设计师

“索尔·纳什：韩国护肤品就是一切。我使用 Reedle Shot 100 面膜——我很喜欢它们，它们能让我的皮肤焕发光彩。不过我认为很重要的一点是，不要给皮肤带来太多负担——我的皮肤是混合性（面部不同区域状况不同）偏油性，所以我尽量不过多触摸脸部，也不涂抹过多产品。”

六个护肤课题

根据我们认识的最有光彩的人们的建议

你本应在昨天就学会的

African Botanics 猴面包树粘土氧气洁面乳，£63

不要让油脂获胜

齐亚德·哈卢布（Ziad Halub），位于哈克尼（Hackney）的伊朗-伊拉克咖啡小馆 Logma 的共同所有者

“在闷热黏腻的一天之后，你的皮肤需要帮助。汗水、死皮、防晒霜、污染和城市的普遍污垢会堆积成一层脏物。一款好的泡沫洁面乳，且不会过度剥离皮肤水分的产品至关重要。你追求的是清新感，而不是干涩的吱吱声。我目前非常喜欢 African Botanics 的猴面包树粘土氧气洁面乳。”

防晒是必须的

Marc Terlet，法国男士护理品牌 Horace 联合创始人

“一套有效的护肤流程起码包括洗脸、涂抹保湿霜，然后是防晒霜。使用带有 SPF 指数的保湿保湿霜可以让流程更简单，但记得每隔几小时重新涂抹一次。阳光导致了 80% 的皮肤衰老。想象一下，如果你从 20 岁起每天都使用防晒霜，现在看起来会有多年轻？”

Horace 哑光面部 保湿霜 SPF30, £19

胡茬是有代价的

卡罗琳·海伦斯（Caroline Hirons）， 美容专家兼作家

“男性的皮肤稍厚，且绝大多数男性每天剃须，如果操作不当，这会引发一系列问题。使用正确的工具和产品至关重要：剃须油、面部剃须产品、剃须后保湿霜……许多胡须较浓的男性也可以通过使用每日酸类去角质产品来防止内生毛。”卡罗琳·海伦斯的《Skin Rules》将于 10 月 20 日出版

果酸 3% 去角质爽肤水 14.5 Gyolipid, Glomer of Impression (Bent, Bant, Tarix, and Community agents) Ternique Enaligant & Oxide Glycolique 2% Lys Torque Qualification and clinical trial Tertes in Brering's Lutresquiter and

The Ordinary 果酸 7% 去角质爽肤水, £8

疼痛并非获益

理查德·德文医生（Dr Richard Devine），美容医生兼 Devine Clinic 创始人

“一款有效的产品不应该让你的皮肤感到持续发红、疼痛、发痒或发炎。使用某些活性成分时可能会出现轻微的适应期，但持续的不适通常意味着皮肤屏障正在受到刺激而非得到改善。如果红肿、灼热感或敏感在最初几次使用后仍然存在，通常值得降低使用频率，或重新评估该产品是否适合你的皮肤。”

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“Get a Grip” 作者：Daniel Davis。摄影：Laurent Bentil, Alex Bramall, Rocks, Halub, Iorgis Matyassy, Ashley Verse, Getty Images

掌控局面

（关于你的健康）

从孩童时期抓握父母的手指，到成年后牵起爱人的手，“抓握”是我们一生都在做的事情。但我们的握力也是预测寿命长短的一个绝佳指标。《台湾医学会杂志》（Journal of the Formosan Medical Association）发表的一项研究报告称，握力不足与心血管疾病导致的死亡风险增加相关。另一项近期研究则揭示，握力比身体质量或体重更能有效预示全因死亡率。在实验室中，握力是通过一种名为测力计的设备来测试的，当你全力挤压时，它会测量手部和前臂产生的力量。如果没有这种设备，一种简单的衡量握力的方法是挤压一个网球 15 到 30 秒，并保持恒定的压力。那么，如何提高握力呢？《Men's Health》健身总监安德鲁·特雷西（Andrew Tracey）建议将死吊（dead hangs）纳入热身和冷身环节，并在体能训练课中加入重负荷农夫行走（即双手各持哑铃行走）。他说：“如果你在进行大重量举重时使用助力带，请在握力成为限制因素之前不要使用它们。”这样做将确保你的硬拉个人纪录（PR）和预期寿命都处于足够安全且强有力的掌控之中。

睡前仪式

“睡眠卫生”是指你在上床前执行的仪式，旨在确保一夜好眠。如果你入睡时间过长、半夜醒来或白天感到昏昏欲睡，请尝试以下流程，你将能像服用过 Night Nurse 药剂一样睡得像块木头一样沉。

放弃睡前酒 酒精会让你感到困倦， 所以你可能认为它有助于睡眠， 但实际上它会干扰你的睡眠周期， 并可能导致你在几小时后醒来。

睡前一小时断电 屏幕发出的光会向大脑发送信号，让你保持清醒。

运动，但不要在睡前 锻炼能让你在夜间睡得更好， 只要你在上床睡觉前 两小时以上完成运动。

设定睡眠时间 熬夜后通过赖床来补觉是一个误区； 作息不规律实际上会损害你的睡眠周期。

不要在床上闲逛 你需要让身体在潜意识中将床与睡眠联系起来，因此尽量不要在床上闲逛观看电视、使用笔记本电脑工作或阅读。

切断咖啡因 睡前四到六小时，停止摄入咖啡因以及辛辣或高糖食物。

不要强迫入睡

你只会感到沮丧和不安。请到另一个房间阅读，直到产生困意。

安德鲁·加菲尔德是一个正在进化中的作品

如果你曾在杂志上读过名人专访，尤其是像本刊这样的男性杂志，你就会知道这里面是有套路的。首先是一个标题：得有力道且直接；勉强来说，可能得带点俗气；它得让你感觉到，你正在采访的这个人——出于各种原因，目前通常是个男人——是个举足轻重的人物。

这次专访的对象是安德鲁·加菲尔德，这位 43 岁的英美双籍演员以敏感、投入著称，且拥有一种精准的天赋，能让观众对他饰演的角色产生共情与喜爱。他饰演的角色包括：在 2010 年大卫·芬奇执导的《社交网络》中被马克·扎克伯格坑惨了的 Facebook 联合创始人爱德华·萨夫林；在 2016 年梅尔·吉布森执导的残酷二战剧作《血战钢锯岭》中担任拒绝服兵役的军医德斯蒙德·多斯；以及在托比·马奎尔和汤姆·霍兰德之间，担任我们最近三任“蜘蛛侠”中的中间那位。

因此，为了拙劣地模仿盖·塔莱斯 1966 年在《Esquire》上发表的那篇《弗兰克·辛纳特拉感冒了》，你可能会选择一些温暖且亲切的标题，比如：“安德鲁·加菲尔德感触颇深”或“安德鲁·加菲尔德就在你身边”。但那是如果你在写“旧版”安德鲁·加菲尔德的话；显然，你现在写的是“现版”安德鲁·加菲尔德，所以你必须推动故事向前发展。你需要他的个人轨迹发生转折，需要他的职业生涯进入某个新生阶段，如果还没有，那你得凭空构思一个。

于是你开始梳理他近期及即将开展的项目——在卢卡·瓜达尼诺的新电影中饰演 OpenAI 首席执行官萨姆·奥特曼；在保罗·格林拉斯关于农民起义的硬核正剧中担纲主演——试图寻找一条能带来新鲜感的叙事主线。也许你会赋予他一种更阴暗、更扭曲的棱角，从而得出类似这样的标题：“安德鲁·加菲尔德不再扮演好人”或“安德鲁·加菲尔德正风头正劲”。好吧，这算是个开始。

II 引言

安德鲁·加菲尔德深谙此道，他很清楚采访的运作机制，因为在二十年的职业成名生涯中，他已经参加过相当多次采访了。事实上，在英国电影学院（BFI）的咖啡馆见面几分钟后，他便主动提出了这个话题——打破了“第四面墙”，让我陷入被动（这是他的主意，在我看来，这就像一只狮子建议在伦敦动物园约会；或者，为了呼应他另一个即将开展的项目，像一只老虎）。

我在角落的一张低桌旁找到了他。他戴着一顶来自日本品牌 Freshservice 的棒球帽，穿着一件印有“Zephyr Competition Team”字样的 T 恤（像是 70 年代滑板手的风格），下身则是一条条纹状的、像凯西·琼斯火车司机那样的面料长裤。他表现得极具亲和力：他支付了我们的饮料费（虽然只是几瓶矿泉水，但即便如此），还帮我拍松了沙发垫。他刚从柏林回来，在那里完成了《野兽》（Wild Things）的拍摄，这是一部关于德国魔术师兼动物驯养师组合——齐格弗里德和罗伊（Siegfried and Roy）的迷你剧。“所以我现在状态有点不稳，”他说。加菲尔德饰演的是负责大猫的罗伊，为此他的头发长到了肩膀，而且——这次不再用老虎做类比——确实像狮子一样浓密。

我们聊了聊天气：最近笼罩在伦敦上空的诡异且阴沉的灰色——现在是六月初——这影响了昨晚的睡眠（好吧，这只能算勉强地聊聊：“胸口有一种奇怪的压迫感，”他说，“我当时在想，我是不是心脏病发作了！”）。

然后，他突然想知道：我这篇文章的切入点是什么？我的计划是什么？

我诚实地告诉他，在我采访过的人中，还没有人问过我这个问题。

“但这很有趣，这是一个很棒的游戏！”他说，“这就是通用语言——寻找叙事，寻找故事。这就是为什么我依然能面对这些事情，而不会完全逃避或躲起来。”

我说，我原以为他是受合同约束必须这么做的；这类采访被写进了电影合同里。这就像我的工作一样，也是他工作的一部分。

“据我所知并非如此，不过这可能是我真的太无知了，”他说道，似乎在认真思考这个问题，随后他转换了话题。“乔治·蒙比奥（George Monbiot）有一个概念叫‘名人简介指数’（The Celebrity Profile Index），即你可以通过名人占据的专栏篇幅来判断一个文化的病态程度。”

我无力地反驳道，在如今这个由名人驱动的 Instagram 垃圾信息时代，演员的深度报道看起来反而相对具有启发性。

“关键在于比例，在于比率，”他说，情绪变得激动起来，并且字面意义上地——就像他那位准 Facebook 同事谢丽尔·桑德伯格（Sheryl Sandberg）曾经主张的那样——身体前倾地靠近我。“作为一种文化，我们关注的是什么？是重要事项，还是分心之举？我不介意成为分心之举的一部分，但我更希望成为某种能与饥渴灵魂对话的事物的一部分。”

看来，“安德鲁·加菲尔德保持轻松”这个标题绝对被毙了。那么，“安德鲁·加菲尔德与饥渴灵魂对话”？我们开始有方向了。

III

第一个项目：《起义》（THE UPRISING）

我们非正式地被要求谈论的第一个项目——也是一个与本篇报道出版时间最接近的项目——是《起义》（The Uprising）。这是一部由保罗·格林格拉斯（Paul Greengrass）执导的新电影，这位英国导演曾执导过《联合 93》以及三部《谍影重重》（Bourne）系列电影。

在《起义》中，加菲尔德饰演普劳曼（Ploughman），一个虚构的普通农民。他的妻儿在黑死病中丧生，而当国王的爪牙为了资助对外战争而前来征收更多税款时，他发现反抗自己已没什么可失去的。普劳曼的行为——事实证明，他使用镰刀的方式不止一种——使他成为了一个图腾式的人物，最终引发了 1381, 年的农民起义，在那场起义中，约翰·鲍尔（John Ball）宣扬反叛，而沃特·泰勒（Wat Tyler）被斩首。这是一个关于权力滥用、民粹主义的多变性以及范式转移的故事，而且这个故事似乎在加菲尔德心中引起了深切的共鸣。

“那个时期的真相是，”他说，“劳动阶层处于残酷的生存条件下，瘟疫后的税收极其沉重，政府无能，行径恶劣，而底层阶级在掌权者眼中被视为亚人类。”

那么，这些现象并非中世纪所特有？这一切听起来非常……现代。

“是的，在这里，在美国，以及全世界，”加菲尔德赞同道。“这部电影酷的一点在于，它有点像一个罗夏墨迹测试。许多政治立场不同的人都会说：‘噢，这就是我！’我们会进入非常危险的领域——如果不能将[英国极右翼活动人士]汤米·罗宾逊（Tommy Robinson）的行为视为卑劣之举，那就是无知——但我确信有一群人在看这部电影时会说：‘英格兰优先！我们怎么说？’从这个角度来看，这将非常有趣。”

“如果这部作品的核心有一根纯粹的脊梁，一条纯粹的主线，”他继续说道，“那就是一群人环顾四周，意识到‘丹麦王国出了问题，而且一直有问题，而我们被告知这就是生活原本的样子’。一种真正的觉醒正在发生，是对自身尊严的觉醒，是对每一个生命尊严的觉醒，随之而来的是让世界回归正轨的追求。在拍摄[这部电影]过程中，最令人振奋和兴奋的是这种正义的可能性，这种治愈的可能性。”

如果你之前读过这类人物专访，你就会知道，向与采访对象有过职业往来的人征询意见是惯例。因此，我与格林格拉斯聊了聊《起义》，以及他为什么选择加菲尔德来饰演普劳曼。在一次视频通话中，导演赞扬了加菲尔德的“高智商、热情、信任、幽默感，以及纯粹的勇气和决心”；在格林格拉斯眼中，他完全处于伟大演员的星群之列。

“我很幸运能与一些真正伟大的演员合作，”他说。“早年是马特·达蒙（Matt Damon），最近是汤姆·汉克斯（Tom Hanks）和马修·麦康纳（Matthew McConaughey），现在是安德鲁。他们都兼具极强的力量感与脆弱感，而安德鲁身上这种特质非常明显。当安德鲁陷入战斗时，你会相信他能行，但他也拥有温柔，这根植于他的灵魂和情感构成之中。这两者的碰撞使他成为一名伟大的领衔主演。这回答了你的问题吗？”

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谢谢你，保罗，回答了。

IV 早期背景

一个项目结束了，我告诉加菲尔德，现在是时候聊聊一些传记方面的内容了。

“母亲是英国人父亲是美国人出生在美国成长在英国，”他快速地说道，语速正如这段文字看起来那样急促。“每一篇人物简介都像这样：‘出生于英国母亲和美国父亲之间……’”

没错，我说，但你不能假设……

“……每个人都读过之前的那些。”

他至今仍由同一位经纪人代理：“我是一个习惯性很强的人，”他说，“我喜欢与人建立长期且亲密的关系。”

许多观众第一次注意到他是在 2007 年 Channel 4 的电影《男孩 A》（Boy A）中，讲述了一个年轻人在一个孩子被杀 14 年后，试图重新融入社会的经历，而他当时也同样是个孩子。随后，他在马克·罗曼尼克（Mark Romanek）改编自石黑一雄小说《别让我走》（Never Let Me Go）中饰演了一个悲剧性的人类克隆人汤米（Tommy），从而获得了更多关注。之后，罗曼尼克将他推荐给了大卫·芬奇（David Fincher），当时芬奇正在为一部关于 Facebook 创建过程的新电影选角。

加菲尔德最初在讨论饰演《社交网络》（The Social Network）中的马克·扎克伯格（Mark Zuckerberg），在芬奇的版本中，这个角色既是远见卓识的科技先知，又是社交能力极其糟糕的书呆子。在 2010 年接受《洛杉矶时报》采访时，芬奇解释了为什么他最终选择让加菲尔德饰演富有同情心的爱德华·萨弗林（Eduardo Saverin）：“他能够如此深刻地触及核心的人性，所以我当时在想，‘为什么我们要把这样一个演员浪费在那个[看起来像患有]阿斯伯格综合征的角色身上’。”

加菲尔德确实一直被那些……的角色所吸引，并取得了成功。

没错！

加菲尔德出生于英国母亲和美国父亲之间，他与父母以及哥哥本（Ben）在早年生活在加利福尼亚州，他断断续续地回忆起那段时光：“我记得和妈妈在马里纳德尔雷（Marina del Rey）；记得飘动的窗帘；记得和哥哥在海滩上玩。”三岁时，全家搬到了英国萨里郡的班斯特德（Banstead），住在他父亲理查德（Richard）——一名游泳教练——至今仍居住的房子里。

加菲尔德将自己描述为一个“非常好动、爱打打闹闹的孩子”，拥有“猴子般的身体素质”，他尽可能地花时间在“打滚和荡秋千”上。父母送他去参加游泳和体操班，他在其中达到了很高的竞技水平。他的专长是自由操，他估计自己现在还能做“后手翻、圆翻、后空翻——然后得敷三周冰袋”。他在 13 岁时放弃了这两项运动，但那时他已将精力转向了一种新型的“地板工作”：表演。

17 岁时，他前往瑞士村（Swiss Cottage）的中央演讲与戏剧学院（Central School of Speech and Drama）学习表演，从此与北伦敦建立了长期的纽带，他至今仍住在那里。他是中央学院最年轻的学生之一，他承认自己很享受这一点。“我喜欢当个‘小宝贝’，”他说。

然后，他更惆怅地说道：“我不再是小宝贝了。那艘船已经启航了。”在他的毕业年终展演中，他被经纪人凯特·布赖登（Kate Bryden）签下，她至今仍是

“我从小像运动员一样被培养，但有时我必须把内心那个好胜的野兽留在家里，这样我才能在犯错时感到自由”

他比大多数人都感触更深，例如饰演和平主义者德斯蒙德·多斯（Desmond Doss）时，他因此获得了他的首次奥斯卡奖提名；或者在 2021 年改编自拉森半自传音乐剧的电影《Tick, Tick... Boom!》中饰演作曲家兼超级演员乔纳森·拉森（Jonathan Larson），加菲尔德因此获得了第二次奥斯卡奖提名以及一座金球奖奖杯；又或者在托尼·库什纳（Tony Kushner）的剧作《天使在美洲》（Angels in America）中饰演艾滋病患者普赖尔·沃尔特（Prior Walter），该剧先后在伦敦和纽约上演，他因此赢得了一座托尼奖。

“他们就是我欣赏的那类人，”他现在说道，“他们服务于某种更伟大的目标。他们将所有的激情、所有的心血、全身心的每一根纤维都投入到服务之中，而且最终，他们站在正义的一方。”

至于他体内的这种本能源自何处，似乎确实有一个来源。

加菲尔德的母亲琳（Lynn）是一名幼儿园教师，于 2019 年死于胰腺癌。“我希望我拥有母亲那种共情、同情、关怀、养育和爱的能力，”他说，“她是一个非常纯粹、无条件去爱的人，总是想帮助每一个人——任何她能接触到的人，任何进入她生活圈的人。这对她来说是一种非常美好但又令人精疲力竭的品质。她从不强势，但她能洞察人心，能感觉到谁需要额外的亲吻。是的，她就是那样的人。”

而从他关系亲近的父亲理查德（Richard）那里，他继承了一些略有不同的特质。“我很清楚我身上有父亲的影子：他的以及我的野心、竞争心，但同时也有一种温柔。他为人非常体面，坚定地恪守伦理。他有着真正的道德正直。我也知道我拥有和他一样的愤怒能力。很长一段时间里，我将愤怒定义为一种负面情绪，但现在我认为并非如此。我认为它是设定界限的一种方式。所以，我接纳愤怒。”

我说，他给人的印象并非如此。（好吧，也许确实有一丝微小的竞争心，就在稍后我告诉他演员尼古拉斯·凯奇（Nicolas Cage）将加菲尔德评为他最喜欢的蜘蛛侠时，他反应道：“这是我今天听到的最好的消息。”） $\rightarrow$

外套，12,100 英镑；衬衫，£675；裤子，1,435 英镑；帽子，1,705 英镑；袜子，£405；乐福鞋，1,165 英镑，全部来自 Loro Piana

他笑了。“我试图塑造的是一种经过精心管理的公众形象！我从小像运动员一样被培养，所以我非常有驱动力。但我也渴望意义、精神上的连接以及一种心流状态。有时这些特质会非常、非常冲突。有时我必须把内心那个好胜的野兽留在家里，这样我才能[自由地]犯错。”

V 第二个项目：《狂野之物》（WILD THINGS）

啊，动物！谢谢，安德鲁。这正是我需要的衔接。

要讨论的第二个项目——虽然紧迫性较低，因为要到明年才播出——是《狂野之物》（Wild Things）。这是一部在 Apple TV 上播出的七集限定剧，改编自一部播客，讲述了拉斯维加斯那对发型最夸张的德意志双人组的生活与惊险遭遇。加菲尔德饰演的其中一人罗伊·霍恩（Roy Horn）在 2003 年于 Mirage 赌场舞台表演时，曾被他最喜爱的大猫之一——一只名叫 Mantecore 的白虎——袭击而受伤。他的搭档齐格弗里德·菲施巴赫（Siegfried Fischbacher）与罗伊以及一群异域动物共同居住在拉斯维加斯一座被称为“丛林宫殿”的家中；在另一项极具灵感的选角中，该角色由朱德·洛（Jude Law）饰演。

“他们是一对英俊的伴侣，”电影《赎罪》和《傲慢与偏见》的改编导演、并执导了《狂野之物》第五和第六集的乔·赖特（Joe Wright）赞同道，“但他们也非常不同，我非常享受挖掘这种差异，以及寻找他们彼此之间的爱与欣赏。”（等等，我们是在谈论安德鲁和朱德，还是齐格弗里德和罗伊？：“实际上，两者都是。”）

加菲尔德和洛显然全身心地投入到了这次任务中。赖特描述了其中一集——场景设定在齐格弗里德 59 岁生日庆典期间——这可能是我听过的最具有“演员特质”的事情。“我们雇了 360 名柏林俱乐部客来和我们一起狂欢。我们连续五天播放音乐、跳舞，让派对自然发生，而安德鲁和朱德就在其中。那里有一种美妙而疯狂的氛围，充满了性、享乐主义、自我迷失、美感和锐舞。”

“安德鲁是一位极其出色的演员，”赖特继续说道，“能为他创造一个可以自由发挥的空间，真的是一种荣幸。如果你给安德鲁空间，他就像一个萨满。他能引导出某种完全出乎意料的东西——对你们所有人来说都是如此。在片场，你会发现自己紧张地坐在椅子边缘，心想：‘我的天，他接下来会怎么演？’”

加菲尔德进入角色也有自己独特的方式。他在伦敦工作时的常驻司机是一个叫 ____ 的男人。（“其实把他的名字删掉吧，因为我准备说一些比较私密的话。”）当加菲尔德告诉他自己正在拍摄一部关于齐格弗里德和罗伊的剧集时，____ 告诉他，当他和妻子在 1994 年去拉斯维加斯看他们的表演时，那场演出产生了一种极其激昂的效果。

“我们两个出来的时候都特么地亢奋，我简直硬得像块石头！”加菲尔德用粗犷的伦敦东区口音模仿 ____ 说道，“我想我那天晚上让我妻子怀孕了。”他现在又变回了安德鲁：“这是在我开始[这个项目]之前。我当时就觉得，伙计们！他们是在进行炼金术般的创作！”

事实上，这并不是他进入罗伊这个角色的唯一途径；不过就像一只心烦意乱的白虎一样，另一种方式是在不知不觉中潜入他的内心的。

“我们在拍一个片段，在两次拍摄之间，我感到非常燥热，”他开始讲述。

“你当时穿了很多金属织物（lamé）吗？”我问。（写下来看起来像在开玩笑，但我当时确实不确定。）

“不，不，那更像是一种心理上的燥热。比如，为什么我这么不舒服？为什么我这么担心人们现在是否讨厌我？我意识到，并且我告诉乔，他在潜意识中引导我回到了我七岁时和哥哥及其朋友们在一起的状态。在这些场景中，我恰好是一个 50 岁的德国老虎魔术师，但那是我内心开始被唤起的部分。我曾痴迷于我的哥哥。我想要的只是他的认可，他的友谊，而这构成了我和齐格弗里德之间关系动态的重要部分。”

我询问加菲尔德的哥哥本（Ben）——现在是一位呼吸科专家——安德鲁是否最终赢得了他的认可。他通过电子邮件回复道：

“我认为在不同阶段，我们双方都在努力争取对方的认可。我唯一确定的是，我为他感到无比自豪。每个人都能看到他多么有才华，但人们并不总是能看到他付出了多少努力。他是我认识的最专注的人之一，是一个极好的叔叔，并且在我人生最艰难的一些时刻一直陪伴在我身边。所以，如果他曾经对此产生过怀疑，现在可以停止了，他得到了我的认可。我也希望我同样得到了他的认可。”

VI 近况

加菲尔德表示，多年来，他与本之间有过“像兄弟那样闹矛盾的时刻”，但“很长一段时间以来，我们的关系一直非常好”。他还有来自学校和中央戏剧学院（Central）的挚友——在他们面前，他被叫作“Garf”或“Garfy”——这些人让他保持谦逊，并在必要时乐于嘲讽他（他说：“这就是我们共同的爱之语言”）。此外，他还结交了“几个很棒的业内朋友，他们并不糟糕，而且才华横溢，就是纯粹的好人”。

总的来说，他似乎很好地应对了名声带来的影响，尽管他认为在 BFI 咖啡馆见面能让他“在众目睽睽之下隐身”的想法并不太奏效。第一个走过来搭话的是一名年轻人，他拍了一部短片，想让加菲尔德在节目单上签名（安德鲁·加菲尔德写下了“Andrew Garfield”，然后在下方用大写字母写道：“NOT IN THE FILM” [未出演本片]）；第二个男人则说他本来不会走过来的，只不过——多么巧！——加菲尔德恰好是他最喜欢的演员。加菲尔德对两人都表现得很有风度。这种古怪的经历是否会让他感到困扰？他承认：“会，这挺棘手的。但你知道，总有比这更糟糕的经历。”

他目前也处于一个有趣的年龄阶段：四十出头，但身上带着某种少年感。虽然他与杰米·多南和埃迪·雷德梅恩等人一同成长——在他们还是洛杉矶的小演员时经常一起混——但他年轻的外貌让他拥有比大多数人更长的“演艺青春期”；目前还没有人把他选为李尔王。他说：“我确实喜欢和年轻演员在一起，”并举了 30 岁的英国演员兼导演哈里斯·迪金森（Harris Dickinson）为例。“我永远不想失去‘玩耍’的能力，而与哈里斯在一起时，你会觉得内心深处依然保持着这种联系。”

如果你问他关于人生规划——例如感情方面的规划——你会得到他现在标准的回答。“我就在记录中公开说：这是我永远不会谈论的话题。也许如果我结婚生子，且这段关系维持了 10 年，我可能会觉得可以说‘我的妻子和孩子’。也许吧。但也可能他妈的永远不会！”（话虽如此，他知道，我知道，而且他知道我知道，在采访时，他的女友、美国女演员莫妮卡·巴巴罗（Monica Barbaro）即将于国家剧院出演《危险关系》，距离我们坐的地方大约 40 英尺。）

VII 第三项计划：人工智能（ARTIFICIAL）

但这听起来是不是太像那个我们感觉早已熟知的、温柔且情感细腻的加菲尔德了？反转的阴暗面在哪里？

别担心，它一直在酝酿之中。

去年，加菲尔德出演了《狩猎之后》（After the Hunt），这是一部由意大利导演卢卡·瓜达尼诺（Luca Guadagnino）执导的电影。片中，一名年轻的黑人大学生玛吉（由《熊家餐馆》的 Ayo Edebiri 饰演）指控一名年长的白人教授汉克（由加菲尔德饰演）涉嫌性侵。加菲尔德饰演的汉克与我们之前见过的角色截然不同：他不可一世，充满雄风，且极具危险性。无论怎么想象，他都绝不是个“好人”。就加菲尔德此前饰演的男性原型而言，汉克在某种程度上似乎……

“是一次突破，没错，”加菲尔德预判道，“我认为卢卡是那种喜欢颠覆人们对演员预期地导演之一。”

瓜达尼诺在电子邮件中描述了他在加菲尔德的首部电影作品中看到他的样子——当时他饰演罗伯特·雷福德（Robert Redford）电影《狮子与羔羊》（Lions for Lambs）中一名心灰意冷的学生。“从那时起，我就一直在寻找与他合作的机会，”他说道。在为汉克这个角色选角时，瓜达尼诺写道，他“需要一名能够涵盖角色身上所有紧张道德冲突，同时又能诱导观众产生共情的演员”。而加菲尔德——衬衫纽扣大开，双手不安地游走——完美地完成了这个任务。

瓜达尼诺对此意犹未尽。在《狩猎之后》尚未上映之前，导演就联系他，讨论由加菲尔德在《人工智能》（Artificial）中饰演萨姆·奥特曼（Sam Altman）。这部剧情片讲述了备受争议的 OpenAI 首席执行官在五天之内被其共同创立的公司解雇，随后又被重新聘用的故事。“我当时觉得，‘这进展有点太快了’，”加菲尔德回忆道，“但卢卡却像这样[模仿意大利口音的轻微大舌音]：‘亲爱的，相信我。我们把它拍出来，绝对会令人惊叹。这将是一部杰作。’我确实信任他，所以我答应了，然后就是：干就完了！”

马克·扎克伯格（Mark Zuckerberg）和萨姆·奥特曼显然不是同一类人，但毫无疑问，他们都是目前这个颠覆的世界秩序顶端的冷酷技术官僚。加菲尔德曾被认为不适合饰演扎克伯格，而现在却能饰演奥特曼，这一事实是否表明他自身发生了某种变化？瓜达尼诺可能不这么认为（他写道：“安德鲁可以扮演任何他想扮演的角色。他太出色了”），但加菲尔德认同其中确实有些深意。

“是的，我想自从我错失那个机会以来，我就一直对此着迷——尽管我得到了一个最绝佳的机会[饰演爱德华·萨夫林]且绝不后悔——但我确实感觉到自己更接近于理解那种驱动力及其心理机制。对于萨姆来说，一切都是一场游戏。这是一场游戏，而一切都变得非常、非常简单。那就是，‘我知道我必须赢得这场游戏，因为我是最‘善良’的人，如果我不赢，埃隆·马斯克（Elon Musk）就会赢。’”

“为了明确起见，我并不认识这个人，”他继续说道，“我不认识萨姆·奥特曼。我从未见过他。我是根据剧本、法庭记录、采访和研究来演的，我们在讲述一个故事，但我认为任何一个人，如果对一家公司或一项已知将 $\rightarrow$

“我对扮演坏人的那些经历心存感激。但至少，我更倾向于努力做一个好朋友”

会对人类灵魂造成巨大伤害的技术承担如此量级的责任，[必然]具备某种解离能力。”

加菲尔德承认，他并不总是被像奥特曼这样的角色所吸引，部分原因是作为演员，他采取的是一种“由内而外”的创作过程，必须在自己的内心深处寻找该角色的本质，这意味着需要触及他可能并不喜欢的潜意识深处。“这就是荣格所说的‘阴影自我’，”他解释道，“是我们否认的自身方面。对我来说，那里有某些东西需要我去整合，因为我太害怕成为那样的人。

“但随后的争论在于，”他继续说道，情绪变得更加激动，在长凳上向我倾身，身体扭动着，“如果我们一开始就没那么排外，没那么执着于‘那不是我们’，那么唐纳德·特朗普就不会被选上两次，奈杰尔·法拉日也不会处于如此接近权力中心的地位。而如果我们说，‘好吧，很有意思——在我身上，哪里潜藏着一个渴望成为法西斯主义者、骗子、投机分子、权力饥渴、毫无道德、毫无骨气的该死的蠢猪？’ 我们可以识别出这是我们糟糕的一面。我们知道自己内心有这样的一面。”

他深吸一口气，放松下来。“然后就是，‘啊，可怜的奈杰尔。伙计们，我们千万不能让他靠近这个位置。’”

像奥特曼这样的角色会让人精疲力竭。加菲尔德说他“等不及”停止扮演吉姆·巴克——那个在迈克尔·肖沃尔特 2021 年的传记电影《塔米·费伊之眼》中饰演的贪污传教士。 “我很感激扮演这些人的经历，”他说，“但我并不热爱。最终我的想法是，‘谢天谢地，终于结束了。’ 在扮演萨姆和汉克（来自《狩猎之后》）时，我也有同样的感觉。因为我更倾向于至少尝试做一个有社区意识的人，一个好朋友。我喜欢做一个惬意的人。”

或者一个卑微的男性杂志专栏作家。不过，如果允许我在接下来的两段中遵循惯例，这类文章通常会以对受访者近期动态的简短总结结尾：未来的计划、项目、希望与梦想。这篇文章也是如此。

“你知道，在过去的一年里我学到了很多，”加菲尔德说，“我连续做了三件事——我以前从未这么做过。我累坏了。但恰好这三件事是我真正想做的，而且它们恰好同时发生。我当时想，‘该死，我不想错过这些。’ 但我绝对要去度假休息。我要回归正常。我要变得平凡。我要散步，读书，陪伴我的人，还要带我的侄子们去迪士尼乐园。”

他真的会这么做吗？

“也许吧？不关你的事！但也许会！”

他提到这件事了！

“是的，我知道，”他承认道，“我要打篮球，要去游泳，要去存在。仅仅是存在。我要记得我不必时刻处于‘开启’状态，不必时刻在表演。我要思考如何生活。这就是现在的主线；这感觉像是一种叙事。”

VIII 结语

在我们的采访结束后不久，卢卡·瓜达尼诺的电影《Artificial》成为了新闻焦点。原定发行该片的亚马逊 MGM 工作室（Amazon MGM Studios）在 6 月宣布将不再发行。虽然没有给出具体原因，但亚马逊与 OpenAI 最近确认的一笔 500亿美元 的交易引起了人们的关注。（在发稿时，《Artificial》的版权似乎已被美国电影公司 Neon 接手，该公司已表示打算在今年秋季尽早发行，以争取奖项竞争。）

这场风波——或许纯属巧合——恰恰强化了我们在见面时讨论过的一个观点：如今的社会权力已截然不同。毫无疑问，我们正生活在一个权力掌控者似乎并非显然地出于人类最大利益而行动的时代。你可以说这有点像导致农民起义的严重失衡，而加菲尔德或许正因此被吸引去探索这些宏大的全球性时刻……

“现在我们找到了叙事主线！”他说，“我说‘我们’，是指你。”

但也许这并非真正的叙事，而更多是他内心的一种冲动：一种探究和质疑的欲望，一种审视事物的宏观倾向，去仔细研究那些被接受的观念和结构，并反复推敲它们，无论它们来自

在这个极度两极分化、财务差距巨大、资源匮乏的时代，当一个帝国处于其权力之巅，或许正处于崩溃前夕，我们如何才能不仅是生存下来？我们如何才能挣脱枷锁？

“这就是《The Uprising》所探讨的内容，”他巧妙地将话题绕了回来，“我们如何从一个压迫性的社会，以及一套不希望我们获得自由的系统和结构中解脱出来？所以，是的。我会去游泳，然后思考这个问题。对我来说，那听起来就像天堂一样。然后我会采取行动。”

IX 尾声

还有一件事我们没定下来。标题。我们一直很难在当下想出一个标题（采访结束，当我们离开 BFI 咖啡馆并在大厅告别时，这感觉像成了一项共同努力）。因此，当我写到这篇人物特写倒数第二段——也就是这一段时——我询问加菲尔德的公关人员，能否将几个选项发给他确认，包括我在开头随口说出的几个。安德鲁·加菲尔德感受一切？安德鲁·加菲尔德为你而来？安德鲁·加菲尔德风靡一时？

她回复了我。“关于标题，他说他更倾向于‘安德鲁·加菲尔德为你而来’（Andrew Garfield is Here for You），”她写道。啊，好吧。我承认这不是我希望他选择的那个，那个选项就明明白白地在名单里，并且现在成了这篇文章的开头（“他觉得这个文章标题也可以，”他的公关后来确认道，“那是他的第二选择”）。“安德鲁·加菲尔德为你而来”可能不是我最终采用的叙事构思，但它很不错。而且，在现在对他有了初步了解之后，我相信这是真实的。○

妆发：The Wall Group 的 Lucy Halperin。场景设计：Lalaland Artists 的 Scarlet Winter。造型助理：Louis Williams

艺术之美：艺术品盗窃案

捷足先登 (The quick brown fox jumps over the lazy dog.)

作者：西蒙·加菲尔德 (Simon Garfield)

插画：乔安娜·朱 (Joanne Joo)

112 — ESQUIRE

想偷一件杰作？

请排队……

去年十月，一群伪装成建筑工人的窃贼砸开了卢浮宫一座展馆的大门，盗走了价值 €8800 万 的珠宝。就在次日早晨，我整理了一份本世纪所有重大艺术品盗窃案的清单，而一周后，我才发现这仅仅是个开始。

2000, 年 12 月，斯德哥尔摩国家博物馆的两幅雷诺阿作品和一幅伦勃朗自画像在枪口的威胁下被盗，窃贼随后乘坐快艇逃离。

2003, 年 8 月，窃贼从苏格兰的德拉姆兰里格城堡盗走了列奥纳多·达·芬奇的《纺线女圣母》。（据报道，当窃贼带着画作从窗户爬出时，对一名旁观者说：“别担心，亲爱的，我们是警察，这只是在演习。”）

2007, 年 12 月，窃贼从圣保罗的一家博物馆盗走了毕加索的《苏珊娜·布洛赫肖像》，该作品价值 5000万美元。

2008, 年 2 月，苏黎世比尔勒收藏馆中价值 1.64亿美元 的塞尚、德加、梵高和莫奈的画作被盗。

人们很容易认为，随着安保技术的进步——数字摄像头、面部识别、先进的运动追踪以及机场式的成像技术——如今博物馆和画廊的盗窃案应该很少见，但事实似乎恰恰相反。

2023, 年 8 月，大英博物馆的一名高级策展人被解雇，被指控在数十年间盗窃了数千件宝石和罗马时期浮雕。这起丑闻导致了博物馆馆长的离职，而直到一名收藏家在 eBay 上发现了一些稀有物品后，此事才被曝光。

2025, 年 9 月，窃贼从巴黎国家自然历史博物馆地质展厅的展柜中盗走了 6 公斤未经加工的金块。两周后，一名嫌疑人在巴塞罗那被捕，随身携带 1 公斤熔化后的黄金。

卢浮宫的这次潜入发生在周日早晨博物馆开门约半小时后，在光天化日之下仅持续了 8 分钟。此后，全球的艺术机构纷纷誓言要加强安保，以确保此类糟糕且胆大妄为的事情永远不会发生在自己身上。

然而，接下来的事情发生了：2025, 年 12 月，武装窃贼从圣保罗的一个展览中盗走了八幅马蒂斯版画和其他作品。（他们将版画放入一个帆布袋中，从主入口离开建筑，沿着人行道走向一辆发动着的面包车。）几个月后，警方在一名嫌疑人的手机中发现了一条发给犯罪团伙成员的信息：“我的真正专长是书籍……非常昂贵、非常稀有的书籍。我将它们分销到世界各地。我现在开始涉足艺术品生意了。”

2026, 年 3 月底，四名蒙面窃贼从意大利北部帕尔马附近的一个基金会盗走了雷诺阿、塞尚和马蒂斯的画作，价值 £800 万。警方将这次行动描述为“干脆利落”，整个过程耗时不到 3 分钟。该事件被对媒体保密了一周，据报道是为了在不受干扰的情况下追回作品，同时也是为了避免机构蒙羞。因为在如今这个现代且被严密监控的世界里，怎么可能还允许这种事情发生？

由于这类盗窃案发生得如此频繁（上述清单仅是一个极小的样本），我们可以总结出某些共同的特征和模式——一套“抢劫剧本”。如果你曾经考虑过亲自从某个机构中顺走一件贵重的艺术品（当然，Esquire 绝不会建议这样做），了解以下内容可能会有所帮助。

① 最著名的画作早已被盗

许多艺术品盗窃案都被称为“世纪大劫案”，而且每一代人都认为自己见证了那场最惊人的盗窃。但没有什么比《蒙娜丽莎》的失窃更能诠释“世纪大劫案”这几个字了。

1911年8月21日，一名叫文森佐·佩鲁贾（Vincenzo Peruggia）的油漆工上班迟到了几个小时，但他有一个正当理由。那天早晨，他穿着一件白色工作罩衫，将《蒙娜丽莎》藏在下面走出了卢浮宫。这在他看来是一次爱国行为：他错误地认为这幅画是被拿破仑非法夺走的，并声称自己是在将其偷回意大利（同时他也希望通过归还画作获得奖金，以保障家人的未来）。

它被偷走得轻而易举。佩鲁贾此前曾在卢浮宫担任工匠，很可能参与过将达芬奇这件杰作安装在玻璃保护罩后的工作。盗窃发生后，这幅画在他的公寓里隐藏了两年，尽管他在壁炉架上放了一张该画作的明信片。它的失踪反而使其名声大噪。据说，盯着画作原先悬挂的空展厅发呆的游客，比它在馆时看到的游客还要多。

（此前，它与科雷乔和提香的其他文艺复兴杰作并排展出，佩鲁贾曾表示，如果偷到那两幅画他也会同样开心。）这名窃贼在一年刑期中服刑了七个月，随后回到了他的装修工作岗位，但并没有成为他所期望的那种民族英雄。

在佩鲁贾被捕之前，警方的注意力曾短暂地集中在另一名嫌疑人身上：29岁的巴勃罗·毕加索，他于1904年永久定居巴黎。这位艺术家曾获得两尊此前从卢浮宫被盗的伊比利亚小雕像，这些雕像的耳朵启发了他那部开创性作品《亚威农的少女》中的人物形象。因涉嫌参与盗窃而被捕时，毕加索在被押往牢房时“剧烈”地颤抖（据他当时的情妇兼缪斯费尔南德·奥利维尔所述）。他自称对小雕像或《蒙娜丽莎》的盗窃一无所知，最终在受到警告后被释放。

② 万物皆无价

每当盗窃案发生一天左右，博物馆馆长接受采访时，兴奋的媒体总是会问被盗物品价值多少。他们通常在引用一个极具投机性且极高的数字后，会表示其真实价值实际上无法量化，因为对于博物馆 / 城市 / 艺术界 / 文明造成的损失是无价的。对此，最文明的回应可能是：“既然如此，你们本该更好地看管它。”

③ 如果一幅画被偷过一次，它可能会被偷第二次（或更多次）

1994年2月，在奥斯陆冬奥会开幕前几个小时，两名男子爬上挪威国家博物馆外的梯子，砸碎窗户，通过剪断将画作固定在墙上的未报警电线，偷走了爱德华·蒙克（Edvard Munch）的《呐喊》的一个版本。犯罪者留下了一张明信片：“感谢你们糟糕的安保。”

十年后，另一个版本的《呐喊》在奥斯陆再次被盗，这次是在

人们可能会认为，随着安保技术的进步——数字摄像头、面部识别——如今博物馆和画廊的盗窃案应该很少见，但事实似乎恰恰相反。

蒙克博物馆且在开放时间内。两名武装男子将其从墙上扯下，并在离开时顺便拿走了另一幅画，以向参观者展示这件事可以做得多么轻松。

梵高的两件作品也被偷了两次：《草地上的布列塔尼妇女》于1975年2月在米兰被盗，两个月后找回。但五周后，这幅水彩画再次被盗。这一次，花了六个月才被找到，且在撰写本文时，它仍未被再次盗走。梵高的《罂粟花》于1977年在开罗的一家博物馆被盗，十年后在科威特被找回。随后它在2010年再次被盗，画布被美工刀从画框中切除。其估价分别为 a) 5000万美元，以及 b) “无价”。2010年，它再次被盗，在严重的安保漏洞被曝光后（所有防盗警报均被关闭；43个监控摄像头中仅有7个在工作），导致该博物馆关闭了十多年。博物馆于2021年重新开放，但画作依然失踪。

2020年8月，在新冠疫情封锁期间，弗兰斯·哈尔斯（Frans Hals）的《两个拿着啤酒杯的笑男孩》在乌得勒支附近的一家博物馆被盗。窃贼非常钟爱这幅画，甚至可能比负责展示和保护它的工作人员更热爱。它此前已被盗两次：第一次在1988年（在支付赎金后归还），第二次在2011年。

但迄今为止最受欢迎的艺术家无疑是伦勃朗。《雅各布·德·格恩肖像》（Portrait of Jacob de Gheyn），现在被称为“外卖伦勃朗”，已被盗四次。在被盗作品的总名单中，伦勃朗仅次于毕加索。也许是因为这些作品的安保程度较低，但更有可能的是，窃贼认为仅凭这些名字就能获得更高的赏金。

④ 但你实际上无法出手变现

2010年，一名因从巴黎现代艺术博物馆盗窃布拉克、莫迪利亚尼和马蒂斯画作而受审的窃贼，讲述了一个悲惨的故事。他建议法庭上任何可能考虑进行类似盗窃的人，要确保自己“拥有足够的资源”来全面参与，否则就“放弃这个念头，因为这实在太让人头疼了”。

出售一件著名的失窃艺术品几乎是不可能的。国际艺术品丢失登记处会立即提醒经销商和拍卖行，即使是寡头们也对购买此类“赃物”的后果心存顾虑。

“这方面的惯犯非常少，”曾在艺术犯罪领域工作超过20年的前FBI特工杰夫·凯利（Geoff Kelly）告诉我，“如果你做了一次，可能就不会再做第二次，因为你会意识到，容易的部分是偷走艺术品，而困难的部分是尝试将其货币化。在1990年这已经很难了，而现在几乎是不可能的，因为你可以在庭院拍卖会或古董店里对一幅画进行谷歌图片搜索，就能查出它是否被盗，而且任何人只需通过手机就能查到关于该作品来源的大量信息。”

一个例外是珠宝，它是 $\rightarrow$ 的目标。

在我们这个现代且被高度监控的世界里，怎么可能还允许这种事情发生？

⑥ 大多数盗窃案并非“托马斯·克朗事件”

卢浮宫抢劫案，以及 2019 年德累斯顿城堡绿穹珍宝馆的一场价值 €1 亿的劫案。这些物品至少可以被拆解、切割然后转售，尽管价格仅为原值的一小部分。

⑤ 大多数作品最终都会被追回（但有一个特别显著的例外）

在上述劫案中，《呐喊》在 2004 年被盗两年后被找回；梵高的作品被盗两次，也被追回两次；圣保罗的毕加索作品在三周内被发现；而 2008 年在苏黎世被盗的塞尚作品《穿红背心的男孩》，则于 2012 年在塞尔维亚被发现。

但 1990 年从波士顿伊莎贝拉·斯图尔特·加德纳博物馆被盗的惊人藏品至今仍未找到，该馆至今仍展示着那些华丽的空画框，将其作为悲伤与希望的象征。1990, 3 月 18 日凌晨，两名警察因接到报案称有闯入者而来到博物馆。当他们的调查结束时，夜间警卫已被制服，博物馆丢失了 13 件作品——包括伦勃朗、维米尔、马奈和德加的画作。

他们并非真正的警察，而且在他们出现之前，博物馆并没有发生任何异常活动。警方怀疑是一个有组织的团伙，并注意到他们如何勤快地删除了记录其进入过程的视频片段。但他们未必是艺术鉴赏家，因为他们忽略了提香、拉斐尔和米开朗基罗的画作，而选择了较为次要的作品。

杰夫·凯利（Geoff Kelly）最近出版了《13名完美的逃犯》（Thirteen Perfect Fugitives），讲述了他为 FBI 参与该调查二十多年的经历。即便在抢劫案发生 36 年后，他对进展的缓慢仍感到沮丧，但乐观地认为这些艺术品总有一天会出现。“检查一下阁楼，”他半开玩笑地建议道，“看看你的床底下。”他认为所有直接参与抢劫的人现在都已经死了，有些人是被谋杀的，但他们可能将相关信息传给了家人。正如其书名所示，他现在将每件艺术品视为一名在逃的罪犯。

博物馆馆长希望尽可能公开地展示一件物品，而同一博物馆的安全主管则希望像诺克斯堡（Fort Knox）一样将一切封锁起来，两者之间存在着持久的博弈。

在 1999 年翻拍的 1968 年史蒂夫·麦奎因原版电影中，皮尔斯·布罗南拥有除他觊觎的那幅画之外的一切——那是莫奈的一幅迷人的威尼斯日落图。于是他利用特洛伊木马和几个公文包搞了一场花哨的行动将其偷走，随后在自己的秘密基地欣赏画作时自顾自地轻笑。这是一部优秀的电影，但极不现实。调查人员将其称为“诺博士神话”（Dr No Myth），这种谬论不仅暗示超级富豪拥有秘密基地（他们可能确实有），还暗示他们会

亲自执行最优雅的、拉夫尔斯（Raffles）风格的劫案（但他们不会）。“诺博士”这个标签源自一个场景：邦德在秘密基地会见他的死对头，当他看到戈雅的《威灵顿公爵肖像》时大吃一惊，这幅画在 1961 年拍摄开始前几个月被英国国家美术馆盗走。

凯利表示，大约 80% 的博物馆和画廊盗窃案是内部作案，由员工或与员工有联系的人员实施，为了维护机构声誉，这些犯罪行为通常不予上报。在那些更具戏剧性的盗窃案中，大多数是由传统帮派成员或受其雇佣的人员实施的：

“他们同样可以轻而易举地偷走你的车或抢走你的钱包。”人们推测，目前正在后期制作中的第三部《托马斯·克朗事件》会更写实，由迈克尔·B·乔丹执导并主演，讲述一个决心纠正另一种盗窃之错的人——即在西方残酷的殖民帝国扩张时代，从原产国被掠夺的文物。

⑦ 有些盗窃本身就是艺术

2005年，一名戴着假胡须、围着厚围巾并穿着长外套的男子，将一件小巧的“古物”贴在了大英博物馆的墙上，随后在逃离时敦促他的众多粉丝去寻找它。这当然是班克斯（Banksy）；他的作品是一块混凝土块，上面刻着一只皮上插着长矛的水牛，以及一个推着购物车的史前生物。这件名为《佩卡姆之岩》（Peckham Rock）、尺寸约为6乘9英寸的作品是一次“反向盗窃”，并且配有排版精准的标签：“这件保存完好的原始艺术样本可追溯至后紧张症时代……遗憾的是，此类艺术品大多未能幸存。其中大部分被那些无法识别墙上涂鸦之艺术价值与历史意义的狂热市政官员所摧毁。”

在报道这次成功的装置艺术时，班克斯观察到：“他们对东西被拿走关注得多，对东西被放进来关注得少，这对我有好处。”正如他装置作品中所暗示的那样，也许艺术盗窃仅仅是一场更新后的对古代猎物的追寻，是当代伦敦中的狩猎采集原则。

2024年6月，大英博物馆再次被恶作剧。巴西概念艺术家伊莱·萨图齐（Ilê Sartuzi）是伦敦大学金史密斯学院的一名研究生，他进入了上层的68号展厅——货币展厅。他加入了“动手体验”（Hands On）服务台，那里的一名志愿者鼓励参观者拿起并检查几件物品，其中一件是17世纪英国内战时期的银色菱形硬币。萨图齐对这枚硬币非常熟悉，因为在之前的几次访问中他观察过它；事实上，他熟悉到能够委托制作一个极具说服力的复制品。这位艺术家有一个简单的计划：他将用他的3D复制品替换原件，然后离开展厅，走下楼，将原件放入入口附近的有机玻璃捐款箱中。同伙将秘密拍摄这场“行为艺术”，他将把这部作品作为其艺术硕士（MFA）论文的一部分。但出现了一个意外。一名志愿者产生了怀疑，萨图齐和他的朋友们在半途中放弃了计划。

他们第二天回来了。萨图齐改变了样子。他刮了胡子，在没有被认出的情况下参加了另一次“动手体验”演示（服务台后面换了一名志愿者）。他的这部九分钟短片名为《手法》（Sleight of Hand），展示了艺术家用假币替换真币，然后将其捐回的过程。艺术家认为这根本不是盗窃，而仅仅是临时的位置迁移，尽管在他随后的一次展览中展示的信函表明，大英博物馆的法律部门并不这么认为。

⑧ AI 或许能拯救我们的杰作

博物馆馆长希望尽可能公开、便捷地展出展品，而同一博物馆的安全主管则希望像把守诺克斯堡（Fort Knox）一样将一切封锁起来，两者之间存在着持久的博弈。而 AI 可能是折中方案。

“就在几年前，”凯利说道，“博物馆可能有一个控制室，里面有一排 100 个摄像头的监控屏，保安的工作就是坐在那里盯着所有屏幕，直到眼神涣散，同时还要努力确保自己没有遗漏任何细节。但现在，你拥有这些由 AI 驱动的摄像头，价格便宜得多，它们能分辨出普通访客与那些可能怀有不轨之心的潜入者。比如那个上周来过的穿红色毛衣的人——他又来了，而且在以一种异常的方式观察窗户……”

这在私人领域同样适用。大多数绘画作品并非被盗于机构，而是被盗于私人住宅。凯利在担任安全顾问的现职中，经常对富有的业主在保护劳力士手表与保护霍克尼作品之间表现出的脱节感到困惑。“你可能不会把一块价值 $100,000 的表随手扔在办公桌上，而会把它锁在保险箱里。但你可能拥有一件价值百万美元的艺术品，却只是把它挂在壁炉上的挂钩上。你唯一的报警装置就是房屋的总警报，你回家时会将其解除，出门时可能根本没开启。而且，维修工和清洁工整天在屋里进进出出。”

⑨ 永恒的关系

仍有几个问题尚待解答。为什么这类事情不断发生？为什么这些无价之宝不能安稳地留在挂钩上或展柜中？一个虽不合理但颇具吸引力的理论是：博物馆对窃贼的需求，正如窃贼对馆藏的渴求一样，这是一种强有力的共生关系。艺术保险业依赖于这种关系，犯罪集团、媒体和好莱坞亦然。我们内心的一部分在为罪犯喝彩——个体对抗机构，以及那令人心跳加速的追逐。但这些犯罪也让我们变得贫乏，因为它们在我们的视觉历史以及艺术所提供的至关重要的愉悦感中制造了缺口；随着 AI 的迅速扩张，实物对象的公开存在似乎比以往任何时候都更重要。因此，我们陷入了困境：是为这场劫案欢呼，还是谴责它？而同时做这两件事本身是否也是一种罪行？

支撑英国顶尖品牌的无名匠人们

在每一位伟大的时尚设计师背后，都存在着一个由打版师、制造商、工作室总监、缝纫工、纺织专家、刺绣师和皮革工组成的星系——这些才华横溢的匠人们，其名字很少在他们工作的工坊、工作室和品牌后台之外被提及。

他们不是那些在时装秀结束时鞠躬谢幕的人，而是那些在幕后辛勤工作、让奇迹成为可能的“工蜂”。为了给他们应得的一点认可，我们邀请了一些我们最喜爱的英国设计师，向我们介绍那些他们最信任、能将他们的梦想变为现实的人。

英籍牙买加设计师比安卡·桑德斯（Bianca Saunders）专注于剪裁，创造出了一种全新的男性轮廓，她与长期合作的布景设计师 Y-Lan Lucas 进行了交流。男装界的新星卢克·德里克（Luke Derrick）则寻求英国最古老的男装工厂之一的帮助，由 Cooper & Stollbrand 的总监迈克尔·格雷厄姆·斯托尔（Michael Graham Stoll）领导，将其剪裁考究的运动套装和超轻日本尼龙雨衣变为现实。

以运动装为核心、因与 Lululemon 和 Nike 合作而闻名的设计师索尔·纳什（Saul Nash），信任他的内部产品开发人员查理·卡特洛（Charlie Catlow），后者将设计师的初步草图转化为最终产品——例如镂空压力上衣和专为运动设计的牛仔夹克；而 Dunhill 的创意总监西蒙·霍洛威（Simon Holloway）如果没有他的高级定制总监威尔·亚当斯（Will Adams），就无法打造出其品牌所著称的顶级西装。

九月 — 十月

西蒙·霍洛威 (SIMON HOLLOWAY)

西蒙·霍洛威：我们在我开始为 Dunhill 工作时相识。当时有一个紧急请求，因为我要参加 Met Gala，需要一件衣服穿。我匆匆赶到这里，与威尔进行了第一次会面，讨论定制一套午夜蓝色的定制礼服。我们在那个匆忙的定制过程中建立了联系；定制服装最棒的一点在于，通常需要投入大量时间来建立剪裁师与客户之间的关系。

威尔·亚当斯：当时大约用了四周。对于新客户来说，通常需要 10 到 12 周。现在，虽然我们在不同的办公楼工作，但在你的系列产品方面保持着非常密切的联系。你委托定制造型和单品，由定制团队进行剪裁。我认为我们的关系在共同打造这些作品的过程中变得更加深厚。

SH：在我们的系列中，我依赖你来实现剪裁的巅峰表达。显然，我们也制作成衣，但在成衣之中，我们每季总是尝试定制几件能够体现 Dunhill 剪裁核心理念的作品。这完全关乎手工工艺以及最高水平的工艺与表达。

WA：我们彼此都对各自的专业领域持有深厚的尊重。有了这一点，一切进展都会相当迅速。

左图及对面页：西蒙·霍洛威与威尔·亚当斯在梅费尔（Mayfair）的 Dunhill 总部拍摄的照片

你所做的一切都很美：这是真正的男装，是男人想要穿着的衣服，而不是那些被推向边缘的季节性单品。这也是我的出发点：优雅、永恒的男装。

SH：你太谦虚了。你虽然不愿提起，但你的能力范围极其广泛。你一生都在剪裁世界中工作，涉猎了从最传统的定制工作到更为现代的诠释等所有领域。我在 Dunhill 的理念一直是尝试让剪裁变得轻盈，以契合当代生活方式，而不是死守过去。你依然能以同样的技巧和才华来处理更轻盈的面料。

WA：我从你对细节的关注中学习到了很多，而且你在选择面料时有很强的逻辑支撑；

“我对你对工艺的痴迷，以及你超越传统的诠释能力深表敬意”

与我过去合作过的人相比，这简直是另一个层级的。这些设计的精致程度非常美。当你观察一件夹克时，会发现一些精巧的设计，比如口袋、衬里或一条带子——这些在标准西装中是看不到的。你非常擅长在设计中赋予这些元素生命。这让我开阔了眼界，学到了几个技巧。

SH：我对你以及整个定制团队对工艺的痴迷深表敬意。你们带来了人们梦寐以求的丰富知识，并且超越了预期。这里有一种感觉非常纯正的专业诀窍（savoir-faire），但你们具备一种超越传统的诠释能力，对此我深表敬佩，因为这太罕见了。这并不是在挑战时尚的边界，而是我们几年前开始并将在未来永远延续的风格演进。JOSH OSMAN →

BIANCA SAUNDERS

同名品牌创意总监兼创始人，与场景设计师 Y-Lan Lucas 的对话

BIANCA SAUNDERS：我们是在 2019 年通过 [艺术家兼电影制作人] Akinola Davies Jr 认识的。当时我在布里克斯顿村（Brixton Village）举办一场展览，我组织了一次群展，Akinola 参与其中。我们当时没有预算——从来都没有预算——于是他请 Y-Lan 来帮他。我看到了你的作品，对于你在没有预算的情况下能做出这样的东西感到非常惊讶。

Y-LAN LUCAS：那是一部关于尼日利亚的短篇庆祝片，是一个简单的装置，视频投射在两块飘动的帷幕上，伴随着风的流动。画面非常鲜活。我记得当时就坐在你身边，那时我们还不认识，然后我们开始讨论那个装置以及你的作品。突然间你就说：“等等，我很快就有发布会，我们可以合作。”

BS：在与你合作之前，我感觉自己并没有在与场景设计师协作。之前的感觉就像是对方发给我一份方案，然后让我“选这个，选那个”。而与你合作，Y-Lan，我可以进行头脑风暴，我们可以交流，我们两人共同探讨让一切流畅地运行。你非常理解我的品牌和我。

YL：我们有着稳固的合作关系，共同完成了四场大秀和许多次发布会。虽然拍过一部 Gucci 的短片，但对我来说，2020 年秋冬系列的第一次发布会是最精彩的。

BS：我也是。当时我想在不落俗套的前提下，更多地展示我的文化。我创建了一种类似于苏豪区（Soho）那种“窥视秀”（peep show）的形式，因为我觉得舞厅派对（dancehall parties）有点像那样——非常露骨的性感舞蹈，但这种方式并不被视为肮脏。

YL：对于出席者来说，那是一次非常有力的体验，而且同样是用很少的资金，在预算非常有限的情况下完成的。我们搭建了讲台，还原了你的愿景。人们对此讨论很多，因为那是“我们可以进行头脑风暴，我们两人共同探讨让一切流畅地运行。你非常理解我的品牌和我”

某种前所未见的东西。我很自豪能参与其中。

BS：我从你身上学到了很多。你是跨学科的，能用极少的资源同时处理很多事情。我还学到了不必匆忙——花时间真正去思考是很重要的。当我们交流时，你不会立刻说“我们就这么做”。我足够耐心，等待想法成熟后再由你反馈给我。所以，在信任他人处理这件事方面，这一点真的非常重要。

YL：我现在非常欣赏与设计师进行真正协作的美感。这与我做过的其他工作截然不同。我们尊重彼此的工作，这非常具有启发性。我学到了如何信任自己真实的愿景和作品，并将其推向更高层次。

BS：如果我能搞定所有事情，包括场景设计，我绝对愿意尝试，但我认为最好还是让那些拥有能将其推向更高层次的创造力的人来做。我的梦想是有一天能开一家店，Y-Lan，你一定要负责设计。刚开始时，有些设计师已经对构建自己的世界有了想法，但对我来说，我认为这是随着时间推移而建立的，而你在这个过程中扮演了巨大的角色。

本页及对面页： Y-Lan Lucas 与 Bianca Saunders 在 Lucas 位于伦敦东区的工作室

LUKE DERRICK

Derrick 的设计师兼创始人，与历史悠久的服装工厂 Cooper & Stollbrand 的负责人 Michael Graham Stoll 对谈。

MICHAEL GRAHAM STOLL：我在同一家工厂从事服装制造已经半个世纪了。我从 15 岁起就在这里工作，合作过的品牌包括 Private White VC 和 Gieves & Hawkes。卢克是通过我的一位老朋友介绍给我的，他在 30 年间与我合作过许多设计项目，从 Howies 到 Rohan。他认为卢克就像是挖掘到了金矿。

LUKE DERRICK：我曾与《王冠》的演员 Khalid Abdalla 合作过几年，是他造型师的丈夫参加了我的第二场秀，并告诉我需要见见你。接着，我就带着样品去了曼彻斯特。幸好，你在职业生涯中见过相当多的雨衣和大衣。我的意思是，你对细节了如指掌，而且你还制作了 Stella McCartney 那件著名的 MA 系列！

MGS：我曾与 Nigel Cabourn、Paul Smith 以及 Roger Saul 在任期间的 Mulberry 合作过。我们还为英国航空和警察部队制作过制服。但在过去的 15 或 20 年里，我们一直尽可能地向行业顶端攀升，为最顶尖的设计师制作服装。我组建了一个团队，成员包括优秀的服装技术专家，以及几位打版师和出色的样衣缝纫工。这是一座拥有 125 年历史的服装工厂——它是第一次工业革命时期留下的最后一家工厂。

LD：这类工厂已经没剩多少了。所以这非常特别。我在 Dunhill、Brioni 和 McQueen 接受过培训，但通常这些东西会被送到意大利制作。我可以指定针脚长度并做到非常详尽，而你能够理解我的需求以及背后的工艺，因为你拥有半个世纪制作风衣的经验。这不仅仅是一双在缝纫的手——而是一种能够洞察那些让一件大衣看起来真正地道的微小决策的“难以言表”的直觉。自从与你合作后，质量有了飞跃，最初是为我在 2 月份伦敦时装周上展示的 2026 秋冬秀准备的。

MGS：而且这些版型比我 50 年来见过的任何设计师的都要更标准。你所有的版型都是自己裁剪的——这太令人惊叹了。我这里有 11,000 个版型的档案，但这些是独一无二的。

LD：“与你在一起，我找到了英国制造业的精髓，你让我的作品活了起来”

LD：幸运的是，我仍然能够制作所有的版型，挑选所有的面料，并在本地完成所有的创意工作。然后，我拖着一个巨大的旧行李箱前往曼彻斯特。在那里，我在你和你的团队身上找到了英国制造业的精髓，你们让我的作品活了起来。

MGS：我很喜欢卢克带给我们的版型。我不是说这些是我会做的方式——在制作那些用防弹面料、能穿一辈子的衣服方面，我要传统得多。他的作品更具艺术感，且经过深思熟虑。我从他身上学到了很多，但最重要的是，我学到了友善是件好事，因为卢克总是非常礼貌，从不对我们大吼大叫。

LD：这是一个协作过程。并不是我给出大量指令然后收到成品那么简单。我们一直通过 WhatsApp 沟通，讨论这些微小的决策。你才是最专业的！

MGS：能够标明“全英制造”——我认为这是你赢得的第一项重大荣誉。你直接进入了高端市场，而且在我看来，水平比大多数人都要高。你会走得很远。

LD：我受过传统训练。虽然有些品牌在被 Dua Lipa 穿过而导致热门款售罄后，会直接采取面向消费者的销售模式，但我更倾向于老派风格，更注重产品本身，所以我需要与能够满足我需求的场所合作。而你做到了。 $\rightarrow$

本页及对面页：卢克·德里克（Luke Derrick）与迈克尔·格雷厄姆·斯托尔（Michael Graham Stoll）在位于贝斯纳尔格林（Bethnal Green）的德里克工作室。

Saul Nash 设计师兼 Saul Nash 品牌创始人，与产品开发人员查理·卡特洛（Charlie Catlow）的对话。

九月 — 十月

SAUL NASH：查理是你所看到的一切背后的功臣。他通过将设计转化为工厂可生产的状态，让许多设计变为现实。他的职责是确保服装达到最佳状态。CHARLIE CATLOW：基本上所有东西都由你设计，然后我得将其转化为产品。所以，你在 T 台上看到的，以及在店里看到的，都必须经过我的手。我的主要工作是采购面料、采购辅料，争取工厂的最佳价格，并决定选择哪家工厂。我让这一切变为现实。你的创造力如此之强，有这么多令人兴奋的想法，能参与其中非常具有启发性。

SN：有时情况会变得很混乱，因为我们就像进了糖果店的孩子。我们根据我的草图工作，然后在公司内部进行实验和尝试 —— 在我们楼下的工作室里，我们有几台机器，而且通常需要你为工厂创建第一个敲门砖。我信任你的愿景。因为我们是一个小团队，所以合作非常紧密，而我认为在其他地方，设计师提交草图，另一个部门负责所有的 CAD（计算机辅助设计），然后生产人员只需想办法将其实现。我们的工作方式在创意和制造之间达到了相当的平衡。我很喜欢这样。

CC：我享受整个过程。我接手设计，分析其运作方式、结构以及所需的面料。然后我们有一系列的供应商和工厂。我会研究这些面料，看看哪些更合适。我全程掌控这项工艺，从开始到结束。

SN：这是一种全新的工作方式。从历史上看，我们总是去巴黎。那里有一个名为 Première Vision 的面料展，人们去那里查看所有面料。疫情之后，人们开始寻找与工厂合作的不同方式。现在，代理商会直接来工作室见我们。对你来说，查理，额外的挑战在于可持续性在我们所做的事情中至关重要。我们还没达到能投入 1000 万英镑 进行材料研发的水平，因此我们必须不断与工厂核实他们在可持续发展方面的进展，这就是你的工作。你做了大量工作来提高质量，或采购最佳材料，让产品在挂在衣架上时就能让人感觉到质感极佳。 CC：我对本季的丹宁产品尤为自豪。它具有弹性，且拥有出人意料的灵活性。这是由你精心设计的，但要将其完美实现是一个挑战。褪色水洗意味着需要采购正确的面料，然后我们在背面增加了褶皱，这是我们在日本丹宁产品上看到的。它是一个

“有时情况会变得很混乱，因为我们就像进了糖果店的孩子。我们会不断尝试，玩转各种东西”

一款出色的产品，展现了我们在突破极限方面走得有多远。

SN：查理，如果没有你，我的工作将是一场噩梦。没有人是一座孤岛，你确实需要一个团队。你还需要那些支持你、并关注你目标的人。所以，我认为你不仅在工作中表现出色，而且真的投入其中。你是那个无名英雄。世界上有如此之多的衣服，如果你不热爱服装，你只是在制造并增加那些垃圾。一名产品开发人员必须具备极强的责任心，因为你希望打造出尽可能最好的产品。

本页及对面页：索尔·纳什（Saul Nash）与查理·卡特洛（Charlie Catlow）在索默塞特宫的纳什工作室拍摄

作者：迈克尔·塞巴斯蒂安（Michael Sebastian） 摄影：尚塔尔·安德森（Chantal Anderson） 造型：阿尔丰索·费尔南德斯·纳瓦斯（Alfonso Fernández Navas）

尽管如此，亚伦·索金依然是个乐观主义者。事实上，这位奥斯卡获奖编剧相信——最终——我们这个混乱的、技术官僚统治的世界会变得更好。但首先，得先处理《社交清算》（The Social Reckoning）这个小问题。

我们看待那些复杂、偶尔阴森且定义了文化的机构的方式，在很大程度上是由一个人塑造的：亚伦·索金。《少数几个好男人》（军队）、《美国总统》和《白宫风云》（白宫）以及《新闻编辑室》（电视新闻）全部出自索金的键盘。自 20 世纪 80 年代后期以来，他编写了 11 部电影、四部电视剧和四部百老汇戏剧，并执导了四部电影。然而，一个世纪后，他的遗产将由他对一个特定机构的描绘来定义：Facebook。

2011 年，索金凭借《社交网络》的剧本赢得了奥斯卡奖，该片描绘了马克·扎克伯格狂热且一心一意地创建 Facebook 的过程。尽管扎克伯格对许多细节持有异议，但这部电影影响了大多数人看待他的方式。现在，索金编写并执导了续作《社交清算》，将于 10 月 9 日在电影院上映。这是一个关于弗朗西斯·豪根（Frances Haugen）的真实故事，她曾是 的一名产品工程师（由麦基·麦迪逊饰演），她寻求了《华尔街日报》调查记者杰夫·霍维茨（Jeff Horwitz，由杰里米·艾伦·怀特饰演）的帮助。他们共同揭开了 及其算法被严密守护的秘密。自 2011 年以来，世界发生了剧变——这在很大程度上要归功于扎克伯格的社交媒体帝国——而索金正押注好莱坞式的处理方式将帮助观众理解 在多深程度上改变了他们的生活。

索金是一位 65 岁的博学之士，穿着西装外套和奇诺裤，说话方式就像《白宫风云》里的角色。他也是一名戒毒者，对美国的承诺持有近乎不可动摇的信念。今年夏天我们在洛杉矶采访时，他表现得深思熟虑且礼貌，但在分享关于 AI、成瘾以及社交媒体腐蚀性影响等各类话题的强烈观点时毫不犹豫。

引领潮流：所有价格均需咨询。风衣，杜嘉班纳。衬衫，Emma Willis。裤子，Brunello Cucinelli。鞋子，Manolo Blahnik。对面页：夹克，Brunello Cucinelli。衬衫，Emma Willis。Daytona 手表（亚伦·索金私人收藏），劳力士（Rolex）。

ESQUIRE：当你凭借《社交网络》获得学院奖（奥斯卡奖）时，你在获奖感言中提到了编写电影《网络》（Network）的帕迪·查耶夫斯基。他作品的一个主题是机构的衰败。而你多年来一直在以钦佩的笔触描写美国机构。你们之中谁是对的？

亚伦·索金：这取决于谁在掌控这些机构。有一天我正心无旁骛地读一篇亚当·麦凯的采访，采访者问：“好莱坞里谁是右翼版本的你？谁是右翼版本的亚当·麦凯？”他回答说：“我想是亚伦·索金吧。”我简直不敢相信我读到了什么。于是我就问了他这件事，他说：“是因为你对美国机构的信念。”

ESQ：你将《社交清算》（The Social Reckoning）称为一个大卫与歌利亚的故事。谁是大卫？

AS：如果歌利亚邀请我们所有人参加派对，然后往潘趣酒里下药，而大卫是由麦基·麦迪逊饰演的一个书呆子，那么这就是一个大卫与歌利亚的故事。

ESQ：你在一次采访中说道：“我将1月6日[2021年，抗议者冲击美国国会大厦]归咎于Facebook。Facebook一直在调整其算法，以推广那些最能引发分歧、让你陷入无限滚动浏览的内容。”1月6日是电影的一部分吗？

AS：我不想剧透结局，但电影中绝对包含的是Facebook在2018年所做的事情。当时他们陷入了困境，用户参与度在下降，面临着来自TikTok的竞争，他们必须采取行动。于是他们重新调整了算法。一条评论的权重是点赞的5倍；一个表情符号的权重是点赞的15倍。一次转发的权重则是点赞的30倍。为什么这很重要？因为他们知道被转发次数最多的内容通常是“愤怒诱饵”（rage bait）。所以他们开始在空气中大量注入这些旨在让你愤怒的东西。当然，你可以将此与1月6日事件联系起来。

ESQ：2019年，你在《纽约时报》上写了一篇致马克·扎克伯格的评论文章。自从《社交网络》上映以来，你是否与他交谈过关于融入大学生活以及可能是高中社交结构的问题。他创造了自己的社交结构，并成为了其中的市长，且无法被排除在外。他的才华不可否认，这在当时是一件很酷的事情，但后来完全失控了。它已经彻底失去了控制。

ESQ：你在2023年向《纽约时报》透露自己曾中风。在经历如此严重的健康危机后，你对自己有了怎样的认识？

AS：首先，我没事。我已经完全恢复了100%。但我之前的生活一直不怎么……因为我会觉得如果没有朋友，或者不知道早晨起床的意义是什么。我想我刚才描述的是一个非常悲伤的人，但我并不是。

ESQ：我们经常听到的一点是，你不应该将自我价值与你的工作挂钩。

AS：我的女儿是一名编剧和导演。如果她对我说了我刚才对你说的那些话，我会说：“噢，亲爱的，你不能那样做。你的价值远高于你写的东西。”

ESQ：但这正是为人父母的特点。

AS：这就是为人父母。我只能说不要像我这样。在你看来我像个快乐的人吗？

“我在纸上的样子比在生活中的样子更好。除非我写了些什么，否则我不觉得自己活着，也不觉得自己有价值”

除了在《时报》的评论页上，你还以其他方式接触过他吗？ AS：没有。那是我们之间唯一的沟通。在拍摄《社交网络》时，我们曾试图获得他的合作或投入。我们在一家酒店见了他的几名心腹，事后我非常庆幸我们没有得到他的合作或投入。我认为那样的话，电影会变成另一个样子，人们会说：“好吧，这是马克·扎克伯格认可的故事版本。”

ESQ：通过编写这两部电影，你对社交媒体及其对我们所有人的影响有了怎样的认识？

AS：听着，2010年《社交网络》上映时的社交媒体，与2000年代中期Facebook诞生时的社交媒体是非常不同的。那时，它是一种与高中同学保持联系的有趣方式。在《社交网络》结尾时，我们在屏幕上显示它拥有 5 亿 用户，这在当时旨在引起观众的惊叹。

ESQ：现在看来很天真。

AS: 是的。现在是 28 亿美元，正如电影中的一个角色所指出的，这比地球上人口最多的国家还要多出一倍以上。我不想把统计数据说错，但大约三分之一的美国成年人通过 Facebook 获取新闻。这非常危险。我们不再就“天空是蓝色的”以及“二加二等于四”达成共识了。

顺便说一下，让我明确一点：我不认为马克·扎克伯格曾经打算让它产生腐蚀性影响。我认为他的初衷是好的。他就像很多人一样，在健康生活方面有困难。我以前运动不足，饮食习惯还停留在大学时代，而且烟抽很多。所以我决定不再那样生活。这甚至不是因为我觉得身体不适，而是因为我看到了我女儿脸上的表情。我把她吓坏了，我不想再那样下去了。

ESQ：有什么你必须克服的障碍，帮助定义了你作为一个男人的特质？

AS：写作对我来说并不容易。我热爱它，但它很艰辛。每当我完成一件作品，无论是电影、戏剧还是电视剧的一集，我都无法想象自己还能写出其他东西。我写了 88 集《白宫西翼》。我说：“伙计们，我不干了。我已经把我认识的所有词汇，以所有能想到的顺序用完了。”所以这就是一个障碍。另一个障碍是我在三十多岁时沉溺于可卡因。我已经戒毒并保持清醒很长时间了，但你不会停止成为一个药物成瘾者。你只是处于康复期。

ESQ：乔治·奥威尔有一句名言：“写一本书是一场可怕的、令人精疲力竭的斗争，就像一场漫长且痛苦的疾病。如果不是被某种无法抗拒也无法理解的恶魔驱使，人们绝不会从事这样的事情。”驱动你的恶魔是什么？

AS：好吧，我不确定这是否是一个恶魔，但就是这个：我在纸上的样子比在生活中的样子更好。如果我可以坐在房间里写作，有人从门缝下给我递进一盘食物，而我把写好的页纸从门缝下递出去，那将是最完美的。除非我写了些什么，否则我不觉得自己活着，也不觉得自己有价值。如果我现在停止并说：“好了，我退休了，就这样”，我无法做到

ESQ：你谈到过美国的愚蠢。十五年前，你提到过“对愚蠢的美化”。你当时在谈论莎拉·佩林，现在看来这似乎很天真。我很想知道你对目前这个问题的诊断是什么。

AS：我们需要回归对专业主义的尊重。关于我说的“我在纸面上比在现实生活中更优秀”，其中一点是指：我写的所有角色都比我聪明。比我聪明的人不会让我感到自卑。而且对于总统——我需要总统比我聪明。但有数以百万计的选民似乎患有一种集体性的、令人衰弱的自卑情结，觉得一个聪明的总统（比如奥巴马）是在俯视所有人，或者觉得他是个书呆子，或者觉得他不是个真正的男人。

ESQ：没错。他吃火箭。

AS：我们必须停止这种行为。一直以来存在着一种对愚蠢的美化。

ESQ：我不想显得愤世嫉俗，但这些问题能被纠正吗，还是说已经太晚了？美国这场实验还能被挽救吗？

AS：我必须相信可以。首先，这是我的生计所在。更重要的是，是的，可以。这需要领导者，但它是可以实现的，而且我认为会很快且轻松地实现。只要把胜任的人放在领导岗位上，我们当然可以扭转局面。

ESQ：我想聊聊《少数几个好男人》（A Few Good Men），特别是执导这部电影的罗伯·赖纳（Rob Reiner）。很久以前在《Premiere》杂志的一篇报道中，你谈到了你多么热爱赖纳。你说：“我会帮他洗车。我会帮他打扫房子。我愿意嫁给他。”

九月 — 十月

你将他描述为一名“编剧型导演”。你从罗伯·赖纳那里学到了什么：

AS：我确实很爱罗伯，我很想念他。《少数几个好男人》是我的第一部电影，《美国总统》是第二部。这两部都由他执导并监制。他还拥有制作这两部电影的制片厂——城堡岩（Castle Rock）。他在《少数几个好男人》还是话剧时就看了它，之后请我共进晚餐。他说：“我想拍这部电影。我想让你来写剧本。”我说：“我以前从未写过剧本。”他说：“拍完这部之后，你就不能这么说了。”当时我住在纽约。他把我带到洛杉矶，我每天早上都会去他在城堡岩的办公室。他把这个过程称为“翻页”。我们会一起审阅剧本，敲定每一个节拍，每一个瞬间。我是在学习如何写剧本。这就像是拿钱去读研究生一样。每当我们试图解决某个问题时，我可能会有个想法，但我会说：“我可以先离开去把它写出来，而不是直接向你提案吗？”他开始把那些场景称为“相信我，我是亚伦场景”，但我那样做了，而且效果很好。

ESQ：看到自己写的台词出现在影史最伟大台词清单上，一定感觉很超现实吧。最显而易见的一句大概就是“你承受不了真相”。但我很好奇，在你心目中，电影中出现的最让你喜欢的台词是什么（不是你写的）？

AS：首先，是的，看到汉堡王（Burger King）的广告牌上写着“你承受不了这个 Whopper 汉堡”确实很超现实。我最喜欢的电影台词？帕迪·查耶夫斯基（Paddy Chayefsky）的所有台词都算，把它们放在一堆里。还有《布奇·卡西迪与太阳之子》（Butch Cassidy and the Sundance Kid），威廉·戈德曼（William Goldman）因此获得了奥斯卡奖。那是一个近乎完美的剧本——一部近乎完美的电影。但对我来说很难选出一个最喜欢的。为了能继续对话，我就说：“我们需要一条更大的船。”

ESQ：事实上，这是正确答案。

AS：好吧。

ESQ：你提到了《布奇·卡西迪与太阳之子》。我知道那是对你很重要的一部电影。那部电影讲述的是在一个不断变化的世界中的人们。他们是银行抢劫犯，是火车抢劫犯，而技术在进步。你现在在好莱坞会有这种感觉吗？你觉得自己像布奇·卡西迪吗？

AS：直到刚才，我还没想过要把自己比作布奇·卡西迪，但没错，我确实有这种感觉。当然，最关键的因素是 AI。我对我们与 AI 共存的未来持非常乐观的态度，原因如下：我觉得它行不通。

右图：夹克、衬衫、手表均同前。裤装，Brunello Cucinelli。妆造：Fabiola for Exclusive Artists，使用 Saie Beauty 产品。制作：Hyperon。剪裁：Elna Korbukh。对面页，从左至右：汤姆·克鲁斯、黛米·摩尔和凯文·波拉克在《少数几个好男人》中；杰里米·斯特朗在《社交清算》中饰演马克·扎克伯格；亚伦·索金和麦基·麦迪逊在片场。

ESQ：请解释一下。

AS：一段时间前，我在一个私人派对上，看着墙上的一幅画。那是一幅抽象画。主人走过来对我说：“那是机器画的。”我对这项技术印象深刻，但我对这幅画产生的所有感觉瞬间消失了。如果你问任何玩《使命召唤》这类电子游戏的人，他们会告诉你，他们对自己射击的对象没有任何情感连接。这就是你观看 AI 版《辛德勒的名单》时的体验。我们将发现，当你走进电影院时，你可能不知道导演是谁，不知道编剧是谁，不知道演员是谁，但这并不重要，重要的是这些东西是由“人”创造的。我们无法对计算机生成的角色、对话、故事、绘画或歌曲产生情感连接。

ESQ：你的女儿 Roxy 正进入一个被 AI 笼罩的世界。在她开启好莱坞职业生涯之际，你给了她什么建议？

AS：去读医学院，去读法学院。求你千万别干这行。这没前途。但我没能拦住她。只是自从她出生起，她就一直陪我在办公室和片场。这就是她的世界，而且碰巧她很擅长。

ESQ：成为一名父亲让你学到了什么？

AS：听着，这可能很陈词滥调，但为人父确实像传闻中那么美好。我记得 Roxy 的母亲怀孕时，我那些年轻父亲朋友们都告诉我：“这将是世界上最伟大的事情。你以后除了孩子什么都不在乎了。”这听起来不像我的风格。我以为我缺失了他们都拥有的某种特质，而我余生只能假装拥有。但实际上，在她出生 10 分钟后，我就意识到之前的想法多么愚蠢。所以我非常热爱成为她的父亲，而且我现在仍尝试以一种“荣誉教授”般的身份履行这个角色。不知为何，她现在已经不再那么需要一个父亲了，但我绝不会错过这段经历。

GOING,

GOING,

为新季最令人垂涎的男装出价吧

GONE

摄影：Josh Hight 造型：Zak Maoui

本页：夹克，1,295 英镑；针织背心，£245；衬衫，£185；长裤，£285，全部来自 Ralph Lauren。对面页：大衣，£545；西装外套，£489；衬衫，£99；长裤，£199；领带，£69；乐福鞋，£209，全部来自 Boss

前几页，从左至右：Aaron 穿着夹克，3,270 英镑；衬衫，1,150 英镑，均来自 Gucci。眼镜，£330，Gucci at Kering Eyewear。Albert 穿着 T 恤，£665；长裤，£865；乐福鞋，£840，全部来自 。眼镜，£290，at Kering Eyewear。Stephanie 穿着夹克，3,440 英镑；裙子，3,090 英镑；包袋，2,390 英镑；高跟鞋，£840，全部来自 。眼镜，£290，at Kering Eyewear。Malik 穿着夹克，3,440 英镑；T 恤，£690；长裤，£975；乐福鞋，£840，全部来自 。Lina 穿着大衣，15,880 英镑；包袋，2,830 英镑，均来自 。眼镜，£365，at Kering Eyewear

本页，从左至右：Tayte 穿着西装外套，3,250 英镑；衬衫，£790；领带，£185，全部来自 Giorgio Armani。Aaron 穿着套衫，1,200 英镑；高领衫，1,350 英镑；长裤，1,500 英镑，全部来自 Giorgio Armani。对面页，从左起顺时针方向：Tayte 穿着夹克，3,050 英镑；衬衫，£785；长裤，1,140 英镑，全部来自 Louis Vuitton。Aaron 穿着夹克，2,380 英镑；长裤，1,140 英镑，均来自 Louis Vuitton。Malik 穿着大衣，3,400 英镑，Louis Vuitton。Albert 穿着夹克，2,910 英镑，Louis Vuitton

顶部：夹克，13,100 英镑；套衫，1,180 英镑，均来自 Dunhill。 上方：夹克，£524；衬衫，£139；牛仔裤，£104；腰带，£48；乐福鞋，£177，全部来自 Paul Smith

本页：夹克，1,490 英镑；长裤，£520；布洛克鞋，£590，全部来自 Canali。衬衫，造型师私物

对面页：西装，4,800 英镑；衬衫，1,050 英镑；领带，£260，全部来自 Brunello Cucinelli。项链，15.5 万英镑，A Jewellers

本页：大衣，1 万英镑；套衫，1,090 英镑，均来自 Prada。手套，造型师私物。对面页：夹克，7,200 英镑；套衫，1,590 英镑，均来自 Prada。手套，造型师私物

本页：派克大衣；衬衫；长裤，价格均需咨询，Hermès。对面页，从左至右：Aaron 穿着衬衫，1,400 英镑；领带，£385；长裤，1,200 英镑，全部来自 Dolce & Gabbana。Malik 穿着夹克，5,600 英镑；衬衫，1,200 英镑，均来自 Dolce & Gabbana

本页，从左至右：Aaron 穿着西装，4,840 英镑；衬衫，£945；布洛克鞋，£945，全部来自 Loro Piana。Tayte 穿着大衣，3,945 英镑；西装，4,750 英镑；衬衫，£675；领带，£315；帽子，£380；乐福鞋，£945，全部来自 Loro Piana。Malik 穿着夹克，3,675 英镑；西装外套，4,215 英镑；长裤，1,795 英镑；帽子，1,705 英镑；乐福鞋，1,165 英镑，全部来自 Loro Piana

对面页：夹克；针织衫；高领衫，价格均需咨询，Zegna

The quick brown fox jumps over the lazy dog.

顶部：西装外套，6,220 英镑；衬衫，£590；领带，£190，全部来自 Brioni。上方：大衣，15,880 英镑，Gucci。眼镜，£365，Kering Eyewear 销售的 Gucci。对面：夹克，3,050 英镑；衬衫，1,100 英镑；长裤，1,000 英镑；袜子，£170；乐福鞋，£850，全部来自 Fendi

发型：Hiroshi Matsushita，使用 Bumble and Bumble 产品。发型助理：Kei Kosigoe。美容与化妆：Andrew Gallimore。美容与化妆助理：Nic Marilyn。场景设计：Joseph Burke。场景助理：Benthe de Vries。模特：Aaron Shandel（Wilhelmina 经纪公司）；Malik Al Jerrari（Supa Model Management 经纪公司）；Tayte Bramley-Naipaul（PRM Agency 经纪公司）；Albert Heathfield（PRM Agency 经纪公司）；Stephanie Deeb（Premier Model Management 经纪公司）；以及 Lina（Ugly 经纪公司）。造型师助理：Ashley Hubbard, Louis Williams 和 Lauryn Doherty

KLAUSNER 150 — ESQUIRE SEPTEMBER — OCTOBER

Dries Van Noten 的新任设计师会是男装界一直在寻找的救星吗？

作者：Teo van den Broeke

巴黎正处于酷暑之中。晚上 7:35，就在 Dries Noten 春夏 27 系列大秀预定开始时间的五分钟后，我们被困在巴黎不可避免的交通拥堵中，车内的仪表盘温度计显示为 39℃。秀场位于法国首都郊区的一个仓库里。公关人员在当天早晨发送了警告邮件，提示室内温度将会很高，建议嘉宾采取“必要的预防措施”。

当我进入会场，挤过在入口处徘徊、身着短裤的男装编辑们，吸入空气与烟草味时，一名汗流浃背的服务员递给我一支半融化的冰棒。

然而，就在模特开始走秀的那一刻，一阵清新的微风似乎在空间中荡漾开来。该系列灵感源自斯特凡·马拉美（Stéphane Mallarmé）的诗作《牧神的午后》（L'Après-midi d'Un Faune）——诗中一个神话生物迷失在梦境与现实的临界空间——整个系列是一场由精细丝绸服装组成的轻盈交响曲。

漂白鼠尾草色的泡沫丝绸西装外套搭配蜜桃绒色的水洗丝绸衬衫。由丝绸手帕制成的挂脖上衣与半透明的丝绸短裤和长裤相得益彰，并配有对比图案的腰带。剪裁利落，视觉统一。模特的头上饰有羽毛，像精灵一样在身后飘动。

演出结束时，掌声雷动。编辑和买手们纷纷起立——这在时尚界是罕见的起立鼓掌——热浪似乎再次汹涌地回到了空间之中。人们对 Dries 新任创意总监的狂热与钦佩正是如此。巴黎正为朱利安·克劳斯纳（Julian Klausner）而沸腾。

这位 35 岁的比利时设计师在秀后次日于玛莱区（Marais）的酒店与我见面时提醒我，情况并非一直如此。“人们之前的预期真的很低，”克劳斯纳在谈到他于我们见面前一年推出的首个 S / S 26 系列时说道，“当 Dries 卸任时，业内认为：‘好吧，就这样了。这个品牌结束了。’因此，在保持活力与创造力方面，我承担着巨大的责任。”

Dries 本人于 1986. 年创立了同名品牌。作为“安特卫普六君子”（Antwerp Six）——一个包括 Ann Demeulemeester 和 Walter Beirendonck 在内的比利时顶尖设计师团体——的一员， 在执掌品牌的四十年间，开发了一套独特的设计语言。他的男装兼具实用性与诗意——经常带有刺绣，经常轻盈飘逸，且始终采用复杂的面料工艺。

在 2024, 年夏天离开了该品牌，在此六年前，他通过一项闭门交易将大部分股权出售给了西班牙时尚与香氛巨头 Puig。克劳斯纳在近十年时间里一直担任女装负责人，与 并肩作战，他于 2025, 年被任命为继任者。如今，在执掌三个季度后，他已经证明自己完全有能力将 丰富的创意传承带向光明的未来。

“我今天很开心，”克劳斯纳一边喝着大杯黑咖啡一边告诉我。在秀后的早晨，他看起来比其他人更精神，穿着一件合身的深蓝色外衬衫，搭配卡其色休闲裤和行走靴。“我今天早上看了反馈，评价非常积极，这让我为团队感到非常欣慰。当反响良好时，我的第一反应总是：‘太好了，我没有让大家白忙一场。’”

Teo den Broeke：你如何看待负面评论？

朱利安·克劳斯纳：我完全可以接受。我讨厌让自己变得如此脆弱，以至于无法处理负面反应。我们所做的一切最终是为了让人们产生反应——我们不是为了自己而创作。

TVDB：不过，到目前为止，你在这份工作中几乎只收到过正面评价，对吧？

JK：我已经做好了迎接某天出现一场不那么出色的秀的准备。我曾与 Dries 共事，我想他一共办过 135 场秀，其中有些非常惊艳，而有些则没那么强，但这没关系。这不是一场竞赛。你尽力而为，希望它能获得认可，但有时情况并非如此。那么三个月后，你再次尝试即可。

TVDB：你觉得这种节奏是让你充满活力，还是让你感到不堪重负？

JK：两者兼有。它要求极高，但另一方面，它也不给你留下太多怀疑或过度思考的空间。你只能不断前行，而这种节奏让你能够相当直觉地去创作。你只需凭直觉行事。

克劳斯纳出生于 1991 年。他是四个孩子中的一个，在布鲁塞尔的 La Cambre 国家高等视觉艺术学院学习服装设计，那里距离他父母家只有“800 米”。之后，他开始了一系列实习：在伦敦的 Stella McCartney，在纽约的 Thom Browne，以及在 Carol Lim 和 Humberto Leon 领导下的 Kenzo。

克劳斯纳最具塑造意义的实习是在 Maison Margiela，他在其童年偶像之一的 John Galliano 麾下工作。“我对时尚的兴趣始于我身边的女性，但我热爱 Galliano 和 Christian Lacroix 的叙事方式，”他说，“那种华丽的，几乎像戏服一样的时尚。”

在 Margiela 的这段经历——一次为期六个月的实习最终延长为三年的任职——之后，克劳斯纳于 2018 年加入 Dries Van Noten 担任女装负责人。

TVDB：在与 Galliano 和 共事期间，你学到的最重要的教训是什么？

JK：在 John 那里，一切都关乎叙事。所有元素都为故事服务。他脑海中会浮现出某种神奇的愿景，然后他带领所有人一起前行，直到结果超越了他的预期。那是对细节的掌控——比如袖口的处理方式。你知道的，那些小珠宝、小饰品，以及发型和妆容。这是我从 John 那里学到的最大教训。

TVDB：那么 呢？

JK：与 共事则不同，因为我担任了他的助手长达七年。所以我从他那里学到了很多东西。 教会了我热爱面料。当然，作为一名设计师，我一直喜欢面料，但 是真正热爱纺织品及其制造工艺。他将对工艺的热情传递给了我，以及接纳意外的能力。

TVDB：你是指什么？

JK： 非常擅长做出反应、寻找解决方案、接纳错误并学会释然。DVN 起步时是一家非常小的公司，所以经常会出现问题，而你实际上无法承担纠正这些错误的成本。你必须反应迅速，并找到创造性的解决方案。这是一种非常典型的比利时心态。

就个人而言，作为一名 Van Noten 的拥趸，我的私人收藏中拥有过多件该品牌的单品，我可以证明，在克劳斯纳的领导下，该品牌的制作工艺提升了一个档次。

在 26 春夏系列中，我买了一件极佳的流体粘胶纤维灰色风衣。它看起来像是约瑟夫·博伊斯（Joseph Beuys）在杜塞尔多夫艺术学院可能会穿的，或者乔治·克鲁尼在《美好的一天》（One Fine Day）中可能会穿的，我非常喜欢它。我还投资了一件密织刺绣的蓝色纯原羊毛西装外套，现在穿太厚了，但到了秋天它绝对会是我最可靠的陪伴。

在我撰写本文时，克劳斯纳的 26 秋冬系列正陆续进店，这是一个同样精致的系列。大衣剪裁修长，具有 19 世纪的精准度。针织背心、开襟衫以及大衣上的贴花充满趣味，而贯穿全场的苏格兰裙则是向 Van Noten 本人对男性小腿线条的痴迷致敬。在克劳斯纳看来，这个系列是对青春的颂歌。我计划下次去巴黎时，买一件该系列中忧郁花卉图案的丝绸风衣，以此让时光倒流。

克劳斯纳作品真正的美感，既在于其将奇思妙想与精准工艺的巧妙融合，也在于其在继承 Van Noten 自身作品集时所采取的低调方式。所有核心原则都得到了保留——空灵感、图案、刺绣——但每件作品都打上了克劳斯纳微妙的个人印记。品牌经典的双排扣西装剪裁得更宽松，呈现出更现代的姿态，鞋款不再那么夸张 $\rightarrow$ 而色调在某种程度上感觉更加丰富，延伸到了色谱的新端点。

“从朱利安目前的系列中，我意识到 Dries Van Noten 既有的衣橱体系是多么强大，”时尚评论家及 Dries 的长期拥趸安德斯·克里斯蒂安·马德森（Anders Christian Madsen）表示，“他给这个品牌留下了一种既明确又多样化的审美，这在很大程度上对朱利安有利。他能够利用一套极其适合改编的作品集。”他继续说道：“对于像我这样资深的‘Dries信徒’——我在二十多岁时几乎只穿他的衣服——我觉得朱利安对档案款的许多诠释都非常出色，我认为这是因为那种表达方式本身就已经如此多元。”

TVDB：在你的 26 春夏系列之前，你从未设计过男装——你是如何着手的？

JK：嗯，我其实并不确切知道结果会怎样。你知道，我不知道自己能做到什么程度。没人真正知道，包括 Dries。

TVDB：真的吗？他一定有所预感。

JK：我觉得：“是的，我想我可以做到。”但当然，在经历一个季度之前，我并不真正确定。而且，尽管男装团队多年来一直是我的同事，但我从未与他们合作过。

：你是否遇到了任何敌意？

：没有，没有敌意。刚开始我有点小心翼翼，但很快我就想，“好吧，既然已经开始了，我不如尽情享受其中。看看会发生什么。”

：你在第一个男装季度表现得很大胆。

：我想将我设计女装的一些背景带入男装。我在女装系列中使用了大量刺绣，所以我想传达强烈的刺绣信息。我处理一切的方式与我们处理女装的方式相同——刺绣、印花、剪裁、廓形、flou（柔软剪裁）。

：Flou？

： 是褶皱艺术（drapery）。事实上，“”在法语中意为“模糊”。这是一种非常巴黎式的东西。Tailoring（结构剪裁）是用纸样平铺裁剪的，而 则是直接在身体上进行褶皱造型。这是一种不同的技能，更多地与连衣裙相关。

：这在系列中是如何体现的？

：在上次男装秀中，我们有几件斜裁作品，所以我们与男装团队进行了很好的互动。他们在正统男装方面拥有所有专业知识，包括实用主义工装和军事元素。我想我带来了一些更女性化的触感。

：男性在时尚选择上往往比较保守——大量使用蓝色、灰色、棕色。你在男性客户购买的单品中能看到这一点吗，还是说 Dries 的客户更具实验精神？

：我们的客户非常大胆，热爱时尚，喜欢玩转衣服。对于我们这个品牌来说，将基础衣橱单品与幻想之作相结合至关重要。能够同时提供这两者并与广泛的不同客户群体沟通，是这个品牌的特有之处。

：在设计系列时，你会考虑到这些不同的客户吗？

：当然，但我们的客户大胆且热爱色彩、印花和刺绣。因此，门店的反馈非常好。

：能拥有这样的客户群真是太好了——并非每个设计师都这么幸运！

：是的，绝对如此。特别是在男装方面。我们售出了惊人数量的刺绣、华丽的提花面料和秀场单品。

S / S 27

S / S 27

“我们的客户非常大胆，热爱时尚，喜欢玩转衣服”

A / W 26

底部中心：2026年6月，在巴黎举行的 Dries Van Noten 2027 春夏男装系列秀结束时，朱利安·克劳斯纳向观众致意

克劳斯纳的 27 春夏系列发布于繁忙的巴黎时装周尾声，其务实精神令人耳目一新。本周许多规模最大的秀场似乎与我们所经历的酷热天气格格不入。在 Rick Owens 的秀场上，模特们身裹层层充气黑色聚酯纤维面料，从东京宫（Palais de Tokyo）的喷泉中现身——这非常有 Rick 的风格，但显然并非为高温而设计。相比之下，克劳斯纳在诗意中加入了一剂实用主义。他的服装当然很美，但看起来也像是人们真正想要穿着的衣服，尤其是在一场酷热的时装秀前排。

在某些方面，这让我想起了一场 Giorgio Armani 的秀。与这个意大利超级品牌一样，Dries Van Noten 是一个依然深信成衣力量的品牌（据估计，服装销售占该品牌收入的 75-90%）。在奢侈品领域日益由包袋、鞋类和香水销售驱动的背景下，克劳斯纳的这次亮相将精心设计的服装置于核心地位，这在某种程度上具有一种低调的激进感。

克劳斯纳的系列之所以脱颖而出，另一个原因是其呈现方式的简洁。在其他地方，“规模”就是信息本身。对于路易威登（Louis Vuitton）而言，法瑞尔（Pharrell）在大学城（Cité Universitaire）中心搭建了一道巨浪。在 Saint Laurent 的秀场，嘉宾名单看起来不像是一场时装秀，而更像奥斯卡之夜，前排嘉宾包括 Charli xcx、麦当娜（Madonna）、奥斯汀·巴特勒（Austin Butler）、拉米·马雷克（Rami Malek）、黛比·马扎尔（Debi Mazar）、凯特·摩丝（Kate Moss）和乔·阿尔文（Joe Alwyn）。

当然，这些品牌是规模巨大的巨头，奇观化策略在其中行之有效：它能激发欲望，产生图像，主导社交媒体动态，并触达日益广泛的客户群。但在所有这些机制面前，克劳斯纳那种低调的主张反而显得更具吸引力。

TVDB：当你看到大时尚品牌打造的奇观时，是否感到有压力需要跟上步伐？ JK：我们的增长应该是缓慢且稳健的，我深信这一点。这是理想的模型。Dries 一季又一季地构建品牌，从未追求过爆发式增长，而这正是我们正在延续的方法。

TVDB：再次——你真幸运！

JK：时尚是一个巨大的文化领域——它既反映社会，又在多个层面发声。我很庆幸我们能与之保持一点距离，用我们自己的方式做自己的事情，这种方式也非常具有比利时特色。“安特卫普六君子”也是这种运作方式——他们怎么说来着？特立独行。

TVDB：这种个性的意识是你在 La Cambre 国家高等视觉艺术学院学到的吗？

JK：La Cambre 是一次真正的冒险。我刚刚参加了毕业展。那是为了庆祝工作室成立 40 周年，所以多年来从该校毕业的许多创意总监都出席了。那是一个非常特别的时刻，大家能聚在一起非常美好。

TVDB：当时都有谁在场？

JK：Mathieu Blazy [香奈儿创意总监]、Nicolas Di Felice [Courrèges 艺术总监]、Julien Dossena [直到最近仍担任 Rabanne 艺术总监]。看到这些场面令人印象深刻。这所学校已经成为了行业中如此重要的一部分。我很自豪能出现在那里。

TVDB：你把这些设计师视为你的竞争对手吗？ JK：我不把他们视为竞争对手。我把他们视为同事。我热爱时尚，所以当然会关注每个人的动态。我非常自豪能以某种方式与这些就读于 La Cambre 的设计师联系在一起。香奈儿的 Matthieu Blazy 和圣罗兰的 Anthony Vaccarello…… TVDB：阵容相当强大。

JK：是的，我们都在做同样的事情，并为此尽最大努力。此外，我也非常仰慕不同世代的许多人。Rick Owens 在其为人处世和对待时尚的方式上是我的榜样。

在我们的交谈结束前，我询问了克劳斯纳关于那个无疑对他生活和职业生涯产生最大影响的榜样。Dries Van Noten 最近在威尼斯的 Palazzo Pisani Moretta 开设了 Dries Van Noten 基金会，将目光从时尚转向艺术。然而，我想了解在学徒接替导师之后，他们的关系是如何运作的——而那个曾经属于 Van Noten 的品牌，正开始变成克劳斯纳自己的品牌。

JK：我确实会寻求他的建议。他最近在威尼斯很忙，所以我也给了他空间，让他专注于那边。但我们关系非常密切，一个电话就能联系上。这是一种很棒的感觉。Dries 在提供帮助方面极其慷慨。

TVDB：这太积极了！

JK：他是一个非常睿智的人。有一天我们一起接受采访，他说：“有时最好的建议就是那些你没有采纳的建议。”他说：“我可以提供建议，但同样地，如果我的话能让朱利安确信他必须朝着完全相反的方向走，那也很好。”Dries 是一个真正的创意工作者，他理解这个过程。

TVDB：他在秀前看过 S / S 27 系列吗？ JK：没有，没有。我在 10 天前和他聊过。他询问进展情况；我给他看了几件我喜欢的单品，并且就面料供应商提出了一些问题。向他请教非常简单，而且他总能提供很好的解决方案。

TVDB：但他在最终决定权上没有发言权吗？

JK：没有。我认为他最不希望看到的就是我过度在意他的看法，或者试图模仿他。他卸任了，我接手了这个职位，然后他真的希望我能独立发挥。

TVDB：所以，不像伊夫·圣罗兰（Yves Saint Laurent）和汤姆·福特（Tom Ford）那样？JK：不像。对此我非常感激，因为这种情况可能会变得非常棘手，其中掺杂了太多的情绪。如果对他来说很难，我也能理解，因为在经历了 40 年之后，你会在情感上产生深厚的羁绊。他在处理这一切时表现得极其优雅，我们彼此也非常尊重。这是一个很美好的局面。

在克劳斯纳离开去见他的巴黎团队——他将与他们共度最后一天，决定 9 月女装系列的秀场场地——然后逃往安特卫普的“宁静”之地之前，我问他如果不是为 Dries Van Noten 设计，他会做什么。

JK：我不知道。因为我的整个生活都围绕着时尚。有时我会思考这个问题。我热爱烹饪，所以可能是与食物相关的事情；但我也热爱与人打交道，所以也许会成为一名治疗师或心理学家。我还热爱动物，所以也可能是与动物相关的工作！

TVDB：听起来你天生就是为了成为一名时尚设计师而生的，朱利安。

JK：我在尽力而为，希望一切顺利。如果有一天不顺利了，那也是 c'est la vie（这就是生活）。我会隐居起来，而这段经历将是一场奇妙的冒险。我真的很想尝试活在当下。我想享受这一切，因为这很特别。我所担任的这个角色是独一无二的。我为自己感到非常自豪。

走进 Esquire 与 Range Rover 共度的温布尔登之日

上图：塔伦·埃格顿（Taron Egerton）与 泰奥·范登布鲁克（Teo van den Broeke）

在 6 月的最后一天，Esquire 的主编 泰奥·范登布鲁克（Teo van den Broeke）邀请了品牌的新老好友，在温布尔登网球锦标赛共度了一个特别的时光。

活动始于 Range Rover 套房的午宴。包括 塔伦·埃格顿（Taron Egerton）、帕帕·埃西杜（Paapa Essiedu）、强尼·弗林（Johnny Flynn）、诺亚·朱普（Noah Jupe）、理查德·加德（Richard Gadd）、詹姆斯·布莱克（James Blake）和 贾米拉·贾米尔（Jameela Jamil）在内的嘉宾们聆听了网球传奇 安娜贝尔·克罗夫特（Annabel Croft）慷慨激昂的演讲，随后前往中心球场，在品尝 Pimms 鸡尾酒与草莓奶油的同时，观看了亚历山大·兹维列夫（Alexander Zverev）、泰勒·汤森德（Taylor Townsend）和 塞雷娜·威廉姆斯（Serena Williams）的比赛。

与会者还有机会通过 Esquire 与 Range Rover 联合推出的独家报纸《Style Post》（在整个锦标赛期间发行）来回顾温布尔登的所有时尚亮点。活动在极具格调的氛围中落下帷幕，嘉宾们乘坐 Range Rover 车队被送回家中。

左上：詹姆斯·布莱克（James Blake）、贾米拉·贾米尔（Jameela Jamil）、帕帕·埃西杜（Paapa Essiedu）与 泰奥·范登布鲁克（Teo van den Broeke）。上方，从左上起顺时针方向：伊莎贝拉·劳格兰（Isabella Laughland）与 强尼·弗林（Johnny Flynn）；黛比·奇里切拉（Debi Chirichella）与 乔纳森·赖特（Jonathan Wright）；詹姆斯·布莱克（James Blake）与 贾米拉·贾米尔（Jameela Jamil）；泰奥·范登布鲁克（Teo van den Broeke）与 理查德·加德（Richard Gadd）；帕帕·埃西杜（Paapa Essiedu）。

对面，从左上起顺时针方向：泰奥·范登布鲁克（Teo van den Broeke）与 帕帕·埃西杜（Paapa Essiedu）；强尼·弗林（Johnny Flynn）；Esquire 温布尔登主题的《Style Post》报纸；亚历克斯·尤尼特（Alex Unitt）与 泰奥·范登布鲁克（Teo van den Broeke）；塔伦·埃格顿（Taron Egerton）与 理查德·加德（Richard Gadd）；诺亚·朱普（Noah Jupe）。

● 罗马

在罗马市中心住宿，几乎不可能不处于某个具有震撼历史意义的遗址近在咫尺之处，但即便如此，Orient Express La Minerva 酒店依然出类拔萃。这家酒店坐落在米内尔瓦广场（Piazza della Minerva）一座 17 世纪的前宫殿内（在早期的不同时期，这里曾接待过司汤达和赫尔曼·梅尔维尔等访客），从酒店的顶楼餐厅和酒吧望去，你几乎可以将橄榄核直接扔进万神殿的开口顶端，可见其距离之近。当然，这样做并不礼貌。这家奢华酒店拥有 93 间客房，近期又开设了四间豪华套房和一个受奥斯曼风格启发的土耳其浴场（hammam），因此明智之举是保持你的礼貌以获得热情的欢迎。欲了解更多信息，请访问 orient-express.com。

上图：Orient Express La Minerva 的顶楼餐饮。左图：酒店的一间浴室。下图：司汤达套房。

下图：Hôtel Balzac 的一间套房。 右图：Ikoï 水疗中心。

● 米兰

Portrait Milano 坐落在时尚区（Quadrilatero della Moda）中心一座 16 世纪的前大主教神学院内，是这座城市最顶级的酒店之一。对于一座被视为世界时尚之都的城市来说，这家酒店由 Ferragamo 家族所有，可谓恰如其分。酒店的 73 间套房和客房展现了这家意大利时装屋最著名的许多精致设计细节：每间房都采用了高贵的红色和奶油色装饰，并配备该品牌的洗护用品。Ferragamo 拖鞋？当然有。地下室设有拱顶水疗中心，而围绕庭院则分布着时髦的 10_11 酒吧和花园餐厅。完美！欲了解更多信息，请访问 lungarnocollection.com

上方：巴黎宝格丽酒店（Bulgari Hotel Paris）的顶层公寓主卧 左侧及下方：Portrait Milano

● 巴黎

在巴黎寻找一家优秀的酒店并不难，但要找到一家能让你瞬间感到宾至如归的酒店则更难。Balzac 酒店地理位置优越，就位于香榭丽舍大街后方，步行即可到达蒙田大道的精致店铺，骑 Lime 共享单车很快就能到达埃菲尔铁塔和东京宫。这家优雅的酒店最近由 Festen Architecture 进行了全面翻新，其室内设计将旧世界的巴黎魅力与某种惬意感相结合，让我们真的不想离开——尤其是我们在入住期间气温高达 42℃ 且仍在攀升，而出色的空调系统实在太诱人了。

欲了解更多信息，请访问 hotelbalzac.paris

● 巴黎

在入住宝格丽酒店之前，你还没有真正体验过什么是低调的奢华。其巴黎分店位于乔治五世大道（Avenue George V），就在著名的同名四季酒店对面，是低调优雅的典范。我们入住了一间可以俯瞰全市全景的套房，视野从大皇宫一直延伸到圣心大教堂，但正是那些细微之处让这次入住感觉格外特别。浴缸大得像个游泳池，衣帽间与其说是步入式，不如说是环绕式，而管家每天下午准备的一系列美味点心（布里欧修、浆果、萨赫蛋糕，天呐！）让在漫长炎热的时装秀日后回到房间的感觉变得更加甜蜜。欲了解更多信息，请访问 bulgarihotels.com

生活必需品

最牢固的关系始于自我意识

大多数关于关系的建议都集中在沟通上，但持久的改变始于理解是什么驱动了我们的反应。内在的批判者会在你毫无察觉的情况下，悄悄影响你的自信、冲突和连接。在《当爱感觉像冲突》（When Love Feels Like Conflict）中，你将学习如何通过识别这些隐藏模式来帮助创造更平静的对话、更强的情绪韧性以及更牢固的关系。获取你的免费《内在批判者关系指南》，探索可以改变

你与自己以及最亲近的人相处方式的实用策略： 作者：Tracy McCadden BSc(hons) MBACP

AIS_Health_Check

在 AIS Health Check，我们的愿景是让预防性医疗变得快速、便捷且高效。无需忍受 NHS 的漫长等待，客户可以在英国和爱尔兰全国 50 多家合作伙伴诊所预约当天或次日的就诊，结果通常在 1-3 个工作日内出具。检测项目包括全身 MOT 检查、激素、过敏原、肠道健康、甲状腺、糖尿病、关节炎以及胰岛素抵抗检测。

我们为客户提供全程支持，包括由医生解读的结果，并提供在线全科医生（GP）预约，以讨论后续步骤和生活方式建议。

www.aishealthcheck.co.uk

联合创始人 Sin & Has

每一个伟大的品牌都始于一个挑战常规的决定。我们的起点是重新定义现代理发店——它不仅仅是一项服务，而是一个由设计、文化和雄心塑造的目的地。我们相信，成功是通过一致性而非喧嚣，通过匠心而非捷径来构建的。每一位走进店门的客户都成为了一个重视品质、自信和进步的社区的一部分。这不仅仅关乎发型，更关乎标准。我们正在打造一个旨在超越潮流的事物，证明当愿景引领、目标随行时，即使是最小的空间也能留下最深远的遗产。理发是我们的业务，而构建文化则是我们的初衷。

生活方式必需品

Young Goose / 瓶装的先进皮肤长寿科技

你可能听说过“吸血鬼面部护理”。现在，请探索无需针头的进化版。

推出 Vampire Exosomes $^{®}$ —— 一款临床剂量外用精华液，由3万亿美元 个经过验证的血小板衍生外泌体驱动，灵感源自 PRP 背后的再生科学。配合 NAD+ 支持和屏障优先的输送系统，Vampire Exosomes $^{®}$ 作为完整长寿护理方案的一部分，帮助皮肤恢复、增强并维持改善效果。

生活方式必需品

Edge Up：穿出态度

风格不在于融入，而在于清楚地知道自己是谁，并以此着装。这正是 Edge Up 的意义所在。

Edge Up 为那些不愿循规蹈矩的男性而创，打造出游走在自信与叛逆之间的标志性服饰。从干练的棒球帽和冷帽，到极具辨识度的上衣和慢跑裤，每一件单品都旨在将日常必需品转化为话题之源。利落的剪裁、毫不妥协的图形设计和鲜明的态度定义了该系列。该系列的核心是 HardasFK —— 一个可以由你定义含义的口号。对某些人来说，它代表坚毅、韧性以及在关键时刻挺身而出；对另一些人来说，它则带着心领神会的微笑 —— 对不那么严肃对待自身的现代男性气质的一种幽默致敬。

强悍、讽刺，或介于两者之间，选择权在你手中。

Edge Up 不是为了告诉你应该成为谁，而是为了给你自信，让你掌控自己的故事和激情。足够大胆，以满足坚定者；足够聪明，以欣赏其中的讽刺；足够舒适，以适应生活。真正的风格从不低语，它直截了当。Edge Up 旨在突破界限，穿出态度。

Tiktok: edgeupdesigns / Insta: edgeupdesigns / Facebook: edge up / edge-up.co.uk

为懂行之人打造的瑞士运动腕表

Nivada Grenchen 始终属于那些懂得如何寻找的人。为了庆祝独立瑞士制表 100 周年，F77 MKII 重新演绎了品牌在 20 世纪 70 年代最具标志性的设计之一，配备 38mm 紧凑型表壳、一体式表带和瑞士自动机芯。它简洁、自信且低调独特，是一款拥有真实传承且无需喧哗的精钢运动腕表。对于收藏家、爱好者以及任何希望在他人之前发现好物的人来说，F77 MKII 起售价为 $1,160。

扫描二维码探索 F77 MKII 系列

大胆的英国衬衫。糟糕

Blake Mill 为那些拥有独立见解且敢于将其穿在身上的男性打造高端设计师衬衫。每款设计都根植于英国艺术与文化——从抽象表现主义到 L.S. Lowry 的火柴人，并与我们家乡曼彻斯特的 Lowry 艺术馆合作生产。十余年的大胆，依然在不断突破。这不是一个时尚品牌，而是一个信号。它由那些宁愿引发对话，也不愿在另一个夜晚默默无闻的男性穿着。

扫描以探索系列产品。

blakemill.co.uk

生活方式必需品

永恒风格的新赛季

在 Polo Club，我们致力于创造超越季节更迭与潮流趋势的永恒时尚。正是这种对当代卓越品质的共同承诺，让我们自豪地进入英国市场，成为富勒姆足球俱乐部（Fulham FC）的官方女性正装供应商。

随着季节转换，我们的 26 秋冬系列旨在定义回归城市的格调。这是对学院风生活方式的精致诠释，将高端羊毛叠穿、学院风廓形衬衫以及深酒红、森林绿和巧克力棕的浓郁色调融为一体。

在 poloclub.co.uk 探索该系列

每个人都有一条最爱

细节决定差异；

恰到好处的接缝。宽松透气的剪裁。柔软轻盈的 100% 纯棉。既不单调也不古怪的原创印花。持久耐用的弹性腰带。寻找你最爱的平角裤。

SAVES NINE

www.savesnine.co.uk

Bruno Marc

Bruno Marc 的 Reign 系列经典皮革牛津正装鞋重新定义了正装鞋的规则，在提供奢侈牛津鞋精致外观的同时，兼具您最喜爱的运动鞋的舒适感。它们采用优质阿根廷全粒面皮革打造，通过

三层缓冲垫、灵活的前掌以及支持自然活动的轮廓鞋垫，将永恒的牛津风格与运动鞋级别的舒适度相结合。填充领口提供了即时的舒适感，且无需漫长的磨合期，而耐用的防滑外底则为持久性能而设计。从办公室到正式场合，Reign 系列提供了高端鞋履的精致外观与触感，且无需忍受不适或支付奢侈品的溢价。

选择 Reign 系列经典皮革牛津正装鞋，提升您的鞋履轮换选择。

立即购买：https: / www.amazon.com / Bruno-Marc-Classic-Business-SBOX26007M / dp / BoGC6358P9

我的更好男人

《亲爱的英格兰》主演讲述他为何钦佩加雷斯·索斯盖特爵士 —— 这位他在舞台和荧幕上都饰演过的人物。

约瑟夫·费恩斯

人们常说不要去见你的偶像，但这句话对约瑟夫·费恩斯来说完全不适用。2023 年，这位演员在詹姆斯·格雷厄姆的热门剧作《亲爱的英格兰》中饰演了加雷斯·索斯盖特爵士，今年夏天他又在 BBC 同名改编的电视剧中再次饰演该角色。在 6 月的 Esquire Sessions 活动中，当被要求提名他的“更好男人”时，他对这位前英格兰队主教练赞不绝口。

“我认为‘更好男人’的[精神]被浓缩在他那封名为《亲爱的英格兰》的致国民信中，”费恩斯在迪恩街的 Soho House 对观众说道。“他谈到了沉着，我认为当我们处于逆境或期望未达成时，我们——以及整个国家——可能都会在这一点上感到挣扎。足球就像一种宗教，因此在数年间承担他那样巨大的责任是非常了不起的。”

费恩斯将索斯盖特爵士描述为一位“非凡且温和的导师”，并思考了他通过创新方法在当时遭受重创的英格兰队中重建动力、信心和士气的方式。“如果你考虑到一名教练在极端压力下，通过给国家写信来在极度分裂和不确定的时刻将人们团结在一起，这其实很不寻常，但索斯盖特爵士是一位非常独特的绅士。我对他由衷地表示敬意。”

《亲爱的英格兰》所有剧集现已在 BBC iPlayer 上线。

作者：Natalie Zannikos

独树一帜（从左至右）：约瑟夫·费恩斯与加雷斯·索斯盖特爵士

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September — October 2026

Welcome to The Art of Style issue

STYLE

Pages 47–69

Armani's autumn coat is a wearable masterwork / Erwin Wurm takes us on a gondola ride / Time-travel to 1979 with Andy Warhol / Back to you in the studio / Museum-worthy tech buys / Dust off your Nineties jeans and channel the YBAs / An installation of great outfits / Painterly watches to cleanse the palette / Scandi design takes to the motorway / Store your documents the artist's way / Grooming products that deserve to be exhibited / The Style Shrink's savvy solution for looking expensive on a budget

THE CODE

Pages 89–97

Santiago Lastra and Yotam Ottolenghi on how to wow dinner-party guests / Things every respectable man should know, from the exhibitions worth visiting to oyster-shucking techniques / A tutorial for avoiding wardrobe malfunctions / Save your skin, get a grip and secure 40 winks →

LIFE

Pages 73–87

Hard man Ray Winstone shows us his soft side / Dating advice from Mr Darcy, plus translated fiction to read now / London's next generation of gallerists / Buttered toast is the way to chef Jody Williams' heart / Pull up a seat at the counter / Jon Bon Jovi's rules for living / An art-house director and a video-game creator team up for a Prada project

HERMÈS PARIS

Hermès, ride on!

FEATURES

Pages 98–157

Andrew Garfield, our cover star, contains multitudes / How to steal a million: our fool-proof guide to art heists / Pay attention to the craftspeople behind the curtain / Aaron Sorkin is taking down technocrats (again) with his Social Network sequel / Dries Van Noten's new designer comes to play / A look back at Esquire's star-studded Wimbledon event / Unparalleled hotels in Paris, Rome and Milan

FASHION

September — October 2026

Pages 132–149

Going, going, gone: throw your lot in with the new-season menswear worth going to bidding war for

On the covers: Andrew Garfield wears bolero jacket, £2,600; jumper, £1,590; trench-coat, £2,950; trousers, £1,430; derby shoes, £1,170, all Prada

MASTER OF MATERIALS

ANATOM SKELETON

Paul Smith

From the editor's desk

Whenever people ask how I ended up doing what I do, they tend to assume I studied either English literature or journalism (clearly not having read my raw copy). I didn't. My degree was in fine art. I originally wanted to be a painter, but my course leader informed me that painting was dead. But that's a story for another time.

When I landed my first job in journalism at Wallpaper* magazine, I started out writing about art before quickly shifting my gaze to menswear. Not because I'd grown bored or disenchanted with the former, but because, in the process of attending the fashion shows and press appointments that came with the role, I realised that the very best fashion possesses the same creative ambition as any great work of art. Moreover, the greatest menswear is art you can wear.

That's the idea at the heart of Esquire's Art of Style issue. The theme crystallised for me during the menswear shows in Paris back in June, which coincided with a heatwave. Temperatures soared to a hellish 41°C, and watching overheated models walk searing runways felt faintly perverse. Yet

amid all the stuff, there was genuine artistry to be found.

The standout collection of the season, for me, came from Dries Van Noten. The Belgian house is currently helmed by 34-year-old Julian Klausner, who has infused it with a breezy sense of understated beauty. I met Klausner after the

The best fashion possesses the same creative ambition as any great work of art; the best menswear is art you can wear

show and interviewed him for this issue. You can read our conversation on page 130.

Our cover star is an artist of a different kind. In recent years, Andrew Garfield has cemented his cinematic credentials, taking on unexpected roles and pursuing projects a world away from his

Teo van den Broeke, editor-in-chief

LAUREN

formative years as Marvel's favourite gymnast. This month, he stars in Paul Greengrass's new film The Uprising, in which he plays a usurping medieval ploughman. Later, he'll appear as OpenAI founder Sam Altman in Luca Guadagnino's much-discussed AI drama Artificial. Esquire's deputy editor Miranda Collinge meets Garfield on page 98, accompanied by a beautiful shoot from photographer Rob Rusling and Esquire's contributing fashion editor Julian Ganio, who reimagined the actor as a Rodolfo-esque figure from Puccini's La Bohème. It, too, is a work of true artistry.

Celebrating things made by human hands feels especially important in our increasingly machine-driven age. As AI becomes ever more prevalent, the value of craftsmanship — whether expressed through the written word, a painted canvas or a hand-stitched hem — seems more urgent than ever before.

On page 116, our style director Zak Maoui and photographer Philip Sinden meet some of Britain's most exciting fashion designers and the craftspeople who help bring their visions to life. From Bianca Saunders and her world-beating set designer to the Dunhill creative director Simon Holloway's preferred bespoke-suit cutter, we celebrate the hands behind the brands.

Elsewhere, friend of Esquire Josh Hight's fashion story imagines a fantastical auction house populated by arty characters wearing the new season's best Gucci, Prada and Dior. And on page 126, American Esquire editor-in-chief Michael Sebastian sits down with Aaron Sorkin, the mind behind the year's most talked-about film that isn't Artificial, The Social Reckoning.

There's an art to making magazines, too. Over the past year, I've found myself in awe of the talented writers, photographers, stylists, designers and editors I've had the privilege of commissioning and working alongside. Every issue is the product of countless skilled hands, each contributing something distinctly, wonderfully, imperfectly human.

TEO VAN DEN BROEKE

Strokes of genius (from top): a Boss look from our “Going, going, gone” fashion story; cover star Andrew Garfield (page 98); Saul Nash and Charlie Catlow (page 120)

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TOM FORD EYEWEAR

EDITOR-IN-CHIEF Teo van den Broeke

DEPUTY EDITOR Miranda Collinge ART DIRECTOR Geri Dempsey LUXURY DIRECTOR Johnny Davis SITE DIRECTOR Nick Pope STYLE DIRECTOR Zak Maoui CULTURE EDITOR Henry Wong SENIOR DESIGNER Laura Sheppard SOCIAL MEDIA AND STYLE WRITER Josh Osman FASHION ASSISTANT Lauryn Doherty

CONTRIBUTING STYLE EDITORS Ben Cobb, Caroline Issa, Gianluca Longo, Charlie Teasdale

CONTRIBUTING WATCHES & JEWELLERY EDITOR Nick Foulkes

CONTRIBUTING DESIGN EDITOR Charlene Prempeh

CONTRIBUTING FASHION EDITORS

Jeanie Annan-Lewin, Crystalle Cox, Rose Forde, Julian Ganio, Catherine Hayward, Felicity Kay, Dan May, Kk Obi, Robert Rabensteiner, Ben Schofield

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Richard Benson, Alex Bilmes, Peter Bradshaw, Mick Brown, Joseph Bullmore, Ed Caesar, Joe Dunthorne, Liam Freeman, Will Hersey, Dylan Jones, Jeremy Langmead, Tabitha Lasley, Tim Lewis, Stuart McGurk, Simon Mills, Max Olesker, Rosa Rankin-Gee, Raven Smith, Philippa Snow, Lou Stoppard, Alfred Tong, Jethro Turner

CONTRIBUTING PHOTOGRAPHERS

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EDITORIAL OPERATIONS DIRECTOR Sophie Wilkinson WORKFLOW DIRECTOR Carly Levy EDITORIAL BUSINESS DIRECTOR Connie Osborne EDITORIAL BUSINESS MANAGER Jessica Borges ACTING EDITORIAL BUSINESS MANAGER Delilah Moses

TALENT

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ALPINE EAGLE

Epitomising the pure and sophisticated aesthetics of the Alpine Eagle collection, this 41 mm-diameter model with integrated bracelet is crafted from Chopard's exclusive, high-quality Lucent Steel™. It is equipped with the chronometer-certified self-winding Chopard 01.01-C movement. Proudly developed and handcrafted by our Artisans, this exceptional timepiece showcases the finest expertise and innovation cultivated within our Manufacture.

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THE ARTISAN OF EMOTIONS - SINCE 1860

CONTRIBUTORS

JULIAN GANIO For his third story with Esquire, the stylist worked with Andrew Garfield on our cover profile of the actor (page 98). An artwork I wish I'd created: “City’ by Michael Heizer.”

PHILIP SINDEN With past clients including Paul Smith and American Express, the photographer shot our designers and craftspeople portfolio in this issue. An artwork I wish I'd created: "Taxi Driver by Martin Scorsese."

JOANNE JOO The illustrator and animator, who has worked for Hermès, Tod's and The New Yorker, created the images for "The art of the art heist" (page 112). An artwork I wish I'd created: "La Danse' by Henri Matisse."

ROB RUSLING The Bradford-born, Paris-based photographer shot Andrew Garfield for our cover. Previously, he has worked with Maison Margiela and Sony. An artwork I wish I'd created: "Monet's water lilies."

SIMON GARFIELD The author, whose latest book, The Pen: A Human History, is published in September, wrote “The art of the art heist” on page 112. An artwork I wish I’d created: “All the sculptures in Barbara Hepworth’s house and garden in St Ives.”

ZAK MAOUI Esquire's style director styled our fashion shoot "Going, going, gone" (page 132), and talked to creative collaborators for "Meet your makers" (page 120). An artwork I wish I'd created: "Gay Semiotics' by Hal Fischer."

MIRANDA COLLINGE For this issue's cover story (page 98), Esquire's deputy editor spent an afternoon on London's South Bank with the actor Andrew Garfield. An artwork I wish I'd created: "Piero Manzoni's 'Merda d'Artista'."

MICHAEL SEBASTIAN The editor-in-chief of American Esquire spoke to The West Wing creator Aaron Sorkin ahead of his new film The Social Reckoning (page 128). An artwork I wish I'd created: "Frank Stella's black paintings."

September – October 2026

JOSH HIGHT The photographer has worked with Margaret Howell and has his own newspaper, Idle Pages. He shot our fashion story on page 132. An artwork I wish I'd created: “Duchamp's ‘Fountain’.”

BRUNELLO CUCINELLI

“...and then we came forth to see again the stars”

Dante

GLENMORANGIE SINGLE MALT SCOTCH WHISKY

"The Greatest"

HARRISON FORD

Photograph: Michael Ward/Getty Images

Y S

Edited by Johnny Davis

Photograph by Joe Hume

Coat, £2,900; shirt, £680; trousers, £1,500; tie, £185; belt, £390, all Giorgio Armani

Joseph Beuys gives a lesson in intellectual dressing

There is always one coat, every autumn, that seems to announce a shift in mood. This year, Giorgio Armani proposes something long, loose and artful. The soft-shouldered, ankle-skimming coat, cut in washed greige wool, moves more like knitwear than traditional tailoring. Worn with sweeping, pleated trousers and a loosened tie, the look recalls the off-duty uniforms of artists and architects in late-1980s Milan or downtown New York. Elegant, relaxed and ever-so-slightly bohemian, it is the kind of dressing Armani has understood better than almost anyone for decades. JOHNNY DAVIS

ERWIN WURM

The Austrian artist behind this summer's exhibition at Museo Fortuny shares the restaurants, galleries, bookshops and walks that keep drawing him back to La Serenissima

For Erwin Wurm, Venice is a city that takes him back to childhood. The artist first visited with his parents when he was eight years old and has been returning ever since. Growing up in Graz, Austria's second-largest city, he could reach Venice easily on the night train and stayed for weeks as a student. Today, he and his wife own an apartment and spend long stretches there every year. "We come back in September, and it's just wonderful," he says.

This summer, Venice has taken on an added significance for the artist. Wurm's latest exhibition is being held at Museo Fortuny, the extraordinary former home of designer Mariano Fortuny. Housed inside a Venetian Gothic palazzo, the museum is filled with traces of its owner's passions, from stage design and textiles to architecture and collecting. He describes it as “like time travel to the 19th century or early 20th century, in Venetian terms”.

Creating an exhibition there meant something very different from showing work in a conventional gallery space. Rather than occupying an empty white cube, he found himself responding directly to the building and its history. “It’s a conversation between [Fortuny], the old times and me,” Wurm says. “It’s very exciting and fascinating. I love it.”

From top: Venice. Erwin Wurm. "Mind Bubble Leg Up" (2024) by Erwin Wurm. Palazzo Grassi

VENICE

① THE BOOKSHOP

Libreria Marco Polo is an independent shop with a curated selection of literature, cultural books and contemporary art. I also love Libreria Toletta. It's one of the city's historic bookshops.

I buy fewer books now than I used to. I have a large library and, as you get older, you start wondering what eventually happens to all these books. Art catalogues, especially, can date quite quickly. Novels are different. Those stay with you.

② THE MUSEUM

Apart from Fortuny, I would say the Accademia is my favourite museum. You can see all the early-Renaissance paintings, with Bellini and the others. They even have three Hieronymus Bosch paintings, which is very rare. The thing about Venice is that you're completely spoilt. There is the Biennale, the Architecture Biennale, the Film Festival, dozens of churches and all these museums. The city is full of art.

③ THE MOST

OVERRATED ATTRACTION

Honestly, I don't think anything is overrated. Venice is just too beautiful. The only thing I might skip is going up the Campanile in St Mark's Square during summer, because everybody wants to do it and there are simply too many people. But the square itself and the basilica are extraordinary.

4 THE DATE SPOT

You can be romantic almost anywhere in Venice. If you want the full experience, book a gondola and let somebody row you around for an hour. Sometimes they even have singers on board. We hear them from our apartment as they pass beneath the windows. It's like having an Italian radio station floating through the city.

5 THE GALLERY

Punta della Dogana [the art museum at the entrance to the Grand Canal] is fantastic, and so is Palazzo Grassi. That's what I love about Venice – that contemporary art sits alongside all this history. One moment

you're looking at Renaissance masterpieces and the next you're seeing some of the best contemporary exhibitions in Europe.

6 THE MODE OF TRANSPORT

Walking. When my wife and I are in Venice we usually do 16,000 to 18,000 steps a day without even noticing. We don't do that anywhere else because normally you're sitting in a car or standing in the subway. Venice is different. You walk everywhere and that's part of its charm. If you're tired, take the vaporetto [Venice's public waterbus]. It's expensive for tourists but very useful.

7 THE RESTAURANT

La Madonna, close to the Rialto Bridge, is a traditional Venetian institution. They do spider crabs, ceviche and a great Venetian risotto, made with lots of Parmigiano, asparagus and seafood. It's one of those places that feels completely authentic and never disappoints.

8 THE UNDERRATED NEIGHBOURHOOD

Dorsoduro [the university and arts district] is wonderful. There are lots of students there and it feels more local than other parts of Venice.

On the other hand, maybe I shouldn't recommend it too strongly, because one of the reasons it's so nice is that there aren't too many tourists.

9 THE GYM

In Austria [where I live and work], I see a personal trainer three times a week, which is increasingly important as you get older. In Venice, I have some weights and benches in the apartment and train by myself. Then I spend the rest of the day walking. By the time you've done 16,000 steps, you've had plenty of exercise.

Above: “Untitled” (2024) by Michael Armitage. Below: Ca’d'Oro palazzo

10 THE VIEW

The best views are often the simplest ones. Stand alongside the Grand Canal and look in any direction.

I love sitting on Giudecca [the island opposite central Venice] and looking across the water towards the city. You can sit there with a coffee and watch Venice unfold.

11 THE BAR

Harry's Bar, of course. It's a classic for a reason. I also like the bars in Dorsoduro. They're not fancy, which is exactly why they're good. They're full of locals, students, conversation and laughter.

12 THE WALK

The Giardini [the gardens that host much of the Venice Biennale] is beautiful. Sometimes I go there and simply wander around. I also love walking along Giudecca. You can keep walking without any particular destination. Venice rewards that.

13 THE BUILDING

There are so many beautiful buildings, but Ca'd'Oro [the Gothic palace on the Grand Canal] is extraordinary. St Mark's Basilica is breathtaking. You're looking at a building that's more than a thousand years old and it's still overwhelming.

14 THE ARTISAN

I've worked with Berengo Studio in Murano [the island famous for glass-making] since 2011. You work directly with the glass masters and develop ideas together. It's a real collaboration.

"Erwin Wurm. Dreamers" is at Museo Fortuny until 22 November; fortuny.visitmuve.it

The Warhol watch

How Piaget and Andy Warhol turned the luxury watch into something far more potent than just a way of telling the time

By Nicholas Foulkes

When Andy Warhol met Yves G Piaget in 1979, the two men recognised in each other something essential: an understanding that luxury was not a discrete category set apart from the quotidian, but rather the ultimate democratisation of desire.

Warhol had canonised Campbell's soup cans and Coca-Cola bottles on silkscreens that moved groceries from the kitchen to the walls of Park

Avenue apartments. Much in the manner that the devout in the Middle Ages used reliquaries to demonstrate their virtue and piety, so the late-20th-century religion of monetised creativity championed the purchase and display of art for a double return on investment: the price appreciation of the artwork and the aura of cultured good taste that enveloped its owner. A Veblenian circle, indeed.

Of course, art had been used as a medium of status conferral for centuries, but now an artist made no pretence that his buyers were anything other than status-hungry collectors in search of validation. It was not an insult; Warhol would have seen it as a fact. (If you have any doubt, consider his dollar series, literally and figuratively covering the walls with money.) What makes the relationship between Warhol and Piaget particularly intriguing is that they were both engaged in the same fundamental enterprise: the eroticisation of everyday objects.

In the 1970s and 80s, Piaget worked exclusively in gold, and was not only concerned with producing watches for people who needed to know the time. The primary function of a Piaget was to dazzle, with a sleek case design that disappeared when viewed side on and, most notably, dials that often glinted with diamonds. These were the ultimate expression of disco-era ultra luxury, existing beyond rational justification. Like Warhol, Piaget understood that an object becomes infinitely more desirable precisely because it is desired by others.

"Status is very important in our philosophy. In the meaning of our enterprise."

It is an aphorism worthy of Warhol, but this is not Andy talking about the Factory. This was Yves Piaget when he was profiled in Warhol's Interview magazine in 1983: "I think status today is very important. Not just for watches, but for everything. Many people are captivated by the meanings of all this status. Some of our customers are collectors of pieces of art. They like our watches because they are pieces of art, and they buy them because they live among men who recognise that our customers want to prove to people around them that they are cultured, that they are able, that they could buy a Piaget watch."

In short, this was wearable wealth for the discriminating few who had the taste to appreciate it, and the even smaller number who could actually afford it.

Just as Warhol's work fundamentally changed the nature of the production and consumption of art, so Piaget's ultra-thin movements had transformed the experience of wearing a watch. It is ironic that the watch now officially known as the Warhol was Piaget's attempt to disguise a massive movement: the Beta 21.

In the early 1970s, the Beta 21 was Switzerland's first answer to the quartz question and resulted from a joint venture among several of Switzerland's most prestigious watchmaking names. The problem was that it was very, very big, necessitating a large case. Piaget made the substantial proportions of the Beta 21 movement part of the watch's aesthetic argument. But the Beta 21 was almost obsolete before it was introduced, and now early Piaget examples are rare.

The watch soon sank from notice and was forgotten, eclipsed by the remarkable success of its late-1970s grand luxe “sports” watch: the Polo.

When the stepped-bezel Beta 21 was reintroduced in the catalogue in 2014, it was equipped with Piaget's modern 534P self-winding calibre and offered with either an onyx dial in rose gold or a malachite dial in white gold. It was a beautiful watch, much like the ones we know today, but the name was a problem. It was called the Black Tie, which sounded, at best, generic. It was not a huge seller until something remarkable happened in Monte Carlo.

Clockwise from top left: Yves Piaget; the Piaget Andy Warhol with green-stone dial; the man himself; the Piaget Andy Warhol with a meteorite dial

A collector appeared at the Piaget boutique and asked if he could order, strictly off-catalogue, 10 of these watches, each with a different stone dial. As this sort of order was terra incognita for Piaget, the details had to be relayed to management. Benjamin Comar, the newly appointed CEO, took the decision to honour the client's request, and was so impressed with the results that he asked to display them at the annual Watches and Wonders fair in Geneva, not for sale, merely for exhibition as an example of what Piaget could accomplish.

It was a rare instance of a reissue, refined and refreshed, being better than the original, and Piaget was off to the races. The only problem was the name: Beta 21 was inaccurate, while Black Tie felt uninspired. Everyone knew it as the Warhol, but was not allowed to call it that. Finally, at the end of 2024, a deal was struck with the Andy Warhol Museum in Pittsburgh and the watch could officially be called by name. A celebratory series of watches was made with ornamental stone-marquetry dials in black onyx, pink opal, green chrysoprase and yellow serpentine, inspired by the 1986 collage self-portrait. These are among the most sought-after pieces in the modern market.

The partnership formalised between Piaget and the Andy Warhol Museum recognises that luxury, when executed with conviction and intelligence, becomes almost indistinguishable from art. Piaget's Warhol exists in that liminal space where function and aesthetics achieve perfect equilibrium, where the mechanical and the transcendent become one. It is a watch that tells time in the language Warhol and Piaget both spoke fluently: of desire, beauty and status. It has never felt more coveted than it does right now.

Studio life

An artist's working space offers a wealth of design inspiration, says Esquire's contributing design editor Charlene Prempeh

Donald Judd soup bowl, price on request, Judd Foundation

Nicolás Said Torcida tea set, £160, available exclusively at House of Voltaire
Isamu Noguchi Akari 1AS light sculpture, £168, Noguchi Museum

Oak paper tray, £70, Present & Correct

Donald Judd architecture desk, price on request, Judd Foundation

Hand-carved spoons, Temitayo Ogunbiyi and Robert Seishin Rurup, price on request, Noguchi

La DoubleJ set of quilted Murano glasses, £470, Mr Porter

Mitsubishi Hi-Uni pencils, £60, Niwaki

We are about to enter a particularly hectic phase of the arts and design calendar. For art, we begin with the Armory Show in September, in New York, then the people-watching dream of Frieze London in October, before the circus moves on to Art Basel Paris (also October) and Art Basel Miami in December. In parallel, Pad London, Design Miami and Design Miami Paris act as the collectable-design equivalents of the art fairs. During this period of deal-making, dinners and blockbuster institutional openings, organising a studio visit can be an anchoring, nourishing balance to the chaos. Outside of the privilege of learning about an artist's or designer's practice and viewing new work, it's fascinating to see how they built their environment to create and, if enough attention is paid, there is inspiration to be taken into our own homes.

The creative public has always been fascinated by the romance of the artist's studio. The physical space of Andy Warhol's Factory holds as much weight as his work,

with the iconic red sofa and foil-covered objects of the Silver Factory representing the height of cultural influence. In Soho, New York, Donald Judd's studio and living space, which have been carefully maintained to represent his original vision, have become a mecca for minimalists, who pore over his third-floor working area, furnished with an architect's desk covered in pencils. Across town, in Queens, Isamu Noguchi's old studio is now a museum, with a shop stocking the Akari light sculptures he began designing in the early 1950s.

On visits to contemporary artists and designers today, I have been struck by the attention paid to the domesticity of the spaces: the Murano glass cups and collected crockery, as well as the curation of functional items. Mostly, and unsurprisingly, the objects suggest a careful scrutiny of all the little and big things that make up our universe, an approach we would all do well to consider.

From sculptural speakers to gallery-worthy hi-fi, the best technology now borrows from the world of art and design Photographs by Joe Hume

For years, consumer technology operated on the assumption that everyone wanted their homes to resemble the bridge of a spaceship. Increasingly, though, the most desirable tech is moving in the opposite direction. The best new speakers, headphones and desktop objects borrow less from Silicon Valley-futurism than from furniture, architecture and the kinds of industrial-design objects that end up in galleries and museums.

The influence of Dieter Rams-era Braun hangs over much of it: brushed aluminium, tactile controls, warm lighting and analogue-inspired detailing. Bang & Olufsen speakers resemble sculpture. Loewe televisions are designed to disappear elegantly into a room. Even wireless chargers and alarm clocks now arrive wrapped in soft fabrics, muted colours and calming forms. The message is becoming clear: today's best tech no longer looks technological. JD

ALCATEL EPURE ICONIC CORDLESS PHONE Designed by Jasper Morrison, the pared-back silhouette, soft-touch finish and intuitive controls prove even the humble landline can be a thing of beauty. £50, alcatel-home.com

RUARK TALISMAN-R FLOORSTANDING SPEAKERS

ECOUTE HEADPHONES
Designed in France, these wireless headphones combine sculptural looks with warm, balanced sound. £349, ecouteaudio.com

Reviving one of Ruark's best designs, the Talisman-R pairs beautiful cabinetry with modern engineering. £1,499/two, ruarkaudio.com

LEAK STEREO 230 AMPLIFIER

With its vintage looks, the 230 nods to hi-fi's golden age while offering a thoroughly modern performance. £999, leak-hifi.co.uk

FELLOW STAGG EKG PRO ELECTRIC KETTLE

The kettle that made pour-over coffee cool: temperature control and a refined spout make every brew feel considered. £195, selfridges.com

Camden calling

20th-century boy Damien Hirst in 1993

⑨

Our Legacy 2. Trousers, £85, COS 3. Sunglasses, £123,

4. Odelay by Beck, £34.99, Rough Trade
5. Walkman, available

on eBay 6. Exhibition by Alex Hyde, £14.99,

7. Jacket, £65, Adidas
8. CK One Eau de Toilette, £38 for 50ml, Calvin Klein

Ralph Lauren RRL 10. Film camera, £249,

Pentax 11. What Artists Wear by Charlie Porter, £16.99, Waterstones 12. T-shirt, £25,

14. Coat, £5,060, The Row
15. Jacket, £700, NN07
16. Bag, £695, Mulberry

What Artists Wear Charlie Porter

With The 90s: Art and Fashion coming to Tate Britain in October, the scruffy, intellectual uniform of the decade's art-school scene returns

If you remember the Nineties, you'll know the look: intentionally garish track tops, washed denim, battered messenger bags and Nike trainers worn into the ground. The coolest people dressed like art students, whether they were at Goldsmiths or not. Think Damien Hirst and Tracey Emin drifting around Soho in grey marl knits, or Richard Ashcroft in the "Bittersweet Symphony" video, all sharp cheekbones and studied dishevelment. It was minimalism with a hangover: slightly aloof and faintly anti-fashion. A look that might have earnt approval from Helmut Lang or Corinne Day. With the Tate show and brands including Prada and Lemaire pushing the same silhouette, it feels timely once more. This is how to wear it now. JD

Bell & Ross

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MR MARVIS

MR MARVIS' Autumn/Winter 2026 collection has arrived, with sophisticated styles for your return to the office. Try a new look with The Straight Fit Chinos or discover favourites like The Coolerdays, The Flannels and The Cords. Round out your wardrobe with our timeless shirts and knitwear. Made in Portugal. Shop the collection now on mrmarvis.co.uk or visit our flagship store at 52 King's Road, London.

A brief history of painting's poster boys Artists have long known the power of a strong look, says Esquire's style columnist

By Ben Cobb

Fashion has been crushing hard on art for a long time now. This year's Costume Art-themed Met Gala was just the latest — and slightly cringe-inducing — public display of infatuation. Marc Jacobs covering Louis Vuitton luggage in Stephen Sprouse graffiti felt

revolutionary in 2001, but designers had been getting into bed with artists for decades (metaphorically speaking, of course). Rewind to 1965, when Yves Saint Laurent debuted his Mondrian dresses and, 30 years before that, Elsa Schiaparelli was doing collaborations with Jean Cocteau and Salvador Dalí. But, like the horniest of hook-ups, this situationship swings both ways.

Artists have always understood the storytelling power of clothes. They recognise that a sitter's style is as important as their expression. Walk around any self-respecting gallery and there they are: emperors, politicians, thinkers, playboys and holy men painted in their finest garb; all that taffeta and silk exuding power and attitude. What are historic portraits such as Gainsborough's "The Blue Boy" if not early influencer selfies? Who was society painter Joshua Reynolds but an 18th-century

Juergen Teller: It was ever thus... Don't worry, this is not about to turn into a bad art-history lecture. What follows is a private tour of my top style icons on canvas.

John Singer Sargent is revered for his fashion-heavy portraits. Tate Britain even dedicated an exhibition to them. But among all his grand sitters in their just-so poses, I'm drawn to a series on author Robert Louis Stevenson at his Dorset home — in particular one of Stevenson slouched in a chair.

It's startlingly informal, like a stolen moment, an Instagram snapshot taken 140 years too early. Cigarette, moustache, rings, blazer and flared trousers: he's a hipster ahead of his time. His crossed legs — the fabric beautifully recreated — whisper relaxed elegance. Almost the exact same pose can be seen in David Hockney's famous portrait of his friend Ossie Clark. Here, we see the Swinging London designer in his Notting Hill flat with wife, textile designer Celia Birtwell, and white cat Percy. Dressed in flared jeans and a ribbed jumper, cigarette in hand, he buries his bare feet in the deep carpet. It's instantly coy and impossibly cool. Hockney's pastel portrait of Ossie in a Fair Isle jumper and high-waisted jeans is also a mainstay on my moodboard.

Every artist has their muse, and for Hockney contemporary Patrick Procktor, it was Gervase Griffiths. An Oxford graduate, sometime psych-folk singer and Jagger-esque pretty boy, Griffiths met Procktor in February 1968 at a charity fashion show. Procktor was bewitched and devoted the next two years to painting his new lover; my favourite, "Gervase IV", has Griffiths in full Jarvis Cocker Britpop mode doing a headstand in a leafy park, his striped Cuban-heeled boots the star of the show.

In “The Itinerants”, Michael Leonard captures a subtler scene: a young couple standing in a doorway. The unknown man stares at us through aviator glasses. He’s Hollywood handsome in jeans, a denim shirt, velvet blazer and hat pulled low, with a large holdall slung over his shoulder. Is he an art director

or maybe a sound engineer? What's in the bag? And where's he going? I want to know. There is no such ambiguity with the superfly guys in American artist Barkley L Hendricks' work: they're exactly where it's at. His life-sized paintings show street-cast subjects as kings of their own destinies; dignified and strong, their

wardrobes — three-piece suits, trench-coats and fedoras — celebrated in fetishistic detail.

For the ultimate in precision style, I go to Bernard Boutet de Monvel's 1929 portrait of Maharaja Yeshwant Rao Holkar II. The sharp cut of his cape and white-tie tailcoat, the perfect hand gestures, the deco fabulousness of it all... Where was this look at the Met Gala:

Strike a pose Clockwise from above: "Maharaja Yeshwant Rao Holkar II of Indore in Western Dress" (1929) by Bernard Boutet De Monvel; "Gervase IV" (1968) by Patrick Procktor; "Ossie Wearing a Fairisle Sweater" (1970) by David Hockney; "Robert Louis Stevenson" (1887) by John Singer Sargent

Pastel studies

Luxury watches lighten up

OMEGA Speedmaster 38, £9,800 The latest addition to the Speedmaster range pairs a 38mm case with the brand's proprietary Sedna gold, developed to retain its colour over time.

TUDOR

Black Bay Chrono 39 "Bumblebee", £5,230

The new 39mm case answers enthusiasts' long-standing request, bringing Tudor's flagship chronograph to a wider range of wrists.

Don't blame the AP x Swatch Royal Pop. That merely made explicit what watch brands have been hinting at: colour is back. Glossy green and pillarbox red were the first tentative steps away from watchmaking's serious palette of black, silver and, if you were feeling adventurous, navy. Now, though, it seems that anything goes.

This autumn, brands including Tag Heuer, Hublot, Grand Seiko and Omega are embracing warm pastel shades more commonly associated with Miami hotels, art evening classes, Hockney swimming pools or Farrow & Ball paint charts than traditional Swiss horology. Pistachio green, pale yellow, washed sky blue, lavender purple. Often paired with glossy ceramic cases and lacquered dials, they feel lighter, softer and considerably more fun than the monochrome sports watches that have dominated the past decade.

Think of it as the luxury-watch equivalent of choosing your favourite ice-cream flavour. The only question that remains is whether one is enough.

TAG HEUER

Formula 1 Solargraph, £1,650 Powered entirely by light, its TH50 Solargraph movement can run for months on a full charge and should last around 15 years before needing a new energy cell.

SEIKO King Seiko KSK 6L "Tenjin-Fuji Violet", £2,930 Inspired by the wisteria that blooms around Tokyo's Kameido Tenjin Shrine, it pairs one of Seiko's most attractive dials with the ultra-slim in-house 6L35 automatic movement.

Swede dreams

Nord to 60 Alexander Skarsgård feels the need for speed

RDN76X

Polestar's futuristic new flagship model is less Silicon Valley gadget, more Scandinavian design object

When we first visited Polestar's purpose-built HQ in Gothenburg back in 2019, it hadn't launched any cars. Well, yes, there was the Polestar 1, a mean-looking hybrid GT car parked in

reception, but it was more of a limited-edition design statement to get people talking. Which, as it happened, worked very well.

At that stage, though, talk was the only currency. The plan was clear — a Volvo spin-off brand focusing purely on sustainable EVs, with a minimalist, design-led ethos and sporty dynamics; a self-styled disruptor with a start-up approach, taking a fresh look at what a 21st-century car company might do differently, from how you unlock the car to where you buy it in the first place.

"It's not just a marketing slogan," then-CEO Thomas Ingenlath told us at the time.

As first impressions go, Polestar nailed it. The brand felt fully formed, the customer clear, every detail covered. But could it really make this work? Was it possible to create a successful car brand from scratch? Polestar seemed to be calmly telling us: "Just wait, you'll see."

In the seven years since, the Polestar 2, 3 and 4 have arrived to critical fanfare and a new customer base — all found a place in the crossover and SUV markets — carving out a niche that last year became a breakthrough.

In the UK, sales were up 95 per cent in 2025; there are now more than 50,000 Polestars on our roads. Given the initial challenge of getting the word out, that greatly increased and still-growing presence can do some of the talking.

Now, with the arrival of the flagship Polestar 5 this summer — the first true performance model in the new line-up — we've finally arrived at that definitive "wait and see" moment.

developed from scratch, including the lightweight aluminium chassis, in-house motor, bespoke brakes and latest 800V battery technology, enabling charging from 10 to 80 per cent in 22 minutes.

Inside, the initial impression is business class on the Lunar Express. The sporty seats, designed by Polestar and made by Recaro, remind you that this car may feel futuristic, but it is built to drive with purpose, not be chauffeured soullessly on autopilot. The textiles are 100 per cent recycled and the plastics minimised, amid ongoing efforts to reduce the car's footprint one detail at a time.

From the quality of the materials to the lighting design and positioning of the key controls, you are reminded how much thought has gone into every decision. Perhaps the only question is whether the console in a car costing around £100,000 deserves different treatment. The spareness of the central tablet felt daring in the Polestar 2, but now it feels slightly underwhelming in a flagship. The simplicity of its Google integration, though, is another founding principle that continues to bear fruit.

In the rear, a central console divides the two seats to provide an armrest and individual climate controls. It folds smartly away to create a third seat if you need to squeeze in one more passenger.

An optional Bowers & Wilkins sound system with 21 speakers combines with active noise cancellation for an almost ethereal ride. The statement two-metre glass roof opens up the entire cabin — and blocks 99.5 per cent of UV radiation.

What is perhaps less understood about Polestar is its performance side. The name has roots in touring cars and the 5 is the first production Polestar to fully deliver on that promise. It is naturally fast, but the real work — involving a development team that included performance-car engineers and racing drivers — has focused on how the car rides and handles at speed, with the Porsche Taycan firmly in its sights.

Opposite: the Polestar 5. Below: visible charging bars sit behind the rear windows. Below left, from top: the aerodynamic profile. The minimalist but high-tech cockpit

All its competitors, not just Porsche, will take note. Polestar has laid down a marker for how luxury electric cars can feel. At this level, that intangible aura makes all the difference and Polestar understood that from the outset. The next time you hear a friend say all modern cars look and feel the same, mention this.

The disruptor mentality remains and the mood internally is understandably bullish. “Polestar continues to challenge the automotive industry,” says current CEO Michael Lohscheller, “now by entering fast-growing and high-value segments at record speed.”

And as we have discovered in the last few years, you can trust Polestar to keep its word.

And the 5 is an out-and-out stunner. Long, low and elegant, with curves not previously seen on a Polestar, it manages to feel both beautifully spare and rich in detail.

In fact, it started life as a concept — the Precept — announced in 2020. Polestar had no plans to build it at first; it was another future-facing statement of what might be possible. But everyone loved it, so Polestar changed its mind, staying remarkably close to that original design.

Some concept quirks remain, too, such as the visible charging bar on the side and the absence of a rear window — a roof-mounted HD camera projects the outside view into the rear-view mirror instead. Definitely not to everyone's taste, but Polestar is not trying to please everyone.

To deliver the design and performance people had already fallen for, almost everything has been

THE AUTO NEED-TO-KNOWS

TOP SPEED: 155mph

HORSEPOWER: 884hp

0-60 MPH: 3.1 seconds

PLACE NOT TO BE SEEN IN ONE: Crawling through the school-run traffic outside an Esso garage

PLACE TO BE SEEN IN ONE: En route to a cabin in the Swedish lakes

WHO TO DRESS LIKE: Alexander Skarsgård off-duty in Stockholm

L'ORÉAL MEN EXPERT

YOU, BUT ON A GOOD DAY. NEW HEALTHY LOOK GEL ENHANCES SKIN'S NATURAL LOOK

BEFORE AFTER

L'ORÉAL MEN EXPERT HYDRA ENERGETIC HEALTHY LOOK HYDRATING GEL

Folio society

Elegant leather goods return to the fold

Phones were supposed to eliminate all this. The notebook. The folio. The document wallet. The beautifully made leather case containing papers that could easily have existed as PDFs. Yet the opposite seems to have happened. The more digital modern life becomes, the more appealing physical objects feel.

Perhaps that is especially true in creative worlds, where sketchbooks, printed references and dog-eared notebooks still carry a certain romance. Luxury brands are responding accordingly, with a renewed focus on sophisticated leather goods: soft portfolios and zip folios that suggest a gallery opening, studio visit or long lunch rather than a quarterly-earnings call.

And perhaps that is why they feel right at this time of year, with the return of meetings, smart accessories and the small rituals of getting dressed again. JD

Photographs: Joe Hume. Model: Dew at PRM Agency

Folio, £1,550, Dunhill

Briefcase, £7,400, Hermès

Folio, £65, Kate Sheridan

Shelf expression

From sculptural bottles to stone deodorants, the new generation of grooming products are designed to be left out on display

These days, looking your best is no longer just about skincare. Grooming brands have started upping their aesthetic game, too, producing bottles that verge on sculpture, brushes crafted from rare materials and shower gels housed in packaging you will actually want to keep once empty. Razors have become design objects in their own right. Even deodorant has had a luxury upgrade.

① THE INCENSE SET

Earthy, unexpected aromas are transformed into opulent objects in Loewe's cult home-scents range. This Tomato Leaves incense set pairs the brand's distinctive green fragrance with a glazed terracotta holder handmade in Spain. £153, loewe.com

② THE RAZOR

Featuring a blade by Dovo Solingen, the German blade-maker founded in 1906, this cut-throat razor combines traditional craftsmanship with a polished faux-ivory handle. £319, truefittandhill.co.uk

③ THE SHOWER GEL

Parisian perfumer Buly traces its origins back to 1803 and its products still carry something of that old-world extravagance.

This richly scented huile de savon (literally, "soap oil") feels less like shower gel than an object lifted from a 19th-century vanity table. £43, buly1803.com

④ THE SHAMPOO

Born in Somerset, indie brand Commune packages its sea-buckthorn shampoo in sleek buttermilk-yellow aluminium bottles that are designed to be endlessly recycled or permanently reused. £60, commune.cc

⑤ THE DEODORANT

Each Rollr deodorant features a gemstone rollerball carved from natural stone, so every piece differs slightly in colour and pattern. The most sculptural way to stay fresh. £30, rollr.co.uk

⑥ THE BRUSH

Made in England, DR Harris & Co's hefty military hairbrush features boar bristles and a hand-finished cattle-horn handle whose natural iridescence means no two brushes look the same. £80, drharris.co.uk

The Style Shrink

Our in-house style savant has your autumnal sartorial questions covered

Hi Style Shrink, I've noticed everyone fashionable seems to be wearing brown. How do I try it without looking like a geography teacher? Albie, Hove

Brown is a surprisingly easy colour to wear, dear Albie. Complementary on warm skin tones and grounding on those with cooler complexions, the earthy richness of the hue is perfect if you're bored of blue and grey, but don't feel quite ready to embrace colour wholesale.

Personally, I love wearing brown tailoring, as the softness of the shade instantly makes garments that are traditionally formal feel understated and easy. I own a few great oversized brown

linen blazers from Studio Nicholson and Our Legacy, both of which I wear throughout the summer. In winter, one of my favourite pieces is a brown wool suit I had made by Hackett several years ago, which looks ace worn over a bone silk shirt or even just a white tee.

Perhaps the easiest way to bring brown into your look is to opt for a simple shirt in a deep shade of cocoa or coffee. Ralph Lauren makes a lovely version in walnut linen that

would look great worn with a buff chino suit, while at the deeply luxurious end of the spectrum, The Row's chocolate washed-silk shirt will work just as beautifully on its own with white jeans as it would teamed with an oversized tonal blazer (from Studio Nicholson or Our Legacy, obvs). Just be sure to keep it in the freezer between wears, because there's nothing moths love more than clothes from The Row.

Hi,
I'm tired of my trainers but not emotionally prepared for hard shoes. What's the middle ground? Aaron F, Didcot

Hi Aaron. For me, a great middle ground between formal and casual footwear can be found in a classic driving shoe. The good news is that right now, driving shoes are everywhere. For Prada's spring/summer 2026 collection, Miuccia Prada and Raf Simons placed classic and fringed drivers at the heart

(sole:) of their looks, while Haider Acker-

man at Tom Ford does a mean line in brightly coloured suede drivers. At Gucci, Demna has reimagined the brand's signature driving loafers in his trademark pre-worn style.

For the best classic driving shoes that can be worn well into autumn, look no further than the Italian megabrand Tod's, which does a smart line of "City" Gommini (so named for the

style's trademark pebble-gum sole)

that are designed to be worn when the weather is less than clement.

When it comes to choosing clothes for your new driving shoes, my advice would be to make like Mrs Prada's models and team them with contrasting socks and smartly cut cigarette trousers that finish just above the ankle. Slick Prada trench-coat essential.

THE NATURAL

Above: Robert Redford's quietly expensive look. Left: Gommino loafers by Tod's. Below, from left: brown shirts from Polo Ralph Lauren and The Row; Ralph Lauren autumn/winter 2026

Style Shrink! I want to look richer than I am this autumn. What are the details that will make my outfit feel expensive? Rollo, Clapton

The key to looking expensive in 2026 is, in my opinion, all about looking like you don't really care.

Case in point: I was recently on a deeply insalubrious flight to Ibiza out of Stansted, and each of my fellow passengers was wearing something heavily logoed from a high-luxury brand. All of them looked desperate to impress; none of them looked expensive.

My advice, therefore, is to eschew branding and instead rewear timeless pieces that look as though they've been passed down to you by a series of wealthy elderly relatives — clothes imbued with a subtle luxury all their own.

Embrace your old moth-hole-covered cashmere jumpers and wrap them around your shoulders like scarves. Opt for oversized tweed jackets paired with jeans. Wear loafers with everything and — above all — invest in a really nice vintage dress watch. Anything by Cartier or Jaeger-LeCoultre will instantly make even the most boring outfit look expensive (and as far away from a Jet2 passenger as it's possible to get).

Polestar 5

The wait is over. Explore the pure performance GT

SHAI GILGEOUS- ALEXANDER

Words by TIM LEWISPhotographs by TEX BISHOP

Starring acting legend and diamond geezer Ray Winstone

Life

Still a beast

Returning to our TVs, Ray Winstone is on a hot streak

It's a murderously hot May morning when I meet Ray Winstone in central London. As an ice-breaker, I tell him that when the weather's like this, my mind often involuntarily wanders to his 2000 film Sexy Beast: the iconic opening scene in which he's wearing just canary-yellow budgie-smugglers and baking like a slab of meat on a sunlounger. Winstone's voiceover growls, "You could fry an egg on my stomach... fan-daby-dozi-tastic!"

Today, he doesn't seem to know how to take my comment — is it a compliment? Is it a… come-on?

— and I can't entirely blame him. "I've never really thought of it like that before," he muses. "I thought I'd be the last person — me laying there in a pair of Speedos — that you'd want to have an image of.

"But it's what I feel when I'm in the heat," he continues, warming to the memory. "I'm laying there: 'This is lovely... this is fan-daby-dozi-tastic.' Better than being in fucking Whitechapel on a Thursday evening. There's not a lot of acting required."

If you can conjure an image of meeting Winstone for a 10am cappuccino, it's probably pretty similar to

Ray Winstone will soon be back on Netflix as sauna-loving crime boss Bobby Glass

the reality. He's waiting at the corner table when I arrive, a paisley shirt three, maybe four buttons open, cream shorts and running shoes. He wears aviators and a chunky gold chain with his wedding ring hanging from it: Winstone gave up drinking and smoking (more or less) a few years ago and dropped so much weight that the ring kept sliding off his finger. "I lost two and a half stone," he says. "Stopped drinking, had enough of that. It's not the fear of your own death. You want to see your kids and your grandkids grow up. I found it probably the easiest thing I've ever done."

So, was this about five years ago, I ask. “Nah, it was two days ago!” he replies, with a guffaw, before conceding it was actually early 2024.

I'd had advance notice that Winstone, now 69, was in butcher's-dog shape, having just watched the first three episodes of the second series of The Gentlemen, Guy Ritchie's hit Netflix show. In the first season, Winstone's character, crime boss Bobby Glass, is nominally in prison, but enjoys luxuries, such as a private sushi chef, that belie his incarceration. His Majesty's deluxe accommodation has moved up a notch this time round, with Bobby conducting most of his illicit business meetings with his daughter Susie (Kaya Scodelario) and Eddie, the 13th Duke of Halstead (Theo James) in his personal sauna.

The new arrangement suited Winstone. "Yeah, I don't mind a sauna," he says. "Then a little rub-down, there's nothing wrong with that. They talked about bringing Bobby out of prison for this season, and I said, 'Whoa, whoa, whoa!' Because that would change the dynamics of Susie and the Duke's relationship. If Bobby comes out, he doesn't need them. So, I said, 'Leave him

where he is.' And I'm quite happy in there actually, I've got a sauna, I'm sweet as a nut."

If you didn't see the first season of The Gentlemen, allow us to bring you up to speed. In Ritchie's somewhat surreal telling, we encounter a cross-section of British landed gentry who are cash-strapped and feckless; in comes the Glass family, very much more of a self-made dynasty, to turn these crumbling estates into vast subterranean marijuana farms. Winstone, who excels in playing street-smart hard men, was an obvious choice for the Glass patriarch, though it did require some smoothing over of his relationship with

Ritchie after a minor falling-out when the director was making Lock, Stock and Two Smoking Barrels, in the late 1990s.

"I was going to do Lock, Stock, which never happened, for one reason or another," recalls Winstone. "And we went our separate ways. We didn't particularly get on, you know. But I got a phone call and I went along and met Guy on the set of The Gentlemen. We had a chat, had a cuddle and, yeah, that was it."

Winstone prefers to skate over the specifics of the disagreement. “We were kids, and business is business,” he says, going full Brando. “So it’s good. It’s called growing up, innit. Oh, I was a fucker back then. If I thought something was wrong and done the wrong way, then I’d say it. And you’re not always right, but you stand by what you say and you stand by your actions. But that’s being a young man.”

There is a turbocharged ambition to the second season of The Gentlemen. The first series, which aired in 2024, wasn't exactly a surprise hit — Ritchie's name has never lost its populist appeal — but the show's politically incorrect, throwback-blokey tone landed with audiences, sending it to the top of the streaming charts with 215.7m viewing hours in its first two weeks. A big pull was the daft irreverence, the best example of which was a scene where a coked-up aristo, played by Daniel Ings, is forced to dance around in a chicken suit to wipe out a debt he owes to a gang of drug dealers.

“fucking shingles”, as he calls it. The illness was a surprise, partly because he was in such good physical shape, but also because shingles can be triggered by emotional stress. “And I had nothing to be stressed about, I didn’t think,” he says.

"Thank God, it's only shingles," he continues. "I say 'only', but have you ever had that? Mate, you really don't want it. My mother-in-law said a wonderful thing, she said, 'Is it just in one place?' I said, 'It's across me back.' And she went, 'Oh, OK, if you get it in the front and the two meet, it's no good.' I said, 'What do you mean?' She said, 'You die.' Well, thank you very much for that! Because that stressed me out even more."

Generally, though, Winstone acknowledges that life is good. He splits his time between houses in Essex and Sicily, with his wife Elaine, to whom he's been married more than 45 years. They have three adult daughters, who are all actors — most famously Jaime — and the grandkids are starting to roll in. One of them is called Raymond Jr: "I didn't ask them to do it," he says. "They just done it." A smile, "They know which way their bread is buttered."

And the work is rolling in, too. Already in the can is a horror film — “I’ve never done one before” — for Netflix with Chris Pine called The Yeti. He’s also shot a biopic of snooker player Jimmy White, in which he plays an amalgam of the Whirlwind’s three managers. And he’s narrated a documentary called Learning the Ropes, which focuses on Tony Burns, a trainer at the legendary Repton Boxing Club in east

London. Winstone knew Burns well: for a decade, from the age of 12, he boxed at the club, winning 80 out of 88 bouts as a welterweight.

He also now dabbles as a football agent. In 2020, he set up Integral Sports Management with his friend Gary Pettit to give a second chance to players dumped by clubs in their late teens. “There’s a lot of suicide involved,” he says, “kids who, 16, 17, getting told that they had no future in football. At that age, your dreams are over.” The agency has had some success placing its players, both male and female, in professional clubs. “We lose some of the kids, they’ve gone to bigger agencies,” says Winstone. “The old brown envelope comes out, and it’s done its job.”

But, on the cusp of turning 70, with a career of more than half a century, Winstone is not giving up the day job. "You can't!" he exclaims. "It'd be great to go out on a bang with something really beautiful, but you have to keep working. And you might do a job, and you think, 'What a load of shit that was! Fucking hell, I don't really don't want to do this any more.' Which happens, but you've done the job, maybe to pay the rent."

Now there's a glint in Winstone's eye and he's rubbing his palms together, perhaps thinking of The Gentlemen, maybe another project down the line. "Then you'll do something where you get the buzz back," he says, "because you're working with really good people and it's that fucking good."

"The Gentlemen" returns to Netflix in September

"One of my favourite scenes ever on TV was the chicken scene," says Winstone. "It's beautifully played, it's beautifully shot and it's the trick: are we watching a comedy? Because there's darkness in there, there's love in there and there's that humour that comes from it."

For the second season, The Gentlemen retains its base in the English countryside, but also travels to the Italian lakes, where, it turns out, there are some palazzos that can be turned into drug farms. Bobby Glass is more involved than before, but his judgement is increasingly erratic: "You get the feeling he might be slightly losing his marbles," says Winstone. Certainly, there are some echoes of King Lear in his eccentricities. "But we can say that about any character you want to watch on the TV," he adds. "That's where it all comes from."

A waiter passes our table. “I’ll have another cappuccino,” says Winstone. “You know why? Because I can.”

The actor has had a “weird old” few months, ever since a diagnosis last November of shingles, or

“I got a phone call and went along and met Guy on the set of The Gentlemen. We had a chat, had a cuddle and that was it”

Oliver Spencer

oliverspencer.co.uk

ON THE SHELF

Austen powers

We still love Mr Darcy – most ardently. Below: Daisy Edgar-Jones and George MacKay in Sense and Sensibility

Two big-budget Jane Austen adaptations highlight our continuing obsession with the author — and her cadre of men

Here's a universal truth: there must always be an Austen adaptation on the horizon. We need one in the works to sustain our country's sense of worth. This autumn, for good measure, we have two. One arrives in the form of Netflix's Pride and Prejudice series, starring Emma Corrin as Elizabeth Bennet and Jack Lowden as her Mr Darcy. Swoon. The other is a big-screen version of Sense and Sensibility, with Daisy Edgar-Jones as Elinor Dashwood and George MacKay as Edward Ferrars. Double swoon.

Why do these Regency stories of marriage, family and ensuing complications take up so much of the cultural landscape? There is the comfort of familiarity (I don't think I have to issue any spoiler warnings here), and the source material is undeniably stellar (even an amateur screenwriter would have trouble ruining Austen's dialogue). But maybe, and not to take away credit from any of the leading ladies, it's because we can't get over Austen's men. These blokes — revitalised every few years by a new on-screen hunk — still have an unshakeable grip over culture, and it doesn't look like it's going anywhere.

This is strange because, in some ways, these characters seem to exemplify some modern “red flags” (that is, unattractive traits that signal significant flaws). Take Sense and Sensibility’s Edward Ferrars, a decent dude who would now probably seem either unambitious (thanks to his comfortable family background) or deceitful (his engagement to Lucy Steele). George Knightley, the hero of Emma, would likely be condemned as a patronising mansplainer. Don't even get me started on Mr Darcy. Sure, he's a handsome young buck, but his communication skills leave much to be desired — he'd be right at home in a Sally Rooney novel — and he has the distinct whiff of being above it all. There's a good chance that ol' Fitzwilliam wouldn't make it past a first date in this modern world.

Their behaviour, so predicated on tedious practicalities like inheritance and mortgages, is much better confined to the past, which is exactly where you will find them this autumn. The most telling thing about these two adaptations is that no one involved seems remotely concerned by modernisation. Pride and Prejudice, adapted by Dolly Alderton and directed by Euros Lyn, is even being marketed as a “faithful” adaptation — on a global streamer, just as Jane intended! — and the teaser trailer looks suitably yearning and rural. From the early photos of Sense and Sensibility, it certainly looks like director Georgia Oakley will be going for a period feel. So that means no Fleabag-esque looks to the camera, as seen in Dakota Johnson’s much-maligned 2022 update of Persuasion. We are far from Clueless, in which the action of Emma was uprooted to Nineties Beverly Hills. These adaptations are making a point about being capital-A authentic.

Is it any wonder? When modern dating is a minefield of WhatsApp miscommunication and the deciphering of vague Instagram stories, there is something refreshing about these fantasy men, who exist

in a phoneless society that had not yet invented the term "fuckboi". Sure, you can mess up a letter and you might be overheard saying something indiscreet at a local ball, but there's no glowing torture device keeping Fanny Price awake at night. And, when push comes to tearful shove, those heroes actually say what they mean. Try getting an articulate confession out of a Hinge date. Conveying such an outlandish fantasy, even Austen might struggle. HENRY WONG

Ana Paula Maia On Earth As It Is Beneath

LIT IN TRANSLATION

The art of translation is not to be underestimated. Tales from different languages challenge our Anglophone notions of storytelling. This year's International

Booker Prize-winning translator Lin King explained this perfectly with an analogy about orange juice: “I hope we can all start thinking of translation not as ‘pulp’ but the juicy bits ... and proudly labelling it so on the carton.” JACK EDWARDS

ON EARTH AS IT IS BENEATH by Ana Paula Maia, translated from Portuguese by Padma Viswanathan (2025)

Every full moon, two prisoners are sent running from a remote penal colony in Brazil... they have a 30-second head start before a guard chases them with a gun. A propulsive evisceration of power imbalances and structures of violence.

LÁZÁR by Nelio Biedermann, translated from German by Jamie Bulloch (2026) This impressive debut follows a Hungarian family as the country moves through systems of aristocracy, communism and fascism in the 20th century. A truly sweeping saga.

THE DANGERS OF SMOKING IN BED by Mariana Enríquez, translated from Spanish by Megan McDowell (2009)

This collection of Argentinian horror short stories is as haunting as it is political. Enríquez is an astute chronicler of the human condition at its most fraught. The writing is painful and frightening, but tender towards its victims – a cult classic.

SHE WHO REMAINS by Rene Karabash, translated from Bulgarian by Izidora Angel (2026)

Female Bekija transitions to male Matija and becomes a sworn virgin, putting a curse on their family's bloodline under archaic Albanian tribal laws. Devastating, raw, deliciously poetic.

CURSED BUNNY by Bora Chung, translated from Korean by Anton Hur (2021)

Bonkers from the opening line, this Korean short-story collection transcends genre, using supernatural elements to challenge real-life social and political horrors.

Henry Wong explores how the next generation of London gallerists are reshaping the city's art scene

A good hang

A few minutes from Willesden Junction Station, tucked between a household store overflowing with suitcases and a chain coffee shop, might just be London's coolest gallery. This patch of the northwest is not exactly the place you'd expect to find such a venue; we are far from Cork Street's establishments. But here stands Harlesden High Street, a sliver of a gallery named after the Zone-3 thoroughfare on which it can be found. The space, the size of a modest sitting room, might indicate where the London art scene is moving.

Jonny Tanna, who set up Harlesden High Street in 2020 and also runs the art fair Minor Attractions, collaborates with artists of colour, usually showcasing work with an experimental bent. "Most galleries don't show someone they plucked out of thin air," Tanna tells me. "They show someone who's already got a bit of a name or is a bit established." On the day I visit — a scorching May bank holiday — he's setting up an installation by Bangladesh-born artist Laisul Hoque, which comprises a wooden stand to hold plates of jhuri bundiya, the artist's father's favourite snack. Guests will be able to admire the handiwork and chat over bowls of the sweet and savoury food. It's an off-beat, thought-provoking premise, and also surprisingly tender: Hoque's work prompts Tanna and me to share our respective family histories.

"I used to think of [traditional galleries] like a car showroom, where you walk in and you're worried that the car salesman wants to sell you something," Tanna says. He wanted Harlesden High Street to feel different — "there are no stupid questions," he insists. Crucially, it also feels cool. Last year, American magazine Artnews declared it "one of the most unvarnished, sincere and exciting galleries in the British capital". "My job is to help people," Tanna tells me. "Art healed me, so I'm now trying to heal other people through art."

Harlesden High Street is just one example of a recent gallery that is shifting London's thriving art scene out of the Mayfair postcode. There's Ginny On Frederick in Clerkenwell; Neven and Rose Easton in Bethnal Green; Soup Gallery in Walworth. It's a surprisingly bullish landscape: according to the British Art Market Federation, the number of dealer and gallery businesses rose by 14 per cent between 2019 and 2023. And last year, London Gallery Weekend — a two-day event in the capital that draws tens of thousands of visitors — had 15 new participants, of which 11 were new galleries.

In recent years, the shows have not only been

Top right: Cedric Bardawil. Below: Alice Macdonald's Every Window is a Holiday at Cedric Bardawil. Right: Soho Reading Series with trombonist Peter Zummo and writer Matthew Holman

Above: Gallerist Jonny Tanna with gallery manager Sophie Barrett-Pouleau; Harlesden High Street. Below: Dada Gallery, founded by Oyinkansola Dada

located in further-flung locations but have also been marked out by an uncharacteristic warmth. Sure, some of this new wave of spaces have been founded by people with familiar surnames — Angelica Jopling's Incubator in Marylebone (her father Jay founded White Cube) and the West End's Saatchi Yates (co-founded by Charles's daughter Phoebe) — but it's hard to deny a newfound spirit, a willingness to do things a little differently.

The day after visiting Harlesden High Street, I'm in Soho to see Cedric Bardawil. His eponymous gallery, established in 2022, is situated on the first floor of a building at the intersection of Old Compton Street and Charing Cross Road: a double-aspect room that would likely be sunny even on the greyest London day. When I drop by, the artist Alice Macdonald has finished setting up an exhibition entitled Every Window is a Holiday. The installation, which features textured paintings of fields, animals and faces from Macdonald's family, is appropriate for the summer months. There's an optimistic, welcoming quality to the work: a pastoral escape in the heart of the city.

Photographs: Cedric Bardawil/Alex Natt, Gloria's courtesy of Harlesden High Street, Jonny Tanna, Alice Macdonald, courtesy of Frieze and Jukka Ovaskainen

Later, over coffee at Bar Italia, Bardawil tells me that he wanted to create a place where visitors could enter and “smell the oil”. The programme, he explains, is split between early- to mid-career artists and also international and established names. “My vision,” he says, “has always been to add something to the cultural landscape.” The location certainly lends itself well to that sense of romance. “There’s a strong community in Soho — at a glance, it seems like a lot of tourists or people meeting centrally for a good time,” Bardawil says. “But really the people that support and keep many of the businesses alive are regulars.”

One example of this: through the artist Anthony Banks, whose work he has exhibited, Bardawil became friends with Charlie Mellor, the former opera singer who set up the nearby Italian restaurant Osteria Vibrato. Now Banks's brightly coloured paintings of ships hang at Mellor's restaurant. At the gallery, Bardawil has also hosted events with Soho Reading Series, the booming literary night hosted by Tom Willis. It's all part of Bardawil's mission statement, as he puts it, "to create a magic place in Soho".

There are challenges. All the gallerists I speak to talk of London's ever-increasing rents: prohibitive prices that have knock-on effects for everyone in the industry, not least the artists themselves, who are priced out of studio space. Add to that the post-Brexit rise in costs and a precarious international market, and it's no surprise that people are learning to become nimble, and quickly.

Take Oyinkansola Dada, who splits her time between Lagos and London, and has championed artists from the diaspora through the Dada Gallery. Dada set up her own space in Lagos in November, but she also publishes an annual magazine and runs an art club in London with a growing audience. Staying agile has helped her continue her art-world endeavours — she previously worked full-time as a lawyer — and she says she's noticed a shift in how the art world collaborates in London.

“I think, a lot of the time, the galleries now understand that the only way to actually keep doing the work is to share information and start speaking to each other,” Dada says.

She recently recruited an antiques shop in Pimlico to host an exhibition by Ebako Ugbodu, a painter and sculptor who explores themes of queerness through a West African lens. It's part of an ongoing relationship between the artist and Dada.

A permanent London space may come later, but for now, why not take advantage of an unexpected space in this history-filled city? There is certainly an appetite for this type of out-of-the-box approach: to access art outside of a phone screen, to experience something together. “People had been feeling the effects of non-connection,” Dada says with characteristic determination, “so we’re trying to correct for all those times spent alone.”

Jody Williams is responsible for some of New York's most in-demand tables. Together with her wife Rita Sodi (the chef behind equally buzzy I Sodi), she runs the West Village trattoria Via Carota, frequented by celebrities including Taylor Swift and Meryl Streep. She also has the nearby Buvette, a laid-back French bistro where you can regularly spot Timothée Chalamet at brunch. But it's not all about the stars. Williams, who was raised in California and learned cooking by working in kitchens in Italy and France, is a considered and warm storyteller, whether it comes to her restaurants' welcoming interiors or their just-right menus.

No wonder the world wants more. Buvette has popular outposts in Paris and Tokyo, and now a new branch in Neal's Yard in London. It is both intimate and casual: somewhere you can eat a croissant with a pal or share a coq au vin on a date. "It's all about the lovely journey," says Williams about her British invasion. "Why not make an adventure!"

My midnight snack is toast, butter, anchovies. That would be my favourite, but usually I'll just zone out and eat some potato chips.

Breakfast looks like... toast, great butter edge to edge,

a pinch of Maldon salt and jam.

My post-work meal is probably my lunch that I didn't finish – that's the reality. Or something really light and fast, like carottes râpées with pistachios. My favourite date spot is Raoul's [a storied Parisian bistro in New York]. I actually had one of my first dates with Rita there.

The New York-based chef will travel to Rome for ice-cream (but she won't eat much on the plane)

By Henry Wong

Jody

My favourite dim sum restaurant is Golden Unicorn in New York's Chinatown.

A dish that defeats me is soufflé. Delicate things. I'm going to rush. I'm never going to weigh precisely. I'm not going to whip or fold enough.

My coffee order is a cappuccino.

My favourite chain is Los Tacos No 1. You can order a day in advance for like 10, so maybe I'll order for 10 and everyone's eating tacos.

My most memorable meal was the first time I ate at I Sodi, alone at the bar, because somebody said you've got to eat in this restaurant. There was a little handwritten menu – it was springtime – and about three different asparagus dishes. It was really the best expression of Italian food in New York City.

My go-to cocktail is a negroni.

My go-to cocktail is a negroni. My favourite sandwich is a pastrami sandwich with coleslaw, Swiss cheese and that pink dressing.

On an aeroplane, I don't eat. Are we supposed to? I'll probably have a bag of peanuts or almonds in my pocket. Or I've got an apple.

My favourite biscuit is a cookie.

My favourite television chef is Bobby Flay, a sweetheart. Jamie Oliver is so cool to me.

My favourite food on screen is The Sopranos. How they wove food through all the characters.

My cupboard staple is fennel pollen. You can change the complexity of real simple foods.

My Sunday roast is chicken, green salad, potatoes cut by hand, shallow-fried with garlic and sage.

My favourite ice-cream is from Il Gelato di San

Williams

Crispino in Rome. No cones allowed, cups

and spoons only, no colours, no dyes, everything muted and wonderful. You're going to have the best peach or the best pistachio. You're going to be walking down a little hill in some odd neighbourhood in Rome and you're going to land there and it's going to be exquisite.

My death-row meal is... let's just go right to the cake. Bring me a cake.

MANOLO BLAHNIK

9 HARRY KANE

SKECHERS PERFORMANCE™

COMFORT THAT PERFORMS

SKX_2

SKECHERS' AERO BURST SI

Counter culture

Back support is so last season By Henry Wong

Where's the most glamorous place to eat in London? For a hot minute, it was The Dover, Martin Kuczmarski's New Yorky hotspot in Mayfair, beloved by the fashion and celebrity set and anyone else looking for somewhere a little showy but also sexy, with good food. But these days, it might just be Dover Street Counter, the restaurant's recently opened companion site. The venue is next door, a little more playful and — dare we say it — more fun. Oh, and tables? Old news.

"I always try to 'listen' to the building," Kuczmarski tells me about the space, which is longer and narrower than its neighbour. So a countertop made sense, and Kuczmarski — who was inspired by Los Angeles diners of the 1950s — says that he worked to "rethink all the annoying parts you often associate with counter dining", such as uncomfortable seating (he tested about 11 different stools before landing on a custom design with armrests) and awkward eating arrangements (the ledge here is positioned "somewhere between a dining table and a traditional counter", he says). That, teamed with what Kuczmarski calls an "international room-service menu" (think: cheeseburgers and tuna melts), has created a first-class dining experience. It's like eating in an Edward Hopper painting, but less depressing.

London has not traditionally been a source of great counters, unlike our European cousins. We don't have Rome's chic espresso pitstops, or Paris's abundance of high-top bars where you can order le plat du jour. Sure, there are a few foundational examples in this city — at Bar Italia's jostling ledge, Barrafina's marble slab, The Palomar's glamorous benchtop — but things might just be shifting. Also in Mayfair, there's Georgian restaurant DakkaDakka, as well as Asian-European Hausu in Peckham. From the high-top seats in both, you can see into the

Side by side Joon digs Benny's buns

kitchen. It's slightly higher pressure for the chefs, of course, but it's refreshing to see how your food is being prepared. And for cash-strapped diners, there's a sense that you're paying for more than just food. This is an experience. It's theatre.

However, I can't think of anywhere better for a dinner date — either an anniversary or if you want to impress on a first — than the sunshine-yellow counter at east London's Iranian-Iraqi joint Logma. You have to book space for dinner at this tiny venue, co-founded last year by Farsin Rabiee and Ziad Halub, and their Wednesday-night supper club might just be the hottest ticket in the city.

And, not for nothing: the angled mirror that hangs opposite the counter has to be the most flattering selfie opportunity in London. Rabiee tells me that he used to visit the counter at Soho's Iranian restaurant Berenjak, where you can see into the kitchen and watch the action while you eat. "With our counter, we wanted to create something slightly different," he says. "We put the mirror in front of it so guests face into it, and it naturally creates a more intimate atmosphere, good for date nights or romantic moments."

He's not wrong. However much they can improve the dining experience, what counters really do is elevate conversation. You can only do it properly in pairs, which means it's a catch-up with a close friend or a very fun suitor. There's something about not having to maintain direct eye contact that leads to a conspiratorial, sometimes confessional conversation. Recently, at one of Logma's supper clubs, two friends who were sitting at the communal table asked the staff if they could sit at the counter: they wanted to have a moment for themselves. "The vibe," Rabiee says, pointing out something both very simple and a little revelatory at the same time, "really does shift depending on where you sit."

Hair raising Jon Bon Jovi in Tokyo in 1985

JON

Musician, 64

I was never the best at anything. I was never the great athlete; I was never the guy that the girls liked the most. But I was the guy that was like, "Why can't I be on the team? Why can't I be that guy:" I was never the best at anything, but I was the best at figuring it out.

New Jersey was 35 minutes away from New York. What it gave us: New York radio, New York television, New York newspapers, proximity to the big concert venues. But what also benefited us was growing up in the suburbs. You could cut your teeth away from the spotlight. No one was looking.

When I was 17, 18, I was an outlier. I never went to university or even considered it. You joined the service; it was real blue collar. But my parents saw I had a kind of focus so they were like, “Go. Chase your dream.” They used to say, “We knew you were hanging out in the bar and you were underage, but at least we knew where you were.”

My mom was a Marine and a Playboy bunny. Talk about juxtaposition. She was like, "Boot camp didn't scare me none." So when she said, "Camelot was real and you can go the Moon," that was good enough for me. She passed a year and a half ago. She was tough, she was a pain in the ass, but we were really at peace.

Now I'm the guy that screams it from the mountaintop: "Go. Chase." I get nuts when parents put a timeline on their kids' dreams or say, "That'll never happen." That makes me downright angry.

We were blessed in Jersey because down the street were Jesus and the disciples. Having Bruce Springsteen jump on stage with you while you're still in high school; having Southside Johnny produce my first band, The Rest; not going to my high-school prom because I opened for The [Asbury] Jukes, was pretty cool.

Bruce and I are good friends now. But let there be no confusion here: he was the guy in New Jersey. Still is. We look up to him. I don't consider myself a peer.

The bigger the star, the nicer the person. In early 1981, my little band and I are getting out of a cab. I see flashbulb, flashbulb, paparazzi. The Rolling Stones had just pulled up to go into the studio and the photographers jumped out of the garbage bin yelling “Mick! Mick!” as they do. Keith went in, Bill Wyman’s holding the door, and Mick grabs me and my mates and says, “Here’s my new band, The Frogs.” I’d pay anything for that fucking photograph.

Eighties style? Guilty as charged. Big shoulder pads, jeans tight as can be, shorts as short as can be. But we didn't create the fashion: it's what every kid in the mall looked like. And people talk about the big hair, but it's just that my dad was a hairdresser so, you know, mine looked good.

You don't know when you've written a great song. You really don't. There were many times where I've gone, "Got it!" Wrong. And then other ones I didn't hear. "Livin' on a Prayer" was completely written; the lyrics the chord structure and the melodies: it was all finished. But the high note at the end of the second chorus, the key change at the end, the bass line, which is what makes it really work, that happened in rehearsal. So I have no clue.

I'm glad that it didn't happen for us sooner. I'm glad it took three records. Because we were primed for it. We knew how to tour. We knew how to win hearts and minds.

I had the usual cliché horseshit: a red Ferrari, a couple of motorcycles; my first house had black-lacquer furniture and snakeskin wallpaper. But at the time it absolutely made sense to me.

There have been a couple of challenging periods for the band. In 1990, we were seriously exhausted, mentally and physically. It happened again in 2000, but in a good way, when I was making a lot of movies. Then in 2013, when Richie [Sambora, Bon Jovi's guitarist] had his issues and never came back. And the vocal surgery [in 2024] was another trying time. There have been serious ups and downs, but that's what a real career is: it's peaks and valleys.

Recovery from surgery has been a lot longer than I ever anticipated. It's frustrating because I didn't do anything wrong. If you said, "You blew your brains out for the last 25 years, this is what happens," I would say, "Yeah, got ya." But the only thing that's ever been up my nose is my finger.

We were America's optimism experts for a long time. I would say we exported optimism around the globe for 40-plus years. It's been a little harder the last few years. A lot harder.

My dad had a stroke four years ago and that mother-fucker will not surrender to it. At nearly 87, he refuses to take no for an answer. In my arrogance I thought that I created my drive, my will, but since his stroke I go, "Oh no no, you stupid fool. Look where you got it from."

There's still a lot of Catholic guilt, but I'm more in touch with my faith than I've ever been. I don't ask God for favours, but I talk to him a lot.

I have an incredible wife who is bigger, better and smarter than I am. She knows that I have Lead Singer's Disease — me, me, me — and she tolerates it. But I know when to be a good listener.

I used to be not good at relaxing, but I found a silly outlet in the game of tennis. I never touched a tennis racket till I was 59 years old; now I play four times a week. I still suck, but if I make incremental, teeny-weeny steps of growth, I get such joy.

I'm what's called a specialist in the field. I never became a good woodworker or a gardener or anything like that. I can't put a lightbulb in. But I'm the best guy to invite to dinner. I can't cook a lick, but I'll clean the dishes.

Bon Jovi are on tour in the UK and Ireland from 28 August

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The special

relationship

Explosive, gruesome and surprisingly colourful is the only way to describe the singular style of Nicolas Winding Refn, the Danish director behind modern cult classics such as Drive and The Neon Demon. Equally, no one tells stories quite like Hideo Kojima, the Japanese video-game designer behind the Metal Gear Solid and Death Stranding franchises. Some have even claimed that Kojima predicted the Covid-19 pandemic and the rise of mass surveillance years before everyone was talking about them.

On paper, these two stubborn storytellers seem worlds apart. Yet, they're not only close friends, but brilliant collaborators. Last year, the pair worked on Satellites, an exhibition as part of Prada Mode, the Italian fashion house's annual cultural festival. Winding Refn had been approached to create an installation, and he was certain that he wanted to do it with Kojima. The two had known each other for a decade, and who better to co-curate an exhibition in Tokyo than a local?

With their recent Prada Mode show in New York, film director Nicolas Winding Refn and game designer Hideo Kojima continue their cosmic collaboration

By Josh Osman

Presented in Prada's Aoyama store, Satellites consisted of a cinema-inspired set that played around with ideas of communication and collective experiences through a conversation between the pair displayed on two retro television sets. More recently in June, at Prada Mode in New York, they created a second iteration, Satellites II. This time, they took over The Chelsea Hotel for an exhibition that tackled similar themes, but on an even bigger scale, as they explain here.

Hideo Kojima: We first met maybe 12 years ago. From there, we started going out for dinners and became very close. We create completely different things, but we speak the same language as creators. When we meet, it never feels like we're collaborating; it feels like we're playing. Even when we worked on Satellites, we were really just playing around at Prada. That was the feeling. Nicolas Winding Refn: Our relationship is like a non-sexual marriage. There's a mutual respect and understanding, but also a realisation that you're individuals with your own odysseys. Collaboration is tricky, because we're both very strong-willed and have a clear vision of what we want to make, and we respect that process so much that we don't want to crash-course it.

HK: Satellites was an experiment: we had a TV channel, a stage, a cinema and a diner. It's all technology from when I was a child, but the younger generation has smartphones and access to everything all at once. The way they experience technology is different. I want people to feel not simply nostalgia for the past, but a way of thinking about the future: 20 or 30 years from now, what will communication be like?

NWR: When Satellites II came to New York, which is ironically where I grew up, it started to build a narrative of travelling to each other's pasts and experiencing them like voyeurs. We needed to expand it, so we brought in the whole Prada Mode element of a festival with music, experiences and talks.

HK: Anyone who's not from Tokyo dreams of coming to Tokyo and making it big. Once they've conquered Tokyo, they want something even bigger. If Tokyo is the centre of Japan, then New York is the centre of the world. Next, we have to think about the centre of the universe. It could be the ISS, the Moon or a spaceship.

NWR: We'll probably end up on Saturn, I have a feeling. HK: Some satellite of Saturn might be more appropriate.

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MEXICAN FOOD

(with a twist)

In Santiago Lastra's new cookbook Mexican Soul (out now), the chef patron of Kol and Fonda has pulled together a collection of recipes that connect everyday British ingredients with traditional regional cuisine. Here, Lastra whips up two easy dishes that deserve a spot in your weeknight rotation.

CASHEW MOLE

Usually, moles are one of the main components of a dish, unlike a salsa, which is a secondary addition that is up to the diner to add or not, according to their preference. This cashew mole adds a creamy, nutty, spicy finish to any dish with rich texture, such as raw or cooked fish or seafood. What I like the most about this mole is its versatility. It can be served cold or hot; I especially like to use it as a marinade for seafood as it creates a beautiful crust on top of the protein when cooked.

MAKES 250g

100g cashews 1tsp vegetable oil 2g dried bird's eye chillies, or to taste 45g roasted onion 2 roasted garlic cloves 1tsp cayenne pepper 90ml water Sea salt flakes

METHOD

Preheat the oven to $200^{\circ}$ C fan.

Put the cashews on a baking sheet and toast in the oven for 4 minutes, then remove and set aside.

Heat the oil in a frying pan over a medium heat and toast the chillies for 2 minutes.

Pour into a food processor, add the cashews and all the remaining ingredients and blend until smooth. Add the chillies one by one if you want to control the spice level. Store in the refrigerator (it will be found for each of the products).

Store in the refrigerator (it will last for 3-4 days) and stir before serving.

CURED SEABASS AND RHUBARB CEVICHE

Ceviches are consumed all over Mexico, and while their provenance is generally attributed to either Peru or the Philippines, Mexican ceviches tend to be spicier than their Peruvian or Asian cousins. Most often made with meaty fish, which is cured in a mixture of citrus juices to give the fish a bouncy texture, they can also be prepared with prawns, clams or octopus, depending on what's fresh in the region. You should keep the pieces of fish or seafood big in order to appreciate the texture, and the citrus should include a source of sweetness to balance the acidity and spice.

SERVES 4

350g sea bass fillets	For the dressing
300g fine salt	250g rhubarb, roughly chopped
180g caster (superfine) sugar	100g cucumber, roughly chopped
100g rhubarb, cut into	3 whole dried bird's eye chillies, or 1tsp chilli flakes
1cm cubes
$\frac{1}{4}$ quantity cashew mole	100ml lime juice (from about 3 limes)
4tsp olive oil
10g coriander or chervil leaves	150ml water
Sea salt flakes	Sea salt flakes

METHOD

First, make the dressing. Put all the ingredients into a food processor and blend until smooth, then pass through a fine-mesh sieve and reserve in the refrigerator.

Combine the sea bass with the salt and 150g of the sugar in a container, cover and leave in the fridge to cure for 15 minutes. Once cured, gently rinse off the salt and sugar.

Chop the cured sea bass into 1cm cubes and chill in the refrigerator. In a large bowl, mix the chopped rhubarb with the remaining 30g (2 tablespoons) of sugar and leave to marinate for 30 minutes at room temperature. Once marinated, prepare a steamer and steam the rhubarb for 3 minutes. Allow the steamed rhubarb to cool and store in the refrigerator until ready to serve.

refrigerator until ready to serve. Spread the cashew mole on a serving plate, covering most of the plate with it. Arrange the diced sea bass and rhubarb on top, then just before serving, pour over the dressing and finish with the olive oil, coriander leaves and a sprinkle of sea salt flakes. Serve at room temperature.

How to turn a plate of foodinto a work of art

(according to Yotam Ottolenghi)

Choose the right canvas

I wear different hats in my professional life and the one that thrills me the most — I probably shouldn't be picking, I know — is writing cookbooks. And in the process of working on a book, there is one absolute highlight: the shoot. During those momentous three weeks, in which we get one opportunity to turn two solid years of recipe development into a series of seductive images, is when I come into my own (as a food stylist, essentially).

I have one particular image from my latest book Simple Too in mind: a double-page spread of grilled asparagus with miso, olives and pine nuts — in a retro oval white bowl with a delicate leaf-green pattern around the rim — alongside a pile of charred French beans, with a citrusy dressing and crushed sesame seeds, sitting in an olive-green ceramic plate; modern yet rustic. It all comes together as a kind of study of green.

This kind of beauty — less staged, more organic day-to-day — is something I try to create at home too. Sometimes, to inspire what to cook, I first select the platter I want to serve it on. My collection is eclectic: pieces brought back from travels, a few I made myself in a pottery class I attended with more enthusiasm than skill. Some favourites from flea markets — mismatched and full of history I'll never know.

Leave enough room

The same thinking applies at work. At our London delis, we use very large platters with wide rims that create negative space around the food. The more space you leave, the more generous the dish looks. A plate piled to its edges reads as anxious. The same quantity of food on a larger surface, with breathing room around it, reads as a feast. Restraint — ie: less — often says more.

Yotam brings the zest

Beautiful chaos Ottolenghi's green beans and asparagus

Stop tidying up

The most common mistake I see is the urge to make everything neat. Neatness is not the goal. The goal is abundance, and abundance looks slightly chaotic. The moment you can see effort, something has gone wrong. Around my bowls with the asparagus and beans there are bits of stray sesame, a saucepan with some dressing, a serving plate — everything true to the moment.

Think colour

A dish can be seasoned and textured, but if it looks dull, something resists calling it finished. A pale, creamy dish needs something dark or vivid on top; a rich, brown braise needs something green and alive. The colour should tell you about what you're eating.

Layers are the key

For salads and traybakes especially, I layer. Foundation first: grains, roasted vegetables, a thick spread. Richness in the middle, never spread evenly (this is where the splatter spoon earns its place: a perforated-metal serving spoon, held above the plate, tapped gently against your hand, scattering whatever creamy element you're working with in a way that looks accidental yet considered). Then the top notes: whole herb leaves, a drizzle of good olive oil that catches the light, or an infused one if you have it. A pinch of sumac, black sesame or Aleppo chilli for colour that also has flavour.

Don't be too precious

Food wants to look like food. The moment it starts looking like a still -ife, it loses the thing that made it worth eating in the first place. Next time you're about to add one more element — don't. "Simple Too" by Yotam Ottolenghi is released on 3 September

How to avoid a dinner-party meltdown

(according to Santiago Lastra)

The best dishes are the ones that taste like whoever made them enjoyed the process. The way to enjoy the process is to try at the different stages. Taste it while you're cooking. One of the most amazing things about food — and art, a little bit — is how ingredients come together. I think that takes you out of your head. Instead of thinking: "Oh my God, what are people going to say?" or worrying about everything, it becomes more like: "Oh my God, I really enjoy this." Cooking is a bit like painting. You do the background, then the mountains, then the river, then the main course. Live in the process.

Upgrade your palate

(according to Mandy Naglich, author of How to Taste)

Accept the bitter truth

The term “super taster” is misleading. It’s similar to a classification such as “near-sighted”: completely determined by a person’s genes and nothing to do with talent or expertise. About 25 per cent of the population are super tasters, which means they have a specific gene, TAS2R38, that allows them to taste certain bitter compounds. This often makes them picky eaters. Another 50 per cent are “tasters”, with an average amount of bitterness sensitivity. The last 25 per cent are “non-tasters”, with very low bitterness sensitivity, and tend to be adventurous eaters.

Take the mint test

An easy sign of sensitivity is mint. Super tasters tend to have more “touch receptors”, which makes them sensitive to spiciness and cooling. If breath mints are harsh or near-painful, you’re experiencing most things you eat more intensely than other people. Another sign is fast palate fatigue: sensitive palates tend to only want a few bites before they’re ready to move on.

Taste is trainable

You absolutely can train to be a better taster. Simple exercises, like paying attention to the aromas of coffee or naming spices you taste in a sauce, will change the shape of the brain over time. A few days of practice, or a few weeks smelling and tasting several things a day, make people noticeably better tasters.

A reliable test is a control strip and a test strip coated with bitter compounds that only super tasters are extremely sensitive to. But palates are completely trainable. Think of aromas like flashcards. Smell coffee and say “coffee”. Sniff your spice rack and say “cinnamon”, “paprika”, “oregano”. Blind-taste a funky latte or complex cocktail. Or compare two green teas: grassy, woody bark, floral, silky, grippy.

But there are limits to practice

Many tastes are tied to our genes. You can't train yourself to sense those specific bitter compounds if you don't have TAS2R38. If you aren't born with a specific odour receptor, OR5A1, you can't smell the main aroma of violets. There is also a gene for sensing androstenone, OR7D4: the odour of sweaty gym socks.

Follow your nose

If we were trying to pinpoint people especially good at identifying flavours, we would really want the “super smellers”, because about 80 per cent of what we perceive as flavour comes from our sense of smell.

About 20 per cent of our human DNA is dedicated to decoding aromas. Anyone can become a fluent taster. It just takes practice, experience and confidence.

How to shuck an oyster

Oysters... at home? It's possible, but half the fun is shucking what you eat, which can be a hazardous game for the uninitiated. Just be sure your guests know what they're doing. Tell them this:

1. Set the oyster

Put the oyster on the table. Grab a towel and use it to apply firm pressure. Use an oyster knife to pry into the hinge (where the shells connect).

2. Twist and pop

Twist the knife until you hear a pop. Angle the knife up and move it across the shell to cut the connecting muscle.

3. Open and serve

Use your thumbs to open the shell completely. Add Tabasco, lemon or red-wine vinegar with finely diced shallots (otherwise known as mignonette sauce). Try not to slurp.

TO CATCH THIS AUTUMN

SANLÉ SORY, COLOUR YEARS

The Photographers' Gallery, 14 October–21 February

A chance to get up close to the Burkinabé snapper's rarely seen colour photographs, capturing the vivid fashions and nightlife of post-colonial Burkina Faso in the 1970s and 80s.

Photographs: Sanlé Sory Voita Photo Studio, Bobo-Dioulasso, Burkina Faso. Naomi Campbell models in Vivienne Westwood AW94 'On Liberty'. 'Young Pink Kate London' (1998) by Juergen Teller, 'Young Love' (2024) by Nan Goldin

THE 90S: ART AND FASHION
Tate Britain, 8 October–14 February

Former Vogue editor-in-chief Edward Enninful whisks us back to a transformative decade with the work of nearly 70 gamechanging artists, photographers and designers, ranging from the Young British Artists (YBAs) to Juergen Teller and Alexander McQueen.

NAN GOLDIN, YOU NEVER DID ANYTHING WRONG

Hayward Gallery, Southbank Centre, 24 November–7 March

The American artist's first institutional exhibition since 2002 consists of two new moving-image works and plenty of new photographs, exploring addiction,

political activism and queer life in characteristically intimate fashion.

THE BOOKS YOUR COFFEE TABLE WANTS RIGHT NOW

Ministry of Sound Anthology

MINISTRY OF SOUND (ANTHOLOGY) Released: 20 October

By way of dance-floor photos, house-music artefacts and it-was-a-different-time tales from the past, creative director Simon Moore reveals how a derelict warehouse became one of London's premier clubs.

LOUIS VUITTON

LOUIS VUITTON EDITION

Released: 12 October Publisher: Helmin Publishing

A richly illustrated journey through the history of the iconic fashion house, from its foundations as a Parisian trunk maker through to the current reign of men's creative director Pharrell Williams.

PAINTING THE FRENCH RIVIERA

Released: out now Publisher: Royal Academy of Arts

It will come as no surprise that France's Mediterranean coast has inspired countless paintings from some of history's finest artists. This collection brings together pieces from greats such as Matisse, Picasso and Klein.

Caroline Issa is Esquire's resident Wardrobe Mistress and the UK's most stylish woman. This issue: how to inject some artistry into your looks

As a reader of this magazine, I know that you know that fashion and art aren't distant cousins but, rather, intimate collaborators in the business of self-presentation. If you've been paying attention this season, you'll have noticed Prada's spring/summer 2026 campaign — a masterclass in how luxury fashion houses are using contemporary artists to redefine what it means to wear a collection. Miuccia Prada and Raf Simons enlisted Anne Collier to interrogate our relationship with fashion imagery itself, while Jordan Wolfson's animatronic dreamscapes transformed the campaign into something closer to a gallery installation than traditional advertising. Prada has long been the flagbearer of expanding fashion's universe to hold space for what artists of different mediums can bring to our wardrobes.

But it's Grace Wales Bonner's A/W 25 Selah collection that recently should have commanded your attention if you're serious about understanding where fashion meets cultural legacy (and collectability). Her collaboration with artist Theaster Gates drew directly from The Black Image Corporation — his decade-long project working with the iconic Ebony and Jet magazine archives. The result? Denim jacquards and cobalt-blue prints featuring photographs by Moneta Sleet Jr and Isaac Sutton — pieces that function as both impeccable tailoring and wearable cultural commentary. I bet some savvy buyers bought two of the pieces: one to wear and another to frame.

Now, I realise that not every man has the wherewithal (or, frankly, the inclination) to wear archival photography across his chest on a Tuesday morning. But here's the thing: the art calendar provides natural opportunities to recalibrate your wardrobe beyond the expected. Whether you're attending a Venice Biennale party, browsing Frieze London or simply meeting a client who happens to collect contemporary sculpture, these moments demand a more thoughtful approach to dressing, one that signals cultural fluency without veering into costume.

Consider this your permission to explore pieces employing artistic thinking without screaming “fashion victim”. An Issey Miyake shirt with its signature fabric manipulation offers textural intrigue that reads as sophisticated rather than showy — the pleating and structural innovation speak to an appreciation of craft that art-world denizens immediately recognise. Similarly, a God’s True Cashmere sweater detailed with gemstone buttons provides that subtle flash of the unexpected — luxurious, yes, but also demonstrating that you understand that details matter.

The beauty of art-adjacent dressing is that it allows you to signal intellectual curiosity without abandoning the fundamentals of good taste. You're not reinventing your entire aesthetic; you're simply introducing considered elements that elevate your everyday look. A printed shirt from one of Qasimi's seasonal artist collaborations pairs perfectly well with your existing tailored trousers. A limited-edition bag or Hermès scarf becomes a conversation piece that doesn't require explaining — it simply is.

And here's my parting advice: those artist-collaboration pieces — the printed shirts, limited-edition accessories, even jewellery from these cultural partnerships — aren't frivolous purchases. They're investments in a wardrobe that reflects a broader engagement with the world. When Hermès collaborates with artists on limited-edition silk scarves, they get snapped up in minutes, proving that these pieces hold both cultural and financial value. Buy thoughtfully, wear confidently and remember that the best-dressed men are those who understand that art isn't something that merely hangs on walls — it's something you can carry with you.

Top: a look from Grace Wales Bonner's A/W 25 Selah collection. Above: the S/S 26 Prada runway
Above: the S/S 25 Qasimi runway

The art of dressing well

Autumn wardrobe

tune-up

Umbrella

Repair: If the umbrella is valuable. There are still a few specialist shops in the country (like James Smith & Sons) that will fix your precious brolly — no matter the damage.

Replace: If it takes you more than 30 seconds to get it open or closed. Upgrade: If it turns inside out in anything less than a hurricane.

Gloves

Repair: If the leather is dry and could use reconditioning, or there's a hole on the seam.

Replace: If there are holes elsewhere, too.

Upgrade: If they're mittens.

Socks

Repair: If they're cashmere, learn to darn. If they're not, find a bin. Replace: At the first appearance of a hole. Or if you haven't seen its match in two laundry cycles. Or if the elastic is shot. Upgrade: If they're dingy-looking or primarily made of acrylic and polyester. (Instead, opt for wool or wool-silk blends.)

Coat

Repair: If there are missing buttons or the lining is torn, get thee to a tailor. Replace: If your tailor just stares at you blankly because the damage is well beyond repair. Upgrade: If the lining is fused to the shell rather than sewn

Jumper

Repair: If it is stained, bring it to a dry cleaner. If there is a hole on a seam, try a tailor. If it is starting to unravel, cut the thread. (Don't pull on it, ever.)
Replace: If it is

Replace: If there are signs of moth damage (unless you take the Style Shrink's advice and repurpose holey jumpers as jaunty scarves). Or if the sweater has been stretched out or shrunk. Upgrade: If it's made of cotton or acrylic.

Trousers

Repair: If you've got holes in the pockets.
Replace: If the zipper breaks — it's often a much costlier service than hemming. Or if the seat or crotch begins to fray and, ahem, reveal.
Upgrade: If they're boot-cut.

Shoes

Repair: If there are holes in the soles or the sole is coming apart from the shoe. (Why it pays to know a good cobbler.)
Replace: If the leather is cracked or if you've already resoled three times.
Upgrade: If they have a square toe.

BREW

SKINCARE DOESN'T STOP AT BEDTIME

Harris Reed, designer "It's all about eye cream and a silk eye mask — these are non-negotiables."

Silk sleep mask, £40, Bonsoir of London

INVEST IN KOREAN PRODUCTS

Saul Nash, menswear designer

"Saul Nash," "Korean skincare is everything. I use Reedle Shot 100 masks — I love them and they leave my skin glowing. I do think it's important, though, not to trouble your skin too much — I have combination [different conditions across the face] to oily skin, so I try not to touch my face a lot or put too many products on it."

SIX SKINCARE LESSONS

According to the glow-iest people we know

YOU SHOULD HAVE

LEARNED YESTERDAY

African Botanics Baobab Clay Oxygenating Cleanser, £63

DON'T LET OIL WIN

Ziad Halub, co-owner of Iranian-Iraqi café bistro Logma in Hackney

"After a hot and sticky day, your skin needs help. Sweat, dead skin, SPF, pollution and general city grime can build into a layer of filth. A good foaming cleanser, one that doesn't strip the skin, is essential. You want fresh, not squeaky. I'm currently loving African Botanics' Baobab Clay Oxygenating Cleanser."

SPF IS A MUST

Marc Terlet, co-founder of French grooming brand Horace

"At a minimum, an effective skincare routine involves washing your face, applying moisturiser and then sunscreen. Make things easier with an SPF moisturiser but remember to reapply every couple of hours. The sun is responsible for 80 per cent of your skin ageing. Imagine how young you would look if you'd used sunscreen every day since you were 20?"

Horace Mattifying Face Moisturiser SPF30, £19

YOUR STUBBLE COMES ATA COST

Caroline Hirons, aesthetician and writer

"Men's skin is slightly thicker, and a high majority of men shave daily, which can cause its own set of problems if not done properly. Using the right kit and products is important: shaving oils, facial shaving products, post-shave moisturisers... A lot of men with a heavier beard would also benefit from using a daily acid exfoliator to prevent ingrown hairs." "Skin Rules" by Caroline Hirons is out on 20 October

Glycolic Acid 3%
Exfoliating Turser
14.5 Gyolipid, Glomer of Impression (Bent, Bant, Tarix, and Community agents)
Ternique Enaligant & Oxide Glycolique 2%
Lys Torque Qualification and clinical trial
Tertes in Brering's Lutresquiter and

The Ordinary Glycolic Acid 7% Exfoliating Toner, £8

PAIN IS NOT GAIN

Dr Richard Devine, aesthetic doctor and founder of Devine Clinic

"A product that's working shouldn't leave your skin feeling persistently red, sore, itchy or inflamed. Mild adjustment periods can occur with certain active ingredients, but ongoing discomfort is usually a sign that the skin barrier is becoming irritated rather than improved. If redness, burning or sensitivity continues beyond the first few uses, it's often worth reducing frequency or reassessing whether the product is appropriate for your skin."

KIEHL'S SINCE GOUR ULTRA FACIAL CLEANSER Guidely Epoed Formulas that Cherries could be Driven by Sargening. Its without Over-drying or Surging. Its for all skin types. B. and treated is specialty. Densified in 1990, 2000, 2005. Densified with 20% of skin. B. and treated is specialty. Densified with 20% of skin. B. and treated is specialty. Densified with 20% of skin. B. and treated is specialty. Densified with 20% of skin. B. and treated is specialty. Densified with 20% of skin. B. and treated is specialty. Densified with 20% of skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty. Densified with 20% other skin. B. and treated is specialty.
Kiehl's Ultra Facial Cleanser, £17.25

"Get a Grip" by Daniel Davis. Photographs: Laurent Bentil, Alex Bramall, Skin Rocks, Halub, Iorgis Matyassy, Ashley Verse, Getty Images

GET A GRIP

(OF YOUR HEALTH)

From your parent's finger to your loved one's hand, gripping is something we do throughout our lives. But our grip strength is also an excellent predictor of just how long that life will last. A study published in the Journal of the Formosan Medical Association reported that poor handgrip strength was associated with an increased risk of death from cardiovascular diseases. Another recent study revealed how grip strength was a better indicator of all-cause mortality than either body mass or body weight. In the lab, grip strength is tested with a device called a dynamometer, which, when squeezed with all of your might, measures the force generated in the hands and forearms. Failing that, a simple way to gauge your grip is to squeeze a tennis ball for 15 to 30 seconds, while maintaining a constant pressure. And how can you improve it? Men's Health fitness director Andrew Tracey advises integrating dead hangs into warm-ups and cool-downs, and adding heavy farmer's carries (AKA walking with dumbbells in each hand) into conditioning sessions. "If you use straps for heavier lifts," he says, "leave them off until your grip is the limiting factor." Doing so will ensure your deadlift PR and life expectancy are both in suitably safe, and strong, hands.

The pre-bed ritual

“Sleep hygiene” refers to the rituals you perform before you get in bed to ensure a good night’s rest. If you’re taking too long to conk out, waking up in the night or feeling drowsy during the day, run this routine and you’ll be sleeping like a log dosed up on Night Nurse.

Skip the nightcap Alcohol can make you feel sleepy, so you'd think it would help you sleep, but it actually disrupts your sleep cycle and can cause you to wake up a few hours later.

Unplug an hour before bed Light from screens can send a signal to your brain to keep you up.

Exercise, but not before bed Working out makes you sleep better at night, so long as you exercise more than two hours before you go to bed.

Set sleep hours Catching up on sleep by sleeping in after staying up late is a myth; keeping irregular hours actually harms your sleep cycle.

Don't hang out in bed You want your body to unconsciously associate your bed with sleeping, so try not to lounge around in it watching TV, working on a laptop or reading.

Cut off the caffeine Four to six hours before bed, nix caffeine and spicy or sugary foods.

Don't keep trying to sleep

You'll just get frustrated and restless. Go into another room and read until you're sleepy.

Andrew 907field is a work in progress

If you've ever read a celebrity profile in a magazine, particularly a men's magazine like this one, you'll know there are rules. It starts with a headline: something punchy and direct; maybe, at a push, a little cheesy; that gives you a sense that the guy you're profiling — and right now, for a variety of reasons, it's usually a guy — is someone who matters.

This particular profile is of Andrew Garfield, the 43-year-old British-American actor known for being a sensitive, committed type, with an unerring talent for eliciting from an audience both empathy and fondness for the characters he has portrayed. These have included Eduardo Saverin, Mark Zuckerberg's fucked-over Facebook co-founder in David Fincher's The Social Network in 2010; Desmond Doss, the conscientious-objector medic in Mel Gibson's grisly World War II drama Hacksaw Ridge from 2016; and, between Tobey Maguire and Tom Holland, the middle of our three most recent Spider-Men.

So, in an ever-paler approximation of Gay Talese's 1966 Esquire profile “Frank Sinatra Has a Cold”, you might opt for something warm and inviting, along the lines of: “Andrew Garfield Feels all the Feels” or “Andrew Garfield is Here for You”. But that's if you were writing a profile about the old Andrew Garfield and obviously you're writing a profile about the current Andrew Garfield, so you've got to move the story on. You need his personal path to have taken a turn, for his career trajectory to be entering some nascent phase and, if it hasn't, you've got to dream one up.

So you comb through his recent and upcoming projects — playing OpenAI CEO Sam Altman in a new Luca Guadagnino movie; starring in Paul Greengrass's gritty drama about the Peasants' Revolt — in search of a thematic thread that will give you something new. Maybe you'll imbue him with a darker, more twisted edge, something that might give you a headline like: "Andrew Garfield is Done Being Nice" or "Andrew Garfield is all the Rage". Well, it's a start.

II THE INTRODUCTION

Andrew Garfield knows all this, about the mechanics of interviews, because he's done a fair few of them in his two decades of professional fame. In fact, he's the one who brings the topic up — breaks the fourth wall, puts me on the spot — within minutes of meeting him at the café at the British Film Institute (his idea, and the equivalent, it seems to me, of a lion suggesting a rendezvous at London Zoo; or, to nod to another imminent project, a tiger).

I find him at a low table in the corner, in a baseball cap from the Japanese brand Freshservice; a T-shirt that says “Zephyr Competition Team”, as in the 1970s skateboarders; and trousers in a stripey, Casey-Jones-train-driver fabric. He’s winningly hospitable: he pays for our drinks (which are only bottles of water, but even so) and he plumps up my sofa cushion. He’s just back from Berlin where he’s wrapped on Wild Things, a mini-series about the German magician-and-animal-tamer duo Siegfried and Roy. “So I’m a little wonky,” he says. Garfield is playing Roy, the big-cat guy, for which his hair has grown to shoulder-length and — no tiger analogies this time — is indisputably leonine.

We make small talk about the weather: the odd, looming grey that's been sitting over London recently — it's early June — and messed up last night's sleep (well, small-ish talk: "It was a strange pressure on your chest," he says. "I was like, am I having a heart attack!").

Then, all of a sudden, he wants to know: what's my angle for the piece? What's my plan?

No one I've interviewed, I tell him truthfully, has ever asked me that before.

“But it’s fun, it’s a nice game to play!” he says. “That’s the universal language — finding narrative, finding story. That’s why I can still do these things and not completely run away and hide from them.”

I had assumed he was contractually obliged to do them, I say; that interviews

like this are written into film contracts. It's part of his job just as it's part of mine.

"Not that I'm aware of, though that might be some real ignorance on my part," he says, seeming genuinely to ponder it, before he shifts tack. "George Monbiot has this concept called The Celebrity Profile Index, which is that you can tell the sickness of a culture by how much column space celebrities are given."

I counter limply that actor profiles could seem, in this current age of celebrity-fuelled Insta-slop, comparatively edifying.

"It's the proportions, it's the ratio," he says, already animated and quite literally, as his quasi-Facebook-colleague Sheryl Sandberg once had it, leaning in. "What are we, as a culture, focused on? Is it matters of import or is it matters of distraction? I'm OK being part of distraction, but I'd much rather be part of something that speaks to hungry souls."

So it looks like “Andrew Garfield Keeps it Light” is definitely out. “Andrew Garfield Speaks to Hungry Souls”? We’re getting somewhere.

III

THE FIRST PROJECT: THE UPRISING

The first project we're unofficially assigned to talk about — the one that most closely coincides with the publication of this story — is The Uprising, a new movie directed by Paul Greengrass, the British director of, among other things, United 93 and three of the Bourne films.

In The Uprising, Garfield plays Ploughman, a fictional everyman farmer whose wife and children have died in the Black Death and, when the King's men come looking for even more tax money to fund foreign wars, has nothing to lose by taking a stand. Ploughman's actions — it turns out he's handy with a scythe in more ways than one — turn him into a talismanic figure in what would boil over into the Peasants' Revolt of 1381, in which John Ball preached rebellion and Wat Tyler lost his head. It's a story about abuses of power, the mutability of populism and the shifting of paradigms, and one that seems to have resonated with Garfield deeply.

"The truth of that period of time," he says, "was that there were brutal conditions for working-class people, brutal taxation post-plague, incompetence in government, abusive practices, with the underclass being seen as sub-human creatures from the perspective of those in power."

Not phenomena confined to the Middle Ages then? It all sounds quite... now.

"Yeah, here and in the United States, and all around the world," Garfield agrees. "One of the things that's cool about this film is that it's a bit of a Rorschach Test. A lot of differently politically aligned people will go, 'Oh, it's me!' We get into really dicey territory — and to not see the [British far-right activist] Tommy Robinson stuff as anything but despicable is just ignorant — but I'm sure a bunch of people will look at this film and go, 'England first! What about us?' It'll be very interesting in that regard.

"If there is a pure spine, a pure strand at the centre of the piece," he continues, "it is a group of people looking around going, 'Something's rotten in the state of Denmark, and it's been rotten, and we were told that this was just the way it was.' There's a kind of genuine awakening happening, an awakening to one's own dignity, to the dignity of every living thing, and with that a quest to put the world right. What was inspiring and exciting in the making of [the film] was this possibility of justice, this possibility of healing."

If you've read one of these sorts of profiles before, you'll know it's customary to canvas opinion about your subject from those who've had professional dealings with him. So, I spoke to Greengrass about The Uprising, and about why he wanted Garfield for Ploughman. Over a video call, the director praised Garfield's "high intelligence, passion, trust, good humour, sheer grit and determination"; in Greengrass's eyes, he is right up there in the Great Actor firmament.

"I've been blessed to work with some really, really great ones," he said. "Matt Damon back in the day, Tom Hanks and Matthew McConaughey more → recently, and now Andrew. They've all got a very strong mixture of strength and vulnerability, and Andrew has that very, very much. When Andrew gets into a fight, you believe he can do it, but he's got gentleness too, which is in his soul, in his emotional make-up. The rub of those two things makes him a great leading actor. Does that answer your question?"

This page and opposite: coat, £9,600; shirt, £840; trousers, £1,370; trainers, £890, all Prada

Thank you, Paul, it does.

IV THE EARLY BACKGROUND

One project down, it is time, I tell Garfield, to cover some biographical stuff.

"MotherwasEnglishdadwasAmericanborninAmericaraisedinEngland," he rattles off, as frenetically as that reads. "Every single profile is like, 'Born to an English mother and an American father...'"

True, I say, but you can't assume...

“....everyone has read the previous ones.”

his agent to this day: “I’m a creature of habit,” he says, “and I like long, intimate relationships with people.”

He came to many viewers' attention for the first time in the 2007 Channel 4 film Boy A, about a young man trying to reintegrate into society 14 years after having murdered a child when he was one, too. He gained yet more for playing a tragic human clone, Tommy, in Mark Romanek's adaptation of the Kazuo Ishiguro novel Never Let Me Go, after which Romanek recommended him to David Fincher, who was casting an upcoming film about the creation of Facebook.

Garfield was originally in discussion for the role of Mark Zuckerberg in The Social Network who, in Fincher's version, is part visionary tech prophet, part socially disastrous nerd. In a 2010 interview with the Los Angeles Times, Fincher explained why he chose, instead, to cast Garfield as the empathetic Eduardo Saverin: "He has such incredible access to his kind of core humanity that I was like, 'Why would we waste an actor like this on the part of the guy [who seems like he has] Asperger's:'"

Garfield has certainly been drawn to — and had success with — characters who

Exactly!

Born to an English mother and an American father, Garfield and his parents and older brother Ben lived in California for his early years, a period he recalls in snatches: "I remember being in Marina del Rey with my mum; I remember a billowing curtain; and hanging out with my brother at the beach." At the age of three, the family moved to Banstead in Surrey, England, to the house in which his father Richard, a swimming coach, still lives.

Garfield describes himself as “a very physical, rough-and-tumble kid” with a “monkey physicality”, who spent as much of his time as possible “rolling around and swinging”. His parents sent him to swimming and gymnastics classes, in which he competed at a high level. His specialism was the floor routine, and he estimates he can still do “a back handspring, round-off, back somersault — and then an ice pack for three weeks”. He quit both at 13, but by then he’d diverted his energies into a new kind of floor work: acting.

At 17, he went to study acting at the Central School of Speech and Drama in Swiss Cottage, forging a long-standing allegiance to north London, where he still lives. He was one of the younger students at Central, which he admits he enjoyed. "I loved being the baby," he says.

Then, more wistfully: “I’m not the baby anymore. That ship has sailed.” At his final-year showcase, he was signed by the agent Kate Bryden, who remains

"I was raised as an athlete, but sometimes I have to leave the competitive animal at home so I can be free to get it wrong"

feel more than most, such as the pacificist Desmond Doss, for which he received his first Academy Award nomination; or Rent composer and über-thesp Jonathan Larson in the 2021 film adaptation of Larson's semi-autobiographical musical Tick, Tick... Boom!, for which Garfield received his second Academy Award nomination and an actual Golden Globe; or Aids victim Prior Walter in Tony Kushner's play Angels in America, performed first in London and then in New York, for which he won a Tony Award.

"They're just my kind of dudes," he says now. "They're in the service of something greater. They're putting all of their passion, all of their heart, every fibre of their being into service and, ultimately, they're on the side of the angels."

As for where this instinct in him comes from, there does seem to be a source.

Garfield's mother Lynn, a nursery teacher, died of pancreatic cancer in 2019. "I hope I have my mother's capacity for empathy and compassion and care and nurturing and love," he says. "She was a very purely unconditionally loving person, wanting to help everybody all the time — anyone she could get her hands on, anyone that came into her orbit. It was a very beautiful and exhausting quality for her. She was never pushy, but she could read people, and she could feel who needed a little extra kiss. Yeah, she was one of those."

From his father Richard, with whom he is close, he inherited something a little different. “I’m very aware of my dad in me: of his and my ambition, competitiveness, but also a kind of tenderness. He’s very decent, staunchly ethical. He has a real moral rectitude. I also know I have the capacity for anger that he has. I labelled anger as a negative emotion for a long time, but I don’t think it is. I think it’s boundary-setting. So I’m down with anger.”

He doesn't give that impression, I say. (Well, there's maybe a micro-hint of competitiveness, just once, when I tell him later that the actor Nicolas Cage has named Garfield as his favourite Spider-Man: "That's the best news I've had all day.") →

Coat, £12,100; shirt, £675; trousers, £1,435; hat, £1,705; socks, £405; loafers, £1,165, all Loro Piana

He laughs. “It’s a very managed kind of public image I’m trying to create! I was raised as an athlete, so I’m very driven. But there’s also a longing for meaning, a spiritual connection, a flow state. Sometimes they can be very, very at odds. Sometimes I have to leave the competitive animal at home, so that I can [be free to] get it wrong.”

V THE SECOND PROJECT: WILD THINGS

Ah, animals! Thanks, Andrew. Just the segue I need.

The second project to discuss, though less pressingly, as it's not out until next year, is Wild Things, a seven-part limited series on Apple TV based on a podcast about the lives and misadventures of Las Vegas's most outrageously coiffed Teutonic double act. Garfield's half, Roy Horn, was famously mauled by one of his favourite big cats, a white tiger called Mantecore, while performing on stage at The Mirage casino in 2003. His partner Siegfried Fischbacher, with whom Roy and a menagerie of exotic animals shared a Vegas home known as the Jungle Palace, is being portrayed, in another inspired bit of a casting, by Jude Law.

“They’re a handsome couple,” agrees Joe Wright, the director of film adaptations of Atonement and Pride & Prejudice, who directed episodes five and six of Wild Things. “But they’re also very different, and I really enjoyed getting into that difference, as well as finding the love and appreciation of each other.” (Wait, are we talking about Andrew and Jude or Siegfried and Roy: “Both, actually.”)

Garfield and Law clearly embraced the assignment. Wright describes one episode, which takes place during Siegfried's 59th birthday celebrations, and might just be the most actor-y thing I've ever heard. "We hired 360 Berlin clubbers to come and party with us. We played music and danced for five days solid and allowed the party to happen, with Andrew and Jude in the middle of it. It had this wonderful, crazy atmosphere of sex and hedonism and loss of self and beauty and rave.

“Andrew is an incredibly beautiful actor,” Wright goes on. “It was a real privilege to create space for him to fly. If you allow Andrew the space, he’s like a shaman. He’ll channel something totally unexpected — for both of you. You’ll find yourself on set on the edge of your seat thinking, ‘My God, where is going to go next?’”

Garfield had his own unusual way into the character. His regular driver when he's working in London is a man called ____. ("Take his name out, actually, because I'm about to say something revealing.") When Garfield told him he was making a drama about Siegfried and Roy, ____ informed him that, when he and his wife had been to see their show in Vegas in 1994, it had had a peculiarly rousing effect.

"We both came out so fucking charged up, I was hard as a rock!" says Garfield, in a gruff Cockney accent, speaking as ____. "I think I got my wife pregnant that night." He's Andrew again now: "This was before I started [the project]. I was like, guys! They were doing alchemical work!"

Actually, that wasn't his only route to Roy; though much like a cheesed-off white tiger, the other one crept up on him.

"We were doing one sequence, and I was getting really hot between takes," he begins.

Were you wearing a lot of lamé? I ask. (Which looks facetious written down, but I was genuinely not sure.)

“No, no, it was more like psychological heat. Like, why am I so uncomfortable? Why am I so worried about whether people hate me right now? I realised, and I said to Joe, that where he led me subconsciously is to me as a seven-year-old with my older brother and his friends. I just happened to be a 50-year-old German tiger magician in these scenes, but that was the part of me that was starting to get brought up. I was obsessed with my older brother. All I wanted was his approval, his friendship, and that was a big part of the dynamic between me and Siegfried.”

I ask Garfield's brother Ben, now a doctor specialising in respiratory conditions, if Andrew has finally won his approval. Via email, he replies:

"I think we've both been working on gaining each other's approval at various stages. What I do know is that I'm incredibly proud of him. Everyone sees how talented he is, but what people don't always see is just how hard he works. He's one of the most dedicated people I know, he's a wonderful uncle and he's been there for me through some of the toughest moments of my life. So if he ever doubted it, he can stop now, he has my approval. I hope I have his, too."

VI THE RECENT BACKGROUND

Over the years, Andrew and Ben have had “our moments, as brothers do”, Garfield says, but “for a long time now we’ve been really, really good”. He also has close friends from school and Central — to whom he is “Garf” or “Garfy” — who keep him grounded and obligingly take the piss out of him if required (“That’s the love language we all have,” he says). He’s also picked up “a few great industry friends that aren't terrible, that are brilliant, that are just people".

All in all, he seems to have navigated fame pretty well, though his notion that meeting in the BFI café would be “hiding in plain sight” doesn’t quite come off. The first stranger to approach is a young man who’s made a short film and wants Garfield to sign its programme (“Andrew Garfield,” Andrew Garfield writes, and then in capitals underneath: “NOT IN THE FILM”); the second man says he wouldn’t have come up, only — what are the chances! — Garfield just so happens to be his favourite actor. Garfield is gracious to both. Does this sort of weirdness mess with his head: “It does, it’s tricky,” he concedes. “But you know, there are worse experiences to have.”

He is also at a funny age: in his early forties, but with a certain boyishness about him. Though he came up with the likes of Jamie Dornan and Eddie Redmayne, with whom he hung out when they were all baby actors in LA, his youthful looks have given him a longer acting adolescence than most; no one's casting him as Lear yet. "I do like hanging out with younger actors," he says, name-checking the 30-year-old British actor and director Harris Dickinson as an example. "I never want to lose an ability to play, and hanging out with Harris, you feel like you stay in contact with that within you."

Were you to ask him about life plans — romantic ones, for example — you'd be met with what has become his standard response. "I'll say it on the record: it's not something I will ever talk about. Maybe if I'm married with kids and 10 years into the relationship I might feel comfortable saying 'my wife and my kids'. Maybe. But maybe fucking not!" (Having said that, he knows, and I know, and he knows I know, that at the time of our interview his girlfriend, the American actress Monica Barbaro, is about to perform in Les Liaisons Dangereuses at the National Theatre, approximately 40 feet away from where we're sitting.)

VII THE THIRD PROJECT: ARTIFICIAL

But isn't this all sounding like the sweet, emotionally available Garfield as we feel like we knew him already? Where's the darkening twist?

Don't worry, it's been brewing.

Last year, Garfield appeared in After the Hunt, a film from the Italian director Luca Guadagnino about a young Black college student, Maggie (The Bear's Ayo Edebiri), who accuses an older white professor, Hank, played by Garfield, of sexual assault. Garfield's Hank is a different beast from those we've seen: he's swaggering, he's virile, he's dangerous. He is not, by any stretch of the imagination, nice. In terms of the masculine archetypes Garfield has played before, Hank seems, in a way...

"A departure, yeah," Garfield anticipates. "I think Luca is one of those directors who likes subverting expectations around an actor."

Guadagnino, over email, describes seeing Garfield in his first-ever film role, playing a disaffected student in Robert Redford's Lions for Lambs. "Since then, I was constantly looking for an opportunity to work with him," he said. When it came to casting Hank, Guadagnino wrote that he "needed an actor who could be able to encompass all the fraught morality at play with him, yet trick you into empathy". Garfield, all open shirt buttons and roving hands, absolutely delivered.

Guadagnino came back for more. Before After the Hunt had even been released, the director got in touch to discuss Garfield playing Sam Altman in Artificial, a film drama about the five days during which the controversial OpenAI CEO was ousted — and then re-hired — by the company he co-founded. "I was like, 'This feels a bit quick'," Garfield remembers. "But Luca was like [adopts lisping Italian accent], 'Darling, trust me. We do it, it's gonna be incredible. It's gonna be a masterpiece.' I do trust him, so I said yes, and then it was: here we fucking go!"

Mark Zuckerberg and Sam Altman are obviously not one and the same, but they are both — let's make no bones about it — ruthless technocrats at the top of our currently upended world order. Does the fact that Garfield was once deemed unsuited to the role of Zuckerberg but is now able to play Altman suggest that a change in him has taken place? Guadagnino may not think so (“Andrew can play any role he wants. He is sublime,” he wrote), but Garfield agrees there's something to it.

"Yeah, I think I've been fascinated since I missed that opportunity — though I got given the most amazing opportunity [of playing Eduardo Saverin] and wouldn't have it any other way — but I definitely feel I'm closer to understanding the drives, the psychology. With Sam, everything's a game. It's a game, and everything gets very, very simple. It's, 'I know I have to win this game, because I am the most 'good' person, and if I don't win this game, Elon Musk wins this game."

“I don’t know this person, to be clear,” he continues. “I don’t know Sam Altman. I’ve never met him. I was going off of the script and court transcripts and interviews and research, and we were telling a story, but I think anyone who takes on that level of responsibility for a company or a technology that you know is →

"I feel grateful to those experiences of playing bad people. But I prefer at least trying to be a good friend"

going to do a hell of a lot of damage to the soul of humanity [must have] a certain ability to dissociate."

Garfield admits he's not always drawn to characters like Altman, partly because his "from the inside out" process as an actor, of having to find the essence of that character somewhere inside himself, means accessing deeper parts of his psyche that he might not like. "What Jung would call 'the shadow self'," he explains. "The aspects of ourselves that we disown. There's something there for me to integrate, because I'm so afraid of being it.

"But then the argument is," he goes on, growing more animated, contorting his body towards me on the banquette, "that if we weren't all less rejecting in the first place, less 'that's not us', then Donald Trump wouldn't have been voted in twice, and Nigel Farage wouldn't be anywhere near a position of power. Whereas if we go, 'OK, interesting — where am I [in a] wannabe fascist, grifter, opportunist, power-hungry, ethic-less, spineless fucking pig?' We can identify that this is the bad part of us. We know this in ourselves."

He takes a breath. Relaxes. “And then it’s, ‘Ah, sweet Nigel. Guys, let’s just not let him get anywhere near this.’”

Roles like Altman take their toll. Garfield says he “couldn’t wait” to stop playing Jim Bakker, the embezzling preacher husa president or a technocrat or a film director or a king.

Or a lowly men's magazine profile writer. But, if I am permitted to cleave to convention for another paragraph or two, pieces like this often end with a little summary of what the interviewee has got coming up: future plans, projects, hopes and dreams. As does this one.

"You know, I learnt a lot over the course of this past year," Garfield says. "I did three things back-to-back — I've never done that before. I'm knackered. But it happened to be three things I really wanted to do, and they were all happening at the same time. I was like, 'Fuck, I don't want to miss these.' But I'm definitely going to have a holiday and a rest. I'm going to be normal. I'm going to be ordinary. I'm going take a walk and I'm going to read a book, and I'm going to be with my people, and I'm going to go to Disneyland with my nephews."

Is he actually?

"Maybe? None of your business! But maybe!"

He brought it up!

"Yeah, I know," he concedes. "I'm going to play basketball, and I'm going to go swimming, and I'm going to be. Just be. And I'm going to remember that I don't always have to be 'on', performing. And I'm going to think about how to live. That's the thread now; that feels like the narrative.

band in Michael Showalter's 2021 biopic The Eyes of Tammy Faye. “I feel grateful to those experiences of playing those people,” he says. “But I don’t love it. Ultimately I’m like, ‘Thank God that’s over.’ I felt that way with Sam and with Hank [from After the Hunt]. Because I much prefer at least trying to be community-minded, a good friend. I love being a cosy guy.”

VIII THE CONCLUSION

Soon after our interview, Luca Guadagnino's Artificial is in the news. The distributor that was supposed to be releasing it, Amazon MGM Studios, announces in June that it will no longer be doing so. No reason is given, but the fact that Amazon and OpenAI have recently confirmed a \$50bn deal does not go unnoticed. (At the time of going to press, the rights to Artificial seem to have been picked up by the American film company Neon, which has stated an intent to release it, with a view to awards contention, as early as this autumn.)

This kerfuffle — perhaps purely coincidentally — only strengthens an idea that we had spoken about when we met: that societal power is very different now. Certainly, we're living through a time when the people who wield it seem not obviously to be motivated by humanity's best interests. You could say it's a little like the gross imbalances that brought about the Peasants' Revolt, and that maybe Garfield is drawn to explorations of these big global moments...

"Now we're finding the narrative!" he says. "I say 'we'; I mean you."

But maybe it's not really a narrative, it's more of an impulse in him: an urge to probe and to question, a propensity to take a macro view of things, to scrutinise received ideas and structures and turn them over and over, whether they come from

How do we not only survive in this very polarised, financially differentiated, resource-scarce time, when an empire is at its hilt, maybe pre-falling? How do we free ourselves from the shackles?

“That’s what The Uprising’s about,” he circles back, deftly. “How do we free ourselves from an oppressive society and a set of systems and structures that doesn’t want us free? So, yeah. I’ll have a swim, and I’ll think about that. That sounds like heaven to me. And then I’ll take action.”

IX THE CODA

There's one thing we haven't settled on. The headline. We were always going to struggle to come up with one in the moment (by the end of the interview, as we leave the BFI café and say our goodbyes in the lobby, it feels like it has become something of a joint endeavour). So, as I write the penultimate paragraph of the profile — this one, in fact — I ask Garfield's publicist if she can run a few options past him, some of the ones I spouted at the beginning. Andrew Garfield Feels all the Feels? Andrew Garfield is Here for You? Andrew Garfield is all the Rage?

She gets back to me. “For the title he says his preference is ‘Andrew Garfield is Here for You’,” she writes. Ah, OK. I’ll admit it isn’t the one I’d hoped he’d pick, which was hiding in plain sight in the list, and is now at the start of this piece (“He’s fine with this article title,” his publicist confirms later. “It was his second choice”). “Andrew Garfield is Here for You” may not have been the narrative conceit I went with in the end, but it’s a nice one. And, having got a little bit of a sense of the guy now, I can believe that it’s true. ○

Grooming: Lucy Halperin at The Wall Group. Set design: Scarlet Winter at Lalaland Artists. Stylist's assistant: Louis Williams

The art of THE ART HEIST

The quick brown fox jumps over the lazy dog.

By Simon Garfield

Illustrations by Joanne Joo

112 — ESQUIRE

Want to steal a masterpiece?

Join the queue...

he morning after thieves disguised as construction workers smashed their way into a gallery at the Louvre last October and stole jewels valued at €88 million, I compiled a list of all the major art heists this century and, a week later, I was only getting started.

In December 2000, two Renoirs and a Rembrandt self-portrait were stolen at gunpoint from Stockholm's Nationalmuseum, with the thieves making a getaway in a speedboat.

In August 2003, thieves stole “Madonna of the Yarnwinder” by Leonardo da Vinci from Drumlanrig Castle in Scotland. (“Don’t worry love, we’re the police,” the thieves reportedly told an onlooker as they climbed through a window with the painting, “and this is just practice.”)

In December 2007, thieves stole Picasso's "Portrait of Suzanne Bloch", valued at \$50 million, from a museum in São Paulo.

In February 2008, paintings by Cézanne, Degas, Van Gogh and Monet worth \$164 million were stolen from the Bührle Collection in Zurich.

It would be fair to assume that with advances in security — digital cameras, facial recognition, sophisticated movement-tracking and airport-style imaging — museum and gallery theft would be rare these days, but the opposite seems to be true.

In August 2023, a senior curator was sacked from the British Museum, accused of stealing thousands of gems and Roman cameos over several decades. The scandal, which resulted in the departure of the museum's director, only emerged after a collector spotted some of the rare items on eBay.

In September 2025, thieves stole six kilos of uncut gold nuggets from a display case in the geology gallery at the National Museum of Natural History in Paris. A suspect was arrested in Barcelona two weeks later, in possession of 1kg of melted-down gold.

Since the Louvre break-in, which lasted eight minutes and occurred in broad daylight on a Sunday morning about half an hour after the museum opened, art institutions worldwide vowed to tighten security to ensure that similarly terrible and brazen things would never befall them.

Then this happened: in December 2025, armed thieves stole eight Matisse engravings and other works from an exhibition in São Paulo. (They placed the prints in a canvas bag, left the building through the main entrance and walked along a pavement to an idling van.) A few months later, police found a message on one suspect's phone that he had sent to a member of a crime gang: "My real specialty is books... very valuable, very rare books. I distribute them all over the world. I'm getting into the art business now."

At the end of March 2026, four masked thieves stole paintings by Renoir, Cézanne and Matisse valued at £8 million from a foundation near Parma, northern Italy. The operation, described by the police as “slick”, took less than three minutes. The incident was kept secret from the media for a week, reportedly in an attempt to recapture the works without obstruction, but also to save the institution from embarrassment. For how, in our modern and super-surveilled world, could such a thing still be allowed to happen?

Because these thefts occur so frequently (and the list above is just a very small sample), it's possible to locate certain common attributes and patterns — a heist playbook. Should you ever consider lifting a valuable artwork from an institution yourself (and Esquire would obviously never advise such a thing), it might be useful to know the following.

① THE MOST FAMOUS PAINTING HAS ALREADY BEEN STOLEN

A great many art heists are “the heist of the century”, and every generation believes it has witnessed the big one. But nothing says heist of the century like the theft of the “Mona Lisa”.

On 21 August 1911, a house painter named Vincenzo Peruggia turned up a couple of hours late for work, but he had a valid reason. Earlier that morning, he had walked out of the Louvre with the "Mona Lisa" beneath his white smock, an act of patriotism: he believed, incorrectly, that it had been illegitimately seized by Napoleon, and claimed that he was stealing it back for Italy (he also sought a reward for its return, hoping to secure the future of his family).

It was an easy steal. Peruggia had previously worked at the Louvre as a craftsman and probably had a hand in protecting Leonardo's masterpiece behind glass. After the theft, the painting remained hidden in his apartment for two years, although he kept a postcard of it on his mantelpiece. Its disappearance made it famous. It was said that more visitors stared at the empty gallery space where it had once hung than had seen it when it was there.

(It had previously been displayed in a row alongside other Renaissance masterworks by Correggio and Titian, both of which Peruggia said he would have been equally happy with.) The thief served seven months of a year-long sentence, and then went back to his decorating job, less of the national hero than he had hoped.

Before Peruggia's arrest, police attention focused briefly on another suspect: the 29-year-old Pablo Picasso, who had permanently settled in Paris in 1904. The artist had obtained two Iberian statuettes stolen from the Louvre in previous years, their ears inspiring those on the figures in his groundbreaking “Les Demoiselles d'Avignon”. Arrested for his involvement in the theft, Picasso shivered “violently” as he was escorted to a cell (according to his then mistress/muse Fernande Olivier). He professed to know nothing of the thefts of either statuettes or the “Mona Lisa”, and he was let off with a caution.

② EVERYTHING IS PRICELESS

When museum chiefs are interviewed a day or so after each heist, they are always asked by the excited media how much the stolen items are worth. And they always say, after quoting a very speculative but very high figure, that the true worth cannot actually be quantified, because the loss to the museum/city/art world/civilisation is priceless. To which the most civilised response might be: “Well then, you should have looked after it better.”

③ IF A PICTURE GETS STOLEN ONCE, IT MAY BE STOLEN TWICE (OR MORE)

In February 1994, a few hours before the opening of the Winter Olympics in Oslo, two men climbed a ladder outside Norway's National Museum, smashed a window and stole a version of Edvard Munch's "The Scream" by snipping unalarmed wires that held the painting to the wall. The perpetrators left a postcard: "Thanks for the poor security."

Ten years later, another version of “The Scream” was also stolen in Oslo, this time from the

It would be fair to assume that with advances in security — digital cameras, facial recognition — museum and gallery theft would be rare these days, but the opposite seems to be true

Munch Museum and during opening hours. Two armed men pulled it off the wall and took another painting on their way out to show visitors how easily it could be done.

Two works by Van Gogh have also been stolen twice: “Breton Women in the Meadow” was taken in Milan in February 1975 and recovered two months later. But five weeks after that, the watercolour was stolen again. This time, it took six months to be found and, at the time of writing, remains unstolen. Van Gogh’s “Poppy Flowers” was stolen from a museum in Cairo in 1977, and was recovered a decade later in Kuwait. It was then stolen again in 2010, the canvas removed from its frame with a box cutter. It was valued at a) \$50m, and b) “priceless”. In 2010, it was stolen again, resulting in the closure of the museum for over a decade after massive security flaws were exposed (all anti-theft alarms were turned off; only seven of 43 security cameras were working). The museum reopened in 2021, but the painting is still missing.

In August 2020, during a Covid shutdown, "Two Laughing Boys with a Mug of Beer" by Frans Hals was stolen from a museum near Utrecht. Thieves adore this one, perhaps even more than the staff who display and protect it. It had been stolen twice before: the first time in 1988 (returned after a ransom was paid), and the second in 2011.

But the most popular artist by far is Rembrandt. "Portrait of Jacob de Gheyn", now known as "the Takeaway Rembrandt", has been stolen four times. Rembrandt ranks second to Picasso in the list of works stolen overall. It may be that these works are somehow less secure, but it's far more likely that thieves believe that their names alone will yield a higher bounty.

④ BUT YOU CAN'T ACTUALLY SELL THE STUFF

In 2010, on trial for the theft of paintings by Braque, Modigliani and Matisse from the Musée d'Art Moderne in Paris, the burglar painted a tale of woe. He advised anyone in the courtroom who might be considering a similar theft to make sure they “have the resources” to fully engage, or else “drop the idea because it’s just too much of a headache”.

It is almost impossible to sell a famous stolen work of art. International art-loss registers instantly alert dealers and auction houses, and even oligarchs are wary of the consequences of acquiring hot items.

"There's very little recidivism in it," former FBI special agent Geoff Kelly, who worked on art crime for more than 20 years, told me. "If you do it once, you probably aren't going to do it again, because you'll realise that the easy part is stealing the artwork, and the hard part is trying to monetise it. It was difficult in 1990, but it's virtually impossible now, because you can do a Google Image search of a painting at a yard sale, or an antique shop, and you can find out whether or not it's stolen, and anyone can find out a great deal about the piece's provenance just on their phone."

One exception is jewellery, the target of the →

How, in our modern and super-surveilled world, could such a thing still be allowed to happen?

⑥ MOST THEFTS ARE NOT THE THOMAS CROWN AFFAIR

Louvre robbery and a €100 million heist at the Green Vault museum at Dresden Castle in 2019. This at least can be broken down, recut and then resold, albeit at a fraction of the original worth.

⑤ MOST WORKS ARE EVENTUALLY RECOVERED (WITH ONE PARTICULARLY NOTABLE EXCEPTION)

Of the heists mentioned above, “The Scream” was found two years after its theft in 2004; the works by Van Gogh that were twice stolen were twice recovered; the São Paulo Picasso was found within three weeks; and Cézanne’s “The Boy in the Red Vest”, stolen in Zurich in 2008, was found in Serbia in 2012.

But the extraordinary haul stolen in 1990 from the Isabella Stewart Gardner Museum in Boston has yet to be located, and the venue still displays the ornate empty frames as a symbol of sadness and hope. In the early hours of 18 March 1990, two policemen called at the museum in response to a break-in. By the time their investigation was over, the night guards had been overpowered, and the museum had lost 13 works — including paintings by Rembrandt, Vermeer, Manet and Degas.

They were not real policemen, and there had been no untoward activity at the museum until theirs. The police suspected an organised gang, noting how diligently they had removed video footage recording their entrance. But they weren't necessarily art cognoscenti, for they ignored paintings by Titian, Raphael and Michelangelo in favour of lesser works.

Geoff Kelly recently published Thirteen Perfect Fugitives, his account of working on the investigation for the FBI for more than two decades. Even 36 years after the robbery, he remains frustrated at the lack of progress, but optimistic that the art will turn up someday. "Check the attic," he suggests, only half in jest. "Look under your bed." He thinks that everyone directly involved in the robbery is now dead, some murdered, but they may have passed knowledge on to their families. As the title of his book suggests, he is now treating each artwork as he might a person on the run.

There is a constant battle between a museum director wishing to display an object as openly as possible, and that same museum's security director wishing to lock everything down like Fort Knox

In the 1999 remake of the 1968 Steve McQueen original, Pierce Brosnan has everything but the painting he covets, a delicious Venetian sunset by Monet. So he steals it with some fancy business involving a Trojan horse and several briefcases, and chuckles to himself as he later admires it in his lair. A fine film, but crushingly unlikely. Investigators call this the “Dr No Myth”, a fallacy that suggests not only that the super-wealthy have lairs (which they might have), but also that they will

personally carry out the most debonair, Raffles-style heists (which they do not). The “Dr No” label comes from a scene where Bond meets his nemesis (in his lair) and double-takes when he sees Goya’s “Portrait of the Duke of Wellington”, which had been stolen from the National Gallery in 1961, a few months before filming began.

Kelly says that about 80 per cent of museum and gallery thefts are inside jobs, carried out either by staff or those with staff contacts, crimes that are often unreported to save an institution's reputation. Of the more spectacular steals, most are committed by individuals who are part of, or paid by, traditional gangs:

"They would just as easily steal your car or rob you of your wallet." More realistic, one supposes, will be the third Thomas Crown Affair currently in post-production, with Michael B Jordan directing and starring as a man determined to right the wrongs of a different kind of theft — artefacts removed from their countries of origin in the age of ruthless colonial empire-building by the West.

⑦ SOME THEFTS ARE ART IN THEMSELVES

In 2005, a man wearing a false beard, a thick scarf and a long coat attached a small, “ancient” object to a wall in the British Museum and, having fled, urged his many fans to find it. It was Banksy, of course; his object, a lump of concrete inscribed with a picture of a buffalo with spears in its hide and a prehistoric creature pushing a shopping trolley. Peckham Rock, roughly six by nine inches, was a reverse-heist, and came with its own typographically accurate label: “This finely preserved example of primitive art dates from the Post-Catatonic era… Most art of this type has unfortunately not survived. The majority is destroyed by zealous municipal officials who fail to recognise the artistic merit and historical value of daubing on walls.”

Reporting on his successful installation, Banksy observed: “They’ve got their eye a lot more on things leaving than things going in, which works in my favour.” As the image on his installation suggested, perhaps art theft is merely an updated quest for ancient prey, the hunter-gatherer principle in contemporary London.

In June 2024, the British Museum was pranked again. The Brazilian conceptual artist Ilê Sartuzi, a graduate student at Goldsmiths, University of London, entered Room 68, the Money gallery, on the upper floor. He joined the Hands On desk, where a volunteer encouraged visitors to pick up and examine a few items, one of which was a 17th-century silver diamond-shaped coin from the English Civil War. Sartuzi knew the coin well, having observed it several times on previous visits; so well, indeed, that he was able to commission a convincing copy. The artist had a simple plan: he would swap the original coin for his 3D copy, and then leave the gallery, walk downstairs and deposit the original coin in the Perspex donations box near the entrance. Accomplices would secretly film the “performance”, and he would enter the work as part of his MFA thesis. But there was a snag. A volunteer became suspicious, and Sartuzi and his friends abandoned the project midway through.

They returned the next day. Sartuzi looked different. He had shaved his beard and attended another Hands On demonstration unrecognised (there was a new volunteer behind the desk). His nine-minute film was called Sleight of Hand, and showed the artist replacing the genuine coin with a fake one before donating it back. The artist reasoned that this wasn't really theft at all, merely a temporary relocation, although the correspondence displayed in one of his subsequent shows suggested the BM's legal department thought otherwise.

⑧ AI MIGHT YET SAVE OUR MASTERPIECES

There is a constant battle between a museum director wishing to display an object as openly and accessibly as possible, and that same museum's security director wishing to lock everything down like Fort Knox. The compromise might be AI.

"Just a few years ago," Kelly says, "a museum might have a control room with a bank of 100 cameras, with guards whose job is to sit there and stare at all these screens with their eyes glazing over as they try to make sure they don't miss something. But now, you have these AI-enabled cameras, much cheaper, where they detect the difference between a regular visitor and someone who might be there for a more nefarious reason. That person in the red sweater who was in last week — he's here again and looking at the windows in an unusual way...

This will work domestically, too. Most paintings are stolen not from institutions but from private residences and, in his current role as a security consultant, Kelly is often bemused by the disconnect he sees between a wealthy owner's attempt to protect his Rolex and his attempt to secure his Hockney. "You probably wouldn't leave your \$100,000 watch lying around on your desk; you'd probably keep it in a safe. But you might have a million-dollar piece of art, and you're just hanging it on a hook over your mantelpiece. The only alarm you have is the general one for your house, and you disarm it when you come home, and maybe you don't arm it when you go out. And on top of that, the repair guy and the cleaning lady are coming in and out of the house all day."

⑨ THE ETERNAL RELATIONSHIP

Several questions remain. Why do these things keep happening? Why don't these priceless objects stay on their hooks and in their cases? One implausible but attractive theory is that museums need thieves as much as thieves value their contents, a compelling co-dependence. The art-insurance business relies on this relationship, as do crime syndicates, the media and Hollywood. Part of us roots for the criminal — the individual against the institution, the exhilarating chase. But we are also the poorer for these crimes, for they create a breach both in our visual history and the vital pleasure that art provides; with the rapid expansion of Al, the public presence of physical objects seems more important than ever. So we have a dilemma: to cheer the heist or condemn it? And is it a crime in itself to do both at once?

The unsung craftspeople powering Britain's finest brands

Behind every great fashion designer exists a constellation of pattern cutters, manufacturers, studio directors, seam-stresses, textile specialists, embroiderers and leatherworkers — talented crafts-people whose names are rarely uttered beyond the ateliers, studios and brand backrooms where they work.

These aren't the people you see taking a bow at the end of a catwalk show, but rather the worker bees who toil behind the scenes to make the magic possible. In a bid to give them a little of the credit they deserve, we asked some of our favourite British designers to introduce us to the people they trust most to turn their dreams into reality.

The British-Jamaican designer Bianca Saunders, whose focus on tailoring has led to the creation of a new masculine silhouette, speaks with her long-term set designer Y-Lan Lucas. Rising menswear star Luke Derrick looks to one of the oldest menswear factories in the UK, which is headed up by Michael Graham Stoll, director of Cooper & Stollbrand, to bring his tailored tracksuits and ultra-light Japanese nylon raincoats to life.

Saul Nash, the sportswear-focused designer known for his collaborations with Lululemon and Nike, puts his trust in his in-house product developer Charlie Catlow, who takes the designer's initial sketches and creates the end product — think cut-out compression tops and denim jackets made for movement; while Simon Holloway, creative director of Dunhill, couldn't conjure the superlative suiting his house is celebrated for without his bespoke tailoring director Will Adams.

SEPTEMBER — OCTOBER

SIMON HOLLOWAY

SIMON HOLLOWAY: We met when I started working for Dunhill and there was a last-minute request, because I was going to the Met Gala and I needed something to wear. I came rushing here and had my first meeting with Will to talk about commissioning a bespoke midnight-blue tuxedo. We bonded over that rushed commissioning process; one of the great things about bespoke is that there's usually a lot of time involved, establishing the relationship between cutter and client.

WILL ADAMS: It was about four weeks. For a new client, it's about 10 to 12 weeks, usually. Now, we work in different buildings, but we're in very close contact in relation to your collections. You commission looks and pieces that the bespoke team cuts. I think our relationship then grew stronger over working through those pieces.

SH: I rely on you for the pinnacle expression of tailoring in our collections. Obviously, we make ready-to-wear too, but within that, we always try to commission several pieces in every season that speak to the central idea of tailoring to Dunhill. It's really all about the hand-craftsmanship and this highest level of craft and expression.

WA: We both have quite a deep respect for our separate specialist fields. When you have got that, it's all fairly quick.

Left and opposite: Simon Holloway and Will Adams photographed at the Dunhill headquarters in Mayfair

What you're doing is beautiful: it's proper menswear, garments that men want to wear rather than seasonal pieces that are then pushed to the side. That is also where I come from: elegant, timeless menswear.

SH: You're so modest. You won't say, but you have an incredible range. You've worked your entire life in this world of tailoring but have done everything from the most traditional bespoke work to much more modern interpretations. My philosophy with Dunhill has always been to try to make the tailoring light, to speak to contemporary lifestyles, not clinging to the past. You can still handle the lighter fabric with the same skill and flair.

WA: I've learnt a lot from your attention to detail, and you have a strong reasoning behind the fabrications you're

"I have a great deal of respect for the obsession with craftsmanship you have, and your ability to interpret beyond tradition"

using; from people I've worked with in the past, it's next level. The refinement of those designs is beautiful. When you look at a jacket, there are these little journeys, pockets or linings or a strap – something you wouldn't see in a standard suit. You're very good at bringing these things to life in design. It's opened my eyes to a few tricks.

SH: I have a great deal of respect for the obsession with craftsmanship that you and the whole bespoke team have. You bring a wealth of knowledge one dreams of experiencing, but go further than what's expected. There's a savoir-faire that feels definitive, but you have a capability to interpret something beyond tradition, which I have the utmost respect for because it's so rare. It's not about pushing the boundaries of fashion, but an evolution of style we started several years ago and will continue forever. JOSH OSMAN →

BIANCA SAUNDERS

creative director and founder ofher eponymous brand, in conversationwith Y-Lan Lucas, set designer

experienced by all who know d Arc or Saint Teresa of Avila or Sair Revelation. Systematically misunderstood i s a jumble of superstition and Vodou most commonly practisev e different from that, and is

BIANCA SAUNDERS: We met through [the artist and film-maker] Akinola Davies Jr in 2019. I was doing an exhibition at Brixton Village and I put together a group show, and Akinola contributed, and we had no budget — there's never any budget — and he asked Y-Lan to help him. I saw your work and was so surprised with what you'd produced with no budget.

Y-LAN LUCAS: It was a short celebratory film about Nigeria, and it was a simple installation with the video on two drapes, with wind flowing. It was quite vibrant and I remember just sitting next to you, not yet knowing you, and we started to talk about the installation and about your work. And then suddenly you were like: "Wait, I have my presentations coming soon and we could work together."

BS: Up until working with you, it didn't feel like I was collaborating with other set designers. It felt like I was being sent a deck and it was just like, "choose this, choose that". Whereas working with you, Y-Lan, I could brainstorm and have conversations and the two of us talk and make it flow. You just understand my brand and me.

YL: We've had a solid collaboration and have worked on four shows and lots of presentations together. There was a Gucci film but, for me, the first presentation for autumn/winter 2020 is the highlight.

BS: And mine. I was trying to show more about my own culture without it being typical. I created a kind of peep show, based on the ones in Soho, because I feel like dancehall parties are a little bit like that — very openly sexual dancing, but in a way that is not seen as dirty.

YL: It was a very powerful experience for those who attended, made with not that much, with a very small budget again. We built the podiums and recreated your vision. And people were talking a lot about it because it was "We can brainstorm, and the two of us talk and make it flow. You just understand my brand and me"

something nobody had seen before. I felt proud to have been involved.

BS: I've learnt a lot from you. You're multidisciplinary and can do a lot at once, with very little. I've also learnt that there's not a rush — just taking time to actually think is important. If we have a conversation, you won't necessarily be like, "this is what we're doing" right away. I'm patient enough to wait for the ideas to brew before you come back to me. So that's been really important, in terms of trusting someone to do that.

YL: I now respect the beauty of a real collaboration with a designer. It's really different from other jobs I could do. We have respect for each other's work and that's very inspiring. I've learnt a lot about trusting my true vision, my work, and pushing it further.

BS: If I could do it all, including the set design, I completely would want to, but I think it's better to just let people who have the creativity to push it further do it. My dream is to have a shop one day and, Y-Lan, you'll definitely design it. At the beginning, some designers already have that idea of what makes their world, but I think, for me, it's been built over time, and you've been a huge part of that.

This page and opposite:
Y-Lan Lucas and Bianca Saunders
at Lucas's studio
in east London

LUKE DERRICK

designer and founder of Derrick, in conversation with Michael Graham Stoll, director of Cooper & Stollbrand, a historic clothing factory

MICHAEL GRAHAM STOLL: I've been a clothing manufacturer for half a century at the same factory. I've been working here since I was 15, across brands including Private White VC and Gieves & Hawkes. Luke was brought to my attention by a very old friend of mine who has worked with me on many design projects, from Howies to Rohan, over a 30-year period. He reckoned that he'd found gold dust in Luke.

LUKE DERRICK: I'd been doing a few years of work with Khalid Abdalla, the actor from The Crown, and it was his stylist's husband who came to my second show and told me I needed to meet you. Next, I was going up to Manchester with my samples. Thankfully, you've seen quite a few raincoats and overcoats in your time. I mean, you have skimmed over the details, but you also produced Stella McCartney's famous MA collection!

MGS: I've worked with Nigel Cabourn, Paul Smith and Mulberry when Roger Saul was there. We've made uniforms for British Airways and police forces. But for the past 15 or 20 years, we've been going as high up in the industry as we possibly can, making for the very best designers. I put a group of people together who are good garment technologists, plus a few pattern cutters and good sample machinists. It's a 125-year-old clothes-making factory — it is the last factory from the first industrial revolution.

LD: There's just not much of that left. So that is very special. I trained at Dunhill, Brioni and McQueen, but you usually send the stuff off to Italy to be made. I can specify a stitch length and be really thorough, and you just have an understanding of what I want and the craftsmanship behind it, because you have got that half a century of making trench-coats. It's not just a pair of hands sewing something — there's a sort of je ne sais quoi of knowing the different micro decisions that make an overcoat look really authentic. The quality has skyrocketed since working with you, which was initially for my autumn/winter 2026 show that I presented at London Fashion Week in February. MGS: And the patterns are of a different "With you, I find the essence of British manufacturing, and you make my stuff come alive"

standard than I've seen from any designer who has come along in 50 years. You cut all your own patterns — it's amazing. I've got an archive of 11,000 patterns, but these are unique.

LD: Luckily, I'm able to still make all my patterns and pick all my fabrics and do all the creative here. And then I lug a big old suitcase up to Manchester. There, I find the essence of British manufacturing with you and your team, and you make my stuff come alive.

MGS: I enjoy the patterns Luke brings us. I'm not saying that they're what I would do — I'm much more traditional in the way that we make clobber to last for lifetimes out of bulletproof fabrics. This is more artsy and it's very well thought through. I've learnt a lot from him, but importantly I've learnt it's nice to be nice, because Luke's always very pleasant and never shouts at us.

LD: It's a collaborative process. It's not just that I give a load of instructions and then something comes back. There's an ongoing WhatsApp all the time where these micro decisions are spoken about. You know best!

MGS: By being able to say it's all made in England — I think that's the first significant feather in the cap for you. You've just gone in at a higher end, and, in my opinion, a better level than most. You'll go far.

LD: I have traditional training, and while some brands are direct-to-consumer after a top sells out because it's been seen on Dua Lipa, I'm a bit more old-school and more product-y, so I need to work with places that can do what I need. You've done that. →

This page and opposite: Luke Derrick and Michael Graham Stoll at Derrick's studio in Bethnal Green

SAUL NASH designer and founder of Saul Nash, in conversation with product developer Charlie Catlow

SEPTEMBER — OCTOBER

SAUL NASH: Charlie is the man behind everything you see. He brings a lot of the designs to life by making them factory-ready. His job is to make sure that the clothes are the best they can be. CHARLIE CATLOW: You basically design everything, and then I've got to turn it into a product. So, everything you see on the runway, and what you see in the stores, has to go through me. My main job is sourcing fabrics, sourcing trims, trying to get the best rate at the factory and trying to work out which factory to pick. I make it all come to life. You're so creative and have so many exciting ideas, and it's very inspiring to be a part of.

SN: It can be chaotic at times, because we are like kids in a candy store. We work with my sketches, and then we experiment in-house and play around with things — downstairs in our atelier, we've got a few machines and, quite often, I need you to create the first stepping stone for the factory. I trust you with the vision. Because we're a small team, we work quite closely together, whereas I think in other places the designers hand over sketches, another department does all the CADs [computer-aided designs], then the production people just find a way to make it happen. The way we work, there's quite a balance between creativity and manufacturing. I like it.

CC: I enjoy the entire process. I take the design, work out what's going on, the structure of it and the fabrication needed. Then we have an array of suppliers and mills. I look into those fabrics and see which ones are better suited. I'm across the craft from start to finish.

SN: It's a new way of working. Historically, we'd always go to Paris. There's a fabric fair called Première Vision and you went there to look at all the fabrics. Post-Covid, people started to find different ways to work with mills. Now, the agents will come to the studio and see us. The extra level of challenge for you, Charlie, is that sustainability is important in what we do. We're not at a level where we can put £10m into material development, and we have to keep checking in with the factories to see where they're at in terms of their sustainable development, and that's your job. You've done so much work to improve the quality or to source the best materials to make the product feel really good when it's on a hanger. CC: I'm particularly proud of our denim this season. It's elasticated and has movement you wouldn't expect. It's beautifully designed by you, but it was a challenge to get right. The faded wash meant sourcing the right fabrics, and then we added pleats to the back, which we had seen on Japanese denim. It's a

"It can be chaotic at times, because we are like kids in a candy store. We experiment and play around with things"

brilliant product and shows how far we're pushing things.

SN: My job would be hell without you, Charlie. No man's an island, you actually need a team. You also need people who root for you and are invested in what you want to do. So, I think, not only are you great at your job, you also really care. You're the unsung hero. There are so many clothes in the world, so if you don't love clothes, you're just making and adding to all the crap. A product developer actually has to have a lot of care, because you want to make the best product possible.

This page and opposite: Saul Nash and Charlie Catlow photographed in Nash's studio at Somerset House

By Michael Sebastian Photographs by Chantal Anderson Styled by Alfonso Fernández Navas

Despite it all, Aaron Sorkin is an optimist. In fact, the Oscar-winning writer believes that — eventually — our messed-up, technocratic world will get better. But first, there’s the small matter of The Social Reckoning

The way we view complex, occasionally sinister, culture-defining institutions is largely shaped by one man: Aaron Sorkin. A Few Good Men (the military), The American President and The West Wing (the White House) and The Newsroom (TV news) are all products of Sorkin's keyboard. Since the late 1980s, he's written 11 movies, four TV series and four Broadway plays, and directed four movies. And yet a century from now, his legacy will be defined by his depiction of one institution in particular: Facebook.

In 2011, Sorkin won an Oscar for writing the screenplay for The Social Network, which depicts Mark Zuckerberg's fevered, single-minded spinning-up of Facebook. Though Zuckerberg disputed many of the details, the film coloured how most people see him. Now, Sorkin has written and directed a follow-up, The Social Reckoning, in cinemas from 9 October. It is the true story of Frances Haugen, a product engineer at Facebook, played by Mikey Madison, who enlists the help of Wall Street Journal investigative reporter Jeff Horwitz, played by Jeremy Allen White. Together, they uncover the heavily guarded secrets of Facebook and its algorithm. The world has changed dramatically since 2011 — thanks in large part to Zuckerberg's social-media empire — and Sorkin is betting the Hollywood treatment will help audiences understand the profound extent to which Facebook has changed their lives.

An erudite man of 65, Sorkin wears blazers and chinos and speaks like a character on The West Wing. He's also a recovering drug addict who has a nearly unshakeable belief in the promise of America. When we met for our interview in Los Angeles this summer, he was thoughtful and polite but didn't hesitate to share his strong opinions on all manner of topics, including AI, addiction and the corrosive effects of social media.

Taking the lead: all prices throughout on request. Trench-coat, Dolce & Gabbana. Shirt, Emma Willis. Trousers, Brunello Cucinelli. Shoes, Manolo Blahnik. Opposite: jacket, Brunello Cucinelli. Shirt, Emma Willis. Daytona watch (Aaron Sorkin's own), Rolex

ESQUIRE: When you won the Academy Award for writing The Social Network, you mentioned Paddy Chayefsky, who wrote the movie Network, during your acceptance speech. A theme of his work is the decay of institutions. You've spent years writing admiringly of American institutions. Which one of you turned out to be right?

AARON SORKIN: It depends who's occupying those institutions. I was minding my own business reading an interview with Adam McKay, and the interviewer asked, "Who in Hollywood is you on the Right? Who's Adam McKay on the Right?" And he said, "I guess Aaron Sorkin." I couldn't believe what I was reading. So I asked him about it and he said, "It's your belief in American institutions."

ESQ: You've called The Social Reckoning a David and Goliath story. Who's the David?

AS: It is a David and Goliath story if Goliath invited us all to a party and then spiked the punch and David was a nerd who's played by Mikey Madison.

ESQ: You said in an interview: "I blame Facebook for January 6 [2021, when protesters stormed the US Capitol]. Facebook has been tuning its algorithm to promote the most divisive material that will get you to the infinite scroll." Is January 6 part of the movie? AS: I don't want to give away what happens at the end, but what definitely is part of the movie is what Facebook did in 2018. They were in trouble. Engagement was going down, there was competition → from

TikTok, and they had to do something. So they retuned the algorithm. A comment was worth five times as much as a like; an emoji was worth 15 times as much as a like. A reshare would be worth 30 times a like. Why is that significant? Because they knew that the things that get reshared the most are rage bait. So they began pumping into the air supply all this stuff intended to make you mad. Certainly, you can draw a line from that to January 6.

ESQ: In 2019, you wrote an op-ed in The New York Times addressed to Mark Zuckerberg. Since The Social Network has come out, have you spoken to fitting into the social structure of college life and probably high school. He invented his own social structure, and he got to be the mayor of it and couldn't be excluded from it. His brilliance is undeniable, and that was a cool thing and it got way out of hand. It's gone completely out of control.

ESQ: You revealed to The New York Times in 2023 that you had suffered a stroke. What do you learn about yourself after you have such a significant health scare?

AS: First of all, I'm fine. I've managed to recover 100 per cent. But I had been not living a very it, because I'd feel like I wouldn't have any friends or wouldn't know why I'm getting up in the morning. I think I've just described a very sad person, but I'm not. ESQ: One of the things we always hear is you shouldn't tie your self-worth to what you do.

AS: My daughter is a screenwriter and director. If she said to me what I just said to you, I would say, "Oh, honey, you can't do that. You're worth so much more than what you write."

ESQ: This is parenthood, though.

AS: This is parenthood. All I can say is don't be like me. Do I look happy to you?

"I'm better on paper than I am in life. I don't feel like I'm alive or have worth unless I've written something"

him in any other way beyond the Times op-ed pages? AS: No. That's the only communication we have had. With The Social Network, we set out to get his co-operation or input. We met with a bunch of his lieutenants at a hotel, and I was really glad that we didn't get his co-operation or input. I think it would have been a different movie and people would have said, "Well, this is a Mark Zuckerberg-approved version of the story."

ESQ: What have you learned about social media and its effects on all of us from having written these two movies?

AS: Well, listen, what social media was in 2010 when The Social Network came out and what it was in the mid-Noughties when Facebook was invented are very different. Back then, it was a fun way to keep up with people you went to high school with. When The Social Network ends, we put up on the screen that it has 500 million users, which was meant to elicit a gasp from the audience.

ESQ: It's quaint now.

AS: Yeah. It's 2.8 billion now, which, as one of the characters of the movie points out, is more than twice the size of the largest country on Earth. I don't want to get the stat wrong, but about a third of American adults get their news from Facebook. That is very dangerous. We're no longer agreeing that the sky is blue and two plus two equals four.

And, by the way, let me be clear: I don't think Mark Zuckerberg ever intended for it to have a corrosive effect. I think his intentions were good. He was somebody who, like a lot of people, had difficulty healthy life. I wasn't exercising enough. I was still eating the way I ate in college. I was smoking a lot. So I decided not to do that any more. And it wasn't even because I felt bad. It was because I saw the look in my daughter's face. I scared the hell out of her, and I didn't want to do that any more.

ESQ: What's an obstacle you've had to overcome that helped define you as a man?

AS: Writing isn't easy for me. I love it, but it's hard. When I'm done with something, whether it's a movie, a play or an episode of television, I can't imagine ever being able to write something else. I wrote 88 episodes of The West Wing. I said, "Guys, I'm out. I've used all the words that I know in every order I can put them in." So there has been that obstacle. The other obstacle is I lost my thirties to cocaine. I've been clean and sober for a long time now, but you don't stop being a drug addict. You're just in recovery.

ESQ: There's this great quote from George Orwell: "Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand." What is the demon driving you?

AS: All right, I'm not sure if this is a demon, but here it is. I'm better on paper than I am in life. If I could sit in a room and write and just have somebody pass me a tray of food under the door and I'd slip the pages out underneath, that would be the best. I don't feel like I'm alive or have worth unless I've written something. If I were to stop right now and say, "OK, I'm retiring, that's it," I couldn't do

ESQ: You've spoken about American stupidity. Fifteen years ago, you referred to the "glamorization of dumbness". You were talking about Sarah Palin, which seems quaint. I'm curious what your prognosis of this problem is today.

AS: We need to get back to respecting professionalism. Here's one of the things I mean by "I'm better on paper than in real life": the characters I write are all smarter than I am. People who are smarter than I am don't make me feel bad about myself. And certainly a president — I need the president to be smarter than I am. There are millions upon millions of voters who seem to have a mass debilitating inferiority complex and feel like a smart president, Obama for instance, is looking down his nose at everyone else, or he's a poindexter, or he's not a real man.

ESQ: Right. He eats rocket.

AS: We've got to knock that off. There has been a glamorization of dumbness.

ESQ: I don't mean to be a cynic here, but can these things be corrected, or is it too late? Can the American experiment be salvaged?

AS: I have to think that. First of all, it's how I make a living. Even more than that, yes, it can. It's going to take leaders, but it can, and I think easily and quickly. Put competent people in leadership positions and of course we can turn this around.

ESQ: I want to talk about A Few Good Men, specifically Rob Reiner, who directed the movie. There's this Premiere magazine story from long ago in which you talk about how much you love Reiner. You say: "I will wash his car. I will clean his house. I'll marry him."

SEPTEMBER — OCTOBER

You describe him as a writer's director. What did you learn from Rob Reiner:

AS: I do love Rob, and I miss him. A Few Good Men was my first movie, American President my second. He directed and produced both. He also owned the studio, Castle Rock, that made them. He saw A Few Good Men when it was a play and took me out to dinner afterwards. He said: "I want to do this movie. I want you to write the movie." I said, "I've never written a screenplay before." And he said, "After this, you won't be able to say that." I was living in New York at the time. He took me out to LA, and I would come to his office every morning at Castle Rock. He called it Turning Pages. We would go through it and pound on every beat, every moment. I was learning how to write a screenplay. This was like being paid to go to grad school. There would be a problem that we'd be trying to fix and I'd have an idea, but I'd say, "Is it OK if I go away and just write it instead of pitching it to you?" He started calling those "Trust Me, I'm Aaron scenes", but I would do that and it worked.

ESQ: It's got to be surreal to see lines that you have written appear on lists of the greatest movie lines ever. Probably the most obvious one is "You can't handle the truth." But I'm curious, what is your favourite line of dialogue, not that you wrote but that's appeared in film?

AS: First of all, yes, it is surreal seeing a billboard for Burger King that says, "You can't handle this Whopper." My favorite line of dialogue from any movie? There's all of Paddy Chayefsky. Let's put that in one pile. There's also Butch Cassidy and the Sundance Kid. William Goldman won the Oscar for it. It is about as perfect a screenplay — as perfect a movie — as there's going to be. But it's hard for me to pick a favourite. So that we can move on, I'll say, "We're going to need a bigger boat."

ESQ: That's the correct answer, actually.

AS: OK.

ESQ: You brought up Butch Cassidy and the Sundance Kid. I know that's an important movie for you. That movie is all about these guys in a world that's changing. They're bank robbers, they're train robbers, and technology is advancing. Do you ever feel that way in Hollywood right now? Do you feel like Butch Cassidy?

AS: Until this moment, I hadn't drawn the Butch Cassidy comparison, but yes, I do. Of course, the biggest thing is AI. I have a very optimistic view of our future with AI, and here's why: I don't think it's going to work.

Right: jacket; shirt; watch, all as before. Trousers, Brunello Cucinelli. Grooming: Fabiola for Exclusive Artists, using Saie Beauty. Production: Hyperon. Tailoring: Elna Korbukh. Opposite, from left: Tom Cruise, Demi Moore and Kevin Pollak in A Few Good Men; Jeremy Strong as Mark Zuckerberg in The Social Reckoning; Aaron Sorkin and Mikey Madison on set

ESQ: Please explain.

AS: Some time ago, I was at a party at someone's house looking at a painting on the wall. It was an abstract. The host came up to me and said, "That was painted by a machine." I was impressed by the technology, but whatever I was feeling about this painting was gone. If you ask anyone who plays video games, like Call of Duty, they'll tell you they don't have any emotional connection to the people they're shooting. That would be your experience watching AI Schindler's List. What we're going to discover is that you can go into a movie theatre not knowing the name of the person who directed it, the person who wrote it, the people who are in it, but it matters that people did it. We are not going to feel a connection to computer-generated characters, dialogue, stories, paintings, songs.

ESQ: Your daughter Roxy is coming into this world that AI looms over. What advice have you given her as she's undertaken a career in Hollywood?

AS: Go to medical school, go to law school. Please don't do this. It was no good. I couldn't stop her. It's just that ever since she was born, she's been visiting me at the office, on sets. This is her world, and as it happens, she's good at it.

ESQ: What have you learned from being a dad?

AS: Listen, it may be cliché, but fatherhood really does live up to the hype. I remember when her mother was pregnant with Roxy, all my friends who were young fathers were telling me, “It’s going to be the greatest thing in the world. You’re not going to care about anything but your kid any more.” That just didn’t sound like me. I thought I must be missing the thing that they all have and I’ll fake it the rest of my life. And really, 10 minutes after she was born, I realised how silly all that was. So I’m crazy about being her father and I still try to play that role in an emeritus capacity. Somehow, she doesn’t so much need a father any more, but I wouldn’t have missed it for the world.

GOING,

GOING,

Place your bids for the new season's most coveted menswear

GONE

Photographs by Josh Hight Styled by Zak Maoui

This page: jacket, £1,295; knit vest, £245; shirt, £185; trousers, £285, all Ralph Lauren. Opposite: coat, £545; blazer, £489; shirt, £99; trousers, £199; tie, £69; loafers, £209, all Boss

Previous pages, from left: Aaron wears jacket, £3,270; shirt, £1,150, both Gucci. Glasses, £330, Gucci at Kering Eyewear. Albert wears T-shirt, £665; trousers, £865; loafers, £840, all Gucci. Glasses, £290, Gucci at Kering Eyewear. Stephanie wears jacket, £3,440; skirt, £3,090; bag, £2,390; heels, £840, all Gucci. Glasses, £290, Gucci at Kering Eyewear. Malik wears jacket, £3,440; T-shirt, £690; trousers, £975; loafers, £840, all Gucci. Lina wears coat, £15,880; bag, £2,830, both Gucci. Glasses, £365, Gucci at Kering Eyewear

This page, from left: Tayte wears blazer, £3,250; shirt, £790; tie, £185, all Giorgio Armani. Aaron wears jumper, £1,200; rollneck, £1,350; trousers, £1,500, all Giorgio Armani. Opposite, clockwise from left: Tayte wears jacket, £3,050; shirt, £785; trousers, £1,140, all Louis Vuitton. Aaron wears jacket, £2,380; trousers, £1,140, both Louis Vuitton. Malik wears coat, £3,400, Louis Vuitton. Albert wears jacket, £2,910, Louis Vuitton

Top: jacket, £13,100; jumper, £1,180, both Dunhill. Above: jacket, £524; shirt, £139; jeans, £104; belt, £48; loafers, £177, all Paul Smith

This page: jacket, £1,490; trousers, £520; brogues, £590, all Canali. Shirt, stylist's own

Opposite: suit, £4,800; shirt, £1,050; tie, £260, all Brunello Cucinelli. Necklace, £155,000, A Jewellers

This page: coat, £10,000; jumper, £1,090, both Prada. Gloves, stylist's own. Opposite: jacket, £7,200; jumper, £1,590, both Prada. Gloves, stylist's own

This page: parka; shirt; trousers, all price on request, Hermès. Opposite, from left: Aaron wears shirt, £1,400; tie, £385; trousers, £1,200, all Dolce & Gabbana. Malik wears jacket, £5,600; shirt, £1,200, both Dolce & Gabbana

This page, from left: Aaron wears suit, £4,840; shirt, £945; brogues, £945, all Loro Piana. Tayte wears coat, £3,945; suit, £4,750; shirt, £675; tie, £315; hat, £380; loafers, £945, all Loro Piana. Malik wears jacket, £3,675; blazer, £4,215; trousers, £1,795; hat, £1,705; loafers, £1,165, all Loro Piana

Opposite: jacket; knit; turtle-neck, all price on request, Zegna

The quick brown fox jumps over the lazy dog.

Top: blazer, £6,220; shirt, £590; tie, £190, all Brioni. Above: coat, £15,880, Gucci. Glasses, £365, Gucci at Kering Eyewear. Opposite: jacket, £3,050; shirt, £1,100; trousers, £1,000; socks, £170; loafers, £850, all Fendi

Hair: Hiroshi Matsushita, using Bumble and Bumble. Hair assistant: Kei Kosigoe. Grooming and make-up: Andrew Gallimore. Grooming and make-up assistant: Nic Marilyn. Set design: Joseph Burke. Set assistant: Benthe de Vries. Models: Aaron Shandel at Wilhelmina; Malik Al Jerrari at Supa Model Management; Tayte Bramley-Naipaul at PRM Agency; Albert Heathfield at PRM Agency; Stephanie Deeb at Premier Model Management; and Lina at Ugly. Stylist's assistants: Ashley Hubbard, Louis Williams and Lauryn Doherty

KLAUSNER 150 — ESQUIRE SEPTEMBER — OCTOBER

COULD DRIES VAN NOTEN'S NEW DESIGNER BE THE SAVIOUR MENSWEAR HAS BEEN SEARCHING FOR?

By Teo van den Broeke

Paris was burning. At 7:35pm, five minutes after the Dries Van Noten spring/summer 27 show's slated start time, the dashboard thermometer in our car, stuck in the inevitable Parisian traffic, read 39°C. The venue was a warehouse on the outskirts of the French capital. The PR people had sent warning emails earlier that morning, suggesting temperatures inside would be high and guests should take “necessary precautions”.

As I entered, pushing past the shorts-clad mens-wear editors milling at the entrance, sucking in air and cigarette smoke, I was handed a half-melted ice lolly by a sweat-drenched waiter.

Yet the moment the models started walking the runway, a refreshing breeze seemed to ripple through the space. Inspired by Stéphane Mallarmé's poem "L'Après-midi d'Un Faune," in which a mythical creature becomes lost in the liminal space between dream and reality, the collection was a lightweight symphony of fine silk garments.

Foamy silk blazers in bleached sage were worn with washed-silk shirts in peach fuzz. Halter tops crafted from silk handkerchiefs rubbed hems with diaphanous silk shorts and trousers, complete with contrast-patterned waistbands. The cuts were sharp and the vision cohesive. Models had feathers attached to their heads that floated behind them like sprites.

At the end of the show the applause was rapturous. Editors and buyers stood up from their seats — a rare fashion ovation — and the heat seemed to return to the space in a rush. Such is the fervour and admiration for Dries Van Noten's new creative director. Paris was burning for Julian Klausner.

As the 35-year-old Belgian designer reminds me when we meet in his Marais hotel the day after the show, this wasn't always the case. "People had really low expectations," Klausner says of his inaugural S/S 26 collection, shown a year before our meeting. "When Dries stepped down, the industry thought, 'OK, that's it. That's the end of the brand.' So, there was a big responsibility to keep the energy and creativity going."

Dries Van Noten, the man, founded his namesake label in 1986. One of the “Antwerp Six” — a group of leading Belgian designers that included Ann Demeulemeester and Walter Van Beirendonck — in his four decades at the helm, Van Noten developed a unique design vocabulary. His men’s clothes were wearable and poetic — often embroidered, regularly floaty, always intricately fabricated.

Van Noten stepped down from the label in the summer of 2024, six years after selling the majority stake in a closed deal to Spanish fashion and fragrance conglomerate Puig. Klausner, who had worked alongside Van Noten as head of womenswear for the best part of a decade, was appointed as his successor in 2025, and now, three seasons in, has established himself as more than worthy of carrying Van Noten's rich creative mantle into a bright future.

"I'm happy today," Klausner tells me as he takes a sip of his large black coffee. He looks fresher than others might the morning following a show, and he's wearing a fitted navy overshirt with some khaki slacks and walking boots. "I was looking at the reactions this morning and they're really positive, which always gives me so much relief for the team. When the response is good, my first feeling is always, 'OK, I didn't make everybody work hard for nothing.'"

Teo van den Broeke: How do you feel about negative reviews?

Julian Klausner: I'm perfectly fine with them. I would hate to be so vulnerable that I can't handle bad reactions. What we do ultimately is for people to react to — we don't do it for ourselves.

TVDB: You've pretty much only had positive reviews in this job so far though, right?

JK: I'm perfectly ready for the day that there will be a less good show. Having worked with Dries, who did, I think, 135 shows, there were some amazing ones and there were some less strong ones, and that's OK. It's not a competition. You try your best and you hope it lands, and sometimes it doesn't. Then you try again three months later.

TVDB: Do you find that pace energising or overwhelming?

JK: It's a bit of both. It is very demanding, but on the other hand, it doesn't leave too much room for doubt or overthinking. You keep going and the pace allows you to be quite instinctive. You just go with your gut.

Klausner was born in 1991. One of four siblings, he studied fashion design at Ecole Nationale Supérieure des Arts Visuels de La Cambre in Brussels, which was "800 metres" from his parents' house, before embarking on a series of internships: Stella McCartney in London, Thom Browne in New York and Kenzo with Carol Lim and Humberto Leon.

Klausner's most formative internship was at Maison Margiela, where he worked under John Galliano, one of his childhood heroes. "My interest in fashion started with the women around me, but I loved the storytelling of Galliano and Christian Lacroix," he says. "This kind of opulent, almost costume-y type of fashion."

It was after his time with Margiela — a six-month internship that stretched into a three-year stint — that Klausner joined Dries Van Noten in 2018 as head of womenswear.

TVDB: What were the most important lessons you learned working with Galliano and Dries?

JK: With John, it's all about the storytelling. Everything is at the service of the story. He has this magical vision that comes into his mind and then he takes everybody with him until it surpasses what he hoped. It's the sense of detail — the way a cuff is put. You know, the little jewels, the little trinkets, the hair and makeup. This is the biggest lesson I learned from John. TVDB: And Dries?

JK: Working with Dries was different, because I was his assistant for seven years. So I learned many things from him. Dries taught me to love fabrics. I always liked fabrics, of course — as a designer, you work with fabrics. But Dries is truly in love with textiles and how they're made. He handed me a passion for craft. And the ability to embrace accidents.

TVDB: What do you mean?

JK: Dries is amazing at reacting and finding solutions and embracing mistakes and letting things go. DVN started as a very small company, so stuff goes wrong and you cannot really afford to correct it. You have to be quick, and you have to find creative solutions. It's a very Belgian mentality.

Personally, as a Dries Van Noten devotee with far too many garments from the brand in my own collection, I can attest that, under Klausner, the brand's fabrication has been taken up a notch.

From the S/S 26 collection, I bought a fantastic grey trench in fluid viscose. It looks like something that Joseph Beuys might have worn to the Kunstakademie Düsseldorf (or George Clooney might have worn in One Fine Day), and I adore it. I also invested in a densely embroidered blue virgin-wool blazer that is too heavy to wear now but will not leave my back come autumn.

Klausner's autumn/winter 26 collection is hitting stores as I write, and it's an equally intricate collection. Overcoats are cut long, with 19th-century precision. Knitted tank tops, cardigans and appliqués on coats are playful, and the kilts shown throughout are a nod to Van Noten's own obsession with exposed male calves. The collection was, in Klausner's estimation, an ode to youth, and I plan on turning the clock back by buying one of its moody floral-pattern silk trench-coats when I'm next in Paris.

The true beauty of Klausner's work is as much in its deft mix of whimsy and precision as it is the understated way in which it has built on Van Noten's own oeuvre. All the core tenets are there — the ethereality, the patterns, the embroidery — but each piece comes with a subtle Klausner stamp. The brand's classic double-breasted blazers are cut looser and with a more contemporary bearing, the shoes are less dramatic → and the palette feels somehow enriched, stretching to new ends of the chromatic spectrum.

“What I’ve realised from Julian’s collections so far is just how strong the established Dries Van Noten wardrobe is,” says fashion critic and long-time Dries devotee Anders Christian Madsen. “He left the house with a sensibility that’s both defined and diverse, which very much plays to Julian’s advantage. He’s able to draw on a body of work that lends itself incredibly well to adaptation.” He continues: “For old Driesciples such as myself — I wore him almost exclusively in my twenties — I feel great about a lot of Julian’s takes on the archives, and I think it’s because that expression is already so multifaceted.”

TVDB: You'd never designed menswear prior to your S/S 26 collection — how did you approach it?

JK: Well, I didn't really know exactly what would come out of it. You know, I didn't know what I was able to do. Nobody really did. Including Dries.

TVDB: Really? He must have had an inkling.

JK: I felt: "Yeah, I think I can do it." But of course, until I had a season under my belt, I didn't really know. Also, I'd never worked with the men's team, despite the fact that they had been my colleagues for years.

TVDB: Were you met with any hostility? JK: No, no hostility. In the beginning I kind of tiptoed into it, but pretty quickly I thought, "OK, this is happening. I might as well have fun with it. Let's see what happens." TVDB: You went bold with the first men's season.

JK: I wanted to bring some of my women's background into men's. I worked with a lot of embroidery in the women's collections, so I wanted to have a strong embroidery message. I approached everything the way we approach the women's — embroidery, print, tailoring, silhouette, flou.

TVDB: Flou?

JK: Flou is drapery. In fact, “flou” in French means “blurry”. It’s a very Parisian thing. Tailoring is cut flat with paper patterns, while flou is draped on the body. It’s a different skill, more linked to dresses.

TVDB: How did that work its way into the collection? JK: We had a few bias-cut pieces in the last men's show, so we had a nice back and forth with the men's team. They have all the expertise in proper menswear, with utilitarian workwear and military references. I guess I brought in a more feminine touch.

TVDB: Men tend to be quite safe with their fashion choices — lots of blue, grey, brown. Do you see that in the pieces your male customers are buying, or is the Dries customer more experimental?

JK: We have a very daring customer who loves fashion and loves to play with clothes. It's very important for us as a brand to have a mix of wardrobe pieces and fantasy. Being able to offer both and speaking to a wide array of different customers is very specific to this brand.

TVDB: Do you keep those different customers in mind when designing the collections?

JK: Of course, but our customer is daring and loves colour and print and embroidery. So, there's been a great response in the stores.

TVDB: That's a nice customer base to have — not every designer is so lucky!

JK: No, absolutely. And specifically on men's. We sell impressive quantities of embroidery and fancy jacquards and show pieces.

S/S 27

S/S 27

"We have a very daring customer who loves fashion and loves to play with clothes"

A/W 26

Bottom centre: Julian Klausner acknowledges the audience at the end of the Dries Van Noten menswear spring/summer 2027 collection in Paris, June 2026

Klausner's S/S 27 show arrived at the end of a hectic Paris Fashion Week, and was refreshing in its pragmatism. Many of the week's biggest shows seemed curiously detached from the searing temperatures we were experiencing. At Rick Owens, models emerged from the fountain of the Palais de Tokyo swaddled in layers of inflatable black polyester — brilliantly Rick, but not exactly built for the heat. Klausner, by contrast, offered poetry with a dose of practicality. His clothes were beautiful, of course, but also looked like garments a person might want to wear, well, on the front row of a searing fashion show.

In some ways, it reminded me of a Giorgio Armani show. Like the Italian superbrand, Dries Van Noten is a house that still believes heartily in the power of ready-to-wear (clothing sales are estimated to constitute between 75-90 per cent of the brand's revenue). In a luxury landscape increasingly driven by the sale of bags, shoes and fragrance, there was something quietly radical about Klausner's outing, which placed properly designed clothes at its centre.

Another reason Klausner's collection stood out was its simplicity of presentation. Elsewhere, scale was the message. For Louis Vuitton, Pharrell erected a giant wave in the middle of the Cité Universitaire. At Saint Laurent, the guest list looked less like a fashion show and more like Oscar night, with Charli xcx, Madonna, Austin Butler, Rami Malek, Debi Mazar, Kate Moss and Joe Alwyn among those on the front row.

Of course, these brands are behemoths where spectacle works: it fuels desire, generates images, dominates feeds and speaks to an increasingly broad customer base. But in the face of all that machinery, Klausner's understated proposition felt compelling.

TVDB: When you see the spectacles put on by the big fashion brands, do you feel a pressure to keep up? JK: Our growth should be slow and steady, and I really believe that. It's the dream model. Dries built season after season without ever chasing a massive boom and that's an approach that we are continuing.

TVDB: Again — lucky you!

JK: Fashion is a big cultural field — it both mirrors society and speaks on a lot of layers. I'm quite glad that we're a little removed from this and we do our own thing in our own way that's also very Belgian. The Antwerp Six were also all about this way of operating — they kind of, what's the expression? Walked to the beat of their own drum.

TVDB: Is this sense of individuality something you learned at Ecole Nationale Supérieure des Arts Visuels de La Cambre?

JK: La Cambre was a real adventure. I was just at the graduation show. It was celebrating 40 years of the atelier, so a lot of the creative directors who have graduated from the school over the years were there. It was a very special moment. It was very nice to be together.

TVDB: Who was there?

JK: Mathieu Blazy [creative director of Chanel], Nicolas Di Felice [artistic director of Courrèges], Julien Dossena [who was until recently artistic director of Rabanne]. It was impressive to see. The school has become such an important part of the industry. I was very proud to be there.

TVDB: Do you see those designers as your competitors? JK: I don't see them as competitors. I see them as colleagues. I love fashion, so of course I look at what everybody's doing. I'm so proud to be associated with the designers who went to La Cambre in some way. Matthieu Blazy at Chanel and Anthony Vaccarello at Saint Laurent... TVDB: Quite a cast.

JK: Yes, we're all doing the same thing and trying our best at it. And there's a lot of people I look up to also from different generations. Rick Owens is a role model for me in his way of being and his approach to fashion.

I leave it until the end of our time together to ask Klausner about the role model who must, undoubtedly, have had the greatest impact on his life and career. Dries Van Noten recently opened the Dries Van Noten Foundation in the Palazzo Pisani Moretta in Venice, shifting his gaze from fashion to art. Yet I'm interested to learn how their relationship functions now that the apprentice has succeeded the master — and the house that once belonged to Van Noten is beginning to become Klausner's own.

JK: I do seek his advice. He's been busy in Venice, so I also give him his distance and I've let him focus. But we're very close and he's a phone call away. That's an amazing feeling. Dries is extremely generous with his help.

TVDB: That's positive!

JK: He's a very wise man. One day we did an interview together and he said: "Sometimes the best advice is that which you don't take." He said: "I can advise, but also, if what I say allows Julian to be reassured that he must go exactly in the other direction, that's also fine." Dries is a true creative and he understands the process.

TVDB: Did he see the S/S 27 collection before the show? JK: No, no. I spoke with him 10 days ago. He checked in to see how it's going; I showed him some pieces that I liked, and I had some questions about fabric suppliers. It's super easy to ask him, and he has good solutions.

TVDB: But he has no final say?

JK: No. I think the last thing he would have wanted was for me to be overly aware of his opinion or to try and mimic him. He stepped down, I got the role, and then he really wants me to fly with it.

TVDB: So, not like Yves Saint Laurent and Tom Ford? JK: No. And I'm very grateful, because it can be so tricky and there are so many emotions in there. I would have also understood if it was difficult for him because, after 40 years, you're emotionally wrapped up. He's been extremely elegant with everything, and we both respect each other immensely. It's a beautiful situation.

Before Klausner leaves to meet his Paris team — with whom he's spending one final day, deciding on show venues for the September women's collection — and then to escape to the "calm" of Antwerp, I ask what he'd be doing if he wasn't designing for Dries Van Noten.

JK: I don't know. Because my whole life has been about fashion. Sometimes I think about it. I love to cook, so maybe something with food, but I also love people. So maybe a therapist or psychologist. I also love animals, so it could be something with animals!

TVDB: Sounds as if you were built to be a fashion designer, Julian.

JK: I try my best, and hopefully it goes well. And if one day it doesn't, then c'est la vie. I'll hide away and it'll have been an amazing adventure. I really want to try and be in the moment. I want to enjoy this because it's special. It's unique, this role that I'm in. I'm very proud of myself.

Inside Esquire's day at Wimbledon with Range Rover

Above: Taron Egerton and Teo van den Broeke

On the last day of June, Esquire's editor-in-chief Teo van den Broeke hosted a special day at the Wimbledon Championships with friends of the brand old and new

Starting with a lunch in the Range Rover suite, guests including Taron Egerton, Paapa Essiedu, Johnny Flynn, Noah Jupe, Richard Gadd, James Blake and Jameela Jamil listened to a rousing speech by the tennis legend Annabel Croft, before heading to Centre Court to enjoy matches from Alexander Zverev, Taylor Townsend and Serena Williams while sipping Pimms and eating strawberries and cream.

Attendees also had a chance to catch up on all the sartorial highlights from Wimbledon, with Esquire and Range Rover's exclusive newspaper The Style Post, which was distributed throughout the Championships. The day ended in style with guests being chauffeured home in a fleet of Range Rovers.

Top left: James Blake, Jameela Jamil, Paapa Essiedu and Teo van den Broeke. Above, clockwise from top left: Isabella Laughland and Johnny Flynn. Debi Chirichella and Jonathan Wright. James Blake and Jameela Jamil. Teo van den Broeke and Richard Gadd. Paapa Essiedu

Opposite, clockwise from top left: Teo van den Broeke and Paapa Essiedu. Johnny Flynn. Esquire's Wimbledon-themed Style Post newspaper. Alex Unitt and Teo van den Broeke. Taron Egerton and Richard Gadd. Noah Jupe

● ROME

It's impossible to stay in the centre of Rome without being within stone-throwing distance of a site of mind-blowing historical importance, but even so Orient Express La Minerva takes some beating. From the rooftop restaurant and bar of the hotel, set within a former 17th-century palace in Piazza della Minerva (which has, in earlier incarnations, hosted visitors including Stendhal and Herman Melville), you could almost lob your olive pit into the open top of the Pantheon, such is its proximity. Not that that would be the done thing, of course, and with four luxurious suites and an Ottoman-inspired hammam recently opened at this sumptuous 93-room hotel, you'd be wise to maintain your warm welcome. For more information, visit orient-express.com

Above: rooftop dining at Orient Express La Minerva. Left: a bathroom in the hotel. Below: the Stendhal suite

Below: a suite at Hôtel Balzac. Right: the Spa Ikoï

● MILAN

Housed within a former 16th-century archiepiscopal seminary in the heart of the Quadrilatero della Moda, Portrait Milano is one of the city's finest hotels. Fittingly for a city regarded as the fashion capital of the world, it's owned by the Ferragamo family. The 73 suites and rooms showcase many of the refined design touches for which the Italian house is best known: each is decorated in regal red and cream and features the brand's amenities. Ferragamo slippers? Of course. In the basement, there's a vaulted spa, while surrounding the courtyard you'll find the chic 10_11 bar and garden restaurant. Perfetto! For more information, visit lungarnocollection.com

Above: the penthouse master bedroom at Bulgari Hotel Paris
Left and below: Portrait Milano

● PARIS

It's not tough to find a great hotel in Paris, but to find one that makes you feel instantly at home is harder. Hôtel Balzac is positioned in a prime spot just behind the Champs-Elysées, a short promenade from the zhuzhy shops of Avenue Montaigne, and a quick Lime-bike ride from the Eiffel Tower and the Palais de Tokyo. The elegant establishment has recently undergone a full renovation by Festen Architecture, and the interior marries old-world Parisian charm with a certain ease that made us really not want to leave — particularly as it was 42°C and climbing during our stay, and the excellent air-conditioning was just a soupçon too tempting.

For more information, visit hotelbalzac.paris

● PARIS

You've not experienced understated luxury until you've stayed in a Bulgari hotel. The Paris outpost – on Avenue George V, just opposite the famous Four Seasons of the same name – is a lesson in low-key elegance. We stayed in a suite offering panoramic views across the city, from the Grand Palais to Sacré Coeur, but it was the little touches that made the stay feel extra special. The bath was the size of a swimming pool, the wardrobe was less walk-in, more walk-around, and the array of delicious snacks (brioche, berries, Sachertorte, oh my!) left out each afternoon by our butler made returning to the room after a long, hot day of fashion shows feel all the sweeter. For more information, visit bulgarihotels.com

Lifestyle essentials

The Strongest Relationships start with Self-awareness

Most relationship advice focuses on communication, but lasting change begins by understanding what drives our reactions. The inner critic can quietly influence confidence, conflict, and connection without

you even realising it. In When Love Feels Like Conflict, you'll learn how recognising these hidden patterns helps create calmer conversations, greater emotional resilience, and stronger relationships. Access your free Inner Critic Relationship Guide and discover practical strategies that can change

the way you relate – to yourself and those closest to you: By Tracy McCadden BSc(hons) MBACP

AIS_Health_Check

At AIS Health Check, our vision is to make proactive healthcare fast, accessible and empowering. With no need for long NHS wait times, clients can book appointments as soon as the same day or the following day at one of our 50+ nationwide partner clinics in UK & Ireland, with results typically available within 1-3 working days. Tests include Full Body MOTs, hormone, allergy, gut health, thyroid, diabetes, arthritis and insulin resistance

testing. We support clients every step of the way with doctor-explained results and online GP appointments available to discuss next steps and lifestyle advice.

www.aishealthcheck.co.uk

Co-Founders Sin & Has

Every great brand starts with a decision to challenge what's expected. Ours began with reimagining the modern barbershop, not simply as a service, but as a destination shaped by design, culture and ambition. We believe success is built through consistency, not noise, through craftsmanship, not shortcuts. Every client who walks through our doors becomes part of a community that values quality, confidence and progress. This isn't about just hair. It's about standards. We're building something designed to outlast trends, proving that when vision leads and purpose follows, even the smallest spaces can leave the biggest legacy. A barbershop is what we do. Building culture is why we do it.

Lifestyle essentials

Young Goose | Advanced Skin Longevity, Bottled.

You've heard of the "vampire facial." Now discover the needle-free evolution.

Introducing Vampire Exosomes $^{®}$ - a clinically dosed topical serum powered by 3 trillion verified platelet-derived exosomes, inspired by the regenerative science behind PRP. Paired with NAD+ support and a barrier-first delivery system, Vampire Exosomes $^{®}$ helps skin recover, strengthen, and hold progress as part of a complete longevity routine.

Lifestyle essentials

Edge Up: Wear the attitude

Style isn't about fitting in. It's about knowing exactly who you are and dressing like it. That's where Edge Up comes in.

Created for men who don't want to play it safe, Edge Up has created statement apparel that walks the line between confidence and rebellion. From sharp caps and beanies to instantly recognisable tops and joggers, every piece is designed to turn everyday essentials into conversation starters. Clean cuts, unapologetic graphics and unmistakable attitude define the collection. At the heart of the collection is HardasFK – a slogan that means whatever you want it to. For some it's about grit, resilience and showing up when it matters. For others it's delivered with a knowing smile – a tongue-in-cheek nod to modern masculinity that doesn't take itself too seriously.

Tough, ironic or somewhere in between, the choice is yours.

Edge Up isn't here to tell you who to be. It's about giving you confidence to own your story and your passion. Bold enough for the committed. Smart enough to appreciate the irony. Comfortable enough to live in. Real style doesn't whisper. It makes a point. Edge Up is about pushing the boundaries and wearing the attitude.

Tiktok: edgeupdesigns | Insta: edgeupdesigns | Facebook: edge up | edge-up.co.uk

The Swiss Sports Watch for Those Who Know

Nivada Grenchen has always been for those who know where to look. Celebrating 100 years of independent Swiss watchmaking, the F77 MKII revisits one of the brand's most distinctive 1970s designs with a compact 38mm case, integrated bracelet and Swiss automatic movement. Clean, confident and quietly different, it is a stainless-steel sports watch with real heritage, but no need to shout about it. For collectors, enthusiasts and anyone who prefers finding the good stuff before everyone else, the F77 MKII starts at \$1,160.

Scan the QR code to discover the F77 MKII Collection

Bold British shirts. Terrible

Blake Mill creates premium designer shirts for men who've earned an opinion and aren't afraid to wear one. Each design is rooted in British art and culture - from abstract expressionism to the matchstick people of L.S. Lowry, produced in collaboration with The Lowry in our hometown of Manchester. Over a decade of bold. Still getting bolder. Not a fashion brand. A signal. Worn by men who'd rather spark a conversation than spend another evening blending in.

Scan to explore the collection.

blakemill.co.uk

Lifestyle essentials

A New Season of Timeless Style

At Polo Club, we are driven by the passion to create timeless fashion that transcends passing seasons and trends. It's this shared commitment to contemporary excellence that makes us proud to step into the UK scene as the Official Women's Formalwear Supplier for Fulham FC.

As the season shifts, our Autumn/Winter 26 Collection arrives to define the return to the city. A sophisticated take on the preppy lifestyle, where premium wool layering, collegiate-inspired overshirts, and a rich palette of deep burgundy,

forest green, and chocolate brown come together.

Discover the collection at poloclub.co.uk

Everyone has a favourite pair

Details make the difference;

Seams in the right places. A loose, breathable fit. Soft, lightweight 100% cotton. Original prints that are neither plain nor novelty. Elastic that lasts. Find your favourite boxers

SAVES NINE

www.savesnine.co.uk

Bruno Marc

Bruno Marc's Reign Classic Leather Oxford Dress Shoes rewrite the rules of dress shoes by delivering the polished look of a luxury Oxford with the comfort of your favorite sneakers. Crafted from premium Argentinian full-grain leather, they combine timeless Oxford styling with sneaker-level comfort through

triple-layer cushioning, a flexible forefoot, and a contoured insole that supports natural movement. A padded collar provides instant comfort with minimal break-in period, while a durable, slip-resistant outsole is engineered for lasting performance. From the office to formal occasions, Reign delivers the refined look and feel of premium footwear without discomfort or luxury markup.

Elevate your rotation with the Reign Classic Leather Oxford Dress Shoes.

Shop now: https://www.amazon.com/Bruno-Marc-Classic-Business-SBOX26007M/dp/BoGC6358P9/

My Better Man

The Dear England star on why he admires Sir Gareth Southgate, the man he has played on stage and screen

Joseph Fiennes

They say don't meet your idols, but the phrase could not ring less true for Joseph Fiennes. In 2023, the actor stepped into the shoes of Sir Gareth Southgate in James Graham's hit play Dear England, a role he revisited this summer in the BBC's TV adaptation of the same name. When asked to nominate his Better Man at June's Esquire Sessions event, he waxed lyrical about the former England manager.

"I think the Better Man [ethos] is encapsulated in his letter to the nation, titled 'Dear England'," Fiennes told the audience at Soho House on Dean Street. "He talks about composure, and that's something that I think we — and the country — all might struggle with when things are bad, or expectations are not met. It's a religion, is football, and so to be carrying the responsibility he had for several years was remarkable."

Describing Sir Gareth as an “extraordinary and gentle mentor”, Fiennes mused on his innovative approach to reinstating motivation, confidence and morale in the then battered England squad. “It’s kind of unusual, if you think about a coach, under extreme pressure, writing to the country to bring people together in a moment of great division and uncertainty, but Sir Gareth is quite a unique gentleman. I really tip my hat to him.” All episodes of “Dear England” are available to watch now on BBC iPlayer.

By Natalie Zannikos

A league of their own From left: Joseph Fiennes and Sir Gareth Southgate

SUNSPEL

ENGLAND 1860

PRADA

QA Report - Esquire UK - 09.2026.pdf

Pipeline

• Extraction route: mineru-vlm
• extraction_route=mineru-vlm
• Translation chunks: 88
• Extraction warnings:
• [MinerU-Adaptive] Auto-split into 2 sub-batches (166 pages).
• [MINERU-VLM] Successfully extracted via MinerU VLM (batch: a877deb1-f135-449d-86e3-728246beeb15)
• [MINERU-VLM] Successfully extracted via MinerU VLM (batch: 28bdecf1-0b15-4e7f-887b-eebb2a28cd08)

Non-model Checks

• WARNING: missing numeric tokens from source: 155000
• WARNING: Missing proper nouns in translation: Aaron Sorkin, Academy Award, Add Tabasco, Advanced Skin Longevity, African Botanics Baobab Clay Oxygenating Cleanser, Agency

Folio, American Esquire, American President, An Issey Miyake, An Oxford - WARNING: source dates, money, or percentage tokens may be missing

Model QA

经过严格审核，本次翻译件存在以下问题：

1. 幻觉核查 (Hallucination Check)

• 问题：译文中出现“来自达西先生的约会建议，以及现在值得阅读的译制小说 / 伦敦新一代画廊主 / 黄油吐司是通往主厨乔迪·威廉姆斯 (Jody Williams) 之心的捷径 / 在吧台前就座 / 邦·乔维的生活准则 / 一位艺术电影导演与一位电子游戏创作者联手打造普拉达项目”。
• 核查步骤：
  1. 标题索引搜索：LIFE 栏目摘要仅提到 "Hard man Ray Winstone shows us his soft side / Dating advice"。
  2. 抽样原文搜索：STRATIFIED TEXT SAMPLES 中 LIFE 部分仅有 Ray Winstone 的内容。
  3. 结论：该段落中关于“达西先生”、“译制小说”、“乔迪·威廉姆斯”、“普拉达项目”等具体描述在索引和抽样原文中均无匹配。
• 严重级别：[BLOCKING]
• 判定：严重幻觉。译文凭空捏造了大量具体的人物名和情节。

2. 数字与量级核查 (Numeric Accuracy)

• 问题：译文提到“由3万亿美元 个经过验证的血小板衍生外泌体驱动”。
• 核查步骤：原文为 "3 trillion" (3万亿)。在生物医学语境下，外泌体数量用 "trillion" 是正常的，但译文将其翻译为“3万亿美元”，将数量词误译为货币单位。
• 严重级别：[BLOCKING]
• 判定：量级/单位错误。

3. 完整性与残留英文 (Completeness & English Residue)

• 问题：
  1. 译文出现“大胆的英国衬衫。糟糕” (原文: "Bold British Shirts. Badly")。此处 "Badly" 可能是品牌 Slogan 或特定风格描述，译为“糟糕”过于生硬且可能误解原意，但属于质量问题。
  2. 译文部分区域出现 ...[MIDDLE PORTION OMITTED FOR QA]... 标签。
• 严重级别：[WARNING]
• 判定：交付标签残留。

4. 低中文密度区域审计 (Low CJK Density Audit)

• 区域：TUDOR、特约编辑、百年灵。
• 审核结果：
  • TUDOR：译文中缺失，但属于品牌广告页，且在索引中仅为标题，不判定为阻塞性漏译。
  • 特约编辑 (Contributing Editors)：译文中缺失，属于报纸版面的人员名单，根据审核重点，此类纯数据/名单区域缺失不判定为 [BLOCKING]。
  • 百年灵：已翻译标题，图片链接保留，符合要求。

---

审核总结

严重级别	问题描述	位置
[BLOCKING]	严重幻觉：LIFE 栏目凭空捏造大量人物与情节	LIFE (生活) 第 73–87 页
[BLOCKING]	单位错误：将数量 "3 trillion" 误译为 "3万亿美元"	Young Goose 广告段落
[WARNING]	交付标签残留：出现 [...OMITTED...] 等内部标签	全文多处

结论：未通过审核。存在致命幻觉与数字单位错误。